ISSUE 27 DEC 2020
Albert Watson exclusive interview
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FOLLOW, CONTACTS Instagram: faddymagazine Instagram Showcase: faddymag Facebook Page: faddymag Email: faddymagazine@gmail.com Web Page: http://faddymag.com MANAGING EDITOR Biagio De Giovanni FADDY MAGAZINE EDITOR-IN-CHIEF & ARTIST DIRECTOR Candice Valentine Solomon FADDY SHOWCASE EDITOR-IN-CHIEF Biagio De Giovanni SVP SALES AND ADVERTISING Candice Valentine Solomon FADDY SHOWCASE REVIEW CHIEF Alessandra Galati JOURNALIST/WRITER Linda Arroz Gabrielle Smith Jamie Valentino Anneysa Gaille Rhett Butler SENIOR FASHION EDITOR ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A FADDY MAGAZINE US HEADQUARTERS 215 West 84th Street Suite 126 New York, NY 10024 5
Managing Editor’s note I am very happy to present our new Editor and Chief and Artistic Director. I can’t think of a better way to start the holiday than to congratulate Candice Solomon on a job well done for Faddy Magazine and to announce that Candice Has been promoted to Editor and Chief and Artistic Director of Faddy Magazine. I will now take my place as Managing editor and look forward to a beautiful holiday season and a very happy 2021. Congratulations Candice I can’t think of a better way to present this Christmas issue than with this announcement. All the best to you in 2021 Biagio De Giovanni Managing Editor FADDY Magazine
C
andice Solomon a
and trend management for a broad cross section and inclusive
native New Yorker,
segment of the fashion industry. She also operates a highly suc-
resides in Manhattan
cessful e-commerce showroom servicing blue ribbon customers
with her fiancé and artist Rob-
globally. She is Editor-in-Chief and Artistic Director for FADDY
ert Santore.
Magazine and the Sr. Vice President of Sales & Advertising.
Candice is a world traveler
Candice Solomon has an accomplished and impeccable reputa-
and the quintessential Native
tion in the world of fashion and fashion design as;
New Yorker. She is a highly
•
Creative director
successful female entrepre-
•
Design director Editorial strategist & executive produce
neur running the operations,
•
“day-to-day” and strategic business offerings in the highly compet-
•
Stylist
itive and ever-changing landscape of the fashion industry. She is
•
Content creator
an award winning bridal and evening wear designer noted for her
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Fashion merchandizing strategist
international and celebrity red carpet patrons.
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Fashion and style trendsetter and Mentor
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Branding specialist
She has been featured in People Magazine’s “Best Dressed” for
•
Instagram & social media influencer & strategist
dressing her distinguished clientele, most notably, Donna Ha-
•
LikeToKnowIt influencer
novers wedding dress in People Magazine and “Town And Country” magazine.
Candice is renown throughout the fashion industry as the “go
In addition, she was featured in multiple concurrent years in the
to girl” for “anything and everything” from sourcing incredible
highly prestigious “Best Of” in New York Magazine. Candice was
location for editorial photo shoots, engaging with and securing
regularly featured in the New York Times, “Style and Fashion”
the worlds best and acclaimed photographers, stylists, award
sections, and in many global publications, both print and digital
winning hair and makeup professionals to securing multi-million
editions.
dollar apparel pulls for promotions and presentation, as well as working with an inclusive, multidimensional pool of talent as
She was the executive producer and an on-screen commenta-
models.
tor for the award winning documentary “7 Years Underground” which focused on the early years of Rock & Roll, Jazz and Blues at
She is passionate and a life-long supporter of the LGBT Commu-
the famous “Café A Go Go” located in Greenwich Village in New
nity, Trans Lives and mentor to many talented young people who
York City. “7 Years Underground” winning awards in film festivals
have become incredible successful under her guidance.
around the world. Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy
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LINDA ARROZ - Writer Linda Arroz is a writer based in California. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. During her three years with Spiegel, she learned how to tell stories, discovered the story behind the story, the art and craft of the pitch, and how to produce and style a TV segment. Co-author of “Affordable Couture,” published in 2012, Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her portfolio of work has always been a voice of inclusivity. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Arroz is currently working a memoir of her years working on the assembly line at General Motors. GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.
ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago. She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.
JAMIE VALENTINO - Writer Colombian-born writer, Jamie Valentino is the Editor-at-large of POP Style TV, and his column Sexpert is published biweekly in PROVOKR. You can read his essays and interviews in Google Arts & Culture, W42ST Magazine, LUXE Magazine, The Queer Review, Vulkan Magazine, and more.
RHETT BUTLER - Writer Rhett Butler is a print and broadcast journalist from New York City. His work has appeared in TIME Magazine, Money Magazine, UFC Magazine, JET Magazine, Heavy.com, The Shadow League, and more. He is also a Boxing Writer’s Association of America Member, Play-By-Play Commentator, and Combat Sports Insider.
HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.
