Monday, July 28, 2008

Bruna Tenorio - ph: Dick Page

Dick Page photographed Bruna Tenorio for Japanese Elle on June 3rd at Industria Studios, Studio #2. Bruna is the face of Shiseido Supreme-Aupres.







Dick's favorite Items:
1. Paper cutouts which he bought on the street in London in the 1980's. "Isn't it like Bill Traylor's art?" says Dick.
2. A picture of Maria Schneider from After Dark; a magazine which was published in 1973.
3. A photo of him and his partner when they traveled to Iceland. They were thrilled by spacious hot springs in nature.
4. A cook book of English traditional dishes.
5. A scene of himslef cooking in the kitchen at his house.

Thursday, July 24, 2008

Shannan Click - German Vogue



Alexi Lubomirski photographed Shannan Click for German Vogue on March 13, 2008 at Milk Studios, Studio #3. Stylist: Christiane Arp, Makeup: Christian McCulloch, Hair: Ben Skervin.
This story was inspired by The Night Porter, starring Charlotte Rampling.



In The Night Porter, Dirk Bogarde plays Maximilian Theo Aldorfer, a former Nazi SS officer, and Charlotte Rampling plays Lucia Atherton, a concentration camp survivor who has been tormented by Aldorfer. Thirteen years after World War II, Lucia meets Aldorfer again; he is now the night porter at a Vienna hotel. There, they fall back into their sadomasochistic relationship.

To hide his shame about his past, Max works obsessively as a hotel night porter where his aim is to please his guests, especially the Countess--a confidante who requires his services to get her young men as sexual partners. Many of the other guests are war criminals, who hold secret meetings in the hotel to uncover any evidence connecting them with their war crimes. Max prepares with these former Nazis a strategy for his upcoming War Trial at the hands of the Allies, as they conduct mock trials to learn about records in the archives they should destroy and witnesses to be tampered with or eliminated. Into this hotel culture, which reeks of nostalgia for the Führer, comes the only live witness who can testify against him--the young Viennese camp inmate who is now married to an American opera conductor. She is someone he sexually abused in the camp and Max can't stop obsessing over their past torturous relationship. They are drawn uncontrollably to each other despite the dark past both of them share and the apparent danger from Max's unchanged fanatical and bloodthirsty Nazi comrades, Klaus and Hans.


Wednesday, July 23, 2008

Natasha Poly - September 2008 Japanese Vogue cover - ph: Inez Van Lamsweerde and Vinoodh Matadin, stylist: George Cortina

The 1st September 2008 cover is out!

Inez Van Lamsweerde and Vinoodh Matadin photographed Natasha Poly for the cover of Japanese Vogue on May 8th at Pier 59 Studios, Studio #5. Stylist: George Cortina, Hair:Christiaan , Makeup: Peter Phillips.

Jil Sander fall 2008 campaign - Natasha Poly, ph: Willy Vanderperre, stylist: Olivier Rizzo




Willy Vanderperre photographed Natasha Poly for the fall 2008 Jil Sander campaign on March 27 & 28 at The Bridge Loft, 110 Bridge Street, In Brooklyn NY. Stylist: Olivier Rizzo, Makeup: Peter Phillips, Hair: Didier Malige.

Thank you for being a friend


Estelle Getty passed away yesterday. Her loss affected me deeply. Although I never met her, and she wasn't related to me, I feel like she was part of my family. When I was a child I would watch her show, The Golden Girls, with my grandmother. Now that I am older, I enjoy the show with my friends on DVD. Working in fashion, it amazes me how many people, from all countries, also love the Golden Girls. According to Cathy Horyn, of the New York Times, Helmut Lang is a fan. Estelle Getty gave us years and years of laughter and joy. She will be sincerely missed.

from the New York Times:
Estelle Getty, ‘Golden Girls’ Matriarch, Dies at 84
By BRUCE WEBER
Estelle Getty, whose portrayal of a crabbily charming octogenarian on the television sitcom “The Golden Girls” gave new prominence to elderly characters in prime time and endeared her to viewers of all ages, died on Tuesday in Los Angeles. She was 84.

