Born in Lodz, Poland in 1984, Piotr Niepsuj is a photographer, freelance photo-editor, and creative consultant. His work defies convention, pushing boundaries and challenging the norms of backstage photography. In his series “Over-Documentation,” captured during the FW17 Off-WhiteTM presentation, Niepsuj flips the age-old genre onto its head. Rather than focusing on models and garments, he turns his lens toward the machinery that orchestrates the media frenzy: slick, heavy cameras wielded by photographers, assistants, and designers. These images map the contours of the fashion show panopticon, revealing the frantic crossfire of hands capturing the moment from every angle.
Niepsuj’s lens doesn’t stop at fashion shows. His portfolio includes tender yet raw portrayals of urban scenes, reflecting the pulse of city life. Currently based in Milan, Italy, he continues to explore the multifaceted beauty of our world through his evocative photography.
PIOTR: Piotr, I'm from Milan. I take pictures, but what else do you want to know?
FORM: I think that's a perfect intro. I wanted to touch on the fact that you started at Pig, then moved to 2DM Management, and later worked closely with Virgil Abloh. You learned about various facets of commerciality, editorial work, and the multifaceted nature of design. How would you say your past experiences led you to your current focus on image culture?
PIOTR: I grew up on rap music, and back then it was all about keeping it real. Keeping it real wasn’t about making money; it was about staying true to yourself and defying the system. It was much more punk than it is now. As you grow older, you realize that you have a moral obligation. Once you understand the issues, you can’t ignore them. Now, I know what I’m standing for.
I do commercial jobs, let's call them "image business", and I think they’re great, but that’s just my job. Just like someone makes bread or designs clothes, I take pictures. It's my work, and I’m good at it. But I believe the art of having fun and doing things for yourself has been lost somehow.
That’s what led me to image culture. It’s not just about the output, but about doing things, staying connected with people, and taking your time. I want to clearly distinguish between work and personal life.
Kids now might say, “Oh, he’s cool because he did this job.” But I’m not cool because of my job. It’s like praising someone for driving a bus. You don’t say, “Wow, it’s cool that you drive a bus.” You might be the best bus driver in the world, but you’re still just a driver, and I’m just a photographer.
I’ve learned a lot from my work, and it has given me access to places I wouldn’t have otherwise entered. I’m privileged to be able to do what I do, but that’s not what makes me cool. If anything, I might be considered cool for different reasons, like working my ass off for almost 20 years. Seeing someone work hard for that long is what I find respectable.
FORM: I've had many conversations with friends recently about clout versus credibility. Clout lacks substance, while credibility commands cultural respect.
PIOTR: I think it's only like that for a few people. For you, you're doing it for yourself. You know the credibility you have for yourself in the end. But what is cultural relevance now? Taylor Swift can have cultural relevance because she changes how we see women, pop stars, or whatever, but I don't even know one of her songs. She's probably more relevant than anybody else and she's a billionaire now, which is massive capital and power. But I don't care. I really don't know any of her songs. It doesn't even cross my path.
This kind of credibility, I separate it too. But it's almost a dead domain; it doesn't really exist anymore. It's usually the ones who are credible that don't engage with big brands. Nowadays, every young photographer is considered important because they work with someone big. Once you work with somebody big, you often have to make compromises from the beginning. I don't know how much of "you" there is in your work and how much you actually look credible. You may have bought your house, but I don't know what you actually did to buy it. You're seen as cool because you work for LV (Louis Vuitton) or did an A24 film.
FORM: Right.
PIOTR: I don't give a shit. I really don't give a shit. All these rappers that show up overnight and get huge—you Google them and there's no video of them performing in high school. And I'm just like, dude, where the fuck were you? You become a star overnight, making millions, and that's okay. It might be good, but it's not relevant to me. It's just speculation again. It's something old people still care about, but for young people, I don't think that kind of relevance exists anymore. I don't think you can be relevant with your own things when you're 25 now. I don't think it's possible—it’s old values. Which is fine—you have to believe in something. And we believe in this. Somebody else believes in something else, and if they are true to themselves, they will keep on believing in it.
