Paul Costelloe Dublin, London, France, Italy
AMCK Models UK Top Male Models Worldwide
Barry McCall Featured Photographer
CONTENTS
Cover Photo / Solmaz Saberi
2
Editorial / Romancing The Stone / Martyna Gumula / REBELIIOUS TEAM
4
Editorial / Anton Kuryshev
10
Editorial / Babak Fatholahi
14
Interview / RADOSLAW REDZIKOWSKI
20
Editorial / Chris Yates
25
Editorial / Matthew Burditt
30
Editorial / Danielle Droeven
32
Interview / Wilson Model Management (4 pages max)
36
Editorial / Rhian Cox
38
Editorial / Ricardo URROZ
42
Editorial / Latiff Napoleon
44
Editorial / LFW
46
Editorial / Guilherme Costa
48
Editorial / Christian Hasselbusch
54
Editorial / Ricky Woodside / Game of colours
58
Interview / AMCK MODELS (4 pages max)
62
Editorial / Sarah Raymond
64
Editorial / REBELIIOUS TEAM / Give me a Sari / Martyna Gumula
68
Interview / Solmaz Saberi
78
Editorial / Jerome Lim
79
Editorial / Alessandro Perra
80
Editorial / McCade Dolan
82
Editorial / Nhu Nguyen
84
Interview / Sara O’neill
90
Editorial / Anita Kulon
92
Editorial / Michael Taborsky
94
Editorial / For the love of winter / Martyna Gumula
102 Interview / Paul Costelloe
FLAWLESS TEAM Director Samson Ogunshe
105 Editorial / Stephane Sb 106 Editorial / FairyLady 108 Interview / Barry McCall
Creative Director Ricky Woodside www.urbanfoxltd.com
Romancing The Stone Photographer / Martyna Gumula Model / Alexander & Veronica Hair and Makeup by / Michael Sadowski Styling by / Alexander Urbanowska Assist / Rose Stawierej Production Designer / Dorothy Mary Wojcik Production / Rebellius Team
Duality Of fO ytilauD The Soul luoS ehT Photographer / Anton Kuryshev Hair and Makeup by / Evgeny Zhuk Wardrobe / Aleksandra Anisimova Model / Aleksandra Vsesvyatskaya Special thanks to Vox Studios Blouse, Trousers - Zara Collar Necklace - H&M
Babak Fatholahi http://babakfatholahi.hambr.com
Radoslaw Redzikowski INTERVIEW
Q1: Radoslaw Redzikowski first off, can you tell us about yourself and how you got started in photography? There is nothing extraordinary about my story. First camera I played with when I was seven was my brother’s Smena (made in USSR), then my father’s Zenith (my first SLR), dark room set up in my parents’ basement and that was basically
how I lost my head for photography aged 14. I went to photography school but I left it after just two years mainly because of straight rules set up by the teachers. I was always interested in portraits and unfortunately the portrait classes were the biggest disappointment focused on techniques and no tips how to look or think about photography. After I had left the school my baby daughter became my only model and later, for many different reasons I had to forget about photography for a few years. When I finally got back to my passion, it was already a digital age and I had to start from scratch. Although I still miss my darkroom and all the excitement involved in the developing process it was a digital technology that eventually allowed me to earn a living.
Q2: How would you describe your work to someone who has never seen it? I always try to look at my subject in a simple and open way, I like classical way of framing, not looking for oddity or surprise, I just want my models to look good. I like playing with light that allows me to introduce magical, almost fairy-tale-like ambience.
Q3: At what point did you realize that photography is what you wanted to do as a career? Photography has been a part of me all the time, I simply couldn’t figure out how to turn my passion into a career. I left all my stuff back in Poland and moved to the UK to start doing something completely different. After work however I couldn’t help myself visiting photographic shops and staring at cameras and accessories which at that point I didn’t really need. And one day I just made quick and hasty decision to go back to Poland and open a studio having no job, no money, equipment or connections. I put all my eggs in one basket, came back, got married with my girlfriend and we started from scratch together. This was a very difficult but quite exciting period when I finally realised I couldn’t do anything else.
Q4: What are the biggest challenges of working in Poland? Polish fashion world is a very hermetic circle, turning around the same names, reluctant to let anyone in. Although talented and hard-working, vast majority of currently world famous models, designers, photographers and artists in general couldn’t make a career in Poland, people simply tend to get acclaimed after they have been noticed abroad.
Q5: Your projects are a collaborative process. Tell us what is like to always be working with new stylists, models, and designers. Work with artists, although fascinating, is quite often a huge challenge. There can be over a dozen people involved in one session, all of them equally important; having their own vision, their own ideas and ambitions. It is difficult to make them all feel appreciated and understood simultaneously not to mention organizing and looking after such projects. That’s why I always have a supervising art director, one person responsible for basically everything going on in the studio that can put her foot down when necessary. I like working in a friendly and informal atmosphere no matter how important the job is, where everyone can fool around and have a good laugh but remain professional at the same time. It’s important that people working together are on the same wavelength. I was lucky enough to meet my dream team, which I really love to work with.
