“Nu, le corps d’une fille est plus secret que vêtu de vison, de Chanel ou de coton.”
(“A girl’s naked body is more secret than dressed in mink, in Chanel or in cotton”)
“I started as a writer for magazines, and soon they asked me to illustrate my stories. I started from the bottom of the bottom. And I climbed the stairs, one by one.”
From left: Anne (Russia) in dress and hat, Nina Ricci. Blouse, Miguel Adrover. Natasha (former Yugoslavia) in bodice, Imitation of Christ. Blouse, Prada. Petticoat, What Comes Around Goes Around. Jeans, Levi’s. Headscarf, Dolce & Gabbana. Socks, Gaultier Paris. Liliana (Mexico) in jacket, Dolce & Gabbana. Stripped jeans, Christian Dior. Hair pieces, M.S. Schmalberg. Kae (Japan) in kimono Jean-Paul Gaultier. Dress, Salvatore Ferragamo. Aline (Japan and Brazil) in top and pants Gaultier Paris. Audrey (France) in dress Yves Saint Laurent Haute Couture. Stella (UK) in jacket Dolce & Gabbana. Tank Michael Stars. kilt, Gold Label by Vivienne Westwood. Carmen (Estonia) in dress Miu Miu. Alek (Sudan) in pants Giorgio Armani. Jewelry, Craft Caravan. Karolina (Czech Republic) in dress, Marc Jacobs.
From left: Lya (Ethiopia) in dress, Christian Dior Haute Couture. Anouck (Belgium) in jacket and skirt, Veronique Branquinho. Madelaine (Spain) in jacket and dress, Gaultier Paris. Sharon (Israel) in caftan, Missoni. Marcelle (Brazil) in bikini Tom Ford for Gucci. Headdress, Pau Brasil. Rohini (India) in skirt OMO Norma Kamali. Rings, Chanel Haute Couture. Bracelets, Erickson Beamon. Maggie (USA) in top OMO Norma Kamali. Miniskirt, Dolce & Gabbana. Mariacarla (Italy) in dress Dolce & Gabbana. Pin, J.M. Schmalberg. Mini (Sweden) in blouse, Dolce & Gabbana. Corset, OMO Norma Kamali. Skirt, Miguel Adrover. Boots, Prada.
Fashion editorial inspired by John Lennon‘s song. Photos by Patrick Demarchelier. Harper’s Bazaar, December 2001
Chanel has given us a preview of the forthcoming project starring Cara Delevingne and Pharrell Williams—and it looks as though the model has been transformed into a modern day Cinderella, with Williams as her Prince Charming. The pair, posing as Empress Elisabeth of Austria (Sisi) and Franz Joseph I, Emperor of Austria, feature in a film directed by Karl Lagerfeld, to be unveiled during the Metiers d’Art show in Salzburg, Austria, on 2 December.
The film, Reincarnation, will pay homage to the iconic Chanel jacket and is set to an original song composed and performed by Williams, CC The World. Both the singer and the model will also appear in the accompanying campaign imagery for the Metiers d’Art collection.
“It was time to show the origins of the Chanel jacket, inspired by the one worn by the lift attendant in a hotel near Salzburg in the 1950s,” says Lagerfeld. “Reincarnation is the story of a lift attendant’s jacket being reincarnated as a timeless piece of women’s wear.”
It’s reported that six-year-old Chanel favourite Hudson Kroenig also appears in the film, alongside Geraldine Chaplin as Gabrielle ‘Coco’ Chanel. The story follows a chapter in the life of the legendary designer, who is holidaying in the suburbs of Salzburg in 1954. At her hotel she meets a young lift-boy played by Williams.
Text by By Sarah Karmali for Harper’s Bazaar
To watch the teaser, please take a look at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
Many a girl has waited long
For a husband brave or strong;
But I’m sure I never met
Any sort of woman yet
Who could wait a hundred years,
Free from fretting, free from fears.
