The Swelle Life

Dancing Kung-Fu Praying Mantises

I've always thought insects were neat. I've never been afraid of them and wouldn't dare squish one in a tissue simply because it was in my house, though I have been known to hoover up ants. (Not up my nose a la Ozzy Osbourne, in case that needed clarifying.) Praying mantises were my favourite growing up in Canada, with their tiny, alien-like, articulated heads that rotate nearly all the way around, and those raised and ready lobster-like claws. They were a constant presence around our house in the spring and summer.

I was a very sensitive little girl and as mentioned didn't like seeing bugs killed. One summer day our neighbour who was a dad and a nice man walked up our driveway where I was standing with my mom. After a few minutes of chatting he walked over to where a big black spider was sitting and put with it a praying mantis he'd just found. He said something like "They're gonna fight. Watch him kill it." I was stunned and horrified, my trusted neighbour was facilitating insect bloodsport! For fun! I screamed at the top of my lungs "I HATE YOUUUU!" and ran into the house and flopped on my bed sobbing. My mother came in and assured me he'd separated the two and that he was very sorry. I think I was made to go out and hear his apology because he felt so bad. He probably would have loved this (scroll down to the insect militia in battle).

Anyway, what brought us here is the work of Igor Siwanowicz, known for his incredible macro portraits of creatures of all kinds, through which he demonstrates a special fondness for the praying mantis. I had no idea such fascinating and brilliant species existed, we only had the green and brown kind hanging around the house. The Polish-born Siwanowicz is based in Munich where he photographs insects he acquires and breeds, in his home studio. That's commitment to one's subject. As for his love for the little guys, he told The Telegraph: "I have always been fascinated by insects even from childhood. You could say that I am sort of a public relations representative in service of creepy-crawlies. I think mantids are totally slick and sexy, and have style. I take 'weird' and 'bizarre' as positive adjectives."

In case you're wondering if Siwanowicz is doing something gross to get his shots, the answer is "no". There's no fishing line pulling those tiny claws up in the air. He explains: "Animals are very unpredictable and uncooperative, and there is almost no way to force them into collaboration. One can use tricks though - moths and butterflies are very docile freshly after hatching. Most otherwise fidgety insects can be approached early in the morning, when the temperature is low and their metabolism hasn't kicked in yet." In other words, like us before we've had our coffee.

Here are some of my favourite shots of his praying mantises, as you've never seen them before:

A spectacular flower praying mantis - the texture captured from the wings!

 

A Malaysian orchid praying mantis which I think is just exquisite (above and below)

 

Mmm...flies for lunch! (Actually that's pretty gross)

 Look at this amazing creature, the giant devil's flower mantis (above and below)

It's easy to see that Igor's main influence is the work of the designer of the monster from the Alien films, HR Giger.

Give us a hug? A large African praying mantis opens up to Igor in his home studio

Photos by Igor Siwanowicz

LUXURY PHOTO: LEICA AND HERMÈS

 

Update: Sorry, Leica Camera has disabled the embedding for their videos since I posted this, so you'll have to watch it directly from Vimeo.

I'm not one who typically jumps for collaborations; many times the result can be a muddied mish-mash of two great creative entities that leaves you yearning for the pure, singular vision.  But Leica teaming up with Hermès - for what I believe is the second time in the M series  - to create a camera that brings photography equipment into the aesthetic, and more significantly, the luxury realm, has me sold. Not sold on a purchase because only in a Robin Leach parallel universe could I afford it, but on the concept. It's gorgeous, but the clincher is their promotional film which shows up-close - with no soundtrack to distract from - the mastery involved in hand crafting each detail of the camera, its accessories and even the box it comes in, a process that may not be fully appreciated otherwise. And all done with manicured hands! Substance over hype is a nice change from the usual.

I used to think that the people at Hermès and the people who bought their £10, 000 and upward bags were off their macaron until I read Deluxe: How Luxury Lost Its Luster, an impressively researched book tracing the decline of luxury, and in the process, exposing the ugly secrets of the (supposedly) premium fashion and accessories industry as it is today. The Paris-based author, American journalist Dana Thomas, found a rare diamond in the shiny crap pile  when she visited the Hermès atelier in Paris and saw first-hand the difference between manufacturing/industry and finely crafted goods. True luxury as opposed to mass-production at luxury prices. Whether one thinks it's wise to spend that kind of money on a bag regardless of its heritage and quality is another matter. But if you are going to spend stupid money on a bag, buy Hermès and you'll actually get what you pay for.

Back to the camera. Leica created this limited edition to celebrate the friendship and collaboration between Jean-Louis Dumas, the former president of Hermès, who died in May 2010, and Leica Camera AG. Wrapped in ocre Veau Swift calfskin leather, two versions are available, M9-P 'Edition Hermès' and the M9-P “Edition Hermès – Série Limitée Jean-Louis Dumas”. The first is a limited edition of 300 that comes with a beautiful silver-anodized Leica Summilux-M 50 mm f/1.4 ASPH. lens. The second,  just a run of 100, comes with three lenses, a Hermès camerabag and a portfolio of 200 black-and-white images captured by Jean-Louis Dumas with his Leica M camera.

And below you can see it all being 'unboxed'. I never thought I'd be so engaged in the opening of a box, but hey!

 

 

There's no mention of it on the Leica website though. Is that weird?

Nick Knight and the Death of Photography

One year ago, Nick Knight proclaimed, "I think photography is dead"  when he self-referenced during a livestreamed interview for the series Fashion Pioneers with The Business of Fashion. Taken out of context, it's a stunning statement considering he's tirelessly and fearlessly pushing the boundaries of what his chosen medium can be, and his unrivaled online creative home, Showstudio, is arguably the most groundbreaking and prolific showcase of fashion imagery and the processes behind it, a marriage of photography and film, much of it in collaboration with in-house filmmaker Ruth Hogben and guest favourites (Alice Hawkins is always a massive treat). To that he added, “Film died some years ago. I don’t miss it. None of my children read magazines. Fashion will be shaped by the internet.” 

Watching the whole interview - it's 4o+ minutes and well worth the time - is crucial to understanding the context of his statements which you want to do because it's better than reading excerpts and thinking someone you admire is hopelessly arrogant. He's not; rather he has the kind of humility only those who achieve great things acquire. His message, drawn out by the quietly astute Imran Amed, is that the way to move fashion forward is to create new, dynamic and groundbreaking fashion experiences that use our available technology to offer access to everyone who wants it (eg. watching Alexander McQueen's Plato's Atlantis on our mobiles), and therefore media such as photography and film must evolve beyond what traditional means can accommodate. Knight observes that, in this sense, photography "has become something else" altogether (hence "photography is dead"), and he's leading the revolution in taking fashion to this open place, beyond the fashion elite. (I've always thought fashion was wasted on a good number of the privileged insiders - bored faces at Chanel haute couture shows are as sure a sight as Lesage embellished boucle.)

At the time of this interview, no other image maker was following Knight's lead or cutting their own path in any meaningful way. The vision wasn't there. Has that changed in the past year? I can't think of anyone.

The images here are Knight's contribution to the January issue of W magazine. They are blowing me away. They are like photography, illustration and film all in one - I believe he directed a film and took stills to create the series which is drawn from the work of Erté, Aubrey Beardsley, Lillian Bassman and Irina Ionesco "to explore the future-fantastic visions of Spring/Summer 2012" for W. I think the imagery trumps the subject which is the clothes. Yet in 30 years of creating fashion imagery, Knight has never lost focus of why he's there, and I find that fascinating.

You can see all of the images, both published and previously unpublished, at Showstudio.

 

Photos: Showstudio

Latest from Alice Hawkins: "Museum of Costume"

Click the image to watch the film

(My headlines get less and less imaginative as the years go by.)  I've really been looking forward to this, Alice Hawkins' latest fashion film, from SHOWstudio:

"Created to accompany the Antwerp Fashion Museum's 2011 exhibition 'Dreamsuits: Designs by Nudie Cohn, the Rodeo Tailor', photographer and filmmaker Alice Hawkins lends her unique eye to Cohn's equally unique couture creations, capturing the glittering surfaces of Nudie suits drawn from the collection of Belgian entertainer Bobbejaan Schoepen on fashion film in 'Museum of Costume.'"

Country/Western/Fat Elvis outfits are not really what turns my crank (I guess I'm bringing that phrase back) and neither is the music that is performed while they're being worn. Alice Hawkins' film Musuem of Costume celebrates both, though it is focused on a particular designer and a particular artist of the genre. But her way of capturing her subjects just 'being', as if they are occupying moments outside of time and space as we know it, is always fascinating and mesmerising to me. Her style of highlighting detail with dramatic light and shade, through both flashing cuts and lingering looks, demonstrates her appreciation for the elements as much as the whole of the character, a study that is always a treat to watch. She made me appreciate the couture aspect of a style I would never associate with couture. But the details in the embroidery, textures and fabrics really are exquisite if you can get past the style of the clothes. I say this at the same time I'm thinking how fun it would be if everyone dressed this way.

Alice Hawkins' films are such a hypnotic, sensory experience (the more accurate descriptor would be 'sensual' but I feel weird saying that, like I should be slipping into a candlelit bath in the dark while whispering the word as I stare at you). 