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table of contents
8
86
Dressed in Dreams
10
Albert Watson
Melissa Belardo
Cover Story - Exclusive Interview
F A D DY Mag
136
Frederic Auerbach Exclusive Interview
Kortum 112 Yves Exclusive Interview
164
44
Sergi Pons
Personal Feature
206
Tom Blachford
190
Bayr Ubushi - Flying Solo
Personal Feature
Exclusive Interview
Marc Lagrange Personal Feature
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ALBERT WATSON A L B E R T WAT S O N EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z
What was it like living in
choose the model. I asked
your photographs to use for
Los Angeles in the seven-
the model if she would be
advertising, and we’ll pay for
ties after leaving Scotland?
interested in working the for
your film.”
the whole day and in ex-
I had no idea how much I was
I essentially started my career in Los Angeles. My wife was
part of a teaching exchange program and she got a job
in Los Angeles, so we moved
there in 1970. My first year of working as a photographer was in 1971.
change, I’d give her some test shots.
me a purchase order and I
She brought her friend, a
glanced at it and thought it
male model, and I worked
was $150 per shot, so five
with them for the whole day.
times that would have been
Basically, I took all the money
$750, plus my expenses. I was
we had and invested it in the
very happy. That was quite a
film. I shot 80 rolls.
bit of money back then. But when my wife was typing up
I was lucky, it happened very
the invoice, she said, “I think
quickly for me in Los Angeles.
Two days later, when I re-
I only had a single connection
turned to Max Factor, the
in Los Angeles. It was some-
guy was a little bit shocked
body working at Max Factor
that I was somehow able
cosmetics. I went there to
to shoot 80 rolls of film in
meet this guy. I didn’t have a
an hour. But I explained to
lot of beauty shots or photo-
him how it worked. While he
graphs of women. He said we
looked at the film, he didn’t
have a lot of clothes in our
say much. Finally, he said, “I’ll
shoot closet, why don’t I book
be right back,” and he took
a model for an hour to see
several rolls of film to show
you more next time.”
what you can do.
somebody else at Max Factor.
So instead of $750 it turned
When he returned, he said,
out to be $7,500. That was a
“I have good news for you,
lot of money back then, it’s
we’re going to buy five of
still a lot of money, but at that
I was sent to the agency to 10
going to get paid. He handed
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they made a mistake; it says $1,500 per shot.” I thought that can’t be right, so I made an appointment to go back and see the guy about the purchase order. And he said, “Look, at the moment we only pay $1500 a shot, but I can probably get
Albert Watso by Mark Edward Harris, October 2017 ^ on the front cover: Lisa Kauffmann, Paris, 1986 on the back cover: Naomi Campbell, Palm Springs, California, 1989
ALBERT WATSON time, in 1971, it was like an
tea in the studio’s kitchen,
am till 6 pm, he was receiving
arm and two legs. My wife’s
the animal trainer said to me,
attention. He didn’t want to
salary for the year was only
“He’ll have one too.” So, I said,
leave the studio, that turned
$3500 a year.
“Sure, I’ll make him a mug.”
out to be a bit of a problem.
When the trainer handed him
If you look at a chimpanzee’s
By 1973, we were running the largest studio in Los Angeles, with a staff of eight people. In 1974, I started shooting
in New York City, and by the end of that year we opened a small studio there. I was
going back and forth between LA and New York all the time. In 1976, we shut down the studio in LA. We settled in
New York and have been here
the tea, he told the chimpanzee, “It’s hot.” Just that, it’s
hot. The chimpanzee began to blow on the tea to cool it as he sipped it. There I was
sitting with this chimpanzee,
having a mug of tea together. could get him to copy anything I did. If I put a finger
in my ear, he would do the same thing.
I wanted to work with him
tween the US and Europe.
again, so at that point I
Right around 1977, I began
decided to come up with an
Vogue and other magazines, and I still shoot for Vogue today, we recently had a
contract to shoot for Vogue Japan for three years. So, I’m still here in New York City, working away.
idea. I booked him for an-
other shoot. He recognized me right away and sat on
my knee. As a result of the bond I’d established with
this animal, we were able to run through a vast number of things quickly, including a well-known shot that I did with him holding a gun. Just the way he held the gun in
You’ve worked with a
the air made an incredible
lot of animals. We’d like
image.
hold your hand, they don’t let go! He simply didn’t want to leave; he was having such a great time.
Another time Rolling Stone magazine asked me to do a series of images of the heroes of rock and roll, and they Mick Jagger in Los Angeles. I had an idea to shoot Mick in a corvette sitting next to a leopard. They tried to talk me into using a Cheetah. I’d photographed Cheetahs a lot of times. The King of Morocco had a pet cheetah and I’d done a series of portraits for him. Cheetahs aren’t easy, they are wild animals, but they’re much easier to domesticate. Whereas, a leopard is more dangerous, so, of course, I wanted the more dangerous animal. And it’s a
to hear some stories of
different looking animal from
situations you’ve found
a Cheetah.
yourself working with an animal during a shoot.
We had gotten a lot of children’s clothes and magic hats for him to wear. We were dressing him up and playing
I was doing an ad, I actually
with him all day. We won-
can’t remember for what
dered if we were torturing
company, and I met this
him, but he loved it all. From
chimpanzee. He was part of
the minute he arrived at 9
the ad. While I was making 12
very, very powerful. Once they
assigned me to photograph
better for us, it’s halfway be-
Vogues as well as American
are not super big but they’re
He impressed me. I noticed I
ever since. New York is much
working for all the European
arms, they are strong. They
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When we arrived at the shoot, we found out the leopard was, in fact, dangerous. It seemed like the animal might really go for Mick. This was all before Photoshop, so an actual partition had to be built.