FORM: So, we've talked a bit about internal belief and philosophy. Now, I want to shift to something more external and ask how you have approached forming communities around your projects. For example, you have an exhibit opening tomorrow. How have you built communities around your various cultural practices?
PIOTR: Unfortunately, I cannot call it a community. I would like to, but it's not really a community. It's a network of people I know, built from being curious and open about them for a long time. I would go to openings, see what's up, and talk to others. I would write messages like "Great job" or "Hey, I want to meet you. Let's talk about photography," or whatever it was. I'm just curious and pretty open with other people. It’s about listening to people, but it's not enough to form a true community. We were talking the other day about the things we did at P; we still have relationships with those people because it was something very real. We were nobodies from a magazine, sending this photographer on their first job, and there were so many emotions involved in it.
FORM: How do you go about building rapport with the people you photograph? Establishing good chemistry is crucial for capturing authentic images, so what strategies do you use to ensure they feel comfortable and genuine in front of the camera?
PIOTR: Ask the right questions and engage with people—that's what I always say. It’s a crucial part of the job. For instance, if I'm photographing the CEO of Airbnb in Italy, I need to know what to talk about and understand what he’s hoping to get from the session. By engaging with these individuals, you can figure things out. It’s less about having refined sensibilities or being overly informed, and more about being curious about the world. Curiosity, I believe, is the key to answering many of the questions you’ve asked. If I weren’t curious, I probably wouldn’t have learned and grown as much as I have.
FORM: What do you think continues to fuel your curiosity after doing this for so long?
PIOTR: Time changes so quickly—conditions, music, and trends all shift rapidly. This constant change sparks curiosity about how people are experiencing and expressing themselves. For instance, people used to have fun in one way, but now they take pictures differently and identify as content creators rather than just photographers. It's important to understand and appreciate the evolving world around you, rather than simply saying, 'It used to be better' or 'I don't care.
FORM: Saying 'I don't care' is the worst attitude.
PIOTR: Curiosity answers every question I've encountered so far. I learned this from Virgil, who would come here and immediately start going through all the books. He’d ask about every single one—‘What’s this? Who’s this artist?’—question after question. His interest was purely about learning, not for business purposes; he was driven by genuine curiosity. I think people sense that.
Have you ever met a CEO like that in such a company? I hadn’t. I wanted to know everything about their life—where they’ve been, how their day is going, how they’re feeling. Having this kind of information is like having an expert on smart work; it’s fascinating. Ironically, CEOs often have the most knowledge about the world. They wake up early and read every newspaper from around the globe. They accumulate an extraordinary amount of knowledge, updates, and insights.
FORM: Yes, that's true.
PIOTR: You’d want to understand it. For example, I recently photographed Lorenzo Bertelli of Prada, Miuccia’s son. I noticed on Wikipedia that it was his birthday, so I asked, 'How are you planning to celebrate?' I was curious to know if he was the kind of person who would go on airplane mode and keep things low-key, or if he’d have a party with specific music. I just wanted to understand how he would celebrate his birthday.
FORM: Right.
PIOTR: I was like, nobody’s ever asked this.
FORM: No.
PIOTR: He was somewhat surprised, and I’m curious to know why.
FORM: Yes, I appreciate that because many people assume that others will only ask about their work. There's a difference between who you are and what you do.
I'm interested in how you approach creating an image, given that you work with so many different personalities and types of people. As you navigate these diverse personalities, what elements do you think contribute to forming an image that reflects your unique signature as a photographer?
PIOTR: I don’t want to call it spontaneous, but it’s a bit like that. It’s the moment when I ask, ‘What kind of music are you going to play at your party?’ and their answer reveals something about them.
FORM: A candid.
PIOTR: Yeah, candid. I might be wrong, like, English wise, isn't candid like something happy?
FORM: No, it just sort of means in movement, unplanned.
