Filed under: Uncategorized, Alternative Hair, Imaanology, LA Hairstyles Entertainment, Schwarzkopf
2010/10/26 • 12:39 AM 0
ALTERNATIVE HAIR SHOW LONDON FREEMASON ENGLAND, OCT 2010
2010/10/15 • 11:51 AM 0
Anthony Maule – One Interview
Christopher Michael: As someone who’s really grown up and been nurtured by London, what is your sort of perception of New York in comparison, as a different market? Anthony Maule: Well, you come to New York to make money don’t you?!! It’s a business here and you have to have a product to sell; that’s the message you get when you come here. London still aspires much more to the ideal of being avant-garde, so the spirit there is still much more about creation over commercialism.
I would recommend everyone go to London when they first start out just to experience it. I mean, I can only really talk about it from my own perspective but when I first went to London it was the mid-late 90’s, there was this big energy there back then. It was cool to be the poor struggling artist and I think there’s always been this general opinion that everyone has about London being this hub of creative energy.
It’s partly to do with the history of punk culture being born in the UK, even though aesthetically it doesn’t really exist on the street as much anymore. The spirit of punk still exists in many different ways and maybe always did even before it became a brand… It’s just inherent to British culture to be like, “What the hell, I’m going to do what I want.” People from all over still want to buy into that so they come, they feed off of it for a while and they learn how to be individual. London’s really good at that.
CM: How did you meet the editors you work with?
AM: The connection to Andrew [Richardson], Karl [Templer] and Olivier [Rizzo] was all through Guido, Marie [Chaix] was more of a sort of organic process. Sometimes it seems that you just meet up with people and it kind of clicks or it doesn’t. I’d seen Marie’s work and she’d seen mine, we both liked each others’ work and it sort of went from there. We met up and 2 weeks later we shot a story for Acne Paper, it just sort of clicked. That was quite special.
I have a great relationship with Andrew as well… his office is around the corner. I’m interested in what he’s doing with Richardson Magazine; I think it’s the perfect voice for him and we are always kind of throwing crazy ideas around. He’s rather subversive…he always likes to kind of subvert the flow (laughs). That’s why I really enjoy working with him, because he’s someone who will really question something over and over and I find it more interesting to work with those kinds of people. I like the way he thinks and the way he references things. It’s nice for me to work with someone who thinks like a photographer.
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CM: It seems that you have your teams that you enjoy working with and have a great creative rapport with them…but there is always that one person that you really sort of look forward to working with one day…Who is that person for you?
AM: That I’ve not worked with? Big Mac….I’ve not met him (laughs). I’ve read in some of your previous interviews about this sort of cross-generational period where the new generations are having the chance to work with their icons and I kind of feel like I’ve been very fortunate so early in my career to work with a lot of my icons already. To be able to collaborate with people like Fabien and Olivier [Rizzo] already I just sort of went…off the wall, in a way. I didn’t preconceive any of that, I was just surrounded by people like Julian [Watson] and Guido who were incredibly supportive, believed in me, and were interested in launching my career…Melanie Ward is another incredible stylist that I’d really like to work with. People like that, like Melanie and Joe, they are kind of structured, simplistic, and graphic. I’m just naturally drawn to those kinds of people. I’m a bit like that kid out of that Rodriguez film “Planet Terror”…you know, the one with the toy dinosaur that says, “I want to eat your brains and gain your knowledge.” I’m just fascinated by people with experience and history in this business. I just see what we do as such a privilege that I want to use it to educate myself, it makes it feel more real for me that way. I have to say though that I’m just as interested in working with people from my own generation and younger, it is totally different but you can learn from everyone I think and especially now the younger generations seem totally in control of the future so I’m looking at working with a broader range of people now…….I’d love to work with Panos too, her work kills me.
Filed under: Uncategorized, Anthony Maule
2010/10/15 • 11:36 AM 0
Tom Munro – One Management Interview
To be mentioned – 
Tom Munro´s striking images never fail to capture the essence of his subjects. Whether it is Naomi Campbell holding a cigarette and exuding sexiness, or Lady Gaga looking serene, Munro shots always radiate personality. In the years since his days as an assistant to Steven Meisel, Munro’s career has flourished. Moving effortlessly between the worlds of fashion and celebrity photography, Munro’s unique perspective and signature style have made him one of today’s most in demand photographers. On the eve of the debut of his eponymous book, the iconic photographer talks to Christopher Michael about charity, celebrity and the changes he has observed during his time in the industry.
