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October 27th, 2014

Obituary: David Armstrong, Age 60

Photographic artist David Armstrong, who first made his name as a member of the “Boston School” with Jack Pierson, Mark Morrisroe and Nan Goldin, and eventually shot for Vogue, GQ, and other fashion clients, died October 25, in Los Angeles, from liver cancer.  He was 60 years old.  Vogue.com reported that Armstrong’s agent, Jed Root, had confirmed the news.

Born in Arlington, Massachusetts, Armstrong was also very much of New York City, his long-time home. With intentions to become a painter, he attended the Boston Museum School and Cooper Union in New York. He received his B.F.A. from Tufts in 1988.

Along with fellow “Boston School” contemporaries like Stephen “Tabboo!” Tashjian, Armstrong and his friends made art of their lives in the counterculture. He first met Nan Goldin as a teenager, and their work was first shown together at PS1′s “New York/New Wave” exhibit in 1981.

David Armstrong 615 Jefferson

The cover of David Armstrong’s 2011 monograph 615 Jefferson Avenue. © Damiani/Photo by David Armstrong

Armstrong is often cited as having had a significant influence on Ryan McGinley, who also turned an interesting life with beautiful young friends into photographic art. Much of Armstrong’s work features lots of natural light, and his gaze is unmistakably erotic. Throughout his career, he made sharp-focused portraits of beautiful young boys, but he also made cityscapes in soft focus, especially after moving to Berlin in the early 1990s. His work was included in the 1995 Whitney Biennial.

Armstrong ushered into the universe of fashion by designer Hedi Slimane, who first commissioned him to make backstage photos of his work at Dior Homme. He would go on to be published in the French, Italian and Japanese editions of Vogue, Arena Homme+, GQ and Out, among other magazines, and counted Ermenegildo Zegna, Kenneth Cole, Burberry, Puma and Rodarte amongst his commercial clients.

Over his career he published several books, including a 1994 collaboration with his old friend, Nan Goldin/David Armstrong: A Double Life; he also published1997′s The Silver Cord, and a 2012 pressing of 30-plus-year-old photographs called Night & Day. His final monograph, 615 Jefferson Avenue, is comprised of bright portraits of male models taken at his house in Bedford-Stuyvesant, Brooklyn.

In a conversation with old friend Jack Pierson about his process and motivation, published in Out magazine in 2011, he said, “I always think you want to come away with some beautiful, beautiful picture of the person, the boy, that’s really everything you want to express about them. Or, at least something you can rub one out to.”

June 12th, 2014

Todd Hido Shoots Fall 2014 Campaign For Victoria Beckham’s Fashion Line

An image from Todd Hido's campaign for Victoria, Victoria Beckham's Fall 2014 collection.

An image from Todd Hido’s campaign for Victoria, Victoria Beckham’s Fall 2014 collection.

We never thought we’d mention Posh Spice and Todd Hido in the same sentence, but here goes: Victoria Beckham (previously known as pop singer Posh Spice) enlisted fine-art photographer Todd Hido to photograph ads her Fall 2014 collection of women’s fashion.

The images of models wearing Beckham’s looks recall Hido’s fine-art photographs of women in motel rooms who appear to be living on society’s fringes. In images on the fashion designer’s website we see models posed on bare mattresses or in rooms with shabby carpeting and unmade beds. Hido’s work for the label also appears to include video pieces. In one video we see a model standing against a wall in a dark room while fuzz flashes across the screen of an old-model television set.

Hido didn’t respond to our request for comment. According to W Magazine, Beckham herself said that, “Working with a photographer who doesn’t traditionally shoot fashion really enriched how I could portray the collection this season.”

Related: The Prevailing Wind: Todd Hido’s Excerpts from Silver Meadows

May 21st, 2014

Advice From the Trenches for Graduating Photography Students

Classes in photography can be a leg up to landing a job as an assistant or getting started in the photography business, but real-world experience often teaches practical lessons not taught in photo schools. What are the important lessons photographers didn’t learn in school, that photographers found themselves scrambling to make up after college?  We recently rounded up some advice for recent graduates (published on PDNOnline). We also asked photographers David Brandon Geeting, Cody Cloud and Andrew Burkle for their perspectives.

Geeting, a Brooklyn-based editorial photographer, graduated from the School of Visual Arts in 2011, and worked as a photo assistant and did other jobs before going into business for himself in 2012. Burkle, a food photographer shooting advertising for national brands, graduated from Ohio University in 2009, and worked as a photo assistant in Chicago before opening a studio last year in Cleveland with photographer David Hagen. Cody Cloud shoots fashion in Los Angeles with his partner, Julia Galdo. He earned his MFA from San Francisco Art Institute in 2005.