Her son Carl Gettleman confirmed her death. Ms. Getty had been suffering from Lewy body dementia, a progressive brain disease.

Long before “Golden Girls” Ms. Getty had been portraying maternal types of all sorts on the stage.

“I am the mother,” she declared in her opening line in “Torch Song Trilogy,” Harvey Fierstein’s 1981 play about the travails of a gay man in New York City, and as a summary of her career, her character was right.

“I’ve played mothers to heroes and mothers to zeroes,” Ms. Getty wrote in her autobiography, “If I Knew Then What I Know Now ... So What?” (Contemporary Books, 1988). “I’ve played Irish mothers, Jewish mothers, Italian mothers, Southern mothers, mothers in plays by Neil Simon and Arthur Miller and Tennessee Williams. I’ve played mother to everyone but Attila the Hun.”

The book was a response to Ms. Getty’s sudden and resounding popularity in the most famous of her mother roles, the tart-tongued, white-haired Sophia Petrillo, oldest of the four previously married women sharing a Miami home in “The Golden Girls.” In the show, Sophia was the mother of Dorothy Zbornak, played by Bea Arthur who, in real life, was older than Ms. Getty.

Sophia, characterized by her bluntness and cranky lamentations about old age, treated her daughter with a kind of loving contempt, and their two roommates, the man-obsessed Blanche (Rue McClanahan), and the dim-witted Rose (Betty White), with the eye-rolling impatience of one who will not indulge the self-delusions of others. When Blanche complained that her life was an open book, Sophia witheringly replied: “Your life is an open blouse.”

The show ran from 1985 to 1992 and, in reruns, is still seen regularly on the Lifetime channel. Ms. Getty was nominated seven years in a row for an Emmy award for best supporting actress in a comedy series, winning in 1988. It was a remarkable coup for an actress then in her 60s who had worked for decades with almost no recognition at all.

Mr. Gettleman said in an interview Tuesday that his mother’s remark was, “After 50 years in the business, I’m an overnight success.”

Estelle Scher (she had no middle name) was born in Manhattan on July 25, 1923, the daughter of immigrants from Poland. Her father started a glass business that was eventually taken over by Arthur Gettleman, the man she would marry in 1947. Her stage name was derived from his.

A tiny woman, under 5 feet tall and less than 100 pounds, Ms. Getty wrote in her autobiography that her interest in acting began as a child when she saw her first vaudeville show; as a young woman she tried her hand at stand-up comedy. For most of her performing life, which she spent in community theaters, small theaters way off Broadway and regional houses, she made a living as a secretary.

In 1978, after seeing “The International Stud,” the first installment of what would become “Torch Song Trilogy,” she went backstage to introduce herself to the playwright and star, Mr. Fierstein, and they became friends. Some time later, she recalled in an 1984 interview, she said to him, “You’re such a hotshot playwright, why don’t you write a play with a mother in it, and I’ll play her.” That play turned out to be “Widows and Children First,” the concluding segment in the trilogy, and it changed her life. Rex Reed wrote in The New York Daily News that “Estelle Getty is the most endearing Jewish mother to be seen on the New York stage since Molly Picon, only prettier and more believable.”

The performance led to her being cast as Cher’s mother in the film “Mask,” and it was while she was on the road with “Torch Song” in Los Angeles that she auditioned for “Golden Girls,” getting the job after she showed up for the final audition in the costume and makeup of a little old lady.

Her husband died in 2004. In addition to Carl Gettleman, who lives in Santa Monica, Calif., Ms. Getty is survived by another son, Barry Gettleman of Miami; a brother, David Scher of London; and a sister, Rosilyn Howard of Las Vegas.

