8 posts tagged "Tim Walker"
It’s been five years since Katie Grand put a naked Beth Ditto on the first cover of Love magazine. “I had a lot to prove,” said the editor in chief of her early days at the publication. Now, after a slew of infamous stars (Kate Moss, Lea T, and Justin Bieber among them), Grand has selected a less likely face for her tenth issue—Minnie Mouse. “I wanted to do something that was sweet and charming, and Minnie was quite easy to understand,” she explained. Dubbed the Sweetie Issue, the Fall ’13 edition also features Mert & Marcus-lensed covers with Edie Campbell, Rosie Huntington-Whiteley, Chiharu Okunugi, and Cara Delevingne—each of whom don custom mouse ears by Gucci, Loewe, Marc by Marc Jacobs, Miu Miu, or Jake and Dinos Chapman for Louis Vuitton. Inside, Miuccia Prada makes her modeling debut, Tim Walker snaps a lion, Mert & Marcus pose for a smooch with everyone’s favorite rodent (below), and Marc Jacobs interviews Jessica Lange. Just before running into Jacobs’ Paris studio, Grand called Style.com to talk kitsch, her demanding persona, and Delevingne’s shoot, which the model did on no sleep and sans makeup.
You’ve had everyone from Beth Ditto to Kate Moss to Lea T on your cover. Which has been most significant for you?
From the minute I started talking to Condé Nast about working together, I knew that I wanted Beth on our first cover. I just didn’t really care about what anyone said. When Beth, who had never met Mert & Marcus, arrived at the Chateau Marmont, where we were photographing, she ran in completely naked and said, “I’m here!” And I was like, “Yeah, good for you. You are everything that I want you to be.” She was perfect for that project.
Cara Delevingne, who has become sort of a Love fixture, is on one of the Fall ’13 covers. What draws you to Cara, and what makes her such a sensation at the moment?
I think she is a really nice, very sweet girl. She will travel across the Atlantic to do anything for me. I love that for this shoot, she actually hadn’t been to bed. It was the day after her DKNY party, so I was a little nervous about having booked her. I just thought, Oh, my God, this poor thing, she’s got to have this massive party, and then she has to come to work for the cover. Usually you don’t see Cara for the first couple hours of a shoot because she has very cleverly hidden herself under a table to sleep somewhere. But this time, we managed to get her hair done, and then we immediately pulled her in front of the camera without makeup. She literally didn’t even have base on, she hasn’t been to bed, and, you know, that’s a thing that you can do when you’re 21. And it’s great. Continue Reading “Katie Grand Is Still in Love” »
After racking up an impressive lot of Spring ’13 campaigns (Versace and Givenchy among them) and countless covers last year, Kate Moss (who celebrated her thirty-ninth birthday last week) shows no signs of slowing. Today marks a double whammy for the model: The Internet’s abuzz about her Tim Walker-lensed cover and spread for Love magazine’s ninth issue (her ensembles include a stretched tank top, which she wears in a bathtub, a bouquet of strategically placed flowers, and not much else). On the other end of the spectrum, Rag & Bone has released its Spring ’13 images, which, shot by Alasdair McLellan, feature a fresh-faced (and fully clothed) Moss perched on a park bench. The model’s partnership with Rag & Bone began last season, when she was shot by Craig McDean in North London for the brand’s first-ever ad campaign. This time around, she posed in Southrop, Gloucestershire, which just happens to be the same Cotswolds town where she married Kills rocker Jamie Hince in 2011.”We…thought it would be an interesting contrast to follow up [our first campaign] in a remote English village, which Kate happens to have an affinity for,” said Marcus Wainwright, who designs the range along with David Neville, in a press release. “It was also a fun play on our British heritage,” he added. Moss’ latest campaign coup debuts above, exclusively on Style.com.
Since Spring ’11, photographer Tim Walker has fused his soft, surreal visions with Mulberry’s ultrafeminine designs to create ad campaigns that are, quite frankly, not of this world. For Spring ’13, the collaboration continues with a series of ads that depict an ethereal Meghan Collison (and, of course, the brand’s signature handbags) in a candy-colored underwater world. The campaign was, in fact, shot in a Georgian mansion outside of London, but leave it to Walker to transform his setting into an even more fanciful backdrop—one fit for a Georges Méliès film. “Meghan Collison was the perfect choice: strong, confident, able to hold your gaze but almost otherworldly,” says Walker. “She inhabits a dreamscape.” Above, Mulberry gives us a first look at their whimsical Spring campaign and, below, a preview of some behind-the-scenes images from the shoot, exclusive to Style.com. Continue Reading “Under The Sea With Mulberry” »
“It’s so different!” says photographer Tim Walker of his foray into filmmaking. “Film is a definite narrative and it’s all about storytelling through movement and dialogue, while photography is all about personal interpretation and the viewer establishing a narrative of his own.” But judging from The Lost Explorer, Walker’s first solo film project, he’s having no trouble making the transition.
A short trailer for Walker’s 20-minute film (above) is the centerpiece of Walker’s new Web site, TimWalkerPhotography.com. (The Web site also includes plenty of Walker’s photos; the former Avedon assistant is one of fashion’s most sought-after lensmen and has shot fashion editorials for English, American, and Italian editions of Vogue as well as ad campaigns for Mulberry, Miss Dior Cherie, Juicy Couture, and Moët & Chandon.) Inspired by Patrick McGrath’s book of the same title, the ethereal, eerie film follows the adventures of young Evelyn (played by Olympia Campbell) and her secret friendship and adventures with the ragged, dying Lost Explorer (Richard Bremmer). From the ominous opening scene in which Bremmer, suffering from malaria, loads a revolver inside a magical tent, to the sundrenched frames throughout with Evelyn innocently dancing among sheer bedsheets hanging from a clothesline, to the pair’s dark encounter with a ghost ship, the film evokes the same whimsical, surreal sentiments as Walker’s fantastical photo shoots. “McGrath’s book is an English suburban fairy tale full of beauty, intrigue, and imagination—all the things that inspire my photography,” Walker says. “I knew it would translate beautifully into film.”
Since its debut in Locarno, Switzerland, in 2010, the film has been screened at numerous international film festivals, as well as during London fashion week. At the moment, it continues to make its rounds on the festival circuit, and Walker plans to air it on the BBC in the near future, although no date has been confirmed. When asked what he hopes viewers take away from his film, Walker responds, “the importance of childhood dreaming.” As for his future in moving pictures, Walker asserts, “When the right project comes along, I’ll jump at the chance.”
Harry Potter. Avatar. Mulberry? One of these things isn’t quite like the others—though all three have benefited from the magic touch of Framestore, the visual effects company that worked with creative directors Ronnie Cooke Newhouse and Stephen Wolstenholme of House and Holme and Park Village director Luke Losey to bring Mulberry’s Tim Walker-shot campaign to life. Rather than do a standard film, the English label used animation, rotoscoping, and repainting to make the candy-colored shots of Lindsey Wixson and Nimue Smit pop to life. The result is a minute-and-a-half short that’s part Alice in Wonderland—with blooming hydrangeas and wandering piglets—and part atmospheric editorial. It debuts today, here and on Mulberry.com.