I have to admit, I love this one best with the sound muted. No offence meant to the talented Bobbejaan Schoepen who has an awesome name and wicked car to match. I'd love to be taken for a ride in it with his stereo cranked.

Alice herself makes an appearance:

My Latest Shoot: Judith Frankland

 

I wanted to share a few photos from a shoot I did recently for a magazine feature I'm doing on Judith Frankland - you may know this outrageously fun designer from her column of fashion fairytales here at The Swelle Life,  Frankly Frankland.

I'm showing mostly head shots as the issue isn't out until fall and I have to keep the full-lengths for the spread. I really love the hair. It was done by Joanne Lodge of Tickety Boo salon in Whitley Bay and is the perfect complement to Judith's boldy feminine and vivid designs.

And big thanks to my lovely model Sophie who nailed it in all her 5'11" glory!

 
 

 

Photos © Denise Grayson at The Swelle Life
Clothes and styling by Judith Frankland
Hair by Joanne Lodge at Tickety Boo
Model: Sophie
Makeup by Denise Grayson

Interview with Trine Marie Skauen: Making Up the Male Model

Last year I interviewed the fantastically talented makeup artist and art director Trine Marie Skauen (read it here). We saw her candy-spackled eyes, fresh glossy looks and avant-garde creations - but what about the men? Making the male models camera-ready is a bit more of a mystery, and one that you likely won't mind me exploring further!

The Norwegian all-round creative works in tandem with her fashion photograher fiance Marco DiFilippo, and together they travel the world creating extraodinary and beautiful images for magazines, advertising campaigns, video and an array of projects. (I think we've found two nominees for the 'coolest life' award.)

Here Trine answers some questions and gives up a glimpse into what's involved in making up and grooming male models, and what she thinks of it:

How do you approach making up men when you don't want them to look 'made up'?

I would say I work more or less in the same way when approaching ideas for men as I do  girl models. I do research and make mood boards if necessary. If the client wants him to look "natural" then it is more about the skin, making it look fresh, lips not dry, and covering acne and red spots. Then a "messy" styled hair.

Are there many opportunities to do more creative looks on men, especially when the target audience is men? Do men want to see the avant garde in their fashion magazines?

No, I don't think so, the majority of clients want "good looking" men in their campaigns. The differences are mostly if he should be slick, smooth or the urban, messy, cool guy. Like the cool Diesel / Levis guy or the slick Armani guy.

When it comes to magazines, I cannot speak for the men out there, but I believe most men probably like the cool, handsome "normal" guy; they can relate to that type. They probably read GQ, Vanity Fair etc. When it come to the more avant garde magazines like Numero Homme, which I love, the target group is more narrow.

This photo of the 'boy in the bow-tie' prompts the question 'How far do you go with the grooming for a shot where clothes are not the focal point?'

Sometimes I use foundation, creams or also oil, and we go as far as it takes us! It depends on the look. This image is from a test shoot and we just used a some normal cream, if I remember it correctly.

Ok, I'll come right out and ask - did you have to do his armpits?!

This guy actually had his armpits as you see, I did not do any cutting or shaving. We usually ask the agency to tell the models about the body hair. But the request is usually more along the lines of "don't shave for three days."

Or we shave him on set if it's a clean look. I've been lucky with the body hair until now - no clients have asked for shaving or cutting other places then the head! I sometimes have to cut the hair a little bit, but I don't really like that since I am not a hairdresser you know, I don't want to butcher the poor guy!

 
 


Reader Lauren wants to know "How receptive are the guys to having makeup done?"

When it comes to my job and putting makeup on models, they are used to it. They know they have to come to a shoot and just let us do what we want.

But I also see more and more boys using cosmetic products, they just want to look good. If they have acne or red spots they can use some foundation or concealer, some use balm on a dry lip, some use a little powder. Ok, it is not so many of them...yet. The trick is to make it look as "natural" as possible. I also like when men take care of their nails and hands.

Do you have a preference for working with guys or girls in terms of the makeup? And also the behaviour, is one generally more pleasant to work with or is it an individual thing?

The behaviour is individual, but I must say the most fun guys we work with are Brazilian, they are so easy going and fun. Overall, all the boys we have worked with were great, we've never had a problem. Some are just more stiff then others.

As for preference, it depends on the client and the model and project. I like both.

Thanks, Trine! You can learn more about Trine Marie Skauen and Marco DiFilippo's production company and view their work at their website www.tmstudio.me

 

 

All photos by Marco Di Filippo. Makeup and art direction by Trine Marie Skauen

'In Fashion': Alice Hawkins at Showstudio

God I love this woman. In lieu of this week's Pretty column (maybe it counts because the subject is pretty?! Give me that, thanks) I'm linking to an interview that Showstudio's Alex Fury did with photographer Alice Hawkins in February and have just released. I've been so looking forward to this; until now I'd only read interviews and saw her work, my favourite being her relatively recent fashion film The Good Life which I embarrassingly gushed all over. And I almost just did it again. 

The glamour-obsessed yet throughly down to earth Hawkins loves to transform her subjects in way that is superficial and rooted in humanity all at once. What does that mean? Click the image to find out.

 

Two Balloons

Yesterday we had a party for my daughter's 5th birthday in my parents' backyard. It was an awfully sweaty day with unbearable humidity, but she didn't seem to mind. (I'm not going to complain about the southern Ontario summers because I hear it's been 13-15 degrees back in England, that is just cruel for August.) We had balloons tied about and I took some photos with my new lens. I shot some through the netting of the gazebo and got a nicely washed-out effect.

  

 

 

She outlasted the dog.

Gone...But Not Forgotten

Gone...But not forgotten from Laura Seymour on Vimeo

If you're a professional or amateur photographer (who isn't these days?), film maker or music composer residing in Europe you may want to consider submitting your best work to Hitachi G-Technology's Driven Creativity competition. Winners and runners-up will be awarded innovative G-Technology drives and the overall winner will receive €5,000 to fund their next project. You can enter until September 30th, 2010 here

Entries are judged not merely on aesthetics but also on the inventiveness used to get your result. One stellar example is Laura Seymour's Gone...But Not Forgotten submission for the film category. It's got it all: technological wizardry to wow you, music to engage you and enough sunny sentimentality in the visuals to leave you feeling that everything is right with the world.

How did she do it?

"Asked by composer Richard Anthony Jay to create a video piece for his track 'Gone...but not forgotten' incorporating super8mm footage, I was inspired by the wealth of public domain archive footage online and decided to attempt to make an animation solely using this footage, and still imagery also sourced online. This involved a long process sourcing the materials, then compositing a massive tabletop composition in Photoshop before then bringing into After Effects to animate one camera over the table-top and all the elements within that needed to move at set times in time with the music. As the concept is about memory, families and capturing the stories of people from times now gone across the four corners of the table, the important thing was also to portray a different aesthetic/finish for each area of the table using filters and colouring to recreate different film stocks. I used the Magic Bullet colouring suite 'Looks' to achieve this in Final Cut Pro."

(If you're reading this in an email subscription click the title of this post to see the video.)

Making Up the Beauty Shot: Trine Marie Skauen

An artfully conveyed fashion or beauty photograph requires much more than a pretty face and gorgeous clothes. A team of highly skilled people – photographers, art directors, stylists,  makeup artists and hair stylists – are called on to bring their complementary talents together for the purpose of creating magical and compelling images.

Trine Marie Skauen is a Norwegian make up artist, photographer and art director who works alongside her fashion photographer fiance Marco Di Fillipo to create memorable fashion and beauty images. Currently based in Rome and Norway, the adept duo also works frequently in New York.  Their work includes fashion and beauty editorial for magazines, projects for production companies and artwork for CDs and books.

I had the opportunity to talk to Trine about the role she plays as a makeup artist and art director on fashion and beauty shoots with Marco:

Do you ever do the makeup for shoots you photograph or is that too much to focus on at once?

I used to, but I was never a “fashion photographer”. I love photography, I have since my father gave me my first camera at the age of ten.  So I always used to play around with it, I was more into texture, colors, lines and moments, capturing what my eyes saw. It could be things laying around or people. But one day, I was asked to do some photos for a hair dresser friend of mine, she needed some images for her portfolio. So that is when I got the idea to go to makeup school, to learn to do the makeup on the images I was taking of people. Today I leave the fashion photography up to Marco, my fiance.

With the more avant-garde makeup looks, do you have something in mind when you come in for the shoot or do you ever create a look on the spot?

It depends actually, if it is a job where the client wants something in particular, I usually do mood boards, so I can be sure we are on the right track. If it is a test, I sometimes go without. But I normally do research before the shoot and Marco and me discuss what we want to do.

Do you typically have full reign on what kind of look you create or is there a certain amount of direction given?

I don’t know how it is for others, but the photographer decides in the end, so in my case if Marco sees that the look is not photogenic, I will change it.

Do you have a favourite kind of look that you prefer to do?

I love the “doll look”, pink / reddish lips, pink cheeks, long lashes, bright eyes, but is not only the makeup, it’s  the whole look. I love clothing in pastel colours, like that of vintage lingerie.

Are you adventurous when doing your own makeup?