Here’s what they told us about the things they wished they’d learned in school, and their advice for new graduates.

What skills do you wish you’d learned while you were in school–but didn’t– that would have helped you most when you got out?

David Brandon Geeting: I wish I would have taken more studio classes and learned more lighting techniques. I shoot a lot of work in the studio now, and everything I do is totally self-taught. When I was in school, I just walked around with a 35mm point-and-shoot camera and made C-prints of off-kilter moments and funny trash on the street. I had no plans of shooting commercially – I thought I would make a living as an artist. I thought I’d be having solo exhibitions and publishing weird books. That is still the goal, but in the meantime I am doing the best I can to survive with self-taught techniques that I could have learned before graduating.

Andrew Burkle: I really wish I had gotten more input on how to price myself and bid on jobs. The problem was that we learned invoicing but not bidding, [which] is a hard skill to teach and standardize. In the beginning I was probably under bidding and getting work, but vastly under valuing myself as well as inadvertently lowering the standard cost for other bidding photographers.  I think that is a common young photographers mistake though. It is an important step to start pricing yourself correctly.  Even if that means losing out on some work.  If you know your work has value, you have to stick to your price.

Cody Cloud: I wish we would have learned more technical lighting and more Photoshop. Where I went to school they didn’t emphasize the technical side, and coming out of school, my [Photoshop] skills weren’t up to par for jumping into the real world. I assisted a long time. That’s how I learned to light. Julia [Galdo] does the Photoshop so the partnership works out good.

What advice do you wish you had gotten (or heeded) before you graduated?

Geeting: The best piece of advice I got in school was from Joseph Maida, my junior seminar teacher. The thing he said that stuck with me was, “No surprise for the writer, no surprise for the reader,” which is actually a Robert Frost quote, but it applies so well to photography. I didn’t pay much attention to these words at that time – I was too busy being a self-righteous college kid – but they were always in the back of my mind. Today, I might have a pre-conceived idea before I start shooting, and even if that idea is illustrated exactly as I had imagined in my mind, there’s a good chance that it won’t be very interesting to look at. If you are not surprised by what you are shooting as you are shooting it, no one else will be. Being able to adapt is so important. Leaving room for change and happy accidents is something I have built my practice on.

Burkle: I learned this eventually on my own: Very few [people], if any, will appreciate you. You have to work hard, work often and keep your head up. You will most likely be poor for a while. However, once you’ve proven to people that you are hard working, persistent, talented and easy to work with, the world will start to take notice.  This process can take a few months or even a few years.  Unfortunately, your degree in photography is for your own peace of mind.  The photo world estimates your worth in real-world experience.

What professional advice do you have for students who are just graduating?

Geeting: GET A BLOG. And update it every day. Make something every day. If you really love what you’re doing, it shouldn’t be a chore. You don’t need to spend a bunch of money on a leather portfolio or promo cards or whatever people think will get them noticed. Just make the work. And then get up the next day and make it again. If you are putting in the work, good things will happen to you. That’s just how the world works – the energy you exert will come back to return the favor. I really believe that.

Burkle: Keep on top of your technology–cameras, capture software, photoshop, new equipment and techniques, archiving software, etc.–and shoot as much as possible for yourself.  The latter seems obvious, but I fell victim to this early after graduating. When you start working 60 hour weeks for someone else and you don’t have much access to studio time, shooting for yourself becomes a struggle  very quickly.  FInd the time.  Work on weekends.  No one will hire you for the portfolio you “want” to create.  Clients hire photographers, not assistant with potential.

Cloud: I would tell students to work on talking about their work. In every meeting, you have to pitch your ideas. Clients need to hear exactly what you’re going to do and the reason for it. You have to articulate it so they can get it. That’s going to help you get jobs.

Related stories:
So You’ve Just Graduated With a Photography Degree. Now What?
What I  Didn’t Learn in Art School: Life Lessons from 10 Photographers (for PDN subscribers)
Creative Pitches That Land Advertising Clients
The Money Issue: Estimating 2.0: Bidding on an All-Media Library Shoot (for PDN subscribers)

April 29th, 2014

ICP Celebrates Infinity Award Winners (Recap and Video Links)

Last night the International Center of Photography honored photographers working in photojournalism, fine-art and fashion at the 30th annual Infinity Awards. The awards were inaugurated in 1985 as a way to recognize outstanding achievements by photographers working in various genres within the medium.