Q6: What kind of impact do you hope to make in the fashion world in the next 5-10 years? I like getting involved in independent projects. For over a year now I’ve been working on a showroom combined with a photographic studio that gathers young designers from all around the country. Now I am planning to enable photographers from all over the world to rent amazing and unique creations for the photo-shoots online. Hopefully I will be able to get through to a larger number of people with the work of young Polish artists. As I do not usually plan anything and make my decisions on the spur of the moment it is very hard to say what I will be doing in 5-10 years but wherever I’ll be I hope I will always have my camera on me.
Q7: What does fashion mean to you? Fashion is not just a business anymore, it’s a lifestyle, a way to express yourself, for me it’s art, that inspires, generates emotions, amuses and sometimes terrifies.
Q8: What projects are you working on now? Currently I am organizing a big photographic workshops tour; I am going to travel around the country for a few months. I managed to get a few great people involved in the workshops such as a finalist of Polish Next Top Model, talented makeup artists, hairdressers, stylists and designers. I am hoping that really magical shots will emerge from this project.
Q9: How much equipment do you typically bring to a photo-shoot? I don’t use too much equipment in my outdoor sessions as I tend to move a lot and carry my equipment by myself. Looking for a perfect spot I often climb trees, walk into the water etc. and too much equipment would only slow me down and prevent me from taking “the picture”. I don’t use tripods, softboxes or huge lamps, quite often it’s only one camera, 1-2 lenses and some small wireless lamps. However I dont think there is such a thing as an excessive accessory for a photographer, thats why I keep all this stuff I dont use in my studio.
Q10: Talk about the biggest struggles you had when you first started fashion photography in Poland, and what are the biggest challenges facing you now? Definitely the very beginning; no studio, no fashion portfolio, no connections of any kind, I really didn’t know where to start. For the first sessions my wife (my business partner, stylist and graphic designer) and I had to re-tailor second- hand clothes, we used to make some crazy accessories and hats often at night, we were looking for models via internet… crazy times. We never knew who was going to come for the session, how they were going to model and in fact what they really looked like. But it was that time when I met most of the amazing people I still work with: make-up artists, stylists, designers and models. Waiting for the first fashion contracts we made ends meet mostly on wedding photography trying to smuggle as much fashion into it as it was possible. Nowadays more and more people can afford digital equipment and there are more and more photographers on the market, many of them are happy to work for free to gain some experience. Large substantial contracts are reserved for a small group of famous names, smaller customers, on the other hand, are still not ready to invest in good professional photography. You can find good fashion photographs at social networks, some independent magazines, unfortunately not in your potential customers’ campaigns.
Q11: What photographers from the past or present have influenced you the most? The first and the most significant “master” in my career was Henri Cartier-Bresson, the fashion elegance in his photojournalism changed my perception of photography forever. My second fascination was Jan Saudek’s work – huge package of emotions through simplicity, no enhancement or beautification, no puffed out scenography – that’s what mostly seduced me. One of my favourite photographers for many years now has been Erwin Olaf with his surreal and magical light and colour in contrast with often brutal and drastic content. I also admire every piece of a great fashion photography master Patrick Demarchelier for their elegance, simplicity and subtlety.
Q12: What’s the most important thing you want potential clients to know about you? It is a difficult question. I would probably refer a potential customer to the photographs; I believe that only they should speak to the customer directly. As long as someone finds my work interesting we can talk about all other, additional things, which are less important.
Q13: Lastly any advice for aspiring photographers? The one and most important rule is – there are no rules! Don’t let anyone tell you that you need specific expensive accessories, or that you have to frame, light or edit your photographs in any specific way. Lots of people out there are ready to tell you, that your work is worthless, just learn how to tell criticism from viciousness and then… ignore them both!
Rags To Riches Image Concept and Photography / Chris Yates Models / Ieva & Jade @ Lenis Designer / James Ashley Hadrill Headpieces / House of Halos Hair and Makeup by / Zaneta Swiatlovska
Matthew Burditt Model / Haley Brunner @ Numa Models Makeup Artist / Hair / Jenny Tseng (http://www.jennytsengartistry.com/makeup/) Stylist / Jenny Tseng
Concept: Inspired by the classical decorative art and dark forest, this photo shoot presents two divined looks that are feminine, but at the same time dominant and powerful. With the combination of special F/X body makeup and the usage of various materials on hair and wardrobe styling, we aim to convey the dark and bright sides; pride and strength of female figure.
Wind Tenderness Photo Art / Danielle Droeven Make Up and photographer / Irina Gromovataya Model / Inna Kohovets
Wilson Model Management INTERVIEW
Q1: What does a day in the life of Wilson Model Management consists of? What I like most about managing models is the creative aspect. I feel like a sculptor. I get to travel, find new faces, envision their careers, develop them, place them with agencies all over the world, and oversee their careers, all the while building a relationship and watching them grow. This I do on a day to day basis along with the emails, paperwork, phone calls, and meetings that come along with running any business. All in all, I find it exciting and invigorating.