I wish I could say yes, but I am not. I feel very privileged to be able to make others beautiful, and it is so fun to see a model come in with a clean face and I can transform her  with different looks. When I do makeup on myself sometimes, it is usually just bright eyes, a little blush, mascara, a little colour on the brows, and gloss. Not too much, just to look fresh.

And I can tell you my little secret: Sometimes when I have a breakout I put some freckles on my face. I find it takes the attention from it and it makes a kind of a “cute” look, I think! And to be honest, there is always something to do, so I feel like there is never any time to sit down and be adventurous. If I have time off, I’d rather watch a good movie and just relax.

Can you offer any expert advice for bloggers to use when doing their own makeup for styled shots on their blogs?

I think just play with it, try different looks and colours, but never go too far…unless it is a drag queen look you are going for!

Many people don’t quite understand the role of an art director. Can you explain what you do on a shoot?

For me, since I also do layouts sometimes for the client, I think about what the image will look like in the advertisement, for example, and I try to visualize my thoughts to the photographer.

How do you find working with your fiance ?

It’s very convenient, we know each other well now, so that makes it easier to understand what we want from the different shoots. And it makes travelling better.

I notice you like to explore textures in your photographs. Do you prefer to shoot scenes and the detail found within them as opposed to photographing people?

It comes back to the fact I just like to capture what I see, it can be people too, but sometimes I can be too shy to just click the camera in somebody’s face. You never know how they will react, but I have taken many snapshot without people noticing though. But I think I prefer textures, details, colours and shape. The best is when you capture something the eye does not see.

Can you tell us what kind of equipment you use, and give any advice for a novice who wants to get more serious about photography?

Marco is the technological one, he likes a variation of camera equipment, today he using the Canon Reflex 35 mm, but he changes a lot. Me, I have a small canon digital camera, that I carry with me almost everywhere, and then I have a Canon EOS 300D  when I need to take images with better colors and resolution.

Do you have a favourite makeup artist and photographer?

Yes, my favourite makeup artist is Pat McGrath, a true genius. My  favourite photographer, well, among many I would say today it is Miles Aldridge and Sølve Sundsbø.

What’s next for you and Marco?

We would love to launch our UNISEX magazine tomorrow, but unfortunately we lost a big investor due to the crisis, so we have to wait for the right moment. The new thing these days is filming small movies, a new field for us to explore, and that is always fun!

swelle.

You can see more of Trine’s work on her beauty website, art direction website, and view Marco’s photographs for beauty, men and women’s fashion here.

All photos by Marco Di Filippo. Makeup and art direction by Trine Marie Skauen

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Artist Series: An Introduction to the Enchanting World of Matilde Montanari

 

Last spring, the most exhilarating email landed in my inbox. It was from a New York-based, Italian artist named Matilde Montanari, and she wanted to share her work with me. I took a look and couldn't believe what I was seeing. It was like a checklist from my daydreams: bold, vibrant colour; washed out, romantic and dusty hues; beautiful, lovely, feminine imagery; dresses and shoes. That would have been enough but there was something emerging through the surface. A feeling began to set in. Nostalgia, reminiscence, introspection. Matilde's imagery, which she conveys largely through self-portraits, draws you in and holds you, prompting you to ask questions of yourself and of the artist. The views, the angles, the perspectives are not the usual presentations. You feel as if you are peeking around a corner to catch a glimpse of a moment in time, a private moment, yet one that feels inviting despite its hint of inaccessibility. The inevitable question 'Why am I being made to look at this?' isn't born of frustration but of intrigue. The scenes are timeless and special, as if from another dimension that is just slightly outside of the one in which we exist.

In Matilde's own words, her work "explores memories as the relation that exists between the environment and the private happenings." And we can contemplate what that means for ourselves.

So why am I only talking about this now? When I connect with work like this, it's a very powerful thing, and I have to take a step back. I was also extremely humbled that Matilde followed my blog and wanted her work featured on it, and so I wanted to do right by it. Little did I know it would take this long to get my head around how to present something that has impacted me so profoundly. So after some major life events I can concentrate again, and here we are, finally. I hope Matilde can forgive me as it's work like this that motivated me to start The Swelle Life in the first place, and it's what keeps it going. And I don't think there has been a day gone by that I didn't think about her pictures or look at them.

She's invented a rare and ultimate combination: sublime beauty and intellectual challenge.

 

 

 

 

This is a selection of Matilde's commercial work in collaboration with Andrea Morini, which is actually quite varied in subject but I chose the lingerie images because I think they are divine:

 

Noa Noa Yesa Yesa

That was my worst post title ever (but don't worry, I'll beat it). Luckily what I'm about to show you is one of the best things ever if you love gorgeous 30s inspired clothes and stunning photography. And if you're here, chance are you do!

These are the catalogue images for Noa Noa's Christmas collection. The time is nearly up for availability on the pieces as the holidays now seem a distant memory (thankfully we're reminded by the busted zippers and popped buttons on our jeans), but I didn't have time to run this earlier and I can't let a new Noa Noa collection go by without sharing it. The photography sets the bar for what a high street chain can do. Maybe it's because they're Danish. Whatever it is, the sets and props, the styling, the harmonising of hues in the clothes, and the way the photographer captures the light and dark - especially for the dramatic autumn and winter collections - is beyond gorgeous. Every time. The models are cast perfectly and embody the youthful yet sophisticated look that Noa Noa is known for - they look so innocent yet don't seem dressed up in mummy's clothes. I want to live in one of their catalogues.

All images courtesy Noa Noa

Noa Noa always take extra photographs of interiors and details which may or may not be used in the catalogues; the images enhance the atmosphere they so beautifully create with the models:

Don't Miss Natalia Vodianova's Live Shoot on Showstudio - It's Wrapping Up!

More about the dresses she's modelling later, there's only a few more hours at most to watch Natalia Vodianova's shoot for British Vogue, photographed by Nick Knight on Showstudio. She's is utterly amazing to watch, both for her natural beauty - she's so luminous - and the way she engages the camera. ANTM wannabees need to watch this.

 

 

 
 

Watch the Natalia Vodianova British Vogue Shoot with Nick Knight Live!

Today (right now!) and tomorrow Showstudio is livestreaming Nick Knight's shoot for British Vogue with the stunning Natalia Vodianova, a woman who must have grown her three babies inside a zip-off pouch and simply removed it once they were ready to come out.

I love Showstudio's livestreams - hearing the conversation as Nick Knight et all stand around holding their chins, contemplating options; seeing the hair and make-up artists (in this case, Sam McKnight and Val Garland) doing touch-ups between shots and the stylist (British Vogue's fashion director Lucinda Chambers) perfecting the look, taking in the set from all angles like this dark and beautiful winter scene; and of course watching the models get into position and doing their thing. Natalia is amazing to watch. In case you didn't already know. 

Click any of the images to watch Natalia posing while exquisitely entangled in this tree-like prop.

 

 

Natalia is modelling outfits customised by some of fashions leading designers, which will then be sold at auction with the proceeds going to ‘The Naked Heart Foundation’, a charitable trust which builds and runs playgrounds for disadvantaged children.

Thanks for Everything, Irving Penn

Irving Penn has died at 92 in New York.This extraordinary man gave us some of the most iconic images of our time with subjects as varied as Jean Cocteau, Nondugl girls from New Guinea and Gemma Ward. He never stopped taking pictures. WWD wrote a nice tribute so have a read. Anna Wintour released this statement about her friend:

“In my career, I have met no one else who worked with the level of imaginative intensity and economy of Irving Penn. His photographs were as exquisite and electrifying in the last year of his life as they were in 1943, when he started contributing to Vogue. To have been a colleague and friend of one of the greatest artists of the 20th century is a privilege greater than I could have ever imagined.”

Thank you for the moments, Mr. Penn.

L-R: Richard Avedon, Irving Penn, Helmut Newton

 

 

Noa Noa's Splendid 1930s Autumn

I so look forward to seeing Noa Noa's catalogue imagery each season. It's always beautifully shot and the clothes are drawn from some era pre-1950 and the look is a mix of two or three decades which is what makes the layering of Noa Noa's looks so enticing. There's always a bit of peasant thrown in to keep things easy and we're seeing a bit of Little Edie Beale here, too. They also do great hats, underskirts and accessories - I have a tiny crochet capelet (it may be meant for girls but I like it) in a duck egg blue that falls just over the shoulders, it's so soft and it can be tightened up with the matching silk ribbon at the collar (which my daughter pulled out and I've been too lazy to weave it all the way through again).

These gorgeous interiors are really making me wish I had an extra room in our new house to do up however I want. But alas, the odd antique here and there will have to do for now.

And there's French bulldogs and pugs for you dog lovers. They might spray snot all over us when they sneeze but they are just so cute.

All images courtesy of Noa Noa

Fashion Victims: Imagery that Got 'Killed'

 

From Falling to Pieces by Tim Walker. Vogue Nippon, Jan. 2002.
Originally commissioned by Vogue Italia and killed after the 9/11 attacks

In the mood for thinking about what editorial appears in your fashion bibles and what doesn't? And more importantly, why? If not, you can just look at the neat photos.

