13 posts tagged "Carlyne Cerf de Dudzeele"
Stylist Carlyne Cerf de Dudzeele knows a thing or two about fashion imagery. You know all those photographs from the late eighties and nineties of supermodels like Linda Evangelista, Christy Turlington, Naomi Campbell, and Claudia Schiffer decked out in Versace, Chanel, and piles upon piles of gilded baubles? Well, we have her to thank for those.
De Dudzeele’s reputation for creating vivacious, lasting images is undoubtedly one of the reasons Bottega Veneta tapped her to sit on the judging panel of its 2013 New Exposure Photography Competition (she’s joined by heavy hitters such as Craig McDean, Guido Palau, Andrew Bolton, and Bottega’s own Tomas Maier). Launched last year in an effort to discover and support emerging talents, the competition features five standout finalists this year. And tonight, at New York’s Openhouse Gallery, Collin Kelly, Emma Powell, Masha Sardari, Matin Zad, or Shae DeTar will be announced as the 2013 victor. The finalists’ photographs debut here. And below, in between shoots and shows, de Dudzeele weighs in on photography in the digital age, discusses the overuse of Photoshop, and offers aspiring image-makers some invaluable advice.
How has the process of image-making changed throughout the course of your career? And what’s remained the same?
Good ones are good ones! The talented people will still stay the same—they have it in their [guts]. What’s changed is that the focus on set has gone from looking at the subject…to looking at a monitor. Nowadays, people sometimes forget to have fun and to have their own point of view. Fashion photography still has, and needs a lot of, original ideas. The digital is just a tool.
What qualities do you feel make a successful image in this digital age?
Energy, capturing a moment, composition, authenticity, creativity!
What traits did you look for while judging the Bottega competition?
I was looking for a personal eye, a unique image, a sensitivity, and honesty… not a reproduction of something done before.
Is there anything you miss about a more classic approach to photography? And, conversely, is there anything you really love about images?
I miss the happy surprise! I miss the focus on the subject and the attention to details. It used to be that nothing could get “removed” or fixed afterwards. When you had it, you knew it. Digital is good to build a story, as you can work on layout and cropping, then. Technology can help a bad photographer get better, but ultimately, good photography does not need to be reworked.
Is Photoshop used too much today? When do you feel it’s appropriate?
Yes! Moving around the filter and switching heads, hands, arms, everything, this is not the essence of a unique photograph. This is not real talent. Photoshopping is appropriate to enhance a beauty that’s already there—to help the dream come true.
Have your aesthetic values changed since the digital embrace?
My aesthetic has not changed. I love the girls, the fashion, the joy, the energy, and the ideas. Creating fun, iconic images still is the goal.
What advice would you give to emerging image-makers, whether they’re stylists or photographers, today?
Be you! Don’t over-reference. And love it! Sometimes, what people think is bad…is good.
Is there anything you’d like to add?
It’s only fashion!
On Wednesday evening, at its recently christened Madison Avenue flagship, Pucci invited friends such as Carlyne Cerf de Dudzeele, Karla Otto, and Bibhu Mohapatra to fete the new edition of Taschen’s Emilio Pucci. The lushly illustrated tome—initially released as an oversize, limited-run epic covered in vintage fabric—has been given new life as a 416-page coffee-table book. Four different covers are available in Pucci’s signature acid-hued, kaleidoscopic prints, each of which was plucked from the archives. “We all believe that at a moment when the world is becoming bigger, it’s nice to make sure that people can understand where you come from,” offered Laudomia Pucci—Emilio’s daughter and the house’s vice president.
Style.com caught up with the book’s author (and Financial Times fashion editor), Vanessa Friedman. In between inscribing copies, she dished on what she believes makes Pucci so timeless. “It’s really about an attitude, as opposed to a particular style,” she said. “It’s not about a silhouette. It’s about a way of existing in your clothes, and a freedom that your clothes give you to move and feel good about yourself.”
Emilio Pucci is available now at Pucci boutiques, and at www.taschen.com.
Designers showed lots of love for the nineties in their Spring ’13 collections, and Eddie Borgo was no exception. His Spring baubles were all about the gilded glory of the decade (think vintage Chanel chains and Carlyne Cerf de Dudzeele shoots) and its epic glamazons. So it makes sense that the designer would enlist a modern-day super—Anja Rubik—to star in his Spring images. Styled by Keegan Singh and shot by Paul Maffi, the ads mark the first campaign Borgo will run in a publication (they’ll come out in the new issue of The Last Magazine this Wednesday). To further express his theme, Borgo asked Rubik to star in a sexy-meets-campy Spring film that, the designer explains, “represents the slick imagery of the time.” Set to Gary Glitter’s Rock and Roll, the short features Rubik dripping in Borgo’s no-nonsense wares, like geometric gold necklaces, hoop or link earrings, and piles of cuffs. Take a gander at the designer’s ode to the nineties in his Spring shoot (above) and film (below), both of which debut exclusively on Style.com.
‘Tis the season for post-holiday discounts. But while you’re shopping the sales in Midtown, or returning that sweater from Aunt Sally that didn’t quite tickle your fancy, we suggest taking a peek at Barneys’ new vintage boutique. Launched in November, the well-kept secret stocks hard-to-find items like vintage Birkin, Kelly, and Chanel bags and eighties and ninties gold jewelry from YSL (a giant Egyptian-style gold necklace was our pick), Chanel (like kitschy gold bag-shaped earrings, belts, and bracelets) and Givenchy (a pair of gold disk clip-ons was particularly appealing). Tucked away in a quiet corner on the Madison Avenue flagship’s main floor, Barneys’ treasure-trove of vintage wares is basically a nineties Carlyne Cerf de Dudzeele shoot come to life (left). And there’s a healthy price range, too, starting around $250 for earrings and skyrocketing above $20k for a gently (or in some cases, never) used Hermès bag.
Barneys’ Vintage Boutique is located in their New York flagship at 660 Madison Avenue, NYC. (212) 826-8900