Q2: Wilson Model Management was founded in 2010 and revolutionised modelling agency industry in a short space of time by managing the successful careers of different models. Can you tell us about the agency, some of your models you have and currently representing and where you think it’s going in the next seven years? Wilson is in a unique, but not all together rare, position wherein it acts as the liaison between the model and the booking agency. Wilson is the voice for the model; it is a true “mother agency.” After modelling myself on and off for several years, I came across many obstacles and struggles which taught me many lessons. So when Wilson was started in 2010 I vowed to ensure that those lessons would be implemented in the careers of my models—that they would not make the same mistakes or encounter the same problems that I came across. That they would be protected, and if difficulties did arise, there would be someone knowledgeable enough to combat those issues. That was the case then, and it still is the case now. We really do represent some great faces. Corey Baptiste is not only an amazing face—a true classically beautiful guy whose career just keeps going upwards—but he also has the most charming personality that wins over everyone he comes across. It is really no wonder that he has worked for such a wide array of high-end clients. Dae Na is another beauty who has such an amazing spirit and can give you the most versatile and uninhibited performance in front of the camera. He too has such an impressive client base under his belt, and in just a year and a half. There are several other models whose careers are also flourishing like David Hlinka and Russell Giardina; and I could go on and on over the new faces that all have so much potential, however there is just not enough time in the day unfortunately. Hopefully, Wilson will continue to grow and be recognized as a great model management company, representing not only a strong men’s board but an equally strong women’s board as well.
Q3: Wilson Model Management currently represents some of the world’s most successful male models, including Corey Baptiste, Russell Giardina and many more. Who do you think is the next big male model in this industry? Funny enough Russell was the first model I ever scouted and placed and Corey was the first model that I decided to manage and primarily the reason for the start of Wilson Model Management. For that, I hold those two in particular incredibly close to my heart. With that being said, I think the next big male model in the industry is hard to say. Sometimes you think a models career is going one way but then it takes a completely different direction or just falls off all together. I have and still do a lot of studying when it comes to the fashion industry and, above all, male fashion and I’ve seen this occur many times which makes it quite difficult sometimes to pinpoint who the next big thing will be. In any case, and taking the Wilson boys out of the equation for the moment, I’m currently looking at the careers of Benjamin Eidem, Wouter Peelen, and Conrad Bromfield.
Q4: Wilson Model Management was born in 2010 and in the short space of time has established itself as one of the leading players in the industry of men’s fashion, what are the main reasons for your success? For one, we believe at Wilson that a model management company is only as strong as its newest face therefore we always strive hard to find a model that not only has the physical characteristics to meet the requirements of such a superficially demanding industry but also the mental capability and willingness to be guided in order to achieve maximum success. Moreover, by working very closely with the respective models’ agencies worldwide, it insures that the models’ careers are being fully managed all around the board with no stones unturned. Probably most importantly though is the Wilson Family. We like to keep it small, tight, and exclusive. Even though we represent models from all over the world most of them know and are familiar with each other and do get along—believe it or not. By having such a tight nit group of models, it keeps them grounded and on the right track knowing that their fellow Wilson family member is looking out for them.
Q5: The fashion industry itself changes at a rapid pace, how have Wilson Model Management been able to keep up with the constant change? By keeping the core principles afloat which Wilson was founded on: quality not quantity, a close relationship with the model and their family, a close relationship with the models’ respective agencies worldwide, and keeping the presentation for both the model and the company simple, clean, and classic.
Q6: How have Wilson Model Management changed since it was founded back in 2010? Wilson’s eye has become quite sharper since 2010 hence becoming more selective. We started with one model and now it has grown to about eighteen. To be honest, there was a time in the earlier portion of Wilson’s birth when we weren’t altogether on board with the looks of every single model that we represented. That has definitely changed since then. Now we are 100% sure of everyone that we represent whether they’re a brand new model running around on castings trying to book a job or one of the more established models on the board booking consistently.
Q7: Wilson Model Management is very selective when it comes to the type of model you represent, what are some of the main factors you take into consideration when it comes to scouting or representing a new Model? As with most agencies or model management companies across the globe there are certain age, weight, height, and overall look requirements to be met for representation. Wilson is no different, nevertheless one of Wilson’s prime factors when scouting a new face is their presence which you either have or you don’t. You can build on presence but from my experience you can’t create it. I have come across quite a few potential models that even though they weren’t absolute superstars they had the personality and charisma that it took to succeed. They could just walk into a room and command attention without saying a word. This in itself was enough to at least give them a shot. Of course they still had to be tall, still had to be youthful, and still had to have some sort of a look.
Q9: Talk us through the process of helping each model with their career as well as helping them reach their fullest potential. This is actually a pretty difficult question as every model is different, as every young child is different; and with that each model carries their own individual needs, wants, struggles, and demands. I use the child reference for a purpose. A child, because of their youth, can be naive and unknowing. If left by themselves they could be taken advantage of, used and abandoned. Therefore, a child needs the guidance and support from a knowing elder in order to learn and mature. As the child matures, an elder will slowly let go of the reigns, and what once could be looked at as a dictatorship is now a democratic institution wherein the child and the elder works together for the betterment of child. This principle can be used for a new model. With guidance and support a new model will reach their fullest potential.