Showstudio is featuring an on-line exhibit called Killed, a selection of published and unpublished fashion imagery that was commissioned and produced prior to the 9/11 attacks. While some of the images did appear in magazines, others were 'killed' because they were deemed to be 'inappropriate' for the post 9/11 climate by the editors who commissioned them.

Killed includes two compelling essays, A War Against Aesthetics by Jo-Anne Furniss and The Worst Thing in the World by John Taylor. I highly suggest reading the first if you seek confirmation that fashion editorial does indeed have an agenda beyond showing us pretty things. And also the second for a fascinating analysis of how photographic images contribute to the collective experience of catastrophe.

The smarty pants over at Chasing Dragons (who I may or may not be married to) had this to say about Killed:

"As an exhibition, Killed reveals not only that aesthetics are an important element of politics but also that politics itself contributes to what we find aesthetically pleasing, arresting, or disturbing. Thus, claims that politics and aesthetics are not connected should themselves be seen as deeply political statements that attempt to hide a very powerful dynamic that shapes global social relations."

There's something for you to chew on over the weekend. 

Each of these photos is just one of a series that was commissioned before the 9/11attacks:

From McDonaldization by Richard Bush, styled by Jane How  

   Commissioned for the Oct. 2001 issue of i-D and killed after the 9/11 attacks   

 

Lookbook image from Hussein Chalayan's S/S 2002 Collection show, Sept. 2001

 

Image from Raf Simons' S/S 2002 Collection show

Crushed Car by Nick Knight, styled by Jonathan Kaye and Simon Foxton. W Magazine, Oct. 2001

 

From Sabotage by Terry Richardson and Camille Bidault-Waddington. The Face, 2001

 

From Christian Dior RTW A/W 2001 Advertising campaign by Nick Knight

And the other two images from Tim Walker's Falling to Pieces editorial:

Gareth Pugh's Colourful Fantasy 'Frieze'

Click the image to watch

Nick Knight doesn't waste anything. The latest Showstudio collaboration between Nick Knight and Gareth Pugh, Frieze, draws on archive video recorded on the set of Nick Knight's shoot for the October 2006 issue of i-D.The footage provided the foundation for "an escape into a madcap post-produced fantasy of metallic foil, multicoloured balloons, and swirling neon catherine wheels - a cinematic reverie that expresses all the unbridled innovation and invention both of this shoot, and of Pugh's stratospheric career to date."

Watch for a shirtless Gareth Pugh ascend into the psychedelic heavens at the finale.

The soundtrack came as a complete shock. A total departure from the usual dark and atmospheric electronica his Showstudio collaborations usually use, this would be more apt as an accompaniment to the lost hoe-down scene in Deliverance.

But would Nick Knight or Gareth Pugh let us settle into a predictable mood, a look, a concept? No way, man. 

Summer Re-run: Old Men Dress Cool and That Includes David Hockney

 

Originally published June 2008

Britain's greatest living artist, David Hockney (you heard me, Damien Hirst), made 10 magazine's Old Men Dress Cool list of stylin' well-aged gents. Cited alongside David Lynch and George Clooney, Hockney is a far less obvious yet worthy choice. The look of the young Hockney is worlds apart from the Hockney of today, as it should be. Though it would be kind of neat seeing a guy in his seventies looking like Kurt Cobain (see below).

Speaking of, last year Hockney was listed in GQ's 50 Most Stylish Men from the Past 50 Years:

The British artist David Hockney—master of one-point perspective and portraiture, the Polaroid collage and the California swimming pool—has spent a lifetime dressing more for comfort than for effect, with a mind more for color than for trend. “His fashion sense is gemütlich,” says the writer Lawrence Weschler (Ed. note: he means comfortable or relaxed. I looked it up). On occasion, Hockney, now 70, has appeared in a gray flannel Savile Row suit. But more frequently, he’s made the rounds in workman’s pants that reflect his painterly ethics (“He’s one of the hardest-working artists I know,” says Weschler). He has also favored brashly striped rugby jerseys and ties, aviator or Coke-bottle specs, and suspenders as thick as a firefighter’s. What the curator Henry Geldzahler called the artist’s “primitive craving for brightness” manifests itself right down to Hockney’s toes. “He wears different-color socks,” says Weschler. “It’s such a fantastic innovation. Why on earth do we wear same-color socks? The amount of time we spend matching them, it’s absurd!”

And all this time I've been laughing at and criticising one of my brothers for what I now recognise is a brilliant attempt to introduce 'innovation' into the routine of getting dressed. Pairing a red dot-patterned black dress sock with a knee high grey tube sock is indeed pure genius. 

I freaking adore David Hockney. He's a synaesthete, you know - he sees music.

More awesome old folks: Wizened, Wise and Really, Really Cool

Photo: King Collection/Retna LTD

A Bigger Splash, 1967

 

Man taking a shower in Beverly Hills, 1964

 

Mr. and Mrs. Clark and Percy, 1970

Vagaries of Fashion: Harmless Fun or...Gasp!

Okay. This controversial editorial from Vogue Italia seems to have been getting a bit of attention in the past few months. A link to a site talking about The Vagaries of Fashion editorial, shot by Miles Aldridge, was recently sent to me by Other Half who is always trying to help with a blog idea when he can (thanks, Sweet) and I recognised it immediately. It's from the September 2007 issue of Vogue Italia and I know that because I was in Torino at the time and brought a copy home with me.

I liked the editorial a lot because of the aesthetics. Never mind the glamorous dresses and how great Anja Rubik looks; there's just something about that opulent hotel suite and its yellowed decor that could really use an update. I'm not exactly joyous when I see an image of a mother smoking and drinking around her children; in fact I see mothers and fathers smoking around their children every day where I live in England and I want to put those fags out on their foreheads. But then do we look to fashion for social discourse? Should fashion be taken so seriously and does it wield any real power? (That sound you hear is a can of worms opening. See here.) However, I must admit that as a mother I feel my tear ducts erupt when I see this:

 

I mean you just want to pick up that baby and cuddle it and love it. Neglect is the most disturbing idea for me when it comes to the imagery with the children. But still it's fashion, and an editorial spread wasn't going to keep me up at night. The reality is this is staged.

But not so fast. Look at this:

This one doesn't slide off the brain so easily. Because oppression and racism are more serious issues than child welfare? No, each are equally critical. The comments sections of the originating post was filled with outraged readers who raised all kinds of concerns about the content of the photo. But for me, it goes back to the staging of this shoot.

It's a compelling shot, visually. The focal point is the black maid whose dark skin is starkly contrasted by the nearly translucent white baby she's holding. Anja almost blends into the wallpaper with her gaudy-bodiced dress. Strong compositional elements aside, the immediate perception is that this is wrong. The white mother takes a domineering pose over the maid who looks on for approval/next order, etc. So back to the staging of this shoot, I feel for the woman who is playing the maid. How must she have felt being dressed up this way to convey this type of image? I know that if I were asked to be the subserviant secretary sitting at a desk looking up admiringly at my smug and vacant male boss standing over me my first reaction would be "Screw you, Bud-day." We've come too far and we've still got a long way to go.

Those are my thoughts (condensed - otherwise this could go off on tangents for an eternity.) So, what do you think of these pictures?

 

 

 

Is the rich mommy not such a bad mommy after all? Was it just a misunderstanding?

Thanks for the scans

Today at the Beach I...

...took some photos. And here they are! I'm trying to take advantage of an opportunity to be brief but I can tell you that this is King Edwards Bay in Tynemouth in the north east of England. And it's proof that the sun does shine in the UK! And the sun was hot. Although even in August just dipping your toes in the North Sea will numb your bits and make them fall off. That doesn't seem to stop the natives from diving right in, though. They are apparently immune.

Jena Ardell's Dreamy Summers 'Past'

Diver by Jena Ardell

Hazy, washed out photographs that appear like a faded memory make me nostalgic for my childhood, even if the subject matter doesn't quite fit my own experience. Like this candy-coloured attraction-filled pier below that has me asking if it even ever existed; it looks right out of a child's fantasy. And I mean the good, pure kind of eras past that is devoid of corporate sponsorship and the scourge of animated characters that have their own breakfast cereals and clothing lines. Hard to believe then that these were all taken today, though I'm happy and willing to buy that fact.

These photos are polaroids from the Summer Love series from photographer Jena Ardell whose work I was introduced to thanks to a contest happening at Constant Cravings. The prize is a print of Homage and the contest closes July 5.

The pool scene above reminds me of David Hockney's A Bigger Splash which is one of my most favourite paintings in the whole world. A nicely framed poster of it sits on my wall and never fails to replicate that dreamy feeling for me. Diver does it for me as well and frankly so does Ardell's entire Summer Love series.

Ardell is from California and that neatly fits the 'perfect summer' depicted here - who wouldn't have guessed these are scenes from the 'Sunshine State'? After all, it's an idyllic and romantic notion that we who are not from California all seem to share. But it so happens that 90% of Ardell's beach shots were shot on the east coast which she reveals in an interview with Feaverish Photography.com. She offers an explanation of this and I love the last line - it sums up perfectly the innocence and simplicity of our own childhood summers:

The spirit of Summer isn’t in California because Californians do not know what it is to miss Summer. Most native Californians actually despise the Summer months because to them Summer represents heat waves, rolling blackouts and wild fires. Plus, there is a phenomenon known as “June Gloom” when the Marine Layer gives California gray, depressing skies for a month. Meanwhile, on the East Coast, temperatures are slowly climbing and children are dreaming of Dairy Queen and lightning bugs.

