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Category: Good Reads

Gabriella Crespi

Gabriella Crespi

WSJ Magazine: Italian Designer Gabriella Crespi Returns

After decades spent out of the spotlight, Gabriella Crespi, known for her singular furniture designs, launched new pieces at this year’s Salone del Mobile in Milan—and is poised to make a comeback


The fashion industry has long embraced Crespi’s aesthetic. “She was boho chic before boho chic existed,” says Italian Vogue’s editor, Franca Sozzani, who owns one of Crespi’s coveted Z desks. Sergio Rossi dedicated a collection of shoes to her designs, Fendi started installing Crespi furniture in its flagships and Stella McCartney, who had been a collector of her work, sold her jewelry at her boutiques. “I was immediately drawn to the warmth and the femininity,” she says. In 2008, McCartney adds, “I totally sought her out, wrote her a letter and asked if we could meet for tea. We met at a hotel in Milan, and I learned about her life, her warmth and all that she has been able to achieve as a woman in design. Our relationship really built off from that, and we stayed in touch and still write each other notes. She is an incredible woman with such strength, and yet there is a sense of fragility. It’s a special combination.” The sunglasses Crespi wears every day now are gifts from McCartney.

The Greatest Mob Movie Ever?

Playboy May 2015

- Playboy May 2015

Goodfellas, per the copy above.

Godfather or Goodfellas?... that's a hard call.

Playboy: Martin Scorses's Goodfellas At 25: The Making Of The Mafia's Ultimate Home Movie

The film was originally called Wiseguy, then Made Men, then Good Fellas, but on preview night Saul Bass’ Psycho-influenced title sequence read simply Goodfellas. Warner Bros. had slotted the movie to debut at the 47th Venice International Film Festival in early September and planned to release it in nearly 2,000 U.S. theaters on September 21, months ahead of the year’s most anticipated gangster movie, Francis Ford Coppola’s The Godfather: Part III.


But once the Goodfellas sneak preview got rolling, things went haywire, right from the hero’s first line of narration: “As far back as I can remember, I always wanted to be a gangster.”

“People started running out of that theater like the place was on fire,” recalls Winkler today. “We had 38 walkouts alone after the scene where Joe Pesci’s character, Tommy DeVito, knifes the body of Billy Batts in the trunk of a car. And that was just the beginning of the movie. The screening didn’t go badly. It was disastrous.”

PS: If you're into Goodfellas you should listen to this 3 hour & 15 minute podcast.

Cathy Horyn Get's the Juergen Teller Treatment

Cathy Horyn by Juergen Teller

Cathy Horyn by Juergen Teller for System No.5.

BoF brings you an exclusive excerpt from a 15,000-word conversation:

I’m fascinated by how fashion critics are able to assimilate and pass judgement in what used to be a matter of hours, but is now probably a matter of minutes, maybe even seconds.

First of all, I should say I don’t go to a lot of shows, not nearly as many as the other people do, because I only want to write about the newsmakers. I don’t want to feel like I have to go, believe me I’ve done that. But when you’re seeing these collections, season after season, you can sit at a show and know in a heartbeat what’s new, what’s striking, what’s newsworthy.

David Chase Explains How He Created The Excruciating Tension Of The Last Scene Of The Sopranos


DGA: This Magic Moment

Eight years after it aired, the finale of The Sopranos continues to be hotly debated. David Chase explains how he created the excruciating tension of the last scene. What he won't say is what happened at the end.


It was my decision to direct the episode such that whenever Tony arrives someplace, he would see himself. He would get to the place and he would look and see where he was going. He had a conversation with his sister that went like this. And then he later had a conversation with Junior that went like this. I had him walk into his own POV every time. So the order of the shots would be Tony close-up, Tony POV, hold on the POV, and then Tony walks into the POV. And I shortened the POV every time. So that by the time he got to Holsten's, he wasn't even walking toward it anymore. He came in, he saw himself sitting at the table, and the next thing you knew he was at the table.

New Juergen Teller Interview


BoF: Juergen Teller’s Renegade Eye

A seemingly random image surrounded by vast expanses of blank page is, of course, something of a Teller trademark, denoting, specifically, his 15-year run (1998 to 2013) shooting ad campaigns for Marc Jacobs. Teller talks fondly about working with Jacobs. “Just like with Helmut, Marc and I understood each other right away. We both had this total interest in culture and people, so we became friends.” In the early years, Teller says he worked for Jacobs for free. “But I wanted to do it, because it was very inspiring and super-exciting.” In exchange, however, he asked for complete creative control of the ads. "I said, if I am not getting paid, I am in control of how big the type is, the layout, if there's a frame around the picture, how many pictures are used and it will say ‘Claudia Schiffer’  — or whoever was featured — ‘photographed by Juergen Teller.’"


The Marc Jacobs ads are also a good example of his favoured ways of working. While some of the images suggest that they were spur-of-the-moment shots, in fact, “everything is completely thought through and planned.” Each image is the result of communication. “The way you get to a good photograph is through conversation. There is always a serious discussion, of who would be a good subject or model, where we should we shoot. It's always a long dialogue. Well, sometimes it's quick and evident and sometimes it can drag itself out.”