Now, our story seems to show
That a century or so,
Late or early, matters not;
True love comes by fairy-lot.
Some old folk will even say
It grows better by delay.
Yet this good advice, I fear,
Helps us neither there nor here.
Though philosophers may prate
How much wiser ’tis to wait,
Maids will be a-sighing still —
Young blood must when young blood will!
(Moral of Sleeping Beauty)
Harper’s Bazaar, July 1999 issue. Tom Cruise’s cover was the last cover approved by Liz before her death just 3 months prior. All ad revenue went to the Ovarian Cancer Research Fund. Models, photographers, stylists, make-ups artists, etc., donated their time for free. There are no editorials. It is the one issue which features the solidarity of the fashion industry for an icon.
Natalie Portman photographed by Robert Bromann, clothes by Moschino; Cindy Crawford photographed by Mary Ellen Mark, clothes by Malo; Rita Wilson photographed by Sante D’Orazio; Milla Jovovich photographed by Cliff Watts, clothes by Tommy Hilfiger
Russel Wong is a Singapore-born Hollywood celebrity photographer. He had his primary and secondary education at Anglo-Chinese School. His celebrity portraits have earned him celebrity status. He is heralded as “the Richard Avedon of Asia” –an association Wong doesn’t seem to mind.
Like Avedon, Wong creates stunning portraits that are minimal, dramatic, and brilliantly composed. However, his photographs lack the cool indifference and stiffness of Avedon’s work; instead, the imagery is warm, personal, engaging.
Where does that gift comes from? “It’s difficult to explain”, he begins. “When I shoot someone, I feel like I’m dancing. The idea I’m working with is equivalent to the melody I hear in my head… then I improvise what that song’s ups and downs. I often try something wild at the end.”
The legendary celebrity-photographer the late Richard Avedon [1923-2004] had once sharply noted ‘my portraits are more about me than about the people I photograph’. This observation from the towering figure who chiselled his reputation on photographing the celebrated and the powerful suggests that the portrait-image could reveal as much about the photographer as it does the sitter-subject – or more. Russel Wong [b. 1961-] who (as stated before) has been christened the Richard Avedon of Asia by the popular media, wields an inventory of celebrity portraits that would exhaust most name-droppers. Joining the tradition of celebrity photographers like Avedon, Annie Leibovitz [1949-] Helmut Newton [1920-2004] and Herb Ritts [1952-2002], Wong’s practice ruptures the slender line between celebrity photography and fine art. Whilst some critics banish this genre as a soft art form shaped by the pressures and demands of celebrity publicity machines, most agree that this species of photography remains one of the most potent and most difficult to commandeer. It is one thing to wrestle for access to celebrities and quite another feat to persuade strong self-willed celebrities who are well-acquainted with camera tactics to trust if not share, one’s vision.
Several pivotal shifts in Wong’s practice occurred after his enrollment in the prestigious Art Center College of Design in Los Angeles in 1984 for a fine art degree (Photography). There he encountered tutors and mentors whose personal charisma and professional triumphs exerted great influence over his formative development. In his second year, Wong made a 4-month ‘immersion trip’ to Milan, Italy – ‘the Mecca, where all aspiring fashion photographers go to, and where all the big-name photographers pay their dues’ [Russel Wong, interview 2004]. Wong learnt the language, ate the food and hung out at the Italian fashion cafes, like The White Bear, where models and photographers congregated. Most importantly, his photographic style and approach changed radically, and these shifts were not lost on his mentors. Amongst these was Paul Jasmin [1935-], the renowned fashion designer and photographer who worked with Vogue and Interview. Jasmin introduced Wong to his agent who also represented Herb Ritts.
