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A desire to refresh my make up, the absence of touch-up essentials, and an unconscious utterance of “I left my face at home.” It was an ordinary day, in front of an average mirror, but the particular kind of mundane experience that inspires me to start a new project.
Women go to great lengths to present their best face to the world. We hide our imperfections behind a mask of make-up. Without it are we faceless?
Andres Serrano is a legend: immensely talented and infinitely provocative. His oversize prints are designed to emulate the grandeur of museum-scale sculptures and paintings. He shoots a vast array of subject matter, masterfully examining the balance between vulgar and beautiful. Andres cares solely about the image, never allowing himself to get lost amongst the particulars of printing and post-production. When Andres asks you to sit for him, you do not say no. Even if by fulfilling this request it means that you must pose nude.
My trepidation was high as the day of the shoot approached. Could I feel comfortable and confident bearing it all? As a young woman I was quite the exhibitionist. Over the years, I found this part of my personality fading. Not by any purposeful intent, rather, I suppose, as a byproduct of aging. This past Saturday, I forced my past and present into one.
The shoot was scheduled to take place at Andres home – a fittingly church like atmosphere given the religious undertones of his work. An unexpectedly gracious and handsome man greeted me at the door and took me in to meet the artist. Andres’ soft-spoken ways and kind nature instantly put me at ease. My hesitations melted, and for the hour-long shoot, time and place suspended as I strutted my stuff in front of the camera. I left feeling transformed. Invigorated. Reborn.
Keep an eye out for the upcoming series by Andres.
I recently had the pleasure of attending the shows of Alex Prager and Erwin Olaf.
Alex Prager’s work is set in her hometown of Los Angeles. The artist has described the city as “a strange picture of perfection… with a sense of unease under the surface of all this beauty and promise.” Her photographs mirror this tension magnificently. Her uniquely cinematic style, hyper-saturated color, use of negative space, and one-person narrative reveal her astute view of modern women.
Erwin Olaf’s dedication to his craft, his passion, and his genuine engagement with his subjects are clearly visible in the imaginative refinement of the final photographs. Never one to shy away from controversial topics, his approach is one that that mixes the studied nature of still life and provocative boundry-pushing elements of studio photography.
I left these shows inspired, but importantly pondering the blurring lines between photographic silos. Where does fashion end and fine art begin?
I love portraits and I love interviewing, so I recently decided to start on a series of video portraits. This first video is a conversation with Carlos Souza, who, now again at the helm Valentino PR, also recently debuted his own jewelry line, Most Wanted Design. We talked about how the fashion business has changed over the years. You can also view the photographs in this video on my Facebook Fan page.
Models for Norma Kamali outside the Apple Store in SoHo--photo by Justin Lane/European Pressphoto
Michael presented in the tents at Bryant Park, with his usual vivre and glamour. Anna Wintour and Michael Douglas appeared in the first row, and each guest received a bottle of Kor’s new perfume. His new garments feature fun and sexy cutouts in atypical patterns, while Lucite accessories lend an edgy quality to classic pieces.
I was delighted to see a plethora of female photographers at the show. Such diversity was unusual in the 1980s, when I appeared with Michael in Harper’s Bazaar as his modern muse—probably because I was one of a few women behind the lens. Kors will undoubtedly steal the spotlight in forthcoming industry press.
Norma Kamali, on the other hand, presented her new line for eBay outside the Apple Store in SoHo. Norma hasn’t participated in the traditional framework of fashion for some time. She’s stepped outside the brick and mortar model, using technology to reinvent herself and reinvigorate her business.
Norma’s collection is available exclusively online, promoted via an iPhone application and a game on roiworld.com. (You know you want to dress your avatar in her garb!) Her website offers free consultations with personal shoppers via Skype, and a Try Before You Buy option—eliminating a significant barrier to online sales. She manufactures solely in the USA, resulting in more rapid turnaround and superior quality control.
Of course, Norma always was unconventional. When I photographed Renee Toft Simonsen in a Kamali design for the December 1982 issue of Vogue, I received a thank you note written on plain white paper with blue magic marker–a refreshing, unpretentious gesture in an otherwise pretentious time! A designer had never thanked me, nor has one since.
Kors and Kamali furnish a compelling contrast. Both offer clothing for the everyday woman, but reach her through different channels. I laud Kamali’s attempts to move fashion forward through technology, providing increased transparency and accessibility. Should other designers follow suit, we may experience a consumer revolution within the fashion world.
Michael Kors Spring 2010 Collection--Photo by Jemal Countess/Getty Images North America
Blanch in Action
If you’re a mere mortal like me, you’ve never set foot inside a fashion photo shoot. You may have drooled over the flashy ads and glamorous spreads in Vogue, but never gave much thought to how they were created. That’s how it was for me, until I had the pleasure of observing Andrea Blanch in action.
Enter the luxury apartment where Blanch has her next photo shoot, on the famed Upper East Side of Manhattan, and you enter another world. No screaming pedestrians or honking taxicabs here. Instead, the chirping of birds is the only sound heard through the floor-to-ceiling French doors. Treetops, a rare sight in Manhattan, are visible through the enormous bay window. It’s an oasis in the urban desert, and an ideal place to bring the magic of fashion to life.
There’s excitement in the air from the moment I arrive. Stylists are buzzing, prepping hair and makeup. I’ve never seen so many beauty products in one place! Nor did I realize how long the preparation would take. Tresses are styled and restyled. Wardrobe, courtesy of Michael Kors, is adjusted and readjusted. Makeup is…. Well, you get the idea.
Hours pass. Finally the models are ready for Blanch. As Megan strikes a pose, light streams through the window and highlights her golden hair. She is delicate and ideally proportioned. If fairytale princesses exist, they must look like Megan.
Megan lounges luxuriously on the sleek, contemporary furnishings. Her brilliant yellow accessories stand in sharp contrast to her jet black swimsuit. Blanch furiously clicks away, while others scramble to hold lighting and a reflector in the right places.
Later, Lauren lies topless on crisp white sheets, caressing a feather pillow. Her smoky eyes and pouty lips give new meaning to the phrase “making love to the camera”. Blanch grooves to Coldplay as a fan blows Lauren’s hair into flawless wisps.
Blanch instinctively knows what’s working and what isn’t, changing tactics midstream. Her process is fluid and fascinating to watch. Like Blanch herself, her method of encouraging the models is unique: “Be quirky but natural,” she instructs. And as Lauren cradles a beach bag, Blanch tells her to “pretend that it’s your boyfriend’shirt”. I can’t help but smile. Who knew fashion was this entertaining?!
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