“It’s hard work. You need to be educated about photography and have a deep knowledge of the medium’s history, its whole spectrum. It’s a serious profession and a lot of education and craft is involved in creating work. Moreover, you can’t be afraid of not earning any money or of rejection. If you’re open and positive, fashion can give you extraordinary access and incredible opportunities, and allow you to meet the most amazing people. If you’re courageous, it will open doors and lead you to places and situations you couldn’t have dreamt of.”

The Mystery Of America’s Greatest Cocktail Bar


Philly Mag: The Mystery of Lê From Hop Sing Laundromat

This much we know: Behind an unmarked door in Chinatown sits what may be America’s greatest cocktail bar, Hop Sing Laundromat. But the truth about the man who created it? That’s where things get trickier.


Hop Sing is a phenomenon. A mystery bar with no sign, no phone. Just rules, and some of the greatest cocktails in the United States. And Lê? He built Hop Sing. Runs it. Which, alone, might be enough to make telling a story about him worthwhile, but the bar isn’t the end of him. And it’s certainly not the beginning.




Millennial Models Like Gigi Hadid, Fueled by Social, Are Hitting the Fashion Stratosphere Fans favor bold personalities, not just beauty


It's that social media clout—not to mention the stunning face, killer body and irresistible personality—that has helped propel Hadid, seemingly overnight, from up-and-coming model to global fashion celebrity. And brands have taken notice. Over the past year, Hadid has scored big contracts with the likes of Tom Ford, Victoria's Secret Pink and Maybelline.

Along with contemporaries like Kendall Jenner, Karlie Kloss and Cara Delevingne, Hadid is part of a new wave of digitally savvy models taking the fashion industry by storm. Dubbed "the Instagirls" by Vogue, these millennial models have achieved success both in the realm of high fashion and the commercial world—a rarity since the supermodel era of the '90s. These days, some models are just as likely to be found on the Paris runways as in the pages of a celebrity weekly or Taylor Swift's latest Instagram post—or in Kloss' case, on the cover of Vogue with her good friend Swift.

On Mad Men, he will never see her again.


Esquire: Matthew Weiner on Mad Men's Origins, Peggy's Baby, and Why There Will Never Be a Spinoff

Was there a struggle with how little Mad Men had to be "about," plot-wise? Much of today's television focuses on extraordinary people.

TV and film, in general… some of it is designed for escape, designed to satisfy the lack of justice that we feel in everyday life. We find heroes and we get to have the wish fulfillment of, for example, a woman who has it all, who talks tough and tells people where to go and, yeah, they fail sometimes. There's not a lot of that on the show. I give the example of how we try to make it less abstract by making it more like real life: If a young man runs into a beautiful woman at a party on Mad Men and she gives him her phone number and he writes it on a piece of paper and then he loses his coat, he will, on a normal TV show, end up figuring out how to find her. On Mad Men, he will never see her again.

Michael Keaton & The Making Of Birdman


EW interviews Michael Keaton, and an inside look at the complexity of shooting the film:

Anything—a misremembered line, an extra step taken, a camera operator stumbling on a stair or veering off course or out of focus—could blow a take, rendering the first several minutes unusable even if they had been perfect. “Alejandro had given us all a picture from Man on Wire—the man walking on the tightrope between the [World Trade Center] towers,” says Stone. “It felt like that—like making a film and doing a play and doing a stunt all at the same time. He would shout at the monitor ‘No!’ or ‘Yes!’ and you didn’t stop until you heard that accent-tinged ‘Yes!’”

Also a piece by Variety, on how they shot the Time Square scene:

There were four takes, starting at 8:30 p.m. If the shot was too early, the lighting wouldn’t work; too late, the crowd would thin. Crew was kept to a minimum, to draw as little attention as possible. Keaton’s movements were accompanied by only four people: Lubezki [cinematographer]; the focus puller; the boom operator; and the digital imaging technician. Eight production assistants worked on crowd control. Inarritu was close by; for two of the four takes, he shot Keaton with his smartphone for footage used in a subsequent scene in which Emma Stone watches the incident on YouTube...

Steven Meisel Q&A


The date on this interview is Jan 28, so somehow I missed it, but nonetheless a good one with the 60 year old Meisel. Above self portrait from 2014.

WSJ Magazine:

The prolific fashion lensman discusses his iconic images of supermodels Naomi Campbell, Linda Evangelista and Amber Valetta, timed to the opening of his exhibition ‘Role Play’ at Phillips in New York City


Tim Blanks: Your selection of images for the Phillips show seems to be a concise career overview. Is that how you saw it?

Steven Meisel: It wasn’t just my decision. I would have pushed it further, to be honest. They had first given me a selection, then we went back and forth. It was a compromise.


I would hope my sense of humor is obvious in everything. I don’t consider myself just a fashion photographer. It’s more than that. I’m also a very funny person, and I have a good sense of humor. And I hope people see that.