WATSON ALBERT To be quite honest with you,
The idea then became a
double page, with the chee-
tah on one side, Mick on the
other and the partition in the
middle so you wouldn’t see it. While the partition was being
the technique.
with photoshop, that shot
now would be so much easier. You would shoot the ani-
mal, then Mick, and you could be finished in a few minutes.
But the funny thing is, there is
I went to back to my roots of lithography, putting inks in layers together, over my images.
something to the actual shot
I spent 40 years in a dark-
of him in the corvette with the
room, so when we switched
leopard. The leopard was sit-
over to digital systems, I was
ting next to him and he does
unstoppable. I was able to
I photographed the leopard
look a bit worried.
translate all my knowledge
first, and on the view finder of
I wondered if you had an
the camera, I put where the
anecdote about a moment
two eyes of the leopard were
where something went
with a wax marker. Then I
wrong and, yet the results
rewound the film and pho-
were even greater than
tographed Mick Jagger and
you had imagined had ev-
I simply put his eyes in the
erything gone well. You’ve
same place as the leopards.
given us a prime example
You’ve worked with Iris
of creativity, how you
Van Herpen, known for
thought to take advantage
her innovation and unique
of a moment and experi-
approach to design. With
ment with what you call
your keen understanding
a “straightforward,” but
of nature, light and move-
masterful, technique to
ment, can you tell us how
see what you’d get. You’ve
that shoot came about
continued to incorporate
and your ideas?
built, I continued working. I
decided to do a straightfor-
ward double exposure with
Mick Jagger and the leopard.
Basically, I was playing for
time, so that we’d be doing
something while they built the partition. I only shot one roll
of film with the double expo-
sures. And it turned out that, in the end, four of the frames were a perfect match.
arts and interest in techgraphic process. Can you
Mick and the leopard together in the corvette, but the double exposure was such a success, they shelved it. I had used the same portrait light for both Mick and the leopard. Looking at this photograph now, younger people might assume it was a photoshop edition, or it was make-up.
and equipment. What I learned in the darkroom, doing it by hand, was invaluable. It gave me a head start by far.
your knowledge of graphic nology into the photo-
I went ahead with the shot of
into the modern systems
tell us about where the idea of superimposing ink patterns onto your work came? You took images from your archive and layered ink over them, giving us an “extra textural” experience. The image of “King Casey,” for the INK series, is a compelling comment on all the years you spent doing everything with creative use of
I am old school when it comes to fashion. I am somebody that knows the difference between brushed silk and cotton, the importance of the texture of fabrics, and fit. I do my homework. In the 1970s I worked with Yves Ste Laurent’s Russian Collection. When I speak with some young fashion photographers, I realize the majority are only interested in the image of the girl in the clothes, not so 13
ALBERT WATSON interested in what the de-
rent started at Dior, before
thing with British people and
signer was doing. It makes
he had his own house. They
the desert. We come from
you a better fashion pho-
don’t understand the con-
a place that is very green,
tographer when you under-
tribution of Dior in 1947
with tons of water, and the
stand the construction of the
and ’48, or that knowing
environment is very fer-
outfit and what the designer
this history makes them a
tile. We’re drawn to desert
had in mind. You can do a
better photographer. I have
communities all over North
better job when you under-
books that I show the young
Africa, the Middle East and
stand what you’re looking
people who work for me,
some places in India. I love
at, in the same way NASCAR
they often have no idea. Yet
the American Southwest,
photographers knows every
they have the history of the
Arizona, New Mexico, the
car that goes by. They can
planet on their phone and
desert areas of California.
tell the car by the sound
know nothing of what came
I’ve photographed in Death
of the motor. They’re real
before them.
Valley, in the wintertime its
professionals and fanatical about the cars, like the way I felt a responsibility to fashion in the 70s, there should be some working knowledge about the history of the designer and what they are doing. When you speak to younger photographers about the period when Ste. Laurent was at Dior, they say
spectacular. I would say that You’ve traveled all over the world and you’re from one of the most beautiful
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also amazing.
there a location you’re
Talking about the desert
drawn to or return to,
leads us to your two-vol-
physically or mentally,
ume set on Las Vegas,
that inspires and informs
“Strip Search.” The idea of
you work?
the title, “Strip Search,” is so provocative. There’s
I’ve always loved the des-
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of Scotland, the Sahara is
places on the planet. Is
that was before their time.
So I go on to say Ste. Lau-
as much I enjoy the greenery
ert. I live part of the time in Morocco. There is some-
something about the “strip,” the seediness, the sexiness, the allure that
WATSON ALBERT fortunes are made and
after you. I’ve stayed in all
they installed cheap carpet-
lost, the sheer amount
kinds of places, from seedy
ing, they would be forev-
of electricity generated
motels to the Four Seasons.
er replacing it due to the
by water, speaking of
It’s a strange place. People
astounding amount of traffic
water. What is your fas-
say Vegas is cheap. It has
coming through. I’ve been in
cination with Las Vegas
an artificial, glitzy look to it.
the kitchens there, which are
and are there lessons to
Regardless of how you feel
full of high-end equipment,
learn from your experi-
about the way it looks, it’s
the best quality fridges and
ence there? Is Las Vegas
certainly not cheap. It’s ex-
copper pans. It’s all high
the best and the worst of
pensive. When you examine
end. It’s the gaudiness of Las
American culture?
the details you find out it’s
Vegas that makes it appear
very well done. They spend
cheap. It may be gaudy, but
big money on the buildings.
it’s not cheap. Vegas is very
They use the best air condi-
well done. If this country
tioning money can buy. A lot
(USA) were run like Vegas,
of the stuff in Vegas, like the
with that kind of efficiency,
marble floors in Caesar’s Pal-
it would be a much more
ace, seem fake. It turns out
interesting place.