The agent subsequently became Wong’s first agent in his career – opening the doors to major magazine assignments. Another seminal figure was Antonio Lopez [1943-1987] the flamboyant Puerto Rican fashion illustrator noted for his portraits of Jerry Hall, Jessica Lange and Grace Jones. Lopez, a cult figure in the circles, had in the 1970s, run a Paris salon with Karl Lagerfeld for fashion celebrities. Lopez noted Wong’s work and connected Wong to the remarkable photographer Art Kane [1925-1995] who had photographed The Rolling Stones, Janis Joplin and Bob Dylan among others.
“Antonio said, ‘Go to New York. I will help you!’ He invited me to his New York studio in Union Square and he called up a bunch of photographers. At the point when Antonio introduced me to Art Kane, I was ready to be an assistant, intern, anything. I didn’t really care, because I just wanted to see what it was like to do real photographic work in a New York loft.
I would have waited tables, carried the photographer’s lights, made coffee… you name it. But it turned out that I didn’t have to do any of that. I don’t know if this is good or bad but I didn’t have to assist any photographer on my way up. They liked my work, and it all began.”
[Russel Wong, interview 2004]
Ever since Annie Leibovitz photographed Demi Moore, for the front cover of Vanity Fair magazine, maternity photographs have become increasingly popular. Undoubtedly this photo gave birth to the modern maternity portrait
The supermodel swelled with pride as she showed off her seven-month belly (filled with son Presley) in the June 1999 issue of W. Cindy Crawford was originally slated to wear a gown, but she apparently didn’t look pregnant enough in it. Problem solved. Photo: Michael Thompson
It’s only fitting that Brooke Shields was Vogue‘s first visibly pregnant cover model. After all, she’d also been the fashion bible’s youngest cover model back in 1980, when she was 14. She was 37 and eight months along with daughter Rowan on the April 2003 issue, on which she sported a sheer, soaking-wet Krizia gown.Photo: Annie Leibovitz
The Italian bombshell — best known to American audiences for her work in The Matrix Reloaded — had more than vanity in mind when she posed nude for the cover of a 2004 edition of Vanity Fair: The wife of French actor Vincent Cassel reportedly disrobed to protest Italy’s laws against the use of donor sperm. Nicely done, Monica. Photo: Fabrizio Ferri
Milla Jovovich gnawed on that gauzy curtain for a good cause. Her 2007 shoot for Jane magazine benefited charity. Soon after, she gave birth to daughter Ever Gabo with Resident Evil writer-director Paul William Scott Anderson.
Known for her sometimes outrageous red carpet poses, Paula Patton looked perfectly goddess-like draped in nude chiffon with curly hair and natural make-up on the May 2010 cover of Ebony. And the magazine happened to hit stands after the actress, who’s married to R&B crooner Robin Thicke, gave birth to son Julian Fuego
Dem babies, as Mariah Carey affectionately nicknamed still-gestating twins Moroccan and Monroe, kicked at their mom’s belly through most of her photo shoot for the April 18, 2011, issue of Life & Style. We assume they were kicking in protest over this awkward pose
Proving that supermodels really are superior life forms, a shaggy-haired Claudia Schiffer was pregnant with her third child, daughter Cosima, when she stripped down for a Karl Lagerfeld-directed shoot in the June 2010 issue of German Vogue
The 41-year-old actress bared her soul (per the cover’s tagline) and lots more in the November 2011 issue of Ebony. She welcomed her second son, Kez, that same month. “The medical [profession] tries to tell every woman, ‘Have your babies before 40 because you shouldn’t have children after 40. Society tells us, ‘Get married before 30, because no man wants a woman after 30.’ You are not half the woman you’re gonna be until you turn 30. You’re not even half of that woman yet. So I think if we’d just take our time as women, and do what comes natural to us and for us, we would make fewer mistakes.”