I spent most of my summer days playing outside in the sun in our small southern Ontario town with the neighbourhood kids (I remember one day when I was about seven years old and it was so hot I came in and changed four times trying to find something cooler so I wouldn't have to come inside) and if there was a promise of Dairy Queen in the evening that just made my day. The one we had at the time was hardly more than a shack and there was always a line working its way out both sides of that metal framed ice cream stand. I always got a raspberry Mr. Misty and sometimes an ice cream sandwich. Writing this I can actually smell the mix of ice cream and flavoured syrup in the air.

Thanks for the memories, Jena.    

Look at Lula

The UK's Lula has to be the most gorgeous magazine out there (and we get it for £5.99), so for those who haven't seen issue #8 (with Chanel Iman on the cover, their best one yet), it's only fair you should get some peeks - the first being a photo of Little Edie Beale dressed in a gypsy costume in 1927. I wish you could see the print, the look in her eyes is just stunning and this page alone is worth the cost of the magazine.

They interviewed Erdem and the editorial that followed of
course featured his dreamy dresses - this made me giddy


A collage, just because


From Chanel Iman's gorgeous editorial spread

And finally, that cover:

Dream and Awake Exhibits in Paris

I wanted to get the news out for anyone in Paris or visiting between now and May 10 that dreamandawake is having an exhibition. I'm thrilled they introduced themselves to me and I'm now trying to find out more about them, I am intrigued (and hugely disappointed that I missed this by two weeks). But for now it's enough to know that they take 'dresses of yesterday' from around the world and redesign them for today, and their photos are like works of art, conveying the feel of the clothes as a hazy, dream-like old memory. Let us know if you're lucky enough to visit them in Paris?

Click image for their website

Toi, tu me plais, Garance Doré

 

My last days of my (heartachingly good) two-month stay in Paris could not have wrapped up more perfectly, for I had the genuine pleasure of interviewing Garance Doré. For many, the Paris-based blogger extraordinaire needs no introduction, and if you don't know the beloved photographer, illustrator and storyteller who can transform a monitor into a wonderful, fashion dreamworld that feels both fantastical and attainable all at once, today is your lucky day.

Garance is such a delight, she speaks so freely about her life and her work as you would expect from her diary-like blog posts. And she embodies exactly those qualities that compose the quintessential French woman whom I so adore: confident, clever, chic, gifted, gorgeous. (I could go on but it would cross over to sycophantic and embarrass everyone involved.)

Here is the story of how Garance turned a blog into a jetsetting career documenting fashion as it happens around the world:

How did this all start for you?

I never studied art, I studied communications. I started as a PR for cinema in the south of France. I liked it; I went to Cannes for the film festival. After a few years I felt the artistic part wasn't being used. But I was young and I knew it wouldn't be a risk to try. I trained myself and took my book to some art directors. But the job was different, I found myself at home so much, there were no people. I was frustrated having to stay home and the commissions were not that interesting. So this is why I opened my blog, to open a conversation about that. I realised I also liked to write. I was the first in France to talk about fashion and illustration this way. I did that for a while but fashion goes with photography, so I picked up my camera. I never thought years ago this would be big, it was just something I thought was different.

And now you're famous. How do you feel about that?

Yes, well because of my boyfriend, Scott, the press photographs me and sometimes I'm even recognised in the street in New York. I don't really show myself on my blog. (Ed. note: The photo above is Garance, as shot by Scott Schuman, 'The Sartorialist'. And yes, they are a couple. A fashion match made in heaven.)

Do you have a favourite city for capturing people?

I really love Paris and New York but no, each time I move somewhere it gives me inspiration. It's difficult the first day because you don't know the light. But then you see the romance of the city.

At a Paris fashion week show I witnessed a very well dressed photographer endure a horribly rude dismissal when he asked a man, someone unknown, if he could photograph him. Do you ever find yourself confronted with an unwilling subject?

It never happens. Usually I can feel when not to ask.

Your illustrations are so simple yet they convey vitality, playfulness and beauty. Has your style remained relatively constant or has it evolved over the years?

It's evolved a lot and evolving more every day,  I try to get more simple, convey emotions. I like to evolve all the time, it's still me. I think it's good when illustrators keep their style but for me I like it to change.

Do you use a model or a photograph when you sketch? 

I just draw instinctively, I don't rely on something. Maybe I should use something.

No! What I love about your illustrations or your 'girls' as I call them is they aren't recognisable, they are characters that you have created. Do you ever find yourself designing when you 'dress' your girls?

Yes, usually I like to dress them with clothes I like, usually they are things I want or admire. It's a way for me to show clothes, it's like an homage to those who make clothes. I've had proposals to design clothes, maybe one day I will if I find the right partner.

Wow, I hope you do. Your illustrations are the perfect companion to your photographs; you have the person in the flesh and also a bit of fantasy where you can convey whatever you wish.

It's like a movement between illustrations and photography, it creates a movement.

Where do you think your career would be without the internet?

I really don't know, it opened me to a lot of new medias. I never thought I could do a picture, it gives me the opportunity to do different things and meet new people. I think it's my destiny that I fell for the internet. 

 

One of my fondest memories of my Paris adventure is a moment where I looked out the window of the bus I was on, it was stopped at a light along the Seine, and I saw the most precious woman sitting on a bench, clutching her handbag on her lap with both hands together in the most ladylike way. She was about 60 years old, with brown chin-length hair parted at the side in two pretty barrettes, bright red lipstick and a matching coat over a soft, floral dress. She was so chic and so sweet all at once, and I couldn't help but smile and she smiled back. It sounds silly but the way she smiled at me, I know she recognised what seeing her did for me and that she appreciated it. I thought 'This is Paris.'

There's something in that experience that parallels closely the reaction one feels when looking at your photographs. Can you put into words what it is you are capturing?

I think what you're capturing is a moment more than clothes, of course I feel that it's a great way to get in touch with people.

Further to my story, I had been taking photos out of the window and although I would have so cherished a photograph of this woman, I just couldn't ruin the moment by raising my camera and clicking away. Do you ever find yourself in a situation where you prefer to experience the moment away from your camera?

Yes, it happens sometimes. Once with a great fashion editor, I would have loved to take pictures, but she was opening to me and it's a question of feeling what's right or wrong.

Do you see yourself doing this for the rest of your life?

I don't know, I like what I do but I'm not closesd, I like to be open minded. I have a lot of ideas about my future but I want to do what feels right at the moment.

swelle.

And that's what it's all about, isn't it? Thanks for these moments, Garance. 

We also spoke a little about Paris and its women - Garance was interested in what it is about Paris that means so much to me and how the women stand out. It was a lovely conversation and I'm happy knowing that although I'm not in Paris anymore, I can go to garancedore.com and feel the essence of the city. No matter where in the world Garance may be, her photos, illustrations and the little peeks she offers into her day bear that most irresistable je ne sais quoi that only French women have. J'adore. 

Nick Knight Shoots Mariacarla for Wallpaper - Livestream!

British fashion photographer (in case you didn't know) Nick Knight's website Showstudio is NOW! showing livestreaming of his shoot for Wallpaper* magazine's July issue editorial featuring Peter Saville's 'Erotic House'. Mariacarla Boscono is on deck at the moment, it's fascinating (and a bit tiring) to watch a photo shoot of this calibre.

Click either of the images to watch.

Update: Alana Zimmer has joined Mariacarla.
Update 2: They're back today with a different set. You must take a look! Fashion is happening!

Two Favourites, One Beautiful Scene

It's only a matter of time until creative worlds collide in wonderful ways and recently two favourites of mine, New York food and interiors stylist Paul Lowe of Sweet Paul and Imke Klee of A View To, a stylist, photographer and accessories designer from Germany, found their styles to be complementary and the result is this lovely photograph for Country Living. Paul was working along a delft blue theme and requested Imke's handmade fabric Delft necklace to complete the scene.

I posted about both Sweet Paul and A View To last year and today I'm more enchanted by their work than ever.

You can view Imke's Etsy shop here, which includes the now-famous necklace among many other endearing pieces. 

Fashion Food for Thought

Here's a quote that smacked me in the face from an interview with textile artists Elif Saydam and Katie Jung in Worn Journal, contained in the middle of their answer to Tessa Smith's question "Do you see clothing as having a role in your art?" (Saydam and Jung use themselves as subjects in their photorealist weavings):

..."It's irksome to hear people claim that what they've put on the morning is meaningless, but it's equally irksome, if not more, to hear claims that clothing is a simple means of expressing oneself. Both standpoints assume that there's a finite notion of identity that can be hidden or disclosed so easily, but as we all know, things are a bit more complicated than that."

Brilliantly put. So I won't ruin it by commenting.