Ms. Getty appeared in two “Golden Girls” spinoffs, “Empty Nest” and “The Golden Palace,” and acted in guest spots on a number of other series. She played Sylvester Stallone’s mother in the 1992 comedy “Stop! Or My Mom Will Shoot.”

Ms. Getty relished her late-in-life success, her son said. And she enjoyed reminiscing about more difficult times. In a 1990 interview she recalled one of her last secretarial jobs, at a company called Snap-Out Forms, where she kept her acting ambitions a secret for fear of being fired.

“At Snap-Out Forms, the first day I came to work, I had an audition, and I said, ‘Can I go for my lunch at 10 o’clock?’ ” she said. “The next day I had to go someplace else. I said. ‘Can I take my lunch at 2:30?’ The next day I asked if I could take lunch at 11 o’clock. The office manager said, ‘You have the strangest eating habits of any secretary we’ve ever had.’ ”

Thursday, July 17, 2008

Brooke

Hedi Slimane photographed Brooke Shields for the pre-fall issue of V Magazine.



V interviewed Brooke, and she discussed working with Richard Avedon, Francesco Scavullo, Polly Mellen and the secret to her longevity:

Michael Martin: You've modelled basically since infancy. What's your first memory of being in front of a camera?
Brooke Shields: I'm not sure if it's because the story has been told to me so many times, but I have semblances of memory from my first shoot. I remember the environment at Scavullo's studio. I was 11 months old, but I remember it was the first time I was in a room where I was part of the lights instead of with the people around them.






Brooke, photographed by Francesco Scavullo as a child.

MM: Working with the Scavullos, Avedons, Warhols of the world - how do you look back on that now?

BS: Only now do I look back on them as iconic. But when I remember my perspective at the time, these people were people I knew intimately, so I don't think I looked at them the same way I do now, artistically. To be on the cover of Interview was to spend time with people I saw every day. I had respect out of love, and now I have respect for their careers.

MM: What do you remember about Avedon at work?

BS: I remember the separation between on set and off set was like this iron curtain. Once you went in there you were in a sanctuary. And people just jumped. I'm sure his assistants got scared and people cried, but I thought it was funny. I remember that I managed to get away with getting the Polaroids. He thought nothing about giving them to me. Anyone else couldn't get them. I think, in hindsight, he respected my professionalism, and I remember wanting his approval so I worked harder.

MM: Why were you so professional so young?

BS: There was no room for me to have any tantrums. Everyone else was such a larger-than-life personality: The Polly Mellens of the world; the photographers were the stars. And my mom was sort of the crazy one. I was so young that I wanted to be accepted and liked. As a child, that worked for me. I'm sure that caused years and years of therapy later, but that's another story. Something about being born and bred in New York, where people have to be at the top of their game to succeed, instilled that professionalism in my by osmosis.

MM: You're the youngest person to be on the cover of Vogue. What did that do to your head at the time?

BS: Absolutely nothing, because I had no perspective on it. I still had to take off all the clothes, take off all the makeup, give it back, and go do my homework. It didn't behoove me to carry that title to school, because it wouldn't make kids want to be friends with me. Now I'm much more impressed with that title. Then I don't even think I knew it. The crowning glory for me was getting a Seventeen cover. The first cover try I did, I didn't get it. I was told I looked too old.

MM: When you were a kid, did you think you'd still be in the business now?

BS: I've never known anything but the business. it never occurred to me not to be in the business. It's sort as if I was never not naked.

MM: Were you aware of the controversy swirling around Pretty Baby and the Calvin Klein ads at the time you did them?

BS: If you separate the actual making of the movie with Louis Malle and the actual filming of the commercials with Dick and Calvin, those actual moments felt creatively important. But the reaction to them was always a shock. The reaction never seemed proportionate to what we set out to do. The controversy was frustrating because it took away from the beauty and the creativity of it, particularly Pretty Baby. I thought it was a shame.

MM: And then there were the Calvin Klein commercials.