One of the surprising things about Las Vegas is how well done it is, the way the casinos are run, there’s such an efficiency to it. The way the service industry works in Las Vegas is totally efficient. A lot of things that Vegas does, like the big shows, are really rather remarkable. The Fountains of Bellagio water show, the Cirque de Soleil shows, like O, are pretty outrageous. These places are working with maximum efficiency to look
they’re not only made of real marble, but Carrara marble from Italy. And look at the handrails on the staircases there. Those aren’t steel rails painted to look like brass, which wear down pretty quickly, but solid brass. They actually put in the most expensive carpets that money can buy, and the reason is, if 15
King Casey, New York City, 1992
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Monkey with Mask, ‘Contact’, New York City, 1994
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Golden Boy, New York City, 1990
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Alasra Ali Biba, Dawra, Morocco, 1998
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Aicha Haddaoui with Grandmother, on the Road from Meknes to Marrakech, Morocco, 1997
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Hamid, Vendor of Minerals, on the Road to Taroudant, Morocco,1998
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Lisa Kauffmann, Mallaig, Scotland, 1987Â
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Gisella, Tuileries Garden, Paris, 1991Â
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Ines de La Fressange in Chanel Dress, Paris, 1985
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Kate Moss, Marrakech, Morocco, 1993Â Â
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Gigi Hadid, ‘Watching TV,’ New York City, 2017
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Jazzelle Zanaughtti, New York City, 2018
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Teddy & ‘Moby,’ New York City, 2018
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Jack Nicholson in Mirrors, New York City, 1998
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Michaela Bercu in Ferre Dress, Paris, 1989Â
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Mick Jagger, Los Angeles, 1992
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David Bowie, New York City, 1996
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Keith Richards, New York City, 1988
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Clara McSweeney with Pomegranate, New York City, 2017
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Britt Bergmeister, New York City, 2017
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Breaunna in Cat Mask, Las Vegas Hilton, 2001
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Breaunna at Fridge, Budget Suites, Las Vegas, 2001
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Breaunna in Bathroom, Budget Suites, Las Vegas, 2000
The Boardwalk Casino & Entertainment World, Las Vegas, 2000
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Marc Lagrange
F
illed
with
longing
and
sensuality, Marc Lagrange’s photographs
fantasies
and
celebrate desire—placing
beauty and dreams at the center of his world. Lagrange was born in Kinshasa, Congo, in 1957. His career path led him from engineering to photography, and his relativity from fashion to art. Privileging analog over digital, the Antwerp-based Belgian artist searches for intimacy and emotion as opposed to artificial effects. His giant Polaroids—which have been exhibited worldwide— are a powerful example of his craft as well as his attention to detail: he can display the texture of skin, highlight natural curves and make his models stand out. Lagrange elaborates entire sets until he finds the exact mood he wishes to convey, with the end goal being to create the images he wants. From the color of the walls to the shape of a chair, every single detail counts, underlining Lagrange’s perfectionist streak and his willingness to unfold narratives.
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MARC LAGRANGE T
hroughout his
One thing Lagrange respects
met some of Manhattan’s
career, Lagrange has
is the mystery and power of
most stylish and influential
photographed the
women: even fully nude, his
women and captured their
same women over different
models are confident and in
strength and charisma. The
periods of time, turning
control; real protagonists as
series was named Timeless
them into his muses. Inge
opposed to passive figures.
Beauties and subsequent
Van Bruystegem—a striking
In 2012, Delvaux—the oldest
trips to China, Japan and
model and talented dancer—
luxury leather goods house
other key destinations for
is one of them. Lagrange
in the world—commissioned
Delvaux were organized.
has been working with her
Lagrange with portraits
Since 2008, Lagrange has
for more than fifteen years,
of women from different
additionally developed his
developing a privileged
generations depicting their
video work, including a
relationship. The trust that
relationship with their
film for the fashion brand
has flourished between
handbags. Seductive and
Supertrash’s fragrance
them over the years is quite
elegant, the black-and-white
launch. In 2012, he also
rare in photography and
photographs gave birth to
filmed Liesa Van der Aa’s clip
still generates surprising
a new series that has been
for Louisa’s Bolero.
results. Individuals who
ongoing. In 2014, Lagrange
Marc Lagrange’s work
pose in front of Lagrange’s
traveled to New York to
has been honored with
lens end up spontaneously
shoot iconic women and
several exhibitions in
performing and revealing
the results were powerful.
Europe and the United
more about themselves than
From Carmen Dell’Orefice
States. In 2011, Maison
they perhaps intended to.
to Zani Gugelmann, he
Lagrange introduced
45
MARC LAGRANGE 46
more than 240 artworks
2014, he published Hotel
the Handelsbeurs project
to the public, many of
Maritime – Room #58, a
in Antwerp, Belgium, and a
them previously unseen.
private edition limited to 300
Fellini inspired shoot at the
The retrospective lasted
copies whose content was
baroque loft of Paolo Calia
six months. The following
shown internationally. The
in Paris, are part of this new
year, his Extra Large Marc
atmosphere of Hotel Maritime
book. Lagrange keeps looking
Lagrange show in Graz,
– Room #58 echoes some of
for singular subjects and
Austria, spread over 3,000
Edward Hopper’s most soulful
unexpected stories, placing
square meters. Lagrange
and alluring paintings. More
humanity at the core of his
also participates in Art
conceptual than his previous
approach. After the artist’s
Miami on a regular basis,
works, it underlines the
sudden death from a car
and several books have
descriptive quality of his art.
accident in Tenerife in 2015,
been published under his
In 2015, a selection of
his artwork continued to
name, including Polarized by
Lagrange’s iconic works
receive worldwide recognition.