The Toronto-based Worn Journal is an exceptionally well researched and written, thoughtful compilation of fashion topics with none of that useless irritant, the dreaded 'Too Cool for School' hipster vibe. For those more interested in the history of fashion elements and the processes behind the more substantially creative (and therefore at times more obscure) endeavors than simple adoration and trend following, you'll want to look into this bi-annual publication. And they're not strictly academic; they have a sense of humour and they're fun, too, as their editorial features such as 'Inexpliqué' reveals. (And thank you for titling it that way so I'm not wasting time trying to decipher some clandestine meaning that isn't there and hurting my brain.)

Anything for Erwin Blumenfeld

Have you seen this 1939 photo for Vogue by Erwin Blumenfeld? It's what the Lady Dior handbag campaign with Marion Cotillard, shot by Peter Lindbergh, was based on (I'm assuming, it seems pretty obvious).

Considering the date and how things appear, it does make you wonder "Is she really standing out there with nothing but her hand to steady her?" Photography tricks were around then but they were more about cool effects such as surrealist works than creating realistic Photoshop-type imagery.

Model Lisa Fonssagrives did in fact go above and beyond the call of duty as she whooshed her skirt out dramatically over the edge of the Eiffel Tower with nothing between her and the ground but the fresh Paris air. Erwin Blumenfeld must have been an awfully charming man.

Here are more photos from the wonderful fashion photog and filmmaker:

Love this, can't find a date


Fashion collage, circa 1950s


Menina. Silver Gelatin print, 1936


Peony


Vogue, 1945


Flowers

Would These Photos Change Fashion?

Rankin. Homage to Cecil Beaton - Hat Box, 1934

Tonight BBC Four ran Seven Photographs That Changed Fashion in which fashion photographer Rankin seeks to re-create his favourite iconic photographs. David Bailey made an appearance (the only one of the respective group of greats who is still alive) to witness Rankin's attempt at reproducing the magic of his portrait with Jean Shrimpton (and taunt him a bit as well), as did Lillian Bassman and the original model from Helmut Newton's Le Smoking photo - taken more than 30 years earlier - who was around to share her reminiscings about that night in the backstreets of Paris.

The re-creation models included Erin O'Connor, singer Sophie Ellis-Bextor (who looks best without make-up), Jade Parfitt, and Daphne Guinness, who got right into her sexy shoot. The one that least hit the mark was the re-staging of Bailey's Jean Shrimpton portrait with Rankin's girlfriend posing - a blonde with arms that were just too long to get the shape right. And there's nothing like the Shrimpton nose. Bailey even joked "You might as well have brought in Naomi!"

Rankin. Homage to Richard Avedon - Dovima With Elephants, 1955

 

Richard Avedon - Divina With Elephants, 1955

Erin O'Connor is a fantastic model but Dovima's body was amazing, she moved with those elephants. It's like a glamorous version of the Hellenistic pose - strong footed but with just a bit of tension as opposed to an all-out struggle.

Rankin. Homage to Helmut Newton - Rue Abriot, Vogue. 1975


Helmut Newton. Rue Abriot, Vogue. 1975

It's supposed to be about the Yves St. Laurent jacket, right? Le smoking? In the re-stage you don't think about the jacket - you notice Jade's forward left leg, the stiff, bent arm. Her pants were too tight to fit a hand into a side pocket comfortably. I can't recall the name of Newton's model - she nailed the chic and confident Parisian woman. And she's still a stunner 30 years later.

Rankin. Homage to Guy Bordin - Untitled

Guy Bordin. Untitled.

The original model is more unrestrained and seems to saying "'Come and take me". Daphne looks like she's saying the same but would kick you in the junk if you actually tried it.

Erwin Blumenfeld. Vogue. January, 1950.

 

Rankin. Homage to Erwin Blumenfeld - Vogue, 1950

Rankin used Heidi Klum for The Doe Eye, whom he described as one of the best supermodels today (and I could just imagine what Karl Lagerfeld would say to that! "Claudia Schiffer doesn't even know who she is." What a guy.) Heidi got the tongue out and it worked better than those where she tried to duplicate the original. This is the portrait of Jean Patchett that was manipulated for that most famous of covers:

Erwin Blumenfeld. Jean Patchett. 1950

Rankin photos from Telegraph

Let There Be Lily

Showstudio's Let There Be Light project has culminated with a film homage to its star Lily Donaldson, called Lily's, which showcases spring 2009 designs by Martin Margiela, Alexander McQueen, and Balenciaga among others, and uses the model and the clothes to explore the theme of light.

It's a brief but lush, quirky and beautiful film from renowned photographer Nick Knight and filmmaker Ruth Hogben, with a soundtrack by Philip Sheppard. I didn't quite get it at first, but then found myself watching it for a seventh time in a row and knew it had something over me. The scenes are like collage with paint strokes and peonies of all kinds adorning the frames throughout, and the screen captures I got from it make for some of the most beautiful images I've ever seen - Lily has that delicate, innocent quality, and in black and white she complements the washed-out creams and pastels of the flowers in a way that's truly breathtaking.

Will someone please send me some double peonies?

Of particular note with reference to the clothing, Lily wears Martin Margiela's plaster cast of the first jacket he ever produced, for S/S 1989. You can watch interviews and video of various looks from the shoot and film, including Nick Knight discussing the concept, Lily Donaldson musing about how her technique has changed (her legs are so long and her platforms so high that she resembles a newborn colt on the comparatively tiny wooden chair she's forced to sit on), as well as the Margiela plaster jacket and other pieces, which she wears in this scene:

These are collages I put together using photos from the shoot (I wouldn't want to tarnish the good reputation of Showstudio by chancing that anyone thought they had made them):

This is Now, For Now

 

Photo: Aimee Marie

A while back I posted about Ford's collaborative European art project called This is Now, which I found out about when I was invited to submit a blog post addressing what 'now' means to me. I'd probably say something completely different now, in fact I'm sure of it. But none of that means anything as it's the images contributed to the project's Flickr group that are most entertaining and engaging (and I think mine was pretty cool, too!).

So I went back and selected some photos that grabbed my attention from the art students' submissions and the blog posts:

Hana Kim


Photo: Nam.天空是極限



Photo: I Spy...


Blue Burlesque by Roger Tranah

Photo: Pvince (off to Ladakh)

MadNess, Olga,[]

Marc Jacobs Gives Us Daisy Lowe

 

A little while back I posted about Daisy Lowe in response to a curious male reader asking "Who is that girl?" when I included a photo of her in a post about tights (she likes her opaques). At the time it was announced that she would feature in Marc Jacobs' new campaign for his diffusion line Marc by Marc Jacobs, which happens to be one of my favourites for girlie fun but GDammit, MJ - check your quality!(Most of it is perfect but I've now had two stitching problems!) 

Right, the Daisy ad. Well, you've probably seen it in your favourite fashion mags recently and it looks the same as the previous campaigns shot by Juergen Teller (the exception being Marc pal Victoria Beckham's goofy pics). Frankly, I don't find the washed out, reclining, nubile nudes remotely related to the brand! And me thinks they're a bit dull. Beautiful photographs but commercially, not very compelling. You?

But his menswear campaign for Marc Jacobs S/S 08 featured director/screenwriter Harmony Korine stuffing his face with diner fare (and how I wish I was doing the same right now), also shot by Teller. Do you know who Harmony Korine is? If you don't, this is just some scruffy guy in a white shirt enjoying burgers slathered in ketchup who will likely be visiting the dry cleaner in the near future. But if you do know who he is, it's a bit more interesting. I have to hand it to Korine for going where few have dared to go (he dated Chloe Sevigny years back but that's not what I'm talking about). Have you seen Kids? Gummo? Julien Donkey-Boy? Ken Park? The man has extroardinary talent and his movies give me nightmares. When I think of Gummo I have to go to my Happy Place (and he introduced it at the Toronto Film Festival as being "a little film about my hometown." If you've seen it you'll know why this is a jaw-dropping statement). Hmmm...the men got Harmony Korine, we got Posh. Gee, thanks. Give us more, Marc - we can handle it.

Photo: Catwalk Queen

This is Now

Recently I was invited to be a guest blogger for Ford's unique European collaborative art project called This is Now, to give my take on 'now' along with a compelling, original photo. Yes, that's it here. You can read about it in my post Where Are You, Now?

So far, the public have contributed over 3200 images that define 'now' to the project's Flickr group. This is Now's site is well worth a look as the project is highlighted by collections of photos submitted by young artists and art students - it's an energetic, vibrant and inspirational compilation. Seems now's a good time, eh?

Marc Jacobs Wanted to Do Madonna, and He Did

"I think we should do Madonna," declared Marc Jacobs in a recent meeting to discuss Louis Vuitton's next ad campaign. According to WWD, he had seen her show the night before and was "totally just blown away by it, and moved by her performance, by what she had to say, and her energy." Yeah, she'll do that.

A Blackberry request was sent and in five minutes the deal was made. Steven Meisel, who replaced Mert Alas and Marcus Piggot (said to be an amicable severance of their long-term collaboration) shot six pictures for the campaign that will start running in February. Fashion certainly moves fast.