Q10: Every agency has a distinct look they go for that suits most of their clients, what’s the typical Wilson Model Management look? We at Wilson undoubtedly love the Classic Face, that face that withstands the test of time. You don’t have to squint your eyes, tilt your head to the side, and distort your face in order to get their look. We don’t really go for the weird or quirky kind. Not that there is anything wrong with that look, to each their own; however those models tend to only be good for a few seasons and then they’re basically forgotten. We love the old school classic looks of Marlon Brando, Sidney Poitier, Harry Belafonte, and James Dean. We love longevity. Longevity pays the bills.
Q11: if you could offer an aspiring model one piece of advice, what would it be? Be patient. Models aren’t, at all, known for this attribute but everything and everyone has their season so just enjoy yourself, be patient, and take it as it comes.
Q12: How can models reach your agency? A model you can reach Wilson at submissions@wilsonmodelmgmt.com.
Q13: Lastly any upcoming projects we should look out for? Annually, Wilson Model Management holds a photo shoot, with the exception of our first year. It is a way to promote our models, and the Wilson Family on a whole. It is also an amazing way for all the models to hang out, chill, bond, and have some fun—comparable to a family reunion. We’ll be shooting the Wilson Model Management 2013 shoot sometime this Fall so lookout, it is going to be really remarkable!
Shadows And Savours Stylist / YANINA NIKITINA Photography / RHIAN COX Model / DIDO @ OXYGEN MODEL MANAGEMENT Mua / SUSAN YATES Hair / SHARON ROBINSON Leather Bra / NEANGA Leather Accessories / (Worn Under Bra) REKKO DESIGNS
Top / RIVER ISLAND Crown / NEANGA
METAMORPHOSIS Photography / Ricardo Urroz Styled by / Courtney Ann
Latiff Napoleon Model / CHARLOTTE @ PROFILE MODELS
London Fashion Week NEW WINNER FOR 2ND ANNUAL EMERGING TRENDS FASHION CHALLENGE IN LONDON SYNERGY Events hosted Design Challenge in London during London Fashion Week on Sep 13th during London Fashion Week. London, United Kingdom - Sept 13th, 2013 – This year, The SYNERGY Events once again presented a handful of unknown designers with the opportunity to create new looks to be showcased in one of the fashion capitals of the world in London, UK during London Fashion Week on Sep 13th, 2013. The SYNERGY Events, a Boston, USA based company that constantly redefines what is vogue and refined through its high-end events released their plans for the 2nd Annual Emerging Trends Fashion Challenge London; a fashion challenge for up-and-coming global fashion designers hosted at the Radisson Blu Portman Hotel, 22 Portman Square London on September 13th,2013. The company has hosted four Emerging Trends fashion shows during Boston Fashion Week in the past, each one showcasing designers from all over the globe, from Iceland to China and everything in between. This year, the SYNERGY Events hosted its second Emerging Trends Fashion Challenge in Paris, France. The winner of the challenge Nina Athanasiou from Germany. Nina receives a prize worth over $10,000, including a customized video shoot with hair and makeup, to launch designer’s full line with a video lookbook, a 2 hour marketing consultation by an established designer, an introduction to over 300 worldwide boutiques with the designer’s look book, a professionally written press release for the designers and press reach out, and major PR for 30 days post the event where we will help her put her line in at least 2-3 magazines and a number of blogs. Nina also receives the opportunity to showcase the full line at no cost to Western Canada Fashion Week in 2014. “We are pleased to present this opportunity to global emerging talents who need the most exposure over established brands. We are looking forward to helping launch unknown brands by casting the spotlight in London, one of the fashion meccas in Europe.” says Reaz Hoque, CEO of the The SYNERGY Events. The contest included three rounds; first, the chosen contestants showed their take on classic trends; second, the ten remaining contestants demonstrated their understanding of current trends with three looks; third, the final five contestants showed five looks that show their understanding and knowledge of future trends. The winning designer was chosen based on overall design ability and creativity, as well as a live interview in front of the judges. The 2013 designers competing for the show were: Nina Athanasiou (Germany), Elena Jones (Canada), Shefali Couture (Saudi Arabia) and Hope Wade Designs (Jamaica). The opening presentation prior to the contest will be by Rudy Wolff (Norway). A closing special presentation featured be by Rene K (designer for Kate Middleton and Barack Obamas’s daughter) and Kelly Ewing (stylist for the X factor TV show). More info about the competing designers can be found at: http://blog. theSYNERGYevents.com.