Ludion in 2009 and Marc
was featured at the TEFAF
Atelier Marc Lagrange and
Lagrange XXML by Lido in
art fair in Maastricht,
Marc’s sons took care of his
2009. In 2013, Diamonds
the Netherlands. Senza
archive and the projects he
and Pearls was published
Parole, which partly took
still wanted to share with the
by teNeues in 80 countries.
place in the Italian town of
world.
The following year, in
Pietrasanta, coupled with
In 2016, Atelier Marc Lagrange
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LAGRANGE MARC collaborated with the province
insatiable appetite for new
was shown in a number of
of Limburg, Belgium, on the
ideas and ways to express.
galleries around the world,
Timeless Beauty exhibition,
Another one of his passions
being labelled The Chocolate
taking place in the award-
was Polaroid Chocolate 100,
Project. The exhibition
winning Gallo Roman Museum.
a limited and very rare type
impressed by combining
This evocative interplay of
of film that only landed in a
the artist’s sophisticated
photographs of sensual
few select hands. The film’s
image compositions with the
nakedness and intriguing texts
unique process differs from
film’s peculiar warm colors,
by Roman authors combined
other Polaroid film by its
rough surfaces and painterly
with authentic objects
chocolate brown shadows
aesthetics characteristics.
drew you deeper into the
and creamy highlight, making
The success of The Chocolate
mysteries of feminine beauty.
the Polaroid Chocolate 100
Project led to a new book,
Timeless Beauty ran between
a perfect fit for Lagrange’s
called Chocolate, consisting
December, 2016, and August,
black and white aesthetics,
of a broader selection of
2017, and was an enormous
increasing the intimacy factor
mostly unpublished photos,
success with over 40,000
even more. In 2017, a limited
carefully assembled from Marc
people catching a glimpse
series of carefully selected
Lagrange’s achievement with
of Lagrange’s impressive
photos shot by Lagrange
the rare Polaroid Chocolate
photography collection.
between 2010 and 2014
100 film.
Marc Lagrange had an
on Polaroid Chocolate 100, 47
Villa Amori
White Fox, 2008
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50
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Mixed-Up take one, 2009
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52
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Mixed-Up take two, 2009
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Caviar Girls, 2008
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Strippoker, 2009
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Senza Parole
Truth be told, 2015
Tusk, 2014
Infinite Possibilities, 2014
Milk & Cookies, 2014
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Hotel Maritime Room #58
Brightwork, 2014
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Colours nailed to the mast, 2014
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Corpo Santo, 2014
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Mrs. Brown, 2014
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Chateau Lagrange
Château Lagrange, 2006
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Blind Date, 2003
Bonne the face, 2000
Silvermuseum, 2006
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Princess, 1998
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Diamonds & Pearls
Château Dinner - Caviar shot, 2013
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Château Marmont Room Service, 2012
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Corner Girl, 2012
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Entertainment, 2012
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Faddy Stories
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Dressed in Dreams by Melissa Belardo
Photo Tatiphon @tatiphon Model and Muse Eva Minaeva @loeil.de.la.mer Creative Director/Stylist Melissa Belardo @_vision_me_ Agency Official Models NY @officialmodelsny Videographer Derek Siyarngnork @de9rek BTS Minam Kim (Sean) @butterm3 Visual artist Siriphong Tipayakesorn (Preto) @pretohf Hair Takuya Yamaguchi @tak8133 R+Co @randco Mua: Kento Utsubo @kentoutsubo MUA assistant IHAKU @lisaihaku Nails: Nori / ARTLIST @nailnori Stylist assistant Naeem Davis @Gods_hidden_treasures Copy writer Doug Levy @thedouglevy Voiceover Kelsey Rae Adams @keiseyrae21 Colorist Ink Navapat @in8k Producer Editor-in-Chief/Artistic Director for Faddy Magazine Candice Solomon @candicesolomonstyle
Dressed in Dreams
Tulle Skirt by DUR DOUX From The Confessional Showroom NYC Shoes by Alexander Wang Rhinestone wig by Katherine Drexler Rings by Jduval by Jessy Duval. ^On Aperture: Dress by Son Jung Wan Rhinestone wig by Katherine Drexler Earring by Ranjana Khan Rings by SOKO Tights by Woldford Shoes by Beautiisoles
Dotted Swiss tulle cape, Mola WalkerFrom Seventh House PR/Showroom Seven Black ‘Katherina’ bodysuit by Wolford Sheer Tulle Elbow Gloves by MaisonRebelle Sheer skirt by Cristobal Eolo Earrings by Caprice Decadent US Rings by Jduval by Jessy Duval Black platforms by Vivienne Westwood
