47 posts tagged "Steven Meisel"
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.
“It changed the way that I started dressing,” reveals Karlie Kloss. The supermodel du jour is referring to a Steven Meisel photograph from the nineties, featuring supes of yore in decade-appropriate matching Chanel tweed miniskirts, jackets, and hats. For Kloss, it was the look that “got away.”
Debuting exclusively above, The One That Got Away is a video series produced by online luxury retailer Moda Operandi, in partnership with St. Regis Hotels & Resorts, detailing fashion heartbreak—that one runway or editorial outfit that you just had to have but could never locate—and how the site can mend your sartorial melancholy.
In addition to the beauty from St. Louis, Moda Operandi has tapped an impressive roster of industry tastemakers to lend their own testimonials, including Anna Dello Russo, Caroline Issa, and Poppy Delevingne (you can also shop the ladies’ latest fashion obsessions). Although, for these women, we’d imagine that the coveted and the wait-listed are never too far out of reach.
Few people captured the zeitgeist of the 1980s fashion and club scene as expressively as fashion illustrator Tony Viramontes. His work explodes off the pages of an extensive new monograph, Bold, Beautiful and Damned – the World of 1980s Fashion Illustrator Tony Viramontes, which, authored by Dean Rhys Morgan, will be released by Laurence King Publishing on October 7. Viramontes—who was educated in fashion illustration under Steven Meisel at Parsons, was mentored by Antonio Lopez, and made his debut in The New York Times in 1979—had a firm grasp on the eighties fascination with the androgynous, transgressive, and performative. He drew male and female models with wide shoulders, large mouths, marked eyebrows, and empowered stances in a constant state of vivid expression. The artist worked for and with everyone from The Face, Vogue, Yves Saint Laurent (above, top right), Valentino (above, top left), Chanel, Claude Montana, and Jean Paul Gaultier, who wrote the forward to Rhys Morgan’s tome. Viramontes’ models included the likes of Naomi Campbell (above, bottom left), Isabella Rossellini, Rene Russo, and Janice Dickinson (below), and he even did the album covers for Arcadia’s So Red the Rose and Janet Jackson’s breakout Control (above, bottom right). Sadly, though, Viramontes’ work was largely forgotten after his passing in 1988. Continue Reading “Vibrant Viramontes” »
You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.
Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.
How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.
Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »
As the self-proclaimed “first weird-looking model,” Kristen McMenamy has broken just about every rule there is during her thirty years (and counting) in fashion, which exactly is why we chose to profile her in the new issue of Style.com/Print. Throughout her career, the irreverent icon became renowned for her androgynous appeal, eccentric personality, madwoman-on-a-mission runway walk, and willingness to sacrifice life and limb in pursuit of the elusive perfect picture.
McMenamy was a fixture in the glossies during her nineties heyday (back then, her cropped hair, shaved eyebrows, unconventional features, and sinewy frame made her an ideal poster girl for the grunge movement); she has shot with the likes of Steven Meisel, Richard Avedon, Helmut Newton, Juergen Teller, and Nick Knight, who took the pared-down portraits of her that run in Style.com/Print. Along the way, she has cultivated a support system of designers. “If fashion is her family, then Donatella Versace is her big sister,” writes Jo-Ann Furniss in her profile. That makes Karl Lagerfeld McMenamy’s proverbial father. Lagerfeld did, after all, walk her down the aisle at her ’99 wedding to photographer Miles Aldridge, in addition to casting her in a multitude of campaigns and runway shows.
See them all in our slideshow roundup of McMenamy’s career highlights >