PIOTR: Okay, so 'unposed' fits better. The photography I was introduced to by Sean, and the style I grew up with, was all about spontaneous moments—like the work of Ryan McGinley and the ex-VICE crew. Back then, there were no phones and people weren’t constantly aware of how they were being portrayed. This raw, unfiltered approach is something that’s being lost today. Now, everyone knows their angles and is always posing, which makes every image feel the same. If I take a photo and someone else does too, the result is often the same—maybe with a different light or backdrop.
So with Lorenzo, when I asked about the music at his party and he struck a pose, it was about capturing that genuine moment. It didn’t need to seem special or powerful, and I didn’t want to create images just for the likes. It’s more about capturing the real, unposed essence.
FORM: Right.
PIOTR: It's relatively easy to enhance images with lighting treatments, but I'm really impressed by how kids today produce their images. It’s amazing to me.
FORM: What specifically impresses you?
PIOTR: It's like how you used to make a record before creating a song or a body of work. Now, each single image has to stand out on its own. There’s so much noise and competition in every image.
FORM: Yeah, shouting into the void at each other.
PIOTR: Yeah, but it's like when the paparazzi shout 'Hey, hey, hey!' to get someone’s attention, you know?
FORM: Yeah, it feels like that’s become part of the culture now. Everyone is doing it to each other. There’s a difference between me saying something at you versus saying it to you.
PIOTR: I don’t want to create images that are specifically crafted to be special. I prefer capturing everyday moments and the spontaneity of chance occurrences. For example, I don't focus on what kind of music someone will play at their birthday or whether people will Google the musician they mentioned. This approach is very close to my heart. That’s why, if you look at my Instagram, you’ll see images of pavements and other everyday, unconventional scenes.
FORM: Yeah.
PIOTR: Because it’s something that happens naturally and without planning, it’s not like set design. It just occurs organically.
FORM: Yes, there’s a certain skill to that. Being a portrait photographer or a stylized product photographer requires one set of skills, but capturing candid moments in the everyday mundane is a different skill entirely.
PIOTR: Yes, I’d say that’s enough. For instance, if you're photographing a brand, there are already two significant elements at play: the brand itself and the specific clothing people are wearing. This inherently creates a more distinct and special image.
FORM: Right?
PIOTR: You don’t need to add extra flair to it. That’s what I’m trying to achieve—sticking to a belief that has guided me for a long time.
FORM: Yeah.
PIOTR: Obviously, it evolves with different cameras, subjects, and styles. I’ve always loved taking pictures of my friends and people, but now it’s almost impossible to capture them the way I’d like to.
FORM: And that’s great—really fantastic.
PIOTR: Each of you is special in your own way because you look different from others. You don’t have to conform to the typical poses or smiles that everyone else uses. This creates a real documentary of moments.
FORM: And what’s this book here? You have about ten of them.
PIOTR: This is my new book, Full Phrases. It's coming out next month.
FORM: Tell me more about the Full Phrases book. It’s about unprecedented times, right?
PIOTR: Each spread features a phrase that somehow summarizes the current state of the world, at least from my perspective within my creative bubble.
FORM: Yeah, this is really relevant.
PIOTR: It’s a time when everything seems to lose meaning. You don’t know what’s true or false, what’s real or not real, or what’s online and whats IRL.
What’s good and what’s bad—these are questions we’re uncertain about. It’s like spirituality: everything is mixed up, and it feels like anything goes. I’ve been expressing these thoughts on Twitter for years.
FORM: Okay, so this is essentially a compilation of your tweets.
PIOTR: Yeah, it's kind of like a kind of edited compilation.
FORM: Motivational bullshit, I love that.
PIOTR: Yeah, this is our world now—image junkies, that’s who we are. Unposted fits—like those you didn’t share on Instagram—still exist. FORM:
This is great. 'Tech Bros' is a perfect example. What’s cool is that it’s a cohesive two-word phrase that’s very relevant today. I also appreciate how you’ve laid it out to create a contrast within the phrase. I was discussing with someone recently how, 20 years ago compared to now, many subcultures began online. People would connect digitally, then meet in person over shared interests, and sometimes the street fashion would reflect what started online. This piece feels like that to me—a manifestation of things that brewed online sub culturally. Yeah, it’s about who influenced whom in the end and what ultimately happens to things.