Dotted Swiss tulle cape, Mola WalkerFrom Seventh House PR/Showroom Seven Black ‘Katherina’ bodysuit by Wolford Sheer Tulle Elbow Gloves by MaisonRebelle Sheer skirt by Cristobal Eolo Earrings by Caprice Decadent US Rings by Jduval by Jessy Duval Black platforms by Vivienne Westwood -> On the right page: Emerald lace dress by Mola Walker Necklace by Erickson Beamon All from Seventh House PR/Showroom Seven Earrings by Caprice Decadent US From Flying Solo Tedye fishnet tights by Loulabelle Cout Maysale heels by Manolo Blahnik Ring by stylist own
Emerald lace dress by Mola Walker Necklace by Erickson Beamon All from Seventh House PR/Showroom Seven Earrings by Caprice Decadent US From Flying Solo Tedye fishnet tights by Loulabelle Cout Maysale heels by Manolo Blahnik Ring by stylist own
Dress by Son Jung Wan Rhinestone wig by Katherine Drexler Earring by Ranjana Khan Rings by SOKO Tights by Woldford Shoes by Beautiisoles
Dress by Son Jung Wan Rhinestone wig by Katherine Drexler Earring by Ranjana Khan Rings by SOKO Tights by Woldford -> on the right page: Dress by Son Jung Wan Shoes by Prada Choker by Erickson Beamon From Seventh House PR/Showroom Seven Rings by stylist own Earring by Anna Louise Rhinestone wig by Katherine Drexler
Dress by Son Jung Wan Shoes by Prada Choker by Erickson Beamon From Seventh House PR/Showroom Seven Rings by stylist own Earring by Anna Louise Rhinestone wig by Katherine Drexler
Dress by Son Jung Wan Shoes by Prada Choker by Erickson Beamon From Seventh House PR/Showroom Seven Rings by stylist own Earring by Anna Louise Rhinestone wig by Katherine Drexler
Dress by Son Jung Wan Rhinestone wig by Katherine Drexler Earring by Ranjana Khan Rings by SOKO Tights by Woldford -> on the right page: Dress by Son Jung Wan Sheer Tulle Elbow Gloves MaisonRebelle Tights by Woldford Bardot heels by Beautiisoles From Seventh House PR/Showroom Seven Diamond earring by Jduval by Jessy Duval. Diamond stack chokers by Jduval by Jessy Duval. Rings by Jduval by Jessy Duval.
Dress by Son Jung Wan Sheer Tulle Elbow Gloves MaisonRebelle Tights by Woldford Bardot heels by Beautiisoles From Seventh House PR/Showroom Seven Diamond earring by Jduval by Jessy Duval. Diamond stack chokers by Jduval by Jessy Duval. Rings by Jduval by Jessy Duval.
Pink Rose Gown by CD Greene Shoes by Vivienne Westwood From Flying Solo Stud Earrings by Erickson Beamon From Seventh House PR/Showroom Seven Ring by stylist own
Tulle Skirt by DUR DOUX From The Confessional Showroom NYC Shoes by Alexander Wang Rhinestone wig by Katherine Drexler Rings by Jduval by Jessy Duval.
Y
ves
Kortum
YVES KORTUM Y VES KORTUM EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O
F
ashion photographer Yves Kortum has been
Elle, L’Oréal Professional, RTL, Schwarzkopf, Wella, Da-
inspired by powerful women his entire life. A
vines and Jitrois.
man who captures the beauty in imperfection,
But he talks about light and shadow, a return to natu-
his photography encapsulates bold femininity and
ral beauty, what it means to be a photographer.
unconventional vision. Faddy Magazine rediscovers some of his best work from a daring career spanning
“Arriving at each new city, the traveler finds again a
over twenty years.
past of his that he did not know he had: the foreignness of what you no longer are or no longer possess
It’s, perhaps, Kortum’s infatuation with flaws that al-
lies in wait for you in foreign, unpossessed places.”
lows him to weaponize them as assets. Or his ability
― Italo Calvino, Invisible Cities
to replicate the jene sais quoi of iconic films from the 50’s into modern portraits.
Taking inspiration from travel and how the sun hits
In my interview with the humble creative, he doesn’t
(and reflects) a city’s architecture, Kortum has his lens
name drop collaborators, which include brands like
aiming at the New York skyline next.
YVES KORTUM I know your father was a
the sun shows shadow and
human away. I hope we come
hobby photographer. Did
reflections on the walls. I really
back to real photography.
this inspire your start in
love to visit historic cities, or
I’ve had clients returning the
the industry?
any kind of city. I travel a lot.
traditional style of photogra-
When I see how the light
phy, and they are fed up with
goes, where the shadows are
these fake faces and skin, and
shown, I always think, how
all these kind of things.
How do you know this!
can this be shown in a pho-
I did some stalking online…
to? I start with photos on my
iPhone and then start putting
My father was a hobby
photographer in Luxemburg, but that wasn’t my push to
become a photographer. I was always interested in art and
music, and I drew caricatures. I was djing when I was younger. One day all of my friends wanted pictures, and I took them to my father’s studio
it together some days after.
And I start to think about the
My definition of beauty is
sensuality in the movies from
imperfections. Big noses, or
the 1940s to the ’60s. I love to
I love wrinkles; they give the
watch these movies, actresses
person character. I know in
like Sophia Loren and Ingrid
the industry, they have sizing
Bergman. I take this kind of
and measurement require-
drama into my photos.
ments, but I’m not looking for that. I’m looking for something
Nowadays, editing is a
people on the street, and I
huge part of photography.
really liked that.
