Olympus International Salon Award-winning artist, fashion photographer, author and founder of the iconic Scene Magazine, Britain’s Trevor Spiro has been fascinated by the relationship between smoking, sexuality, fashion and music for over 30 years. Smoking itself (and the beautiful women who do it) is a central theme of a recently-opened exhibition of the photographer’s works at the new gallery of Kasek Communications, which features a collection of limited edition prints available for sale. I chatted to Trevor before the opening of the exhibition last week.
Firstly, are you a smoker?
No.
So, where does your interest in smoking stem from?
I don’t know what age you remember first becoming attracted to the opposite sex. I was seven, and the woman was my school teacher. I noticed she smoked in a very seductive, sexy way. I remember it; it was a turning point. I started looking at girls after that, and I realized, progressively, that I was attracted to girls who smoke, but those who smoke in a particular way. Men are attracted by different things – boobs, mouths – me, personally, I’m deep. I’m interested in body language, and I see smoking as a kind of art, a body language, and it can be quite seductive.
What is it about body language – and the body language of smoking – that interests you?
I grew up in the 60s. I was very attracted to people’s body language. I loved sitting in cafes observing people, wondering what the story was behind them. I’m interested in what goes on behind the eyes; interested in the person. Smoking, and how it’s done, is a body language which tells me something about a person. Consequently, I started photographing women with cigarettes. Laurent Bacall, Marlene Dietrich; in old films, men and women almost always had cigarettes, and they would light them in a particular way. To me, smoking’s also associated with an atmosphere connected with jazz – and I love jazz.
And does it ever seem strange to you that you find women smoking attractive?
No. People can say, “I’m attracted to your intelligence” or “I’m attracted to the way you look”. Well, I’m attracted to the way you smoke. It seems strange, yes, but if it’s explained, it can make sense.
What do you think it’s possible to communicate through smoking?
I saw a couple earlier; they weren’t all over each other, but the woman was smoking in a very seductive way. She was, in my opinion, expressing her feelings for him through her body language while smoking, blinking her eyes in a certain way. I think it’s possible for people to express emotional or sexual feelings for their partner through the way they smoke.
Not all the women featured in the exhibition are smoking. Are they all smokers?
Yes. I don’t only photograph women who smoke, though; but if they smoke, I’ll photograph them smoking.
And what are your thoughts on smoking as a habit in general?
My wife gave up smoking five years ago. I know there are health risks, and it’s a dirty, smelly habit, but I find it sexy. But let’s be honest, there are lots of things that are exciting or sexy that have risk involved. You can do things in moderation. I think you can enjoy smoking without being obsessive; if you’re in control of your own habits, and not the other way round, that’s a good thing.
Are you aiming to make any critical statements about smoking, the media, cigarette companies or smoking restrictions in these works?
That’s a very interesting question. Every era has its own ‘fad’, or its socially accepted behavior. Fifteen years ago, nobody thought about fox hunting or fur. Now, smoking’s deemed socially unacceptable in many parts of the world. While I understand the reason, many governments are taking control to a degree that’s unacceptable. I believe everyone should have freedom of choice in their own lives. I love freedom of choice, but I also love the responsibility that goes with it. These things are obviously something I think about.
Most of your images in this series are black and white. What’s behind this decision?
I see in black and white. I’m not color blind, but as I’m looking at you now, I see you in black and white.
And who are most of the women in the exhibition?
I owned a large model agency in London, but I didn’t photograph my models; I didn’t find them engaging. The Deeper Breath series is a kind of hobby of mine. Most of the women in the photographs are not professional models, they’re women I’ve met on the street or at places like airports. I don’t shoot them on the spot, I always speak with them and arrange a shoot for a later date. I’ve never been refused.
And what do you aim to achieve through the images?
To show someone themselves in a way they’ve never seen themselves before is what I find interesting, and it’s what I do. Everybody has something unique about them – I aim to find that and capture it. A photograph will capture a tiny instant of your life that you’ll never capture again, and that’s a beautiful thing. You see yourself in a particular way, then somebody comes along and sees something new in you. That’s what I aim to do.
What kind of rapport do you find it necessary to create with the women you photograph?
A camera can take a great image, but it can’t create an environment. Only trust and some form of a bond can do that. Building genuine trust between myself and the women I photograph is something that’s really important for the final result. I’ll meet with them for lunch or a coffee and speak for a few hours, to get to know them more and them me, and to build rapport and, most importantly, trust. I then never shoot someone for more than 5-10 minutes. Because of the time we’ve spent together before, I can get the image I want out of just a few shots. I treat every subject as an individual, and I spend the time before getting to know people in a psychological sense, so I can engage them in something they feel comfortable with.
How pre-planned or stylized are your shoots?
They’re totally spontaneous. I’ve never planned a shoot; I just use what I see. I don’t like a studio environment – it’s sterile – so I usually work outdoors. I do style all the shoots myself, though. I select and buy the clothes, based upon the person I’m shooting. I’ve probably spent around £40,000 on clothes and accessories, and I always give them to the women afterwards – like a tip. I love shopping for women’s clothes; I love the idea of putting the whole image or idea together. I use a lot of second hand and vintage stores.
And is this your first trip to Budapest?
No, I’ve been here around five times before. Many of the women in the exhibition are Hungarian, actually, and they’ll be there tonight. I like shooting here as it’s such a different environment for me. I found it inspiring to work here from the first time I visited.
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