BS: People were obsessed with that one line in one commercial. Which they misquoted - repeatedly. That was shocking to me. We were walking walking around the stages, feeling like we were doing something new that had never been done before. But it seemed that no matter what I did after that, controversy would follow.



Richard Avedon photographed Brooke for the July 1978 American Vogue (Farrah Fawcett was on the cover). At the time, Brooke was promoting Louis Malle's"Pretty Baby". She was 13 years old.

Monday, July 14, 2008

Harry Dean Stanton

Today is Harry Dean Stanton's birthday. He began his acting career at 40 years old & has an intensely intimate acting style. Through his eyes, he commands attention & respect. He often portrays characters on the fringes of society, such as the trailer park manager in David Lynch's Twin Peaks: Fire Walk With Me and The Straight Story.

Izabel Goulart








These polas taken last week show what a stunning beauty she is. Her hair is so thick & luxurious, & her eyes are such a velvety brown. She has worked with a a diverse range of clients, including:

Friday, July 11, 2008

Philosophy di Alberta Ferretti fall 2008 campaign, ph: Mark Segal - Georgina Stojiljković


Mark Segal photographed Georgina Stojiljković on April 21, 2008 for the Philosophy di Alberta Ferretti Fall 2008 campaign. Stylist: Tabitha Simmons, Hair: Didier Malige, Makeup:Aaron de Mey

Inspiration

Heathers poster:


Daiane Conterato at Christopher Kane Spring 2008:


Christopher Kane Spring 2008 video:



Heathers clip with Winona Ryder wearing loose grey jacket & blue tiered skirt.



Christopher Kane's spring 2008 collection was inspired by the 1980's movies he would watch with his sister Tammy: "It was the pair of us sitting on the sofa watching late-night horror films like Carrie," said Kane. "And Crocodile Dundee." The two movies set him off thinking about chiffon and eerie suspended ruffles on the one hand, washed-out denim and snakeskin vests on the other.

This collection was my favorite from spring 2008 - everything about it was flawless - the soft shapes, the flowing hair, the chrome tipped boots, the casting & the soundtrack. The 35 looks summed up exactly the correct way to dress, iron your hair & not wear makeup for this summer.

Daiane Conterato opened the show wearing a loose grey jacket and tiered blue skirt - just like Winona Ryder wore in my favorite 1980's movie: Heathers. Specifically, the scene where Winona's character Veronica Sawyer gets revenge on two date rapists. Christopher Kane made the skirt longer & slouchier. The loose grey jacket is more tough & motorcycle, not at all Limited. Instead of a black tank, Christopher Kane paired the look with a white schoolboy shirt. Contrarily, this make the look more seductive, more remarkable, more modern.

Heathers 20th anniversary edition DVD is now available at amazon.com.

Thursday, July 10, 2008

Faster Pussycat




Today is Tura Satana's birthday - she played Varla in Russ Meyer's 1965 film, Faster, Pussycat! Kill! Kill!.

John Waters, director of Pink Flamingos, Female Trouble, and Hairspray, has stated that this is his favorite film: "Faster, Pussycat! Kill! Kill! ... is, beyond a doubt, the best movie ever made."

I have to agree.
This movie has the essential elements - Plot, drama, dialogue, violence and fashion.
Three thrill-seeking go-go dancers — Billie (Lori Williams), Rosie (Haji), and their leader, Varla (Tura Satana) — encounter a young couple in the desert while drag racing. After killing the boyfriend (Ray Barlow) with her bare hands, Varla drugs, binds, gags and kidnaps his girlfriend, Linda (Susan Bernard). This fight scene inspired an amazing editorial in Italian Vogue's June 1999 issue ph: Steven Meisel. Faster Pussycat was shot was shot in black & white on location in the desert outside Los Angeles during days above 100 degrees and freezing nights. The color photography of the editorial vividly captures the heat & dust of the desert. The couple in the editorial are not strangers in a violent fight - they seem to be lovers in a struggle, that ends in an embrace.