Founder of Global Fashion Management, Thierry Bayle, with over 20 years of international experience in fashion business development, was one of the judges who will chose Nina as the winner. He is followed by British fashion entrepreneur Barry Laden and Ben Muis, one of the most well known fashion and luxury consultants. UK based non-profit partner Mayamiko Trust is the official charity for the event which works to fight poverty by means of sustainable activities. The organization was at the event to showcase their Bricks of Hope Campaign for the opening of a production center in Malawi. Models for the show were provided by Flawless Model Agency and hair and makeup for the show will be provided by Spirits Salon.
Photographer: / DARREN BRADE Telephone / +44 (0)7 713 64 8085 Email / PHOTOS@ DARRENBRADE.COM Website / WWW.DARRENBRADE. COM Facebook / FACEBOOK.COM/ DARRENBRADEPHOTOGRAPHY Twitter / TWITTER.COM/ DARRENBRADE Blog / DARRENBRADE.TUMBLR. COM All images copyright of Darren Brade
The Polish Invasion Photographed and styled by: GUI COSTA Facebook / GUI-COSTA-PHOTOGRAPHY Models / AGNIEZKA MATERKA, JUSTYNA RUSNAK AND MARYSIA KUCHNIAK (ALL) @ ATTITUDE MODELS AND PRODUCTION
Wrap It Up Photographer / Christian Hasselbusch Concept & Production / Ellen Tanumihardja Styling / Cesco Spadaro Hair and Make-Up / KARINA BERG Models / PASCAL EHRING (KULT MODEL AGENCY)
Game of Colours Photographer / Ricky Woodside Session Hair / Gillian Douglas Rea Make-Up / Nuala Cambell Model / TAYLOR MCINTOSH Facebook / Urban Fox LTD Website / www.urbanfoxltd.com
AMCK Models
INTERVIEW
Q1: AMCK Models was founded in 2008 and revolutionised modelling agency industry in the United Kingdom in a short space of time by managing the successful careers of different models. Can you tell us about the agency, some of your models you have and currently representing and where you think it’s going in the next seven years? The agency has a diverse board of male models that differs form any other agency. We have a very interesting ethnic mix and age range across the 126 guys that we represent. Our model Jake Shortall is listed within the top 50 male models in the world and has appeared on the cover of Vogues Hommes as well as shooting campaigns for the likes of Pringle of Scotland, Topman and Uniglo. Hopefully the next 7 years proves to be as successful as the past 5…AMCK models is a brand that I would like to make synonymous with amazing male models in both the trade and also as a household name. height: 6'2" chest: 37" waist: 30" suit: uk ins. leg: 34" shoe: 9 hair: black eyes: brown
Ysham
Q2: AMCK Models London currently represents some of the world’s most successful male models, including Papis Loveday, Shaun Ross and many more. Who do you think is the next big male model in this industry? That’s the exciting thing about working in fashion you never know what is going to be next and so you have to be very quick to react and make sure that you have people that fit the demands of fashion whether that be a tattooed model or guys with beards. We are also instrumental in shaping trends. We were one of the first agencies to have a red headed model that climbed to the top of high fashion!
height: 6'1.5" chest: 37" waist: 31.5" suit: 38r ins. leg: 33" shoe: 9 hair: brown eyes: brown
height: 6'3" chest: 36" waist: 30" suit: 36r ins. leg: 34" shoe: 11 hair: black eyes: brown
Daniel Bamdad
Jourdan Copeland
Q3: AMCK Models was born in 2008 and in the short space of time has established itself as one of the leading players in the industry of men’s fashion, what are the main reasons for your success? The fact that we only represent guys has been the reason for our success. It’s a directional decision to do one thing and do it well also looking at the future of British menswear and the male consumer. We started the agency before the birth of what is now a very successful men’s London fashion week…London Collections Men as we anticipated the demand and it has paid off for us.
Q4: The fashion industry itself changes at a rapid pace, how have AMCK Models been able to keep up with the constant change? Keep doing what we do…head down and work hard! height: 6'2" chest: 35" waist: 31" suit: 38r ins. leg: 34" shoe: 10 hair: red eyes: blue
Michael McCaughley
height: 6'1" chest: 38" waist: 31" suit: uk ins. leg: 34" shoe: 9.5 hair: blond eyes: colour
Shaun Ross
Q5: How have AMCK Models changed since it was founded back in 2008? The board has grown of course with much stronger scouting so essentially we have worked out who we think is the “AMCK” boy
Q6: What type of decisions do you have difficulty making when it comes to scouting or releasing Model? As I was saying that we feel that we have now defined what it is that the board should look like, so there are some things that we really try to keep as standard like height for an example. When we started we quite easily accepted boys at 5.11 and now we try for a 6.1 min. with releasing boys it’s always a hard decision as we treat them like part of the family so there is always a personal connection which is sometimes hard. height: 6'0" chest: 35" waist: 28.5" suit: 38l ins. leg: 34.5" shoe: 9 hair: dark brown eyes: brown
height: 6'2" chest: 36" waist: 31" suit: 38r ins. leg: 34" shoe: 11 hair: black eyes: dark brown
Willy Cartier
David Valensi
height: 6'1" chest: 35.5" waist: 28" suit: 36r ins. leg: 32" shoe: 9 hair: dark brown eyes: brown
height: 6'3" chest: 35" waist: 32" suit: 36l ins. leg: 34" shoe: 10 hair: brown eyes: hazel
Jos Whiteman
Harry Curran
Q7: Looking through all the models on your website, no doubt there is nothing less than excellent models on your website. What do AMCK Models look for in a model? Really the whole package…height face bone structure skin body and GREAT personality.