It was the first Infinity Awards ceremony for new ICP director Mark Lubell, who promised the crowd that the organization would remain at the “center of the conversation” about the medium. Perhaps as a way to illustrate that point, ICP arranged for a drone to photograph partygoers during the cocktail hour, then put those photographs on-screen at the beginning of the ceremony.

The Cornell Capa Lifetime Achievement Award was given to German-born photographer Jürgen Schadeberg, who as an expatriate in South Africa during Apartheid, made some of the most famous images of Nelson Mandela, and encouraged black South African journalists to pick up cameras and tell their stories.

James Welling was honored for his contribution to fine-art photography; Steven Klein for fashion; Stephanie Sinclair and Jessica Dimmock were honored for photojournalism; Adam Broomberg and Oliver Chanarin were honored for their publication Holy Bible; and Samuel A. James received the Young Photographer award.

Sinclair and Dimmock received a standing ovation from the crowd for their work documenting the practice of child marriage and its effects on adolescent girls, their families and their communities. The project, “Too Young To Wed,” is a decade-long pursuit for Sinclair that has spawned a non-profit that she hopes will help young girls and communities do away with the practice of child marriage.

Samuel A. James, who in his young career has worked extensively in Nigeria documenting the impact of oil extraction on the culture—including photographing the illegal tapping of oil pipelines and makeshift refining operations by impoverished Nigerians—thanked the Nigerians who “gifted me these stories” during a short acceptance speech. James also dedicated the award to a friend who was killed in an explosion while attempting to refine black-market crude oil.

In accepting the Publication award for their book Holy Bible, for which they combined the King James Bible with images from the Archive of Modern Conflict, Broomberg and Chanarin called the book their “attempt to somehow illustrate this text,” and said they hoped it would be an invitation to others to make their own attempts. They also paid tribute to their publisher, Michael Mack for his production of the book, and to the Queen of England, who owns the copyright to the King James Bible.

In a slightly incongruous presentation, pop star Brooke Candy spoke about Steven Klein and introduced a high-octane video that reviewed much of Klein’s work. The fashion photographer briefly thanked the crowd after noting that, “photography pretty much saved my life.”

MediaStorm produced short documentary films about all of the recipients except Klein. Watch those films on the MediaStorm site here.

Related: Tour de Force: James Welling’s Artistic Versatility
Best Photo Books of 2013

April 22nd, 2014

Video Pick: In Bed With Chanel

Laurel Pantin in Chanel from Ann Street Studio on Vimeo.

It’s not easy to create an engaging video, let alone a brief, engaging video. Jamie Back and Kevin Burg of Ann Street Studio recently did just that with this 15-second flick featuring Lucky Magazine market editor Laurel Pantin in a big white bed wearing colorful fashions from Chanel’s Spring/Summer 2014 collection. The video is part of a collaboration between Ann Street Studio and Chanel. The brand reached out to Beck and Burg, who are best-known for their creation of Cinemagraphs, as part of their marketing for their new collection, Burg told PDN via email.

The concept for the video “came together organically,” Burg says, evolving from the still-image shoot they did with Pantin. “On set we were thinking about motion, and I had the idea that she could change outfits after every time she pulled the covers over herself. And then we had fun with it. Jamie would be at her feet pulling [the covers] off her, like a parent waking their kid up when they want to sleep in.” The idea to show a new outfit for each day of the week, Burg says, “came together in the editing process, and it became this kind of ‘waking up for school’ idea… in luxury fashion.”

The images and video were featured on the Ann Street Studio site and social media channels. The video was created with Instagram in mind, hence the 15-second length. Brands often ask Ann Street Studio to create editorial-style work and release it via their channels, Burg says. “Sometimes brand work is for [the client] and sometimes it’s exclusively published by us.”

Related: Building a Better GIF

March 27th, 2014

PDN’s 30 Photographers Provide Career Tips to Aspiring Photographers (UPDATED)

pdn30-2014-sva-blog2
A panel featuring three of this year’s PDN’s 30 photographers discussed strategies for building a successful career and offered a wealth of useful tips to an audience of students and industry professionals at the School of Visual Arts theater in New York last evening.