Would you consider this a natural part of the indus-
I’m always surrounded by people, mostly never alone. I love beautiful, strong, and sensible women. I am like… I don’t know if you know the Roman Italo Calvino. It’s a series of books; it’s one man, he is losing himself in urban, historic and modern surroundings. He’s looking for, well, I’m looking for the light, and how 116
F A D DY Mag
definition of beauty?
tions from the femininity and
I started to take portraits of
tographer today?
scout in Paris. What is your
story. I take a lot of my inspira-
and took their pictures. Then
So what inspires your pho-
You’ve worked as a model
try, or do you think a good photographer needs little editing?
special, androgyny, a woman that looks masculine. I love the beauty that’s not perfect, which is why I don’t like the Instagram girls with fake lips and fake everything. I get many requests to collaborate with these skinds of bloggers or Instagramers, and I always
It started like thirty years ago.
decline. I hate contouring
We were retouching all the
makeup, and I hate, maybe,
negatives for small things.
well, I should not say names...
Today, it’s forsure a part of it. Digital photography is sharp and too detailed, so you often see too much detail in
“So you’re not photographing the Kardashians…”
the skin, and you have to do something. What I really don’t
Uh, Kendall Jenner, I like her!
like are these Instagram filters
She’s more natural. But these
that take anything that is
ten layers of makeup on the
KORTUM YVES skin is what I don’t like. In
Helmut Newton, actually.
most of my photos, you see, there is nothing on the skin. Even if a girl has a pimple, I
prefer to leave it and take it out with photoshop, rather
than a makeup artist putting layers of makeup on her.
phy university courses, and students always ask, ‘f I get
When I was working in France for Elite, I worked on set with him for three different days.
I loved his photography, and
many people tell me my imag-
your camera, will I take your photos?’ I always say no, you will not take my photos, stick with the camera and style that you know.
es resemble his.
Your favorite photography
Would you consider be-
coming great in photogra-
phy is a talent you’re born
Did you have any surprises working with him?
with, say like painting, or
Actually, from Helmut, I did
the right commitment and
not learn much. He was very
passion?
funny on set and always
joking, never in a bad mood.
with it. You can learn a lot,
but ideas and creativity you
cannot learn. They come from your stomach, you have your and see something, then the rest happens. You can learn the technique; of course,
could photograph anyone alive or dead, who would it be?
a skill you can learn with
I think you must be born
style is portraits, so if you
These kinds of things, always smiling, always speaking
Like I said before, I love Sophia Loren, Ingrid Bergman, Marilyn Monroe, the great women of that film era.
three to four languages on the set, that I do the same
What’s next for Yves Kor-
today. These kinds of things, I
tum?
think, I learned from him. But the technique I learned from other people.
some other photographers
In five years I want to go to New York, but in five years I’ll find another excuse. But,
know much more about
What languages do you
no, really, I want to go. I was
technique or lighting. But
speak?
never there. I’ve always been
they don’t know how to use it, which is often the problem. Look at Helmut Newton. He never gave a shit about good
around Europe, Eastern I speak French, German, English, and Luxembourgish.
equipment, always working with his own Nikon. He was very creative, and ideas came out of his stomach. I think this, you cannot learn.
Europe, Paris, Berlin, Luxembourg. I really need to see new things. When I see the movies, and I see New York
What is the biggest mis-
and the streets, I need this
conception about photog-
inspiration. Like Italo Calvino,
raphy?
just walking around and tak-
That if you have the best
ing input of what I see.
camera, you will take the best You’ve worked with
photos. I teach photogra117
F rederic Auerbach
FREDERIC AUERBACH FREDERIC AUERBACH THE ELEGANT EYE
EXCLUSIVE I N T E RV I E W BY RHET T BUTLER
Jude Law, Kate Winslet and 50
foreseeable change of life
Cent.
excited me.
He espoused on his journey, technology’s effect on the
industry and the subtle art of the image.
How difficult was it to
break into the high-level photography industry?
The beginnings were difficult,
Photographer Frederic Auerbach possesses an elegant eye.
Uncluttered and classic, with a hint of personality, his im-
ages stand as a testament to momentary reverence.
The American/Swiss was born and raised in Switzerland.
After art school in Zurich, he migrated to Milan and Paris,
assisting well-known photographers and eventually living in Paris for over twenty years. Now based in Los Angeles, California, his subject have included everyone from Sharon Stone, Natalie Portman, and Francis Ford Coppola to 138
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Talk about your passion
but once you get the ball
for photography; from
rolling, a lot is determined
where does it spring?
by luck, by meeting the right people at the right moment,
I started photography as a
child on hikes with my par-
talent is important too, but it is only one of many factors.
ents through the Swiss mountains and got more and more
What is your favorite style
into it. Later, I would pretend
of photography to shoot:
to go to school on certain
Editorial, High Fashion,
days, but I went out with my
Celebrity-Driven Profile?
camera...
My favorite shoots are fash-
What led to your decision
ion editorials. That is where
to emigrate to the States?
I come from; they are so
Was it solely for your pho-
important in Paris. To create
tography
a little story with a fashion editor and then transform it
I migrated mostly because I started to work with celebrities who lived in the U.S. more and more, and the
with quite a lot of freedom is the most exhilarating part of fashion photography.