If you've been reading for awhile you'll know I hate it when fashion houses ditch the models in favour of (over-exposed) actresses and singers (unless they're French, of course). And Madonna is both (well, sort of) and frightens me just a little. She's the epitome of a 'Superstar', an autocratic figure who commands our attention. Yet the feel of these pictures is undeniably appealing; she almost blends into her surroundings - a sepia-toned Parisian bistro "evoking a Brassai atmosphere" that links beautifully with Jacob's spring 09 collection for Vuitton.

Insensate

Best described by the filmmakers themselves:

"Conjuring a macabre phantasmagoria that unfurls before your eyes like a sinister but beautiful bloom, Insensate showcases the brutal geometry and raw creative fire of Gareth Pugh's A/W 2008 collection to truly bewitching effect. Set to a thundering, atmospheric soundtrack specially devised by artist Matthew Stone and utilising Pugh's twin cinematic inspirations of Predator and The Wizard of Oz as an aesthetic starting-point, this film takes us on a mesmerising, monochrome whirlwind ride, creating a chilling yet compelling world of complex reflection, refraction and glittering incandescence melting in and out of inky black."

First, I highly recommend you watch it directly from Showstudio - the quality of the original is superior to the YouTube below, as is the atmosphere of the web page for viewing it (be sure to click the play button).

I'm not typically drawn to dark visuals (can you tell by my blog?) but this film is absolutely captivating, and hypnotic at times, not to mention the perfect visual and aural extension of Gareth Pugh's mindblowing designs. It's not so much about darkness as it is light, which is used to illuminate and create movement and shapes in such a way that it gets under your skin. Brilliant work from renowned fashion photographer Nick Knight and filmmaker Ruth Hogben. Love the soundtrack. This has to be the coolest job model Abbey Lee Kershaw has ever had. Lucky girl.

Fashion Photographs: The 1930s to the Supermodels

Irving Penn. Mouth, for L'Oreal. NY, 1986

I was wanting some inspiration and a bit of a daydream moment, and found myself going back into two pasts - that which existed before me, and my own past, to the heyday of the supermodels. It  never gets old - they were larger than life, and so was their hair. Here are some captivating images from recent and current auctions at Christie's:

Cecil Beaton. Fashion Study with Painting by Jackson Pollock, 1951


Albert Watson. Christy Turlington, 1990


Richard Avedon. Elilse Daniels, Paris. 1948

Sante d'Orazio. Kate Moss, 1992


David Bailey. Jean Shrimpton, 1963


Helmut Newton. Cindy Crawford, Admired. Miami, 1991


Norman Parkinson. After Kees van Dongen, 1959


Arthur Elgort. Kate Moss, Paris. 1993

 
Peter Lindbergh. Estelle, Karen, Rachel, Linda, Tatjana, Christy, US Vogue. 1988


Norman Parksinson. US Vogue cover, 1949


Norman Parkinson. Golf, Le Touqet. 1939

Philippe Halsman. Untitled (Models jumping on beach), 1940s


Ellen von Unwerth. Kate Moss, 1995

 
Irving Penn. Woman with Umbrella (Lisa Fonssagrives-Penn), 1950


Peter Lindbergh. Christy Turlington, 1991

 

Not from Christie's, but a fantastic photo of the supermodels. Peter Lindbergh.
Naomi, Linda, Tatjana, Christy and Cindy.
 British Vogue, 1989

And, another from Peter Lindbergh, which he based the Lady Dior handbag ad with Marion Cotillard upon. She got to keep her shirt on (or rather, her John Galliano dress):

Mathilde, Tour Eiffel, Paris. For Rolling Stone, 1989

Storytelling Through Fantastical Landscapes

To be quite honest, human bodies with animal heads really creep me out. But I can't help adoring these photo collages by Parisian artist Wanda aka IceKubi. Her surreal landscapes are inspired by fairytales, stories told by her Polish grandma, and her great love of colour, which is one of the things that draws me to her work. She mixes photography and her own drawings or combines multiple photographic images to create her 'stories' - which is what I'm calling them as you imagine all kinds of narrative just looking at one of these magical pictures:

Two images of flowers from her garden were combined:



This collage below has a Man Ray-like quality, and reminds me of a
photo of him and his wife Juliet. A visiting French art professor I
had in university told of a time in Paris where he came across
Juliet Man Ray, who was  destitute, selling off rare originals
of her late husband's work for peanuts.

For those who love René Magritte:

Tim Walker's Marvellous Tribute to Roald Dahl

Charlie and the Chocolate Factory, Actor Jamie Campbell  and Karen Elson

Continuing on with British Vogue's Fantastic Fashion Fantasy issue, Tim Walker shot an editorial tribute to the "marvellous, mischievous, magical world" of Roald Dahl, accompanied by a written piece by his great-granddaughter, model and author, Sophie Dahl. It featured Tim Burton and Helena Bonham Carter, but my favourites of this vast spread happened to not include them! What I love most about Tim Walker's photos is how he incorporates florals, especially the gorgeous flower fields he chooses so often as backdrops. I must find out where they are and run through them! (Photographed from the pages, apologies for the compromised quality):

 Charlie and the Chocolate Factory, Musician Lightspeed Champion


Karen Elson in Gareth Pugh's stylish monochrome transmission


Never smile at a crocodile...Karen Elson


Charlie and the Chocolate Factory, Georgia Jagger


Charlie and the Chocolate Factory, actor Jamie Bell and the Oompa-Loompa


James and the Giant Peach, Karen Elson and Gareth Pugh's Grasshopper


Bellville Sassoon, Sophie Drake as Miss Honey


Rhyme Stew, Karen Elson and Peter Jensen


The BFG, Sophie Drake and Alice Gibb


Revolting Rhymes, Karen Elson

Unbelievable Fashion

Left: Alexander McQueen, spring 2005
Right: 'Wood table skirt', Hussein Chalayan, A/W 2000

Christmas came early courtesy of British Vogue: the wrapping is a tri-fold cover featuring Kate Moss in clouds of Dior silk tulle (though it's the dress I fancy much more than the model) and the treats are Fantastic Fashion Fantasy-themed editorial, with such delights as Tim Walker's fields of flowers tribute to Roald Dahl; Karl Lagerfeld's painted depiction of a Secret Ball - a mysterious, exclusive event hosted by an anonymous Russian woman for her billionaire husband; winter wonderlands created using the pages of books and decorated with jewels in Spellbound; an outdoorsy, technicolour editorial shot by Patrick Demarchelier; and to begin, Unbelievable Fashion - "a vivid and memorable demonstration that fashion can be about so many things other than what to wear", shot by Nick Knight (photographed from the pages by moi, apologies for any comprised quality):

  
John Galliano silk-gazar origami, spring 2007 Dior haute couture collection

Left: Alexander McQueen, spring 2005 collection
Right: Yohji Yamamoto, A/W 2000

Both, Dior couture, spring 2003

Gareth Pugh, A/W 2006

Dior couture, spring 2003


Left: Comme des Garcons A/W 2008
Right: Viktor & Rolf, A/W 2003


Thierry Mugler's paper concertina dress, spring 1991


Hussein Chayalan's remote-control aeroplane dress, created in 1999


Left: Hussein Chalayan, spring 2000
Right: Viktor & Rolf, spring 2006

Colour was in Vogue in the 1940s

1944 Vogue

You feel a bit daft saying "No! Colour photos that early?", especially when you've had a fairly thorough education in art history. But that's what I thought when I saw these awe-inspiring, 1940s fashion photographs from Vogue, discovered during a browsing by Susie Bubble at Elegance is Refusal's Flickr site, which is lush with beautiful vintage scans.

It would have been nice if my university learnings had endured at least until my student loans were paid off. But anyway, I've looked it up and while the history of colour in photography is a bit complicated, colour photographs have been around since the 1850s (starting with James Clerk Maxwell's work with primary colour filters, and the experimentation continued). But it wasn't until 1935 that colour photo-taking became a more common thing, when Kodak started to sell Kodachrome transparency film, followed by the introduction of color-print films and Ektachrome films in the 1940s. And no doubt there's a lot more to what went into creating these Vogue photographs than that skeletal history, but the point is, we are just so rarely treated to these delights - if ever - that they leave us truly stunned at what was possible so long ago. It's incredible that some of these photos appear completely devoid of that anachronistic look and mood that we associate with the 30s and 40s:

1948 Vogue

1941 Vogue


1944 Vogue


1949 Vogue

And this, from 1939 - no shadows, so awash with light:


1939 Vogue

Sweet Paul Styles Us a Blissful Life

Tailgating. Styling by Paul Lowe. Photography by Jim Hensley

Have you ever tried to photograph food? Try it, look at the photo, then ask yourself "Is this something I would eat?" I guarantee your response will be "Only if I were starving." Like anything done expertly, Paul Lowe aka Sweet Paul makes it all look so easy. A Norwegian who came to New York for love in 2006, Paul has been styling food, props and interiors ever since a photographer friend recognised his talents while he was still arranging flowers in his shop 17 years ago. It didn't take him long to prove he has the keen eye, instincts, style and ingenuity essential for creating scenes that make beautiful photographs, and he's been in demand ever since.

