April 16 2014

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32 posts tagged "Juergen Teller"

Milan Menswear: Missoni’s Family Affair


The fall menswear calendar in Milan kicked off with a presentation from Missoni which elevated the label’s iconic knitwear into a whole new zone. There’s been an overkill of lip service paid to the idea of designer DNA, but Angela Missoni gave it some real weight with clothes that turned her family’s signature artisanal knits into substantial coats, cardigans and sweaters, all of them swathed in extravagant, irresistible mufflers. One jacket alone was made up of 13 colors and nine different fibers (including some wolf mixed in with the wool—cue comment on sheep’s clothing). The celebration of family roots carried over into images from Juergen Teller’s new ad campaign which lined the walls. In a significant departure from the hyper-sophisticated campaigns of the past, Teller snapped three generations of Missonis over the course of a long dinner at Tai and Rosita’s. (That’s his shot of Ottavio Jr. and Marco Missoni, above.) The photographic evidence suggested the evening was a huge success. Even the generally laconic Teller had such a good time he delivered 42 pictures, although Angela had only asked him for eight.

Photo: Juergen Teller

Blasblog: (East) London Calling


It was a long trip to East London last night, both literally and metaphorically, for two fêtes: one hosted by a Spice Girl for a mobile phone, and the other hosted by Charles Finch and Elisabeth von Thurn und Taxis in honor of the Frieze Art Fair. Metaphorically, it was an aesthetic transition from my last moments in Paris at Eugenie Niarchos and Gaia Repossi’s swanky shindig at the Ritz Hotel to a cramped seat on the number 55 bus. As for the literal, well, Shoreditch is on the other side of the world from Notting Hill, where I’m staying. But after a few buses and a stroll through the dodgy bits of East London, I arrived at Shoreditch House and—voilà!—back to swanky city environs. The roof of the venue, part of the Soho House family, has been transformed into a music festival, complete with grass, tents, and a stage for the likes of VV Brown, Alphabeat, and Mr. Brown. But my personal highlight—and anyone that knows me will attest to my affinity for the underappreciated cinematic marvel that is Spice World—was meeting Mel B, who dropped a Scary bomb on me, alluding to upcoming Spice Girls projects.

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In Conversation With The Journal‘s Michael Nevin


When Michael Nevin launched The Journal ten years ago, the magazine was a skinny black-and-white zine dedicated to all things skate and snowboard. A decade later, the issue of The Journal that comes out tomorrow comprises, among other features, new work by Jonathan Meese in memorial to Dash Snow, semi-destroyed photographs of Kate Moss and Mario Sorrenti taken from photographer Glen Luchford’s archives, a lengthy interview with Walter Pfeiffer, and a supplement dedicated to William Eggleston. The Journal is glossy now, and hard-bound, and printed in color; there’s a gallery in Williamsburg attached to it, too. Contributions from the likes of Juergen Teller, Helmut Lang, Mark Gonzales, and Miranda July fill The Journal archives. Not bad for a magazine first stapled together at a highway-side Kinko’s in New England by a kid who was all of 19. Now, more transformations are afoot. The tenth anniversary issue of The Journal is physically larger than the previous one, it’s been given an engaging redesign by Peter Miles, and it includes the magazine’s first-ever fashion spread, starring Jamie Bochert. And yet, for all that, The Journal has changed less than it might appear. “The magazine has always been—and I hope will always be—an honest reflection of my interests,” explains Nevin. “It’s just that those interests have shifted over time.” Here, Nevin talks to about dialing up the Internet, cold-calling art stars, and texting Rodarte.

This is going to sound like a snotty question, but—why launch a magazine? This is the digital age, or hadn’t you heard?
When I first started The Journal, “online” wasn’t really a thing yet. I mean, I can remember signing up for my first e-mail account after I published the first issue of The Journal. I just wasn’t looking for the things that interested me on the Web. At the time, I was looking at magazines. Really looking—I mean, I grew up in Vermont, and there weren’t too many progressive publications around, so I’d have to work to cobble together bits and pieces of what interested me from the mainstream stuff I had access to. I’d spend hours in the bookstore, poring over magazines. And there was nothing out there covering this whole creative universe that derives from skateboarding and snowboarding. I wanted to read about that, and having just come off a year entering pro contests as a snowboarder, I felt like starting a magazine was a way to continue being a part of something I’d loved.

In other words, magazine-ness—print—runs deep in you.
Yeah, it does. But for reasons that are more than sentimental. I think they’re more than sentimental, anyway. I love the printed image, I love being able to open up the magazine and flip through the pages, I love being able to give a copy to somebody, I love seeing it in stores. I love what it represents. It’s essentially my curation in those pages, and to send the magazine overseas, and know that what I’ve worked on is being looked at, in the same material way, is really fantastic.

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Bringing Humanity To The Fashion World


Last night, the contemporary art scene in Chelsea was just as buzzing as the stores. And—no surprise—in some pockets there was heavy overlap between the worlds of art and fashion. At Lehmann Maupin Gallery, Juergen Teller opened an exhibition called Paradis, blurring the distinction, as Teller does so deliciously, between commercial and art photography. The subject of his show? A series of portraits of the Marc Jacobs ad man’s past muses Charlotte Rampling and Raquel Zimmermann, shot nude as they lounge and pose in the Louvre. Said the elegant gallerist Rachel Lehmann of the show, “Juergen brings humanity in a very, very strong way into the fashion world and this is, I think, why Marc Jacobs likes working with him so much.”

Credit: Photo: Juergen Teller, Paradis, 2009. Courtesy of the Artist and Lehmann Maupin Gallery, New York

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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