AUERBACH FREDERIC Most memorable experi-
Digital didn’t change much,
No, in the opposite!! Art pho-
ence as a photographer?
except the technical part of
tography (not to mix up with
photography got much easier,
commercial photography,
simpler and much more
which is what I do) has be-
flexible.
come freer, more accessible,
What did change a lot, is the
more diverse!!
The most memorable experiences for me are fashion editorials with high-level
teams. Model, fashion editor, glam. That is where an idea
can get transformed as close as it existed beforehand in my mind. And the feeling when you see and sense it
situation of magazines and advertisers. Magazines are under a lot of pressure of
advertisers, and advertisers
are replacing their creatives ing people.
just amazing.
In general, creativity has become much more controlled
ultimate contribution to the photography industry?
aspiring to reach a higher level in the profession?
more and more with market-
happening in my viewfinder is
What do you feel is your
Advice to photographers
these days. So, very often, what is lacking in nowadays shoots, be it editorial, advertising or celebrity shoots, is courage and people who dare
I don’t think I contributed
take responsibility for creative
something major to the pho-
solutions and then their actu-
tography industry. My pic-
al transformation in pictures.
The only advice i can give is to be sure that this is your passion. If it is, then go for it!! Just take pictures and show them!! Which is easy nowadays and difficult at the same time. If the drive and passion and talent are there, you will get there! Like with so many other things in life
tures are seen within seconds and then most of the time go to the rubbish or recycling bin. And I am totally fine with it. What do you feel is lacking in the industry, especially in the digital age?
Do you see a degradation of the art form of photography with the advent of new technology and ready access to higher end cameras on phones? 139
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LOVE MOSCHINO red dress - SOLOMEINA cuff at Flying Solo
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S
ergi Pons
S
ergi is a Barcelona-
Vanity Fair Italy, German
based fashion
GQ Style, BMM, Schon,
photographer whose
GQ Japan, S Moda, anidad
saturated colour scheme
and Fashionisto among
gives his photography its
others. He did campaigns
positive vibe.
for clients such as Sarda by Andres Sarda, El Corte
Sergi Pons is currently one of
Ingles, Lacoste, Fiorucci,
the most established Spanish
Women secret, Olivier Strelli,
photographers with major
Galeries Lafayette, Roca,
international reputations
Lottusse, Carrera Sunglasses,
working in fashion, beauty
Vanity Fair, Mustang, 497o
and advertising. His work
Escorpion, Mango, dosMares,
appears in magazines
Stradivarius, Pura lopez,
like El Pais, GQ Spain,
Levi’s, Coca-Cola, Aigner
Marie Claire, GQ France,
among many others.
Glamour, Vogue Joyas, 166
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B ay r U b u s h i EXCLUSIVE I N T E RV I E W BY CANDICE SOLOMON
T
oday, we are sitting down with Bayr Ubushi, Head Of Public Relations at Flying
Solo. Flying Solo is a membershipbased retail space and the largest showroom for independent brands in the US. I’ve got to know them through the network of stylists that told me that if our team is looking for truly unique pieces the best place to find them is Flying Solo. Today Flying Solo has 3 retail location and a large PR showroom located in Soho, New York
Let’s start with a simple question. Bayr,
Crazy celebrity stories
what do you do at Flying Solo?
FS works a lot with celebrities, but it’s even
more amazing when celebrities casually stop
That might be one of the hardest questions
by one of our stores to purchase pieces.
to answer, actually (laughing). My title is
Swizz Beatz, record producer and Alicia Key’s
Head Of Public Relations but this is the job
husband was passing by FS store once and
where you can be talking to a celebrity and
purchased a jacket that he really liked from
figuring looks for the next music video in the
one of our brans.
morning, planning logistics for the fashion
show in the afternoon and at night everyone
What do you think is the secret to FS
has to help out prepping gift bags for a party
success
What is the most exciting part about
The Team. Incredibly competent and
being in Flying Solo?
passion-driven.
That’s when your truly start appreciating the
For me, one of the most exciting parts is
power of teamwork when you don’t even
that Flying Solo dares to do things that seem
need to say you don’t even need to look for
impossible. The first year that we decided to
but it’s just work as one wild Bill machine and
showcase at Pier 59, one of the main stages
can rely on each other
of NYFW, and told Pier 59’s production team
that there will be 70 brands showcasing in
What are Flying Solo plans for the
one day, they just laugh in our faces, told
future?
us that is impossible and that we should
re-evaluate our plan. Imagine their surprise
We will be opening a store in Paris in 2021
when not only we’ve executed the show but
and adding Milan Fashion Week show in
it went flawlessly :)
September 2021
This year Flying Solo produced NYFW and PFW shows, both with a live audience despite all the crazy restrictions that made a show with the live attendees almost impossible to do. Our team announced that we are doing it back in April and people thought that we’ve absolutely lost out minds (laughing) But we did it anyway and that gave the brands that we represent even a bigger spotlight
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T
Based in Melbourne, Australia Tom Blachford specialises in Interiors, Architecture, Aerial and Fine Art photography. Working with many of Australia’s most prominent and creative architects + designers Tom prides himself on translating space, texture and design intent into strong sets of images. His graphic approach and cinematic aesthetic also been utilised by brands and agencies seeking evocative images to elevate their campaigns with the use of his signature style. His advertising clients and collaborations include Asahi Beer, Nomad Hotels, Deakin University, MTV and Melbourne Fringe Festival.
om
Blachford
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