The PDN’s 30 photographers, Bobby Doherty (still life), Billy Kidd (fashion), and Bryan Derballa (editorial/lifestyle), discussed how they found their visual styles, how they use social media to get noticed, build networks and land jobs, and the importance of learning and practicing good business skills. Photographer Tony Gale, a Sony Artisan of Imagery who has taught photography, and photo editor Emily Shornick of The Cut at New York magazine, also provided insights on navigating the industry. The evening was sponsored by Sony, Offset, Canson Paper and ASMP.

Describing how they launched their careers, Doherty, Kidd and Derballa all said they developed their visual styles by shooting whatever interested them a lot–even obsessively.

“It’s important to be making the kind of photos you would want to get paid to do, before you get paid to do it,” Doherty said.

Bobby Doherty's early makeshift studio.

Bobby Doherty’s early makeshift studio.

A 2011 graduate of SVA, he started by experimenting with conceptual still life work in his apartment at night. “I didn’t have any money. I had two flashes, and [bar] stools” and broom handles that served as stands (shown at right). Doherty says he was focusing on “how to accomplish an idea with as little as possible, technically.”

Kidd says when he moved from Arizona to New York, he did test shoots with models four, five, or six times a week–”whatever I could do,” he says. “I experimented with light, to find out who I was.”

Shornick emphasized the importance of developing a distinctive personal style. When it comes to hiring a photographer, she said, “”I don’t want to be surprised. I want to pre-visualize” what a photographer will deliver.

One of the biggest challenges for photographers is getting noticed. All the photographers on the panel said they take as much pleasure in sharing their work as they do in shooting it, and they use social media–particularly Tumblr–to build audiences.

Kidd said he posted images from his test shoots on a Tumblr blog. “That’s how my rep found me–from my Tumblr page,” he says. On his Tumblr page, he says, he posts “everything I shoot, and want to show people.”

“Be liberal and fun with your Tumblr,” advised Derballa. Years ago he started Lovebryan, a blog that features not only his work, but that of several other photographers whose work he likes. Derballa also noted that he uses Tumblr “to follow trends” by looking at what other photographers are shooting.

Panelists also discussed the importance of personal connections and face-to-face networking. Doherty says working as an assistant eventually led to a job with Lucas Michael, who shoots for New York Magazine. That led to a meeting with Director of Photography Jody Quon, and a couple of weeks later, Doherty had his first assignment from the magazine.

Kidd says he got access to models for test shoots through a friend who worked for modeling agencies. Derballa got his first assignment from The Wall Street Journal after a chance meeting with former photo editor Matthew Craig while Derballa was talking about a self-funded assignment at a bar with another photographer.

The discussion also turned to business practices, particularly the importance of good communication skills, dependability, and presenting a professional appearance in your emails and invoices.

Here are some tips the panelists offered:

On networking:

Connect with everyone you can while still in school, including teachers, fellow photography students, and students in other departments.

Attend industry events and meet everyone you can, without thinking: Who can I talk to who can give me work?

If you’re shy, and feel uncomfortable schmoozing at events, force yourself to go with a goal of meeting just one person. Those connections multiply, Gale said. “Then you’re the person who everyone wants to meet because you can introduce them to other people.”

On assisting:

Be an assistant. By assisting, Gale explained, you connect to people and resources, “and you learn so many things it’s not possible to learn in school” about technique and business.

To get assisting jobs, a good attitude is more important than technical know-how, Gale said. “What I need is someone who is going to be paying attention, and not be upset that I said ‘everybody is going to need coffee’ or ‘sorry, but you have to stand out in rain and watch the gear.’”

When you send e-mails asking about work as an assistant, personalize them, Gale advised. “Don’t send an e-mail addressed to 30 other photographers.” And don’t talk about what a great photographer you are, he said. “I don’t care.”

On approaching photo editors:

“Email with a link. That makes it easy to bookmark you,” Shornick said. Mailers just get thrown in a drawer and forgotten. Email “every now and then” about a recent assignment or new personal work, she added. “Quarterly is a good approach.”

No cold calls. “I’m really busy, I just don’t have time,” Shornick said.

Don’t show up unannounced. “That’s really inappropriate.”

Make sure your web site loads fast, and is free of bells and whistles. “I hate Flash websites. I just want to see your work,” said Shornick, who has discovered photographers at portfolio reviews and through Flickr.

Provide multiple contacts and Indicate your physical location. “If I can’t figure out where you live I’m never going to hire you,” Shornick said.

On providing good service to clients:

Be dependable. “The most important thing is [meeting] deadlines,” Shornick said.

