April 19 2014

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7 posts tagged "Cindy Sherman"

Juergen Teller Had His Hands Full Everywhere


Fashion’s constant state of flux means that few things ever remain, well, constant. For this reason, Juergen Teller’s creative relationship with Marc Jacobs as the shooter of all campaigns bearing some form of Jacobs’ imprimatur is so remarkable. Teller’s raw, intimate, and often comedically irreverent style is the thread running through the various seasons, but the mind meld between designer and photographer has managed to stay interesting and provocative over the course of a decade. Two of Teller’s past MJ campaigns have evolved into books: Louis XV, from his infamous romp with Charlotte Rampling at the Hôtel Crillon for Spring 2004 and Juergen Teller, Cindy Sherman, Marc Jacobs from the Spring 2005 shoot with the artist. But this week, Steidl releases the simply named Juergen Teller: Marc Jacobs Advertising 1998-2009, a chronological compendium of every single ad. caught up with Teller on his publicity tour to talk about getting dressed with Cindy Sherman, the arc of Marc, and his adventures at the Louvre.

So this book contains literally every single campaign organized chronologically?
We had to cut it down a little bit, but yes. That was kind of important to me that you see the development through the years. It starts with the first, which is Kim Gordon, and ends with Raquel Zimmermann. And it’s basically done as it appears in magazines, like tear sheets. It’s a crisp white page and you see faintly the tearsheet is a bit off-white. You can see that it’s Artforum size and it’s square, or that it’s Teen Vogue and it’s tiny. It’s quite important to me to not take a single photograph out and put it together as some sort of book. I wanted to see it how the consumer sees it in the end.

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Vince Aletti on Weird‘s Science


Media fantasies about fashion usually revolve around pouting bodacious bombshells strutting down runways or preening for gushing photographers. But actual fashion aficionados know that such images are rarely at fashion’s true core, where genuine innovation often takes the form of “Weird Beauty.” That’s the title of the new International Center of Photography exhibition opening today with 20 original prints and hundreds of tear sheets from Steven Meisel, Cindy Sherman, Mario Sorrenti, Nick Knight, and Sølve Sundsbø. Weird Beauty aptly sums up the difficult delights gathered and presented by co-curators Carol Squiers and Vince Aletti. caught up with Aletti, the photography critic for The New Yorker and formerly a senior editor at The Village Voice for nearly 20 years, to discuss the powerful push/pull of jolie laide.

On its most basic level, fashion photography pushes products. How do the photographers in your exhibition express and enhance the desirability of the garments or items they represent?

Fashion photographers create a fantasy—sometimes a narrative, sometimes an elaborate stage set, sometimes just a mood—around a woman in clothes. Their work might be functional (their employers do want to promote clothes) but it’s never merely descriptive, and over the past two decades it’s become more and more atmospheric. Even in fashion advertising, the garment is often the last thing you notice, and certainly it wasn’t a prime consideration when we made our selection for Weird Beauty. Many of the photographers in the exhibition weave a powerful spell around their subject, and it was that spell, not the garment, that seduced us.

Some of the photographers in your show are primarily considered artists while others mostly fit into the fashion category. Besides the photographer’s own intention or self-definition, do you see differences between the artists and fashion photographers?

In a word, no. Whether it’s Collier Schorr or Mario Sorrenti, Cindy Sherman or Sølve Sundsbø , they’re all looking for ways to make something fairly routine engaging and surprising. Most of the artists working in fashion have been able to apply their distinctive style to the project, but the same can be said for the photographers whose prime focus is fashion. For all of them it’s about maintaining the integrity of their vision, and the fashion pros are just as concerned with this as artists who consider fashion a sideline.

You’ve taken images from both mainstream and indie or avant-garde publications. But do you think magazines with wider audiences like Vogue or Bazaar don’t get enough credit for being image innovators?

I don’t think anyone overlooks the historic importance of either magazine. They set the bar very high beginning in the 1930′s and for much of the last century. But there’s no question that these days, [they] are overshadowed by other younger and more adventurous fashion magazines, including some that give the same photographers (Steven Meisel, Steven Klein, and Peter Lindbergh, for instance) more freedom. For whatever reason, American Vogue and Bazaar are more conservative than their European counterparts, but Vogue maintains an impressively high standard. Any magazine that publishes Irving Penn on a regular basis cannot be ignored, and Annie Leibovitz has done some stunning fashion work for them.

Have you always been interested in fashion imagery?

My father was a serious amateur photographer who had a darkroom in the attic and my mother was a dressmaker who made doll clothes for my sisters. So I grew up with fashion magazines and copies of US Camera in the house, and I spent a lot of time with both. But it wasn’t really fashion that interested me; it was the atmosphere of glamour and vivaciousness that the photographers conjured up around the model and the clothes. I was interested in Penn, Avedon, Horst, Blumenfeld, Beaton, and Hoyningen-Huene, not in Chanel or Givenchy.

Do you care at all about the clothes?

Not really. Although I notice if they’re especially outrageous or ornamental, the clothes don’t much interest me—just the photograph. But the show’s co-curator, Carol Squiers, can’t ignore an outfit she thinks is ridiculous or hideous, and in several cases rejected a photo for that reason.

Photo: Paolo Roversi/Courtesy of ICP