Christopher Michael: You had mentioned before how Madonna was the most collaborative person in terms of the artistic process out of everyone you’ve ever shot, what made you decide to put her on the cover of your new book in particular?
Tom Munro: Well I guess, she is perhaps Madonna and one of the most iconic figures, but the actual idea came to me to use the book as a means of highlighting an African charity that I’ve been working with called Meak. After the collaboration with Madonna, she invited me to go to Malawi with her for a week, which I did in April of last year. I saw all of the things she was doing there, so I asked her if I could include Raising Malawi (www.raisingmalawi.org) as one of the beneficiaries of whatever proceeds we manage to make from selling the prints. So in the end, it sort of just seemed a natural step to put her on the cover with Raising Malawi being included in the book.
CM: In your works, you tend to be a walker between worlds in a sense, with your hands both in celebrity as well as fashion. Which realm of your work would you say defines you more?
TM: I think the celebrity portraits sort of materialized and came about through celebrity endorsements, from fragrances and that sort of thing. I also had a contract with Details for 3-4 years and I shot a lot of male celebrities. I ended up building relationships with, you know, Justin [Timberlake] and Patrick [Dempsey]. So when they were endorsing products we got together on those, like with Justin and the Givenchy fragrance, Play. I’ve also done various things with Leo [Di Caprio] for his film promotions and such. We’ve just done something with Warner Brothers for Inception, his new movie. With Patrick Dempsey, we’ve done Avon fragrances and such, so it was really through editorials and stuff that I’ve managed to work into these celebrity endorsements. I don’t know, I suppose one becomes known for taking celebrity portraits but it’s something that was sort of a progression for me from being a fashion photographer and was never something I really pursued, it just evolved I guess.
CM: Obviously, the subject of celebrities moving in on the territory previously dominated by the models is a conversation that’s been going on for years at this point. Do you feel it’s something that’s finally stabilized or do you think that celebrities continue to gain more ground as time goes by?
TM: Well, certainly in terms of advertising it still seems to be pretty strong. However, it seems to be more cosmetics and fragrances, and less about fashion, in terms of what celebrities take on. I think there are kind of defined areas that celebrities really tend to occupy and that there is room for everyone in the end.
CM: I like the idea of looking at it that way…I read that photography was something that you started to play with in your mid 20’s after you had been travelling and that one of the places you had been travelling to at the time was Bali. It’s one of my favorite places and has such an incredibly spiritual nature to it, I wanted to find out if you had any sort of revelation during your time there at all? Or if photography was born of some other process going on in your life at that time…
TM: I was traveling with a couple of friends and we were sort of getting up to no good and having a good time. Basically, taking pictures was just a hobby; a friend said that I should do it seriously. For me, the idea of making a living as a fashion photographer, particularly having grown up on the country side of England, to move to New York and become a fashion photographer was sort of a very alien concept. When I had returned to London I had been travelling for a period of 9 months already I think, and a friend of mine was taking a photography course and suggested I take it with him so I did. It wasn’t born of some undying passion or anything, it was more of a ‘why not give it a go’ sort of thing. That class ended up being a provincial course that led me to transfer to the London Institute, which took me to Parsons and New York. One thing lead to another and I started working with Steven Meisel. It was during my time working with him that I thought this was sort of my time to actually do this and be serious about it. It was a great experience working for him, when I left, I was 32 and I really just thought, I have to make this work because I’m too old to change tracks now, so I just stuck at it basically… not to say that I didn’t enjoy it.
(Lady Gaga for Elle; Naomi for Vogue Russia; courtesy photos Tom Munro)
Filed under: Uncategorized, Lady Gaga for Elle, Tom Munro
2010/10/10 • 8:58 PM 0
GmbH Buchverlag 2010-10
SLADANA AMIDZIC PAGES 
