3 posts tagged "Andrew Richardson"
Sex and streetwear aren’t the most obvious bedfellows, but editor, stylist, and all-around provocateur Andrew Richardson has united them in his new store, Richardson. “I don’t know if there is a logical connection between sex and streetwear, but I always thought that streetwear was sexy and cool,” he mused between puffs on a cigarette. “There’s always an attitude, and I think that’s sexy—sexy confidence.” That may be so, but his shop, which opens this Friday at 325 Broome Street in New York, sells swag that’s arguably more perverse than confidence-boosting hoodies.
Best known for his cerebral, self-titled sex magazine, also called Richardson, Andrew is well versed in the streetwear subculture—he’s even done a bevy of projects with cult label (or, as some would argue, lifestyle) Supreme. In his store, Andrew presents his liberated take on sex and bondage via clever T-shirts, bomber jackets, swim trunks, caps, and towels—many of which were created in collaboration with such artists as Christopher Wool, Bjarne Melgaard, and Aaron Bondaroff. Some highlights include a melting snowman shirt by Nate Lowman; a tee printed with a car that reads “Blow Jobs”; totes scribed with the store’s ethos, “Work hard, play nice, communicate”; and a sweatsuit by artist Mark Gonzales. Embellished with images of lady parts and a cowboy flaunting his impressive member, the latter is guaranteed to inspire stares.
The shop goes beyond threads, though. For instance, good pal Olympia Le-Tan designed a signature patch for Richardson’s club car jacket—more intriguing, though, is her capsule of erotic minaudières (think bags embroidered with busty femmes and titles like Fanny Hill, Cutter Girl, Carnal Cargo, or Sweet and 20.) Above the clutches’ case hang drawings by Japanese artist Hauro Namaikawa that depict couples in compromising, albeit comical, positions. And, across the room, shelves are lined with an A-to-Z collection of erotic tomes, which was curated by Idea Books, London. Richardson is, of course, on sale, too. “There are going to be guys who are my age who are going to come in and spend $1,800 on an original drawing, and I think we’ll have 25-year-old skaters who want to wear fucked-up T-shirts to scare their parents,” said Andrew of his clientele. “There’ll be a range.”
When the editor—whose résumé, it should be noted, includes working on Madonna’s Sex book, as well as shoots with heavyweights like Terry Richardson, Steven Meisel, and Ellen von Unwerth—was asked about the thinking behind his sex-themed products, he told us, “I was always into that idea of idolizing women through sexual provocation…and I’m trying to find that fine line between palatability and provocation. If you’re too provocative, you end the debate.” Ultimately, his patrons will be the ones to decide whether he’s found that balance; however, no matter how explicit or ridiculous Richardson’s offerings may be, everything is done with a wink, a smile, and a streetwise attitude. And somehow, that makes it seem all the sexier.
Early in his career, back in 1992, Andrew Richardson found himself working as one of Paul Cavaco’s assistants on Madonna’s Sex book. He immersed himself in the subject matter. “I spent a lot of time in that community,” says Richardson. “That influenced my point of view enormously.” Six years later—by now an established stylist—he launched Richardson, a magazine that is, depending on your take on these things, either extraordinarily high-end porn, or a very intelligent, very beautiful, and very graphic magazine about sex. The latest edition focuses on masculinity and the male gaze and features a cover shot by Steven Klein (below) and contributions from, among others, Geek Love author Katherine Dunn and Restrepo co-director Tim Hetherington (the war photographer who was recently killed in Libya). An exhibition of work from the new issue will open next month at the Maccarone gallery, and preorders for copies launch today at www.richardsonmag.com. Here, Richardson talks to Style.com about sex versus stimulation, the pornification of the fashion editorial, and the essential difference between men and women.
What made you decide to launch Richardson?
Well, after I’d gone out on my own as a stylist, I was working a lot with Terry Richardson and Mario Sorrenti, and we were doing stuff that was really anti-grunge, anti that whole asexual thing about grunge, and most magazines wouldn’t publish it. But there was this one guy in Tokyo—Charlie Brown [a.k.a. Fumihiro Hayashi]—who had a magazine called Dune, and he’d run those stories. At some point, I showed him a scrapbook of ideas I had, and he said, you know, it would be interesting to see what kind of porn magazine you’d do. So we did one.
Do you see Richardson as a porn magazine?
No. We like to call it a sex magazine. We recontextualize sex; we’re analytical about it. Richardson isn’t about coming. Which is the point of porn.
So what is the point?
Stimulation. Not orgasm stimulation, but stimulating debate. It’s like an asexual sex magazine.
I’m not sure how many copies you’re going to sell on the back of that marketing campaign. “An asexual sex magazine.” Sign me up!
We have quite a cult following, actually. People were really excited to have the magazine back. Continue Reading “Meet Andrew Richardson, The Man Behind America’s First “Asexual Sex Magazine”” »
School’s in—with Nick Knight, Ryan McGinley, Tim Walker, and Fabien Baron, no less. Beginning in the fall of 2011, the School of Visual Arts in New York is launching a new graduate program in fashion photography, the first of its kind on the scale being proposed. SVA’s Stephen Frailey and Art + Commerce founder Jimmy Moffat (pictured, left to right) will co-chair the program, which will draw its faculty and guest lecturers directly from fashion’s most marquee mastheads. (In addition to those mentioned above, Cathy Horyn, Pascal Dangin, Emma Reeves, and Glenn O’Brien will take part.) On the eve of the program’s announcement, Style.com checked in with Frailey to discuss what’s new, what’s next, and who he’s looking for.
Let’s talk back story. Why this program, why now?
It really seems like it’s a good time for it. As an academic, as someone who is in the classroom at an undergraduate level, I think often fashion photography has been marginalized by the students. Despite the fact that it takes an enormous amount of work and is collaborative, I really feel like it’s been on the sidelines of the photographic education, especially at an advanced level. I come from the art world, and I came to fashion photography fairly late. About ten years ago, I started noticing the amazing work that was in W. I began to realize that art photography had borrowed so much from fashion without necessarily acknowledging it—an interest in narrative, in the staged and fabricated image. At any rate, I felt like it was time for fashion to be considered among the more elevated photographic pursuits in higher education at the graduate level.
What will the curriculum be?
It’s a one-year program; the classes will occur in the evening and on Saturday. There will be two classes that will last the full year, 30 weeks. One will be a critique class, [whichS will have a rotating faculty; it’ll be collaboratively team-taught by Jimmy Moffat, Dennis Freedman [formerly of W], and Andrew Richardson. Then we’ll have a class called the Symposium class, taught by Emma Reeves [of V]. It’ll be an opportunity for everyone to gather together and to go to whatever is happening in New York at the time, whether it will be a guest lecture by Karl Lagerfeld or an exhibition at the Metropolitan Museum or at galleries. Carol Squiers, who is a curator at the ICP, will be teaching a class on the history of fashion. I’ve been asked to have that class, by the way, streamed onto the SHOWstudio Web site. There’ll be a digital photography class for fashion photographers, which will be taught by Pascal Dangin [of Box Studios, and one of the most influential retouchers in fashion]. Not only will it be about technique, but also about some of the ethical issues of retouching, and the way that it creates a kind of utopian figure. And video, which is a very important part of the future of fashion photography. Continue Reading “SVA Launches A Master’s Program In Fashion Photography” »