Sweet Paul is not just a nickname but also a stunning blog where he shares his work and his life with a growing global fanbase who check in religiously for their daily dose of Paul. It is serene, highly inspirational, gorgeous and addictive (visit when you have time to browse, and you'll see what I mean when you find yourself 10 pages deep.) And it's interactive - Paul will seek the opinion of his readers when facing a styling conundrum (eg. which one do we like better?), and we are only too happy to put in our two cents. Rewards for loyalty now include Recipe Monday which has featured original concoctions such as Fallen Chocolate Cake, Accidental Pie and his creamy risotto (Paul is often asked to create the recipes for the food shoots).

As for his interiors, they are likely to illicit an 'I wish I lived in this' response, regardless of your style preferences. Who doesn't want to find themselves in surroundings that are warm, vibrant, tranquil, and inspired? And as a special treat Paul shares his brilliant DIY home styling ideas, such as using old books to paper your walls and create the loveliest photo holder:

Both for Country Living. Styling by Paul Lowe. Photography by Ellen Silverman

(Is it just me or do the phonetics of 'Sweet Paul' sound especially pleasing? Just whisper it to yourself 's-w-e-e-t-p-a-u-l'...To me it's the phonoaesthetic equivalent of 'cellar door'. Quite befitting of the blog, isn't it?)

Paul Lowe shared with me a bit more about himself and what drives him (beyond taxis):

Was it a smooth transition going from arranging flowers to styling food and interiors?

It kind of was. It is all about colors, textures, and having good taste in your work.

Has living in New York changed you and the way you style?

Oh yes. I think my work has gotten better and better. There is so much inspiration here, it's amazing. The competition is also very high so you have to be on your toes all the time. The choice for props is also amazing, you can get whatever you want. Love it!

You say that fashion is your greatest inspiration - does it translate directly in your work?

It does. I have a book that I stick in pictures I rip out of fashion magazines. Colours, textures, combinations - it all inspires me. My black fig story was inspired by the all-black Viktor & Rolf Fall collection from 2001. 

Black Fig.Styling:Paul Lowe. Photo:Colin Cooke    Viktor & Rolf, Fall 2001 RTW

Do you ever go to fashion shows?

I've been to some small ones, but I would love to be in the front row of Marc Jacobs, Viktor & Rolf, Dior, Lanvin, etc.

Have you ever had a food that was a naughty model and didn't want to behave?

It's all about the recipe, sometimes it just does not work. I made some crème brûlées the other day, after two hours they were still runny. 

You have thousands of fans around the world who follow your work and your personal life through your blog - how does that make you feel?

Oh, Wow. Ehhhhh...Now I feel like Brad Pitt. He he. I think it's amazing that I have so many readers (Ed note: monthly page views currently total 32,000.)  And they are so great, they leave lots of comments and send the best emails. I love them all. I think it's great that I can inspire people.

Does your home interior reflect the warm and vibrant aesthetic you bring to your work?

Ehhh no! We live in a small apartment here in NYC. It's full of stuff - props and books. I did have a shoot here a while ago, I had to tidy up for three days beforehand, so it's a mess. But it looks okay once it's tidy. I'm not the most organised person in the world.

Now that's a sure sign of creativity! If you'd like to know more about what happens on Paul's shoots and advice he offers to aspiring stylists, there's a great article at Cookbook Catchall.

Just one warning before you go exploring: While writing this article - quite late into the night and enjoying the photos from Paul's stories - I finished off stirfry leftovers, then had a yogurt, and I was still searching the refrigerator. You may not want to visit Sweet Paul when you are hungry and have no food around - the suffering would just be too terrible!

Takk skal du ha, Paul.

Black Fig. Styling by Paul Lowe. Photographed by Colin Cooke

Styling by Paul Lowe. Photography by Colin Cooke

For MORE magazine. Styling by Paul Lowe. Photography by Kana Okada

Styling by Paul Lowe. Photography by Steve Giralt

 

Styling by Paul Lowe. Photography by Steve Giralt

 

For The Comfort Table. Styling by Paul Lowe. Photography by Miki Duisterhof

Styling by Paul Lowe. Photography by Studio Dreyer Hensley

 

 

Tailgating. Styling by Paul Lowe. Photography by Jim Hensley

 

For ELLE Interior. Styling by Paul Lowe. Photography by Studio Dreyer Hensley

Styling by Paul Lowe. Photography by Colin Cooke

Styling by Paul Lowe. Photography by Colin Cooke

Styling by Paul Lowe. Photography by Colin Cooke

 

Styling by Paul Lowe. Photography by Colin Cooke. Get the recipe for Nested Eggs
 

Styling by Paul Lowe. Photography by Colin Cooke

Styling by Paul Lowe. Photography by Studio Dreyer Hensley

Styling by Paul Lowe. Photography by Gemma Comas

Styling by Paul Lowe. Photography by Frances Janisch

Styling by Paul Lowe. Photography by Frances Janisch
 

Styling by Paul Lowe. Photography by Ellen Silverman

From article: Raspberry jars and sofa with doily curtain photographed by Frances Janisch

The Sartorialist Poses for GAP

If you're Stateside and have picked up a fashion magazine in the past few months, you've probably already seen the GAP advert starring the blogosphere's most famous style blogger. Scott Schuman, better known as The Sartorialist, found himself on the other side of the lens as the model for the retailer's fall campaign.

His blog of the same name is addictive daily 'scanning' - there are a few concise comments, if any, as his captivating street style photographs speak for themselves. Mr. Schuman's subjects are anyone whose look he finds inspiring as he strolls the streets of New York, Paris, Milan, London, or anywhere he happens to be. Consider yourself honoured if he stops you one day and asks to take your picture!

Audrey Tautou Gets the Ellen von Unwerth Treatment

These photos of Audrey Tautou shot by Ellen von Unwerth are making the rounds on the blogosphere right now, but they seem to be a few years old - though I can't find the date to confirm, or where they were originally published. Anyway, according to the comments, many people don't like how Audrey looks - some think von Unwerth has made the natural beauty look 'cheap', even 'ugly', and that her 'snapshot' treatment doesn't work here. The German photographer is known for her highly erotic photos, so it would appear she applied significant restraint with the doe-eyed actress whom we all seem to want to believe is as sweet and innocent as she looks. With the exception of the outfit in the last photo which is just hideous, I can't see the 'cheap', and certainly not the 'ugly'. You?

 

Source

A Narcissistic Token of Gratitude

A week can't go by without a tidbit of news about our favourite mad genius, Karl Lagerfeld.

After showing the Chanel Cruise 2009 collection at the legendary Art Deco Raleigh Hotel in Miami, he thanked the staff for their hospitality with signed self-portraits from the show (he is discreetly holding a self-clicker in gloved hand). Some of the photos featured a backdrop of Lagerfeld's synchronised swimmers who did the sideways dive into the pool - all wearing Chanel swimcaps of course - spelling out the brand with their suits before forming the double-C for the grand finale. What a show!

We're able to see the photos thanks to Jauretsi from StarworksNY.com who had the good fortune to see them in person and snapped them to share. Thanks, J!

I joke about the narcissism, they are fabulous photos. And what else would we expect from Kaiser Karl?

(But how hot must he have been with his uniform of earlobe grazing collar, jacket and tie, and signature racing gloves?? Oh, the poor soul who had to burn wash his underpants.)

Highlights of Hyères

The Festival International de Mode et de Photographie à Hyères has now wrapped up its public program (including fashion shows and awards ceremony) after what appears to have been a mind-blowing event. If you're not familiar, it was established in Hyères (in the south of France) 22 years ago to unveil 10 young fashion designers and 10 young photographers from all over the world, under the patronage of an international jury. I'm going to look into the new talent when I get the time to give it my full attention and hopefully I'll see a more varied approach than the draped black fabric and stark (though beautiful) images caught in a few quick glances.

One of the best parts of the festival is the exhibition which showcases a selection of the world's most fascinating photographers and their works. The Sartorialist was one, who as you may know is the man behind the #1 most influential fashion blog of the same name, snapping street fashion as he finds it. The results are often times stunning portraits of his random subjects.  I've just checked his blog and naturally it features some shots taken within the last few days in Hyères (see below). Simply gorgeous, gives you even more reason to wish you'd been. No need to fret, however! The exhibition runs until June 1, so if you're going to be in France between now and then you'd be mad not to go, and it's free.

 

For me, the exhibition draw would be the works of Melvin Sokolsky, photographer for Harper's Bazaar in the 1960s who created fashion classics with his Bubble and Flying series. One look and you can see why he's known for his portrayal of a light and playful world of enchantment, as illustrated in the first photo shown above, from the Chairs series, 1963. I don't mean to ruin what was almost a proper post, but I can't help but be reminded of Lily Tomlin's Sesame Street guest character Edith Anne who sat in that enormous rocking chair, fiddling with her feet while describing in that snot-nosed kid voice a disgusting sandwich made of peanut butter, salami, raisins, pickles, mustard, tuna... you get the point. Oh, what a beautiful post this could have been.

To the rescue, more of the astounding Melvin Sokolsky (photos from Style Bubble, photographed on exhibit in Hyères):

Cover of Donna magazine, 1964 (What do we have now? Airbrushed and Photoshopped actresses. Sigh.)

Bubble series. On The Seine, Paris with Simone d'Aillencourt, 1963

Simone d'Aillencourt on a labryinth, 1961