FORM: What’s your favorite phrase in this book that you wrote?
PIOTR: It's impossible to choose just one. It's been five years, and I remember writing most of them—there are about 500 phrases in the book, spanning 1,000 pages. I recall almost everything about why I wrote each one, but what stands out is the sheer volume of phrases and content. Interestingly, a lot of it includes quotes from the New York Times.
FORM: Really? That's really interesting.
PIOTR: Yeah, or from sources like Hypebeast. Gen Z has inspired me, or rather, Gen Z-inspired conversations—like 'chunky legs' and 'something-sneakers.' It feels like they’ve made up all these phrases that don’t always make sense, but people actually use them. This is reflected in the book, like the section on Voice Messages and terms like 'Micro Podcasts.
FORM: Micro podcasts.
PIOTR: Those are the voice messages for me.
FORM: What do I read? This is a fashion zombie. How would you describe that?
PIOTR: It's like a fashion living dead.
FORM: Romantic Legality. That one's really relatable.
PIOTR: Close relationships, rather than open ones. So, yeah, it's kind of—
FORM: Normcore. Are you in a relationship currently?
PIOTR: Yes, ma'am.
FORM: How long have you been in your relationship?
PIOTR: Two years.
FORM: Would you say that you seek inspiration from your partner?
PIOTR: Yes, she is a very pure person.
FORM: Is she a creative or no?
PIOTR: She is a creative. She's very cool.
FORM: Has she ever been a creative collaborator of yours?
PIOTR: The first zine we did featured her pictures for Image Culture. She’s so pure, and I often feel my own mind is too corrupted to fully grasp her essence. I’m very pragmatic and focused on architecture, while she’s wild and incredibly free-spirited. I don’t want to interfere with or suppress something I don’t fully understand. I’m helping her organize a house to connect with the outside world, but otherwise, our approaches and backgrounds are very different. We’re at very different stages in life with distinct perspectives.
FORM: So, it creates a good balance with the contrast.
PIOTR: So, it’s refreshing to see someone who has spent time in the shadows but remains full of purity, joy, anger, and everything in between.
FORM: I have one last question: I noticed that the slogan for Image Culture is 'Everything is Politics.'
PIOTR: That's correct.
FORM: Why?
PIOTR: Because it’s true. The way you dress is political, and who you choose to have sex with is political as well. People tend to forget that even going to a club used to be a political statement. The type of music you listen to—whether you use Spotify or download it—can also be political. It’s not just about voting or not voting.
FORM: A lot of people are passive and don’t even vote to begin with.
PIOTR: Yeah, but once you're aware of the power dynamics and the structure of the world, everything you say aligns you either in opposition to or in agreement with that power. So everything you do is political. For instance, if I have a studio and bring all my books for people to browse, that’s a political statement. It’s saying, 'Hey, I want people to read and engage with these books.' Similarly, if I sell a book for €20 instead of €40, that’s political. If I’m 40 and wearing a hat here in Milan, it’s political because it challenges the idea that you can’t be stylish at my age. Everything is political—whether it's the way you package and send a book, including the choice between paper or plastic envelopes.
FORM: Yeah.
PIOTR: So, yes, everything is political. There's actually a quote from the track 'Sharp Shooters' by Dead Prez featuring Talib Kweli.
FORM: Yes.
PIOTR: Yeah, It starts with this quote. Everything is politics.
FORM: Yeah, I'm familiar with that.
PIOTR: It's actually a nod to my past. It’s a case of 'if you know, you know.' Dead Prez is a great example of artists who’ve stayed true to themselves, never fully conforming. They seem content living on the fringes of mainstream culture, leading humble yet respectable lives. I have a lot of respect for these kinds of people and their cool music.
FORM: Any final thoughts?
PIOTR: You know, keep it real, be curious and all that.
Discover a full look at Piotr's book, 'Full Phrases' here as part of FORM Archive
