{"id":4202,"date":"2025-12-23T09:17:28","date_gmt":"2025-12-23T09:17:28","guid":{"rendered":"https:\/\/slavikvassiliev.com\/peter-knapp-the-absolute-eye\/"},"modified":"2026-08-24T17:21:14","modified_gmt":"2026-08-24T17:21:14","slug":"peter-knapp-the-absolute-eye","status":"publish","type":"post","link":"https:\/\/slavikvassiliev.com\/en\/peter-knapp-the-absolute-eye\/","title":{"rendered":"Peter Knapp, the absolute eye"},"content":{"rendered":"\t\t
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Ref<\/strong>: article by <\/i>Anne Fulda<\/i><\/b> , Le Figaro<\/b><\/i>, November 2021<\/b><\/i><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Some clich\u00e9s are stubborn. Images so powerful they remain forever attached to a person. Peter Knapp is thus known to the general public as a great fashion photographer\u2014an essential reference, behind the true visual revolution that accompanied the democratization of fashion in the 1960s. <\/p>

At 90, with a mischievous gaze, a mind and stride still brisk, Peter Knapp has given up neither on touching up the picture. Yet he is far more than a photographer\u2014an \u201cimage-maker,\u201d as he defines himself. A graphic designer, painter and filmmaker, he insists he never took fashion photographs \u201cto satisfy an artistic urge,\u201d but with a pragmatic approach: \u201cWhen I was given a garment, I tried to make it flatter everything you see in the photo.\u201d <\/p>

In the pantheon of this man who rubs shoulders with the most beautiful women in the world\u2014but insists, \u201cAs for me, I\u2019ve never had many women; when I loved, I lived with them\u201d\u2014are figures as different as Alberto Giacometti, Francis Bacon, Gerhard Richter, Anselm Kiefer and\u2026 H\u00e9l\u00e8ne Lazareff. It was the journalist who made him a muse of the image, spotting him and bringing him into the Elle<\/em> team in 1959. Peter Knapp had just returned from a stay in New York, where he had hoped to make a breakthrough with his painting\u2014the era when pop art was being born. He let himself be drawn into the Lazareffs\u2019 wake, was invited on Sundays to their country house in Louveciennes, where he met all those who were shaping the times. <\/p>

\u201cH\u00e9l\u00e8ne amazed me: she wanted to have the 10 hours, but when there was an editorial meeting, she would reel off a whole plan of ideas. In fact, she got up at 5 a.m. and read magazines and newspapers from all over the world.\u201d<\/p>

Among the people who left a mark on him is also Slavik. It is, in fact, about him that we are meeting today in Paris\u2014to discuss the release of a book, Slavik, the Drugstore Years<\/em> (Norma \u00c9ditions), which he helped produce, notably with Pascal Bonafoux. Slavik was born under the name Wiatscheslav Vassiliev. When the young Swiss man arrived in Paris in 1952, with the idea\u2014after attending the Kunstgewerbe Schule in Zurich\u2014of going to the Beaux-Arts (\u201cthere was no art academy in Switzerland, or a school that would give you a diploma to earn a living; making artists isn\u2019t Swiss\u201d), he found himself disappointed by the capital. He found everything \u201cold,\u201d outdated\u2014until one day he walked past the window displays of Galeries Lafayette. They were alluring, dynamic. \u201cAll the windows and sets were white, as was the fashion on display. I said to myself: \u2018Ah, there\u2019s something here!\u2019\u201d He then met Jean Adnet, the department store\u2019s art director at the time, and Slavik, the decorator in charge of the store\u2019s window displays. <\/p>

They became friends and, in the process, the young Knapp became art director at Galeries Lafayette and had Slavik work there at the time. \u201cI wanted the posters, the exterior, the ads, the cardboard labels done by hand. There was no way to go faster.\u201d <\/p>

In 1954, however, Slavik left the department store on boulevard Haussmann and created the first design office at Publicis. \u201cHe then entered modernity,\u201d designing stackable chairs, many useful objects, \u201cand then he created his masterpiece with the Drugstore de l\u2019\u00c9toile. A store commissioned by Marcel Bleustein-Blanchet, who had been blown away before the war by those American stores\u2014far less luxurious than their French counterparts\u2014where you could buy anything, at any hour. Slavik did not present Bleustein with a plan, but with a red wooden board and dyed leather he proposed as cladding. He would add white marble, leather and chrome.\u201d <\/p>

Bleustein wanted to decorate the walls, and Peter Knapp went to the Saint-Ouen flea market to buy train luggage nets and old suitcases. Paradoxically, Slavik\u2019s venue\u2014trained at the Arts D\u00e9coratifs in Paris\u2014would be recognized for its design only through this decoration of the first French Drugstore. He then embarked on an adventure that would lead him to create several hundred restaurants worldwide, including many Parisian pubs and restaurants, such as the Winston Churchill, the Pub Renault (\u201cwith visible ventilation pipes on the ceiling\u201d) and, fifteen years before Beaubourg, Peter Knapp reveals, L\u2019Assiette au B\u0153uf, Le D\u00f4me, Zeyer, Jules Verne or L\u2019Europ\u00e9en. <\/p>

\u201cSlavik,\u201d Peter Knapp notes, \u201cliked to step into art. At 80, he was still telling me: \u2018When I stop doing restaurants, I\u2019ll take up painting,\u2019 but he threw himself fully into applied art.\u201d<\/p>

Always in the thick of it<\/strong><\/h3>

Peter Knapp, for his part, never had to settle that dilemma. With a blend of pragmatism and humility, he draws no hierarchy between art and applied art. He does \u201calways both.\u201d He claims to be \u201cin life,\u201d always careful not to let himself be boxed into \u201ca style, a repetition.\u201d \u201cBeing curious at my age and still taking on new projects is what keeps me alive,\u201d he admits. His way of looking, listening and speaking\u2014focused, precise\u2014immediately brings his words into sharp relief and lends them authority. Time has in no way dulled his liveliness or curiosity. He is clearly still driven by the desire \u201cto do more.\u201d Always. Like a kind of survivor. Always in the thick of it. Always eager to meet new people, to take on new challenges. <\/p>

Born in Switzerland in 1931, where he still lives\u2014in Klosters, commuting between his Paris apartment and his studio in Malakoff\u2014the image-maker mentions, among his projects, an assignment for Alsace, a major exhibition in Switzerland, and a project with Claude Brouet for a major brand spanning 1950 to 2000.<\/p>

\u201cAnd when he is asked what he thinks of today\u2019s art scene, he replies with a wry smile: \u2018I\u2019m not in the picture. It was better before,\u2019 but I can\u2019t stand bad taste, I don\u2019t like tags: those mediocre artists who draw a cat\u2019s paw on the wall and sign it. I hate Jeff Koons signing a handbag with the Mona Lisa. I can\u2019t stand that way of moving forward.\u201d<\/p>

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Clear-cut and unvarnished, demanding and aesthetic, without affectation, marked by a kind of common sense and an almost childlike innocence.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

November 2021<\/i>
Far from being merely the iconic fashion photographer of the 1960s and 1970s, he is also a painter, graphic designer and art director, and has just contributed to a book on Slavik, a portrait of a 90-year-old young man<\/p>\n","protected":false},"author":2,"featured_media":4203,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[44],"tags":[],"class_list":["post-4202","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press"],"yoast_head":"\nPeter Knapp, the absolute eye - 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