Be responsive. “I always pick up [phone calls]. It’s probably someone who wants to hire you, or wants to know why the photos aren’t there,” Derballa said.
“Yeah, pick up the phone,” Shornick said, or she’ll just call another photographer.

UPDATE: The School of Visual Arts has published a video of this talk:

Related articles:

PDN’s 30 2014: New and Emerging Photographers to Watch

9 Tips for Getting Hired (and Re-Hired) as a Photographer’s Assistant

March 26th, 2014

How Should Clients React to Sexual Coercion Allegations Against Terry Richardson?

Now that another model has come forward with allegations of sexual misconduct against photographer Terry Richardson, his clients face a difficult question: What ethical obligations, if any, do they have to take a stand?

Over the past several years, reports have periodically flared up that Richardson has manipulated some models to engage with him in unwanted sexual contact during photo shoots at his studio. The models have described the incidents as casting couch situations that occurred when they were students or aspiring models, not established models working on set for ad campaigns or editorial shoots.

The allegations surfaced again in recent weeks after former model Charlotte Waters published a graphic account of a shoot with Richardson that spiraled out of her control. “I was completely a sex puppet,” she recounted anonymously in a post on a Reddit thread. The post has since been removed, but after her story was widely circulated, Waters identified herself as the author.

She has spoken to New York City police, according to Styleite.com, but she reportedly never said “no” to Richardson’s advances, and she isn’t pressing any charges.

In the hot seat of bad publicity once again, Richardson issued an angry denial to all the allegations in a letter to the Huffington Post, calling them “hate filled, libelous tales.” In the letter, he painted himself as the victim of a “witch hunt.”

Richardson says in the letter, “I collaborated with consenting adult women who were fully aware of the nature of the work.” Overlooking the disparity in power between himself and the models, he adds, “I have never used an offer of work or a threat of rebuke to coerce someone into something that they did not want to do.” (more…)

October 24th, 2013

New Law Regulates the Use of Child Models in New York

New legislation in New York State demands that models under the age of 18 receive the same protection as child performers. Photographers and clients who hire models under the age of 18 will have to provide them with more protections and services on shoots in New York State under a new law that takes effect November 20. New York Gov. Andrew Cuomo signed the new child labor law on Monday night.

State senators Jeffrey D. Klein and Diane Savino, Democrats from New York City, proposed the legislation earlier this summer.

Lawyers writing for The National Law Review broke down the implications of the legislation in an article published in July. According to the article, “the new legislation will provide that companies employing models under the age of 18 will be required to obtain certificates of eligibility, to provide chaperones and tutors and to limit their work hours,” among other requirements. Under-age models will now receive the same protections as child performers.

The law also stipulates that 15 percent of a child model’s gross income be placed in a trust by the model’s employer.

Advocacy organization The Model Alliance, which supported the legislation, created a guide to understanding the new law, “Under 18 Models and the Law,” which can be downloaded here: http://modelalliance.org/child-models

September 16th, 2013

Bruce Weber on David Bailey, Diane Arbus, Lisette Model and Romance

David Bailey photographed by Bruce Weber. Photo: David Bailey and Bruce Weber for Nokia Lumia 1020

David Bailey photographed by Bruce Weber. Photo: David Bailey and Bruce Weber for Nokia Lumia 1020

I recently got the chance to interview legendary photographers David Bailey and Bruce Weber. The two photographers – who are old friends–had spent a day together shooting in Harlem with the new Nokia Lumia 1020 smartphone, taking photos that Nokia is showing in an exhibition and in their marketing. The day after the shoot, as PR people hovered near us in the rooftop bar at New York’s James Hotel, I was given precisely 30 minutes to interview both photographers for The Telegraph Magazine, which published the interview and several photos from their shoot this weekend. Half an hour turned out to be enough time for the photographers to tell me more good stories than I could fit into The Telegraph article.

For example, Bailey told a story that demonstrates the usefulness of keeping a pocket-sized camera with you at all times.

Once he was shooting a commercial in South Africa. Model Naomi Campbell turned up for the shoot three days late. (“The crew was very happy,” he said.) To make it up to Bailey, she offered to bring him along when she had breakfast with Nelson Mandela. Bailey was told by Mandela’s handlers he couldn’t bring any cameras. So, Bailey said, he stuck a video camera in one pocket, and a still camera in the other. When he arrived, President Mandela greeted him with open arms and said, “Ah Mr. Bailey, I hope you’re going to take my picture.” And he got a portrait.