Q8: Talk us through the process of helping each model with their career as well as helping them reach their fullest potential. A models career can be fun and fruitful but it takes hard work and dedication on both sides. Our job is to make sure that we present them to the right clients at the right time and make the choices of the shoots and brands that they should work for. The model themselves need to take care of themselves and be constantly polite and professional and available for castings and shoots.
Q9: Every agency has a distinct look they go for that suits most of their clients, what’s the typical AMCK Models look? Well you tell me! It’s just that “IT” thing which doesn’t translate to a square jaw or a symmetrical face…it’s always a lot more.
Q10: if you could offer an aspiring model one piece of advice, what would it be? Be nice…it’s simple, be the best person that you can be. (It’s the same advice I give my son!)
Q11: How can models reach your agency?
height: 6'2.5" chest: 36" waist: 31" suit: 38l ins. leg: 34" shoe: 9 hair: red eyes: green
www.amckmodels.com
Q12: Lastly any upcoming projects we should look out for? There are some great new campaigns coming out from Belstaff to Primark so keep looking out and follow us on twitter Facebook and tumbler!
Jake Shortall
The Bold Injection Photographer / Sarah Raymond Stylist / Krystle Cunningham Model / Freya Holmes zone-models.com Hair and Makeup / Sally Bahri Stylist Assistant / Annabel Arhin Website / www.sarahraymond.com Taking a minimal stylistic approach whilst using colour blocking to add a vibrant feel to the shoot. The sharp structure of the clothing works with the modern location and strong lines of the surroungs, adding an architectural dimension to the styling. WHITE CROP TOP & PASTEL BLUE MIDI SKIRT: Midi Skirt (Topshop) £48.00 Crop Top (Topshop) £25.00 Shoes(Topshop) £32.00 Bracelet (Topshop) £ 15.00
DARK BLUE TOP & WHITE TROUSERS: Top (Topshop) £22.00 Trousers (Topshop) £40.00 Bag (New Look) £ 7.99 Necklace (Topshop) £12.50 Shoes ( Miss Selfridge) £35.00
Give Me A Sari Photographer / Martyna Gumula Model / Natalia, D’Vision & Vero, United4Models Make-up & Hair / Michael Sadowski Styling / Alexander Urbanowska Hairstyle / Anna renal Place / Studio Sensi Production / RebelliusTeam Assist / Dorothy Wojcik & Rose Stawierej
Solmaz Saberi INTERVIEW
Q1: Solmaz Saberi first off, can you tell us about yourself and how you got started in photography? I started as a hair stylist and make-up foremost; I worked professionally in that industry for 10 years. About 3 years into it, I met my mentor Photographer Joseph Tran. I worked with him quite often building my book as a hairstylist and makeup artist, I always had such a passion for being creative and visual arts. I proposed to Joseph that I wanted to learn how to take photos, being such an amazing and humble individual he told me to buy a camera and he would show me the ropes. After that it was a wrap, I fell madly in love with capturing everything in my sight.
Q2: How would you describe your work to someone who has never seen it?
Oh goodness, I really don’t know how to do that. I feel that everyone has a different opinion of my work. I definitely hear a lot that my work is very clean and precise; I guess that sort of reflects on my history of Hair and Makeup. I am very particular when it comes to every aspect of my work and also very self conscious, which probably most artists are.
Q3: At what point did you realize that photography is what you wanted to do as a career?
Probably about 2 years ago, I have been shooting for 7 years. As most photographers know it is quite a struggle to make a living shooting as there are a million others with a camera and willing to do it for free or a couple hundred dollars. I really started to feel more comfortable with my craft and felt that I could do this as a career and give clients what they seek without a struggle.
Q4: Your projects are a collaborative process. Tell us what is like to always be working with new stylists, models, and designers.
Well it is quite an amazing process and feeling to inspire your team and to listen to each other’s opinions as well as energy to conjure a beautiful outcome. I am pretty particular at this point with who I work with, because it only takes one element to be off for the whole project to lose its magic.
Q5: What kind of impact do you hope to make in the fashion world in the next 5-10 years?
Well, since I have started my magazine it has been my goal to change the Industry completely. I feel the fashion industry is so tainted and it’s more about who you know instead of if you actually have talent. As well as bringing back real photography, emotion, reality, not so photoshopped but real women and feel good images.
Q6: What does fashion mean to you?
Fashion means clothes. But it also means, what is my interpretation of it. I see fashion as a way to help tell a story in my photos, to set a mood of where I want my viewers’ mindset to be.
Q7: What projects are you working on now?
Oh so many!! I am constantly evolving. I am currently working on a book, ask me in about a year about it. I am super excited to finish it, can’t give too many details yet!!
