Whether anyone under 30 who Instagrams, Snapchats, and tweets his way through life even looks at a real book these days is debatable. But that didn’t stop London-based art director Francisco Salvado, the man who helped conceive Dazed Digital, come up with Soon Is Now The Instapaper – #Edit2—a celebration of Instagram’s best snaps, in print.
This is Salvado’s second Instagram-centric tome. The goal for each was to slow down the rapid-fire pace of social media and capture some of the most interesting shots that otherwise would have vanished into cyberspace. “This is an attempt to make sense of the visual and sensory onslaught by curating a selection of the most enduring images from some of the most exciting creative talent around,” said Salvado, who tapped fifteen such talents, including Humberto Leon, Matthew Stone, Alex Prager, and Liz Goldwyn, to contribute.
The book is also an exploration of what Salvado (who also consults on Raf Simons, Acne, and Alexander McQueen) believes is a new category of photography: iPhone images. “It’s a way of celebrating and documenting this new wave of creativity happening within the digital space,” he said of the book. The good news is that, unlike most other Internet-focused endeavors, here it’s quality, not quantity, that counts. Added Salvado: “We were not concerned with the number of followers when selecting the artists. Rather, we focused on the quality of the images. What’s important for me is that they have a point of view and something to say.”
Soon Is Now The Instapaper – #Edit2 will be available this week on theinstapaper.com and at select London bookstores.
“These are pictures that I’ve had sitting around in my archives for thirty years—I’ve never really felt like they were relevant until now,” explained New York-based photographer Richard Corman. He’s talking about the series of shoots he did with Madonna back in 1983, when he was “just a guy who was running around with Keith Haring and Basquiat” and the original Material Girl was “kind of a deity downtown, on her own block.”
Tonight at Milk Studios, Corman will unveil Madonna NYC83—an exhibition consisting of images he took of a young Madonna in her Alphabet City flat (“The neighborhood was absolutely a ghetto back then”), glamming it up for the camera as a modern-day Cinderella in “this incredible vintage dress she probably bought for four dollars,” or posing on her roof in ripped-up denim and a boom box in hand.
“Ironically, I met her through my mother, of all places,” recalled Corman. “She had been casting The Last Temptation of Christ with Martin Scorsese, and she called me and said, ‘Look. This woman walked in and she is an absolute original.’ I called Madonna twenty minutes later.”
What transpired were five or six shoots, all in a brief period of time, that capture the moment just before Madonna hit it big. “I think she was beginning to develop an image,” said Corman. “But she had that thing that iconic people in front of the camera have: It isn’t necessarily about beauty; it’s just a charisma.”
So why does he feel these images are so resonant now? “Because everybody that I see walking down the street reminds me of the ’80s—whether I’m walking into Opening Ceremony or VFiles or Urban Outfitters,” exclaimed Corman. “These are the sweaters, this is the denim. I mean, the way she did her hair with the dark hair and the blond streaks—people are going in to have this done. Those cat-eyes and that red mouth. And her absolute beauty and jewelry. Everything about her style,” he explained. “But it’s her attitude that feels now. She was always fearless and provocative. There were no boundaries with her, and she had this wonderfully ruthless ambition to make it in the boldest way. And the other thing that makes [the photos] relevant is that she’s more than relevant today. She’s as hot now as she’s ever been.”
Madonna NYC83 will run through December 15 at Milk Gallery.
Mario Testino has photographed everyone from Joan Smalls and Gisele Bündchen to Jay Z and Jennifer Lawrence—plus, he’s lensed countless covers and editorials, for everyone (and we mean everyone) from V Magazine to Vanity Fair. The legendary Peruvian photographer was not, however, on Instagram—until now, that is. We well know that if there’s any place to leak behind-the-scenes footage, it’s on the Internet. And with his esteemed roster of collaborators, who knows what filtered finds Testino’s account might bring. Needless to say, he deserves a “Follow.”
In perhaps the most suited cross-cultural collaboration since, well, ever, king of quirk Wes Anderson has once again teamed up with fashion’s queen of conceptual ugly chic, Miuccia Prada, on a short film dubbed Castello Cavalcanti. Slated to debut tomorrow at the Rome Film Festival, the eight-minute flick is set in 1955 and stars Jason Schwartzman as a race car driver who crashes into a statue of Jesus before being transported into one of Anderson’s dreamlike realities. Naturally, the actor’s cherry-red helmet is garnished with Prada’s signature triangle logo. Catch the trailer, above.
“The world of fashion has changed,” milliner Philip Treacy told The Telegraph this weekend. His statement was in response to a slew of cruel remarks that online commenters made about a hat he recently crafted for Dita Von Teese. “The power is with the consumer, which is not a bad thing, but hats are different. Hats are really for ultimate occasions, so when I make one, I try to do something different, something noticeable. Hats make people feel good, and that’s the point of them,” he continued.
The interview was conducted as a preview, of sorts, to the Isabella Blow exhibition that will open later this month at the Somerset House, in London. And online disapproval was not the only thing that rubbed the milliner—a protégé and great friend of the late fashion eccentric—the wrong way. “She thought she no longer mattered,” said Treacy of Blow, who before her suicide worried that fashion was for the young and that her unique and exceptional point of view was no longer relevant. “It’s all very well, them feting her now and going on about how wonderful and brilliant she was,” he told the newspaper. “There will be people at that exhibition who laughed at her when she was alive. They’re hypocrites, and they make my blood boil!”