Monday, July 28, 2008

Bruna Tenorio - ph: Dick Page

Dick Page photographed Bruna Tenorio for Japanese Elle on June 3rd at Industria Studios, Studio #2. Bruna is the face of Shiseido Supreme-Aupres.

Dick's favorite Items:
1. Paper cutouts which he bought on the street in London in the 1980's. "Isn't it like Bill Traylor's art?" says Dick.
2. A picture of Maria Schneider from After Dark; a magazine which was published in 1973.
3. A photo of him and his partner when they traveled to Iceland. They were thrilled by spacious hot springs in nature.
4. A cook book of English traditional dishes.
5. A scene of himslef cooking in the kitchen at his house.

Thursday, July 24, 2008

Shannan Click - German Vogue

Alexi Lubomirski photographed Shannan Click for German Vogue on March 13, 2008 at Milk Studios, Studio #3. Stylist: Christiane Arp, Makeup: Christian McCulloch, Hair: Ben Skervin.
This story was inspired by The Night Porter, starring Charlotte Rampling.

In The Night Porter, Dirk Bogarde plays Maximilian Theo Aldorfer, a former Nazi SS officer, and Charlotte Rampling plays Lucia Atherton, a concentration camp survivor who has been tormented by Aldorfer. Thirteen years after World War II, Lucia meets Aldorfer again; he is now the night porter at a Vienna hotel. There, they fall back into their sadomasochistic relationship.

To hide his shame about his past, Max works obsessively as a hotel night porter where his aim is to please his guests, especially the Countess--a confidante who requires his services to get her young men as sexual partners. Many of the other guests are war criminals, who hold secret meetings in the hotel to uncover any evidence connecting them with their war crimes. Max prepares with these former Nazis a strategy for his upcoming War Trial at the hands of the Allies, as they conduct mock trials to learn about records in the archives they should destroy and witnesses to be tampered with or eliminated. Into this hotel culture, which reeks of nostalgia for the Führer, comes the only live witness who can testify against him--the young Viennese camp inmate who is now married to an American opera conductor. She is someone he sexually abused in the camp and Max can't stop obsessing over their past torturous relationship. They are drawn uncontrollably to each other despite the dark past both of them share and the apparent danger from Max's unchanged fanatical and bloodthirsty Nazi comrades, Klaus and Hans.

Friday, July 18, 2008

Russian Vogue August 2008 Cover shoot - Natasha Poly, ph: Terry Richardson

Terry Richardson photographed Natasha Poly for the August cover of Russian Vogue on May 13, 2008 at Milk Studios, Studio # 2.

check out the video here.

Thursday, July 17, 2008


Hedi Slimane photographed Brooke Shields for the pre-fall issue of V Magazine.

V interviewed Brooke, and she discussed working with Richard Avedon, Francesco Scavullo, Polly Mellen and the secret to her longevity:

Michael Martin: You've modelled basically since infancy. What's your first memory of being in front of a camera?
Brooke Shields: I'm not sure if it's because the story has been told to me so many times, but I have semblances of memory from my first shoot. I remember the environment at Scavullo's studio. I was 11 months old, but I remember it was the first time I was in a room where I was part of the lights instead of with the people around them.

Brooke, photographed by Francesco Scavullo as a child.

MM: Working with the Scavullos, Avedons, Warhols of the world - how do you look back on that now?

BS: Only now do I look back on them as iconic. But when I remember my perspective at the time, these people were people I knew intimately, so I don't think I looked at them the same way I do now, artistically. To be on the cover of Interview was to spend time with people I saw every day. I had respect out of love, and now I have respect for their careers.

MM: What do you remember about Avedon at work?

BS: I remember the separation between on set and off set was like this iron curtain. Once you went in there you were in a sanctuary. And people just jumped. I'm sure his assistants got scared and people cried, but I thought it was funny. I remember that I managed to get away with getting the Polaroids. He thought nothing about giving them to me. Anyone else couldn't get them. I think, in hindsight, he respected my professionalism, and I remember wanting his approval so I worked harder.

MM: Why were you so professional so young?

BS: There was no room for me to have any tantrums. Everyone else was such a larger-than-life personality: The Polly Mellens of the world; the photographers were the stars. And my mom was sort of the crazy one. I was so young that I wanted to be accepted and liked. As a child, that worked for me. I'm sure that caused years and years of therapy later, but that's another story. Something about being born and bred in New York, where people have to be at the top of their game to succeed, instilled that professionalism in my by osmosis.

MM: You're the youngest person to be on the cover of Vogue. What did that do to your head at the time?

BS: Absolutely nothing, because I had no perspective on it. I still had to take off all the clothes, take off all the makeup, give it back, and go do my homework. It didn't behoove me to carry that title to school, because it wouldn't make kids want to be friends with me. Now I'm much more impressed with that title. Then I don't even think I knew it. The crowning glory for me was getting a Seventeen cover. The first cover try I did, I didn't get it. I was told I looked too old.

MM: When you were a kid, did you think you'd still be in the business now?

BS: I've never known anything but the business. it never occurred to me not to be in the business. It's sort as if I was never not naked.

MM: Were you aware of the controversy swirling around Pretty Baby and the Calvin Klein ads at the time you did them?

BS: If you separate the actual making of the movie with Louis Malle and the actual filming of the commercials with Dick and Calvin, those actual moments felt creatively important. But the reaction to them was always a shock. The reaction never seemed proportionate to what we set out to do. The controversy was frustrating because it took away from the beauty and the creativity of it, particularly Pretty Baby. I thought it was a shame.

MM: And then there were the Calvin Klein commercials.

BS: People were obsessed with that one line in one commercial. Which they misquoted - repeatedly. That was shocking to me. We were walking walking around the stages, feeling like we were doing something new that had never been done before. But it seemed that no matter what I did after that, controversy would follow.

Richard Avedon photographed Brooke for the July 1978 American Vogue (Farrah Fawcett was on the cover). At the time, Brooke was promoting Louis Malle's"Pretty Baby". She was 13 years old.

Monday, July 14, 2008

Izabel Goulart

These polas taken last week show what a stunning beauty she is. Her hair is so thick & luxurious, & her eyes are such a velvety brown. She has worked with a a diverse range of clients, including:

Wednesday, July 2, 2008

Vlada DKNY Fall 2008, ph: Mikael Jansson, stylist :Tabitha Simmons part II

Natasha Poly - Blumarine fall 2008, ph: Craig McDean, stylist: Joe McKenna

Craig McDean photographed Natasha Poly for the fall 2008 Blumarine campaign (Stylist: Joe McKenna, Hair: Christiaan, Makeup: Lucia Pieroni) on April 22 & 23, 2008 at Floyd Bennett Field in Brooklyn, NY.

Isabeli- Versace fall 2008 campaign, ph: Mario Testino

Mario Testino photographed Isabeli Fontana for the Fall 2008 Versace campaign at Pier 59 Studios, Stage C, on March 19-21. Stylist: Brana Wolf, Hair:Orlando Pita, Makeup: Linda Cantello .

Mulberry fall 2008: Iselin Steiro & Natasa Vojnovic, ph: Steven Meisel

Steven Meisel photographed Iselin Steiro and Natasa Vojnovic for the fall 2008 Mulberry campaign on March 20, 2008 at the Big Box Studio at SmashBox Studios in Los Angeles, California. (Stylist: Edward Enninful, Makeup: Pat McGrath, Hair: Guido Palau, Creative Director: Ronnie Cooke Newhouse )