No designer draws on religious themes to quite such glorious effect as Givenchy’s Riccardo Tisci. Thus, it made perfect sense that Tisci came on board to guest-edit Visionaire’s 60th issue, RELIGION. Housed inside a distressed wood case lined in black Plexiglas, a book of images revealed Tisci’s world and the inspiration behind his work. Naturally, the works were loaded with symbolism, like a photo of Tisci suckling at the teat of Marina Abramovic — an image the performance artist says echoed the relationship between art and fashion. “When Riccardo was asked who I wanted to collaborate with,” Abramovic recalls, “I said the only thing I want is to collaborate with you. That was my ultimatum. I said to him, This is the situation: do you admit that fashion is inspired by art? Well I am the art, you are the fashion, now suck my tits! He’s very shy, so it took him a while to come around. But he did. During the shoot, I wanted to be in a state of mind as if I were delivering the emotions of the artist whose work is being used as inspiration—luminous yet strong. Art is giving. Art is nourishing. Art is oxygen to society. I was thinking what the title would be, and I thought of The Contract.” For Tisci, it was an opportunity to meditate on his past and present. “Visionaire was a truly important moment of reflection for me,” he says. “This collection of work celebrates inner truths, inner dialogues, and moments which words cannot quantify.”
Riccardo Tisci explores “religion as liberating force, complete with its share of saints, sinners, and supermodels.” However vaguely Tisci sees his own faith, his Visionaire is Catholic with a capital C, featuring eye-popping imagery that turns a millennium of European art on its head. Housed in an unfolding wooden case that nods to the great tradition of the altarpiece, the issue doesn’t scrimp on saints, including Carine Roitfeld, appropriately venerated in a series of haunting portraits by Karl Lagerfeld. (“Religion is anything you believe in,” the Chanel designer offers.)
The rest of the issue is an exuberant visual tribute to religious tropes. The Madonna and Child are revisited by Mario Sorrenti, and while she’s not exactly Rubenesque, there’s a certain minimalist serenity about her that beguiles. Paolo Canevari and Francesco Carrozzini canonize Franca Sozzani, complete with a Giotto-like halo, while Tisci’s house model, Lea T, is reimagined by Giovanna Battaglia and Pierpaolo Ferrari as a beautiful veiled martyr in Renaissance-style couture. The Son then comes into his own as Danko and Ana Steiner and Jared Buckheister rework the crucifixion, mounting Jesus on—or is it at—a lectern. Some of the pictures are slightly less tranquil. The shoot by Mert Alas & Marcus Piggott of Lara Stone bound in ropes beside a burning cross conjures both Saint Joan and Mississippi Burning. But perhaps the most indelible image is that of Tisci suckling at the breast of Marina Abramovic, a woman who knows a thing or two about suffering for belief.
Roxanne Lowit is one of the pioneers of behind-the-scenes fashion photography as we know it today. “For the first 10 to 15 years I was the only one shooting backstage at all the shows. I had no credentials to begin with but quickly realised that that was my métier, that’s what I found most fascinating.”
The revelation came when she was gifted an Instamatic camera while still attending the Fashion Institute of Technology (FIT) in New York studying Textile Design. At the time Lowit was a keen painter, but with this new tool discovered a more efficient way of capturing the spirit of her subjects. “I wanted to paint the people I admired but nobody had the time, so I thought I’d take a photograph of them and work from the photograph,” she says. “However, once I took the photograph I realised that I didn’t need to capture the whole soul in a painting. So I traded in my paintbrushes for a camera.”
Her background in textile design became her backstage pass when she was invited by the designers who worked from her patterns to photograph the completed garments before their shows. Eventually word got out that Lowit’s images were something worth publishing, and in 1978 she was contacted by Annie Flanders from the SoHo News. “She heard that I was going to Paris so she said ‘if you get a real camera I’ll use your pictures when you get back’. I learnt how to put film in a real camera on the plane on the way over. Next thing I was on the top of the Eiffel Tower shooting with Yves Saint Laurent and Andy Warhol. It was all downhill from there because how could it get any better?”