Q8: How much equipment do you typically bring to a photoshoot?
Depends. If it’s a bigger client they like to see LOTS of equipment so they can feel they are getting their moneys worth. Honestly I can work with my handheld and get the same results as all the flashy equipment.
Q9: Talk about the biggest struggles you had when you first started fashion photography in Los Angeles, and what are the biggest challenges facing you now?
I guess my biggest struggle was finding my team. Lots of hit and misses. Los Angeles is full of Egos so it was hard to find the perfect balance between a humble and talented artist. But now I am surrounded by the best and most down to earth artist who work with some of the best of the industry, you would never think they were any different from me or you by the way they act. I love that!! I am so blessed. My biggest challenges in photography now is to find a content feeling with my work, I think as an artist it is important to keep evolving and trying new things.
Q12: What photographers from the past or present have influenced you the most?
I am mostly inspired by photographers and artist from the past. I can relate mostly with Ellen Von Unwerth’s wittiness, Helmut Newtons tones and cinematic story telling, Richard Avedon’s raw side of capturing true emotion and real people, Bill Cunningham’s candid and historic shots.
Q13: What’s the most important thing you want potential clients to know about you?
Well my work speaks for itself, I am as particular in real life as i am about my work. I believe the most important thing as a photographer is to stay true to yourself and to show they client that you can help in the creative process to achieve the type of images they are seeking without compromising your vision as well as theirs.
Q14: You’ve worked with many celebrities and also the owner of Unleash’d Magazine how do you find a work life balance? Well My life is my work, I live, breathe and eat it. I do what I LOVE so it doesn’t feel like work to me.
Black Smoke Model / Angee Killian Huntley @ Della Belleza e Moda MUA & hair / Kristina Gilbert Photo by / Jerome Lim http://jeromelimphotography.viewbook.com/untitled/main
Alessandro Perra Model / Elisabetta Boi MUA / Magda Pintus Assistant / Simon Art
Girl On Fire Model / Rashmi Joshi Photographer / CadeographyŠ / McCade Dolan Face & Body Art / Eli Nickerson Lips & Hair / Paula Yahn www.facebook.com/cadeography
Hopeless Photography / Nhu Nguyen www.nn-photography.com https://www.facebook.com/nnphotography Model / Leanne Hyer @ Modelogic Wilhelmina Make-Up & Hair / Carolyn Berry @ Modern Bridal Studio http://www.cberrybeauty.com/ Manicurist / Cara Gaskins @ Salon Couture DC Wardrobe Stylist / Julian Pierre Boney http://www.julianpierre.com/ Vintage clothing from Vintage & Charmed Accessories from the Julian Pierre Inventage Collection
Sara O’neill INTERVIEW
Since graduating from the University of Ulster with a BA Hons in Fashion and Textiles in 2004, Sara has established herself as N Ireland’s leading Fashion Stylist, with a host of ad campaigns, magazine editorials and catwalk shows to her name. Her creativity, professionalism, eye for detail and ability to realise her clients’ vision has kept her in constant demand over the years. Recently, she has also started exhibiting her artwork- detailed pencil drawings inspired by her work in the fashion industry. Her first exhibition ‘La Belle et La Bete’ sold out, she completed a second exhibition ‘Love me to Death’ at the end of 2012 and her work is now sold in multiple galleries. She is represented by Lemonade Illustration Agency. For more details see www.saras-designs.co.uk
Q1: How did your fashion and art adventure begin? I’ve loved art and fashion since I was a little kid, I think I knew I wanted to work in the creative industry since I was six or seven; I was always drawing and designing little outfits. I was obsessed with Pre-raphaelite and Impressionist art from a very young age and I was very lucky that my parents encouraged that. In school I went down the arty direction, doing GCSE and then A-level art, and then going to Art College to complete my degree in fashion and textiles.
Q2: What were your first experiences of illustration and as a stylist? After I graduated I waitressed for a year and it was in the restaurant that I met photographer Gavin Millar. We got chatting and he booked me for a magazine shoot and it just snowballed from there. I didn’t really keep up the drawing side of things after I left university, but a few years ago I started again, just as a hobby. Around the same time I was styling a culture show for the BBC and I met art consultant Carrie Neely- she was putting together a couple of group exhibitions and invited me to participate. I got great feedback and at the end of the year, 2011, I had my first solo exhibition. Since then I’ve had another solo exhibition, been working on commercial and private commissions and signed with London-based Lemonade Illustration Agency at the beginning of 2013.
