Warhol and Westwood’s Royalty

The Andy Warhol-esque painted makeup was created by Val Garland and her assistants. “Think the Queen meets a bad Elizabeth Taylor or an odd Marilyn Monroe with a passing nod to Debbie Harry and an occasional reference to Grace Jones,” said Garland.

Vivienne Westwood Red Label Spring- Summer 2013 collection was inspired by British royal gardens. Throughout history; architecture, aesthetics and fashions from across the globe have influenced these British country gardens. From the squared formality of renaissance style to the pastoral passions of the Victorian era, the garden has remained a favorite and romantic sanctuary for our royal family. Beyond these private enclosures lie flower gardens and orchards, with vast outdoor space for bowling, tennis and croquet as well as picnics, weddings and garden parties- it is these royal occasions that were in mind when the collection was designed. The colour palette references Tudor knot gardens where earth, sand, and rich dusty red bricks were used to fill open spaces between the frosty cold greys, greens and blues of the shrubs. Micro checks and fine wools offer a cool alternative to the summer dress and gingham knits are perfect for impromptu picnics and more informal occasions. For cocktail and evening the colour palette is pale and cold- with impressionistic lily ponds printed on fine, fluid jersey with details of metallic silver embroidery and draped jackets and cigarette pants with duchesse trim to give a softer tuxedo alternative. There are also more glamorous evening dresses in regal midnight blues, black and gold in full & straight silhouettes teamed with steely tones and frosty paillettes somehow reminding you of an early morning summer frost.

Jul 8

After a Photograph

Joan Collins

Truman Capote

Anjelica Huston

Michael Jackson

Eddie Sedwick

Madonna

“Divine”

Cher

Grace Jones

Miguel Bosé

Isabella Rossellini

Maria Schiano

Debbie Harry

Diane von Fürstenberg

David Bowie

Mick Jagger

For 15 years, beginning in 1972, Richard Bernstein’s signature artwork graced the monthly covers of Interview magazine, that seminal celebrity chronicle of the social, fashion and art crowd that had met in Andy Warhol’s Factory and the back room of Max’s Kansas City in the 60′s and catalyzed in the sybaritic heat of Studio 54 in the late 70′s.

Using an airbrush, pencil and pastel on photographic portraits, Bernstein made the up-and-coming celebrities of the era-Sylvester Stallone, Calvin Klein, Madonna, even wholesome Mary Tyler Moore-look as sleek and sexy as our nostalgized memories of that era. “Things are stronger, faster and further,” Paloma Picasso wrote of Bernstein’s oeuvre in a published collection of his work, Megastar . “Superstars became Megastars.”

But though Bernstein’s work helped put many a celebrity into the hot zone, he never seemed to be able to make the same conversion in terms of his own career. “I never felt that Richard got the full recognition for his contribution to the art world,” said Steve Newman, director of still photography at 20th Century Fox studios. “He never got the representation or put himself out there enough to earn the kind of reputation that other contemporaries of his did. I still think it’s a great shame.”

Some who knew Bernstein said he never broke out because his work, which was clearly influenced by Warhol’s art, was too often confused with the Pope of Pop’s work, and that Warhol, who enjoyed autographing the covers of fans’ copies of Interview , didn’t work too hard to disabuse them of that notion.

Other friends said that Bernstein was too nice and not ambitious enough, and that he was often taken advantage of by those who were in a position to help him.

With his dark, wavy hair, good looks and unfussy fashion sense-black jeans, leather jackets-Bernstein attracted members of both sexes, and though he was gay, he had at least one significant relationship with a woman, the actress and photographer Berry Berenson.

On Oct. 18, Bernstein’s body was found on the other side of that door, in his high-ceilinged studio apartment that once was part of the Chelsea Hotel’s grand ballroom. According to friends, a note found in his apartment that said simply “Do not resuscitate” left some with the suspicion that he had taken his own life.