Weber said, “Isn’t it funny how many times …you’re told, ‘You can’t bring a camera’? You have always got to stick one in your pocket.” Bailey said, “I always think: What do you mean, ‘Don’t take a camera’? That’s like leaving my head behind.”

The day in Harlem shooting with the Nokia Lumia 1020 was not only Weber’s first time shooting with a phone; it was his first time ever shooting digitally. But the two talked less about the tools they use to shoot photos than about the personal feeling they try to express in their images. Bailey, for example, said he doesn’t care what his subjects think about the portraits he takes, “I just take the picture that I want to take in that moment.” He said his motto is “Be true to yourself.”

(For more on Bailey’s attitude towards his picture taking, see PDNOnline’s Legends Online interview with him from 2001 here.

When asked what they admire most about each other’s work, they said it’s that their images always bear a personal stamp and style.  Weber said he can see Bailey’s feelings and curiosity expressed in all of his portraits. He calls Bailey’s images “romantic,” a description that surprised Bailey. “Romantic” is also the word Weber uses to describe images by his mentor, Diane Arbus, whom he met when he first moved to New York City.

After Arbus got him enrolled in classes with her old teacher, Lisette Model, Weber says, he and Model sometimes talked about Arbus’s work. “We would meet at Howard Johnson’s after class and have hot fudge sundaes and talk about the romance in Diane’s pictures.” That sounds like an amazing teacher-student conference.

Weber said Model was one of several people who encouraged him early in his career to express his emotions in his photos. “I think that most photographers are basically pretty shy, except for David maybe,” he said, laughing. Model’s classes,  “gave me a lot of courage to go out and speak the truth about my feelings about what I saw and what I wanted to see.

Another important mentor was Bea Feitler, the renowned art director of Harper’s Bazaar. Once when he showed her some portraits, she asked if he liked what he’d shot. Not really, he had to admit. She said, “Do your pictures. I don’t want to you to do what you thought I’d like. I want you to do what you have in your head and your heart.”

Weber also said that when you look back over the history of photography, all great photographers “like Cartier-Bresson and Lartigue” have something in common. “Their pictures, no matter what they’re photographing, are really portraits of themselves.” Thinking of the sexually adventurous teens photographed for Abercrombie and Fitch and old-money aristocrats he depicted in Ralph Lauren campaigns, I asked Weber if his photos are autobiographical. “I hope so,” he said.

I tried to ask about Weber and Bailey how they created the commercials and ad campaigns that have made them famous. Bailey insisted that he shoots what he wants to shoot, no matter how the photo will be used. Weber agreed, and said he gives his assistants the same advice about shooting advertisements that Richard Avedon once gave him: “Always take a picture for yourself, so you can go to bed at night and go to sleep soundly.”

The Telegraph article includes Weber’s tale about the making of the ground-breaking Calvin Klein underwear ad in which athlete Tom Hintnaus posed in tidy white briefs against a blue sky in Santorini. The story is so cute and innocent, it’s hard to believe. He also told a story about one of the many shoots he did over the years for designer Ralph Lauren. The location was a farm by the sea in California, and Weber took time to photograph the landscape. When the producers told him several models were being kept waiting, Weber said, “Yes, but this is the farm that Ralph always dreamed he would have.” Lauren chose to include some of Weber’s images of the farm in the campaign.

Having learned to express his own aspirations and dreams in his work, clients like Lauren were willing to entrust Weber to express their dreams as well.

The photos from the photographers’ day-long shoot can be seen in The Telegraph Magazine. The exhibition “Weber X Bailey by Nokia Lumia 1020” is on display through September 21 at the Nicholls and Clarke building in Shoreditch, London.

Related articles
Legends Online: David Bailey

September 9th, 2013

Inez and Vinoodh Launch Perfume Based on a Photo

Fashion photographers Inez van Lamsweerde and Vinoodh Matadin collaborated with the Swedish fragrance company Byredo on a perfume inspired by one of their own photos. In an interview on the Barneys New York blog The Window, van Lamsweerde said their fragrance, called 1996, is based on their photo Kirsten 1996. “Ben Gorham of Byredo created the perfect interpretation of the dualistic tendencies in this photograph,” she added.

The fragrance launched on Saturday, September 7, and is available on the Byredo and Barneys New York websites for $175. The packaging includes a copy of the Kirsten 1996 photo that inspired the scent, which is described as having floral notes ranging from juniper berries and black pepper to violets, vanilla and patchouli.

Related Article:

The Best of Both: Inez van Lamsweerde and Vinoodh Matadin