But things did get better, much better. After that first trip to Paris doors flung open for Lowit and her career as a backstage fashion photographer gained swift momentum. As industry insiders came to know and love her, the invitations to the parties flooded in, which was where much of the magic happened in front of Lowit’s lens. The 80s were heady times for fashion and she was always there, stationed in the fray, ready to catch the fanfare, frivolities and outright excess as it happened. “It was phenomenal,” she recalls. “We had the Supermodels and all those designers who loved the Supermodels. There were great parties – Elton John was always there and all sorts of celebrities started coming to the shows and parties.”
These days Lowit finds the more homogenised collections produced by contemporary designers as a result of an increasingly commercialised fashion industry much less inspiring, but revels in rising to the challenge all the same. “I usually play a game with myself, how good can I make this look?” she laughs. “But really it’s just about taking a great picture and finding a great moment. It’s always exciting to think, where am I going to go and what am I going to shoot next?”For the fashion designers themselves, as Lowit recalls, it was a time of tremendous creative freedom, where their unique artistic vision was nurtured by the industry and experimentation was encouraged. The shows, it seems, were less about selling clothes and more about the artistry, theatre and spectacle of it all. “It was so much more creative back then. You didn’t need a name at the end of the runway to know who it was you were watching,” she tells me. “When you saw long red nails with vampish clothes and great big hair you knew it was Thierry Mugler. When you saw flower dresses and a girl on a horse you knew you were at Kenzo. Stripes and knits, you were at Sonia Rykiel.”
Lowit gets a kick out of shooting just about anyone who gets a kick out of being shot. “All the pictures I’ve taken are important to me. They’re all like my children. It’s always the next image I look forward to. But looking back I think my favourites are the ones where the people just enjoyed having their picture taken – they were just having a good time. That’s really when I can capture something great.”
The tagline is “Be unexpected.” The fragrance created by perfumer Jacques Polge debuted on fall 2010 preceded by a media campaign which include the short advertisement “Bleu de Chanel” by Martin Scorsese featuring French actor Gaspard Ulliel. Prior to Scorsese, Baz Luhrmann had worked on Chanel No. 5.
The Rolling Stones‘ She Said Yeah, from band’s 1965 album December’s Children (And Everybody’s), propels the script of the short film, in which rising international star Gaspard Ulliel plays the role of a young actor whose artistic talent, rebelliousness and good fortune have thrown him into the public eye. However, he refuses to conform to the lifestyle and expectations his newly found fame has placed upon him. As he struggles with new pressures and expectations, he runs into his first love, who for years, supplied him with the passion and turmoil that fueled his work. Faced with a decision, he pushes aside convention to embody the bold energy and elegance of Bleu De Chanel by daring to be unpredictable and refusing to bow down to convention. Scorsese had directed the 2008 Rolling Stones concert film Shine A Light.
The song She Said Yeah was recorded by the group in September of 1965 at RCA Studios in Hollywood, the very same place where the band’s anthem (I Can’t Get No) Satisfaction had been recorded a few months earlier. She Said Yeah was written by the late Sonny Bono and West Coast rockabilly performer Roddy Jackson, and had been a single for Larry Williams in the late 1950s. Williams became known with such early rock ‘n’ roll hits as Bony Maronie, Dizzy Miss Lizzy and Slow Down, the last two of which were covered by The Beatles.
Still from short advertisement “Bleu de Chanel” (Martin Scorsese, 2010). The exploding screen wall seems to be inspired by Ishioka’s set design for Mishima. “We knew the old Hollywood system was gone, so we thought we could get in the cracks somehow. Francis was already at it — he was the big brother…”, Scorsese said about starting out with his friends George Lucas, Steven Spielberg and Francis Ford Coppola. Rolling Stone Magazine 40th Anniversary (2007)
Gaspar Ulliel taking pictures to the woman he was chasing. This scene reminds the famous photo-shoot played by David Hemmings and sixties model Veruschka in Blown-Up. In a piece called, The Man Who Set Film Free, Scorsese wrote about the sensation of seeing the Italian director’s L’Avventura for the first time, almost 50 years ago.
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