24 posts tagged "Tomas Maier"
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!
Long a champion of fusing art and fashion, Bottega Veneta unveiled a new—and bold-faced—cross-industry display at its Fifth Avenue flagship today: a window installation featuring a trio of the house’s Fall ’13 looks alongside two select works by the late artist John Chamberlain.
On loan from Gagosian Gallery (a first-of-its-kind endeavor for the famed dealer Larry Gagosian), Chamberlain’s EMPIREMICROPHONE and COLONELGARGLE—a set of crushed, chrome-plated sculptures—flank three of designer Tomas Maier’s richly hued Fall ’13 frocks. Both Chamberlain and Maier drew upon assemblage—the mid-century style in which artists retaliated against abstract minimalism by focusing more on materiality and physicality (for example, Chamberlain is most often recognized for his works containing parts of junked automobiles)—when creating their displayed works.
Maier, though, also specifically referenced an offshoot of this moment, dubbed Arte Povera, in which a dozen or so Italian artists worked with preindustrial and decidedly more sustainable components such as rocks, paper, and rope. The effect—especially on these dresses, which feature regenerated and punched-through silk-wool blends in eye-popping autumnal palettes—gives the term mash-up a whole new meaning.
The windows will be on display at Bottega Veneta’s 699 Fifth Avenue store through September 17.
For the past few years, Bottega Veneta designer Tomas Maier has taken an artistic approach to his campaigns, tapping multidisciplinary photographers such as Nan Goldin, Nick Knight, Annie Leibovitz, Jack Pierson, Peter Lindbergh, and more to bring a dynamic edge to his ads. Dubbed the Art of Collaboration, the project continues this season, with Maier commissioning New York-based artist Ralph Gibson to lens the Fall ’13 campaign. Best known for his eerie images with erotic undertones, Gibson turned out a series of moody snaps for the Italian house. His high-impact shots, which star Fall ’13 show-opener Raquel Zimmermann, debut above, exclusively on Style.com.
Flipping an age-old adage on its glittering axis, designers have proposed diamonds—the shape, though, not the gemstone—as a Spring ’14 menswear motif. Both Ports 1961 and Giorgio Armani sent forth abstract, faded parallelograms—the former on a cream-colored bomber, the latter by means of spray-painted T-shirts. Yet the strongest use of the shape came on knitwear. Tomas Maier, for example, offered a heather-gray jumper with a repeating diamond pattern in his midcentury mash-up for Bottega Veneta (above, left). Donatella Versace paneled a navy, Medusa-buttoned cardigan in delicate rhombuses (above, center). And lastly, London’s Peter Jensen rendered a vermillion paragon on an ice-blue jumper, knit from ultrafine U.K. yarns (above, right). “There’s a whole playing card intarsia story in my collection,” Jensen told Style.com, noting his use of hearts, spades, and clubs, too. But the diamond may be his favorite. “It’s about time that diamonds become a boy’s best friend,” he said.
Furthering his long-standing penchant for artist collaborations (cue everyone from Erwin Olaf to Nan Goldin), Bottega Veneta’s Tomas Maier has tapped Nancy Lorenz to create her third project for the brand—a series of decorative boxes that will be displayed at next week’s Salone del Mobile in Milan. Entitled Skies and Beyond, the twenty-five-edition capsule is comprised entirely of one-offs—eccentric objets d’art rendered in blackened silver, palladium, and moon gold leaf. Lorenz is heralded for blending postwar abstractionism with the craftsmanship inherent in Asian art. She spent five years in Tokyo, where she learned to use industrial elements like lacquer in painterly ways. “I appreciate her refined technique, textural work, and overall artistic sensibility,” said Maier. The boxes capture an intersection of East and West—pewter grooves on one mirror hearken back to the raked sand in bonsai gardens, while the scratched mother-of-pearl on another invokes centuries-old Italian marble.
Skies and Beyond will be available for purchase through skiesandbeyond.bottegaveneta.com starting tomorrow. Each piece is priced at €5,000, or $6428.50 at the current exchange.