Q3: Three to two decades ago, fashion and art are entirely unlike, do you incorporate art or other mediums in your work if so, what does fashion mean to you and do you have any favourite models/photographers you like working with? My styling and illustration work definitely influence each other- working in a team on shoots keeps my ideas fresh, and I can feed off the creative energy and ideas. From a technical point of view I have learned so much about lighting and composition from photographers and I bring that knowledge to my drawings. My illustrations started out just black and white, but recently I’ve been experimenting with colour and I think that has made me try different colour combinations in styling. When on shoots I meet a lot of great models, many of which make their way into my drawings- one in particular, Caroline Davis, has appeared in many of my pictures- she’s a great friend and a fantastic subject. I’ve been working with a lot of models from Morgan the Agency recently - Caroline D, Lauryn G, Ella K, Caitlyn L, Rosie - I read their interview in your current issue and I certainly agree that they have very strong Belfast-based models at the moment. i have four photographers that I work with regularly- all amazing and with very different styles- Khara Pringle, Gavin Millar, Jim Crone and Joseph Jude.
Q4: What kind of impact do you hope to make in the fashion world in the next 5-10 years? At the moment I’m really enjoying commercial work, in both styling and illustration- I’ve been working on a lot of great ad campaigns this year, so I hope to continue in that direction right now. I have loads of ideas, offers and potential directions that my work could go in so I’m currently trying to decide where to focus my energy. I’m very lucky that I love my work because it takes up almost all of my time, but I’m ok with that. I think that when you’re freelance it’s difficult to know where you’ll be in ten years- the industry has changed so much in the past eight years that I’ve been working in it, and you have to adapt to those changes to survive, so as much as I have career dreams and ambitions, I’m also trying to stay flexible and open to what the future holds.
Q5: Your projects are a collaborative process. Tell us what it’s like to always be working with new creative people- photographers, designers, make-up artists and models. I love working with creative people, although it can be challenging sometimes- there can be a lot of strong personalities and egos on a shoot! I tend to work with a couple of different teams which is nice, working with different photographers, models etc, keeps my work fresh, as everyone has their own style and brings something different to a shoot. I love to use local and upcoming designers’ collections, and promote local talent, as it’s a tough job and I think they should be supported as much as possible. Working on my illustrations is very different- usually my own vision, with some input from the client, the model or advice from colleagues.
Q6. From casting the right model to choosing the right photographer etc, converse on how you materialise the concept or if you give any control to each team member to bring onboard their individuality and creativity. Give an example of projects you’ve done and how you have materialised the concepts and the whole experience. Mention names of people you’ve worked with if applicable. A couple of weeks before a shoot I would discuss the concept with the photographer or art director, think about a location and then see what clothes are available, commission garments or track down more elusive pieces. I would usually have a model or a couple of models in mind for a certain shoot- one that will project the desired image- so I would make suggestions based on this. When the clothing is sorted I will contact the make-up artist and hairdresser with a brief, but usually leave room for their own interpretation- I trust the teams I work with to create a beautiful image. A great shoot I did earlier this year was a bridal ad campaign for the G Hotel in Galway. As this hotel is so highly stylised and so unique I had to let the decor be my inspiration for the styling- my concept was ‘cartoon noir’- a mixture of bright pop colours and the femme fatale- elegant bias cut bridal gowns with unexpected pops of colour. Gavin Millar was the photographer on the shoot, and we had a very similar vision- we wanted it to be elegant but a bit rock n roll- I used Bianca Jagger’s iconic wedding outfit as inspiration for one of the shots.
Q7. You graduated from the University of Ulster with a BA Hons in Fashion and Textiles in 2004 tell us about the collection you designed for your final year and tell us about your final year thesis. My final year collection was called ‘Derelicte’ (a homage to Zoolander) and the concept was ‘Nature Reclaiming’- I photographed derelict buildings that were being taken over by nature, crumbling walls covered in ivy etc. I then drew inspiration from these images for the silhouettes, texture, and colour palette of my collection. In 2004 everyone was obsessed with Sex and the City and vintage fashion was becoming very popular, and that had a massive influence on my collection- it was very feminine and pretty, in soft muted tones of pink, purple, gold and green with lots of bias-cut silk, delicate knits and chiffon. The collection ended up in the Sunday Times and much of it sold straight off the catwalk. The make-up artist that worked on the show, Oonagh Boman, snapped up the main piece- a beautiful coat, and wore it a few years later at her wedding. When I was at art college I was heavily involved in the Belfast punk scene, subculture has always fascinated me. My thesis looked at the difference between the UK and US punk scenes in the 1980s.
Q8: Professional stylist have procedure in place to ensure their work are not mediocre this might include a team of people working towards a photoshoot; discuss in depth the manpower involved in every shoot. And lessons learned from the past or advice you’ve received. Stylists have to put a huge amount of preparation into a shoot- often it feels like the hard work is done before the shoot even begins. I always strive to find the right outfits, accessories and props for a shoot. Over the years I’ve built up a huge amount of contacts that I can call on- press offices, designers, retailers and with a background in design I can turn my hand to making bits and pieces if needs be. I will put in as many days and hours as I need to make sure that I have everything I need to do a shoot to the highest standard, every time. It only takes one bad shoot to damage a reputation, and if I am not prepared for a shoot I let the whole team down- once you’re actually on a shoot, especially on location, you can rarely access any bits and pieces that you may have forgotten.
Q9: Sara any advice for aspiring stylist/Illustrator or anyone looking to get into this market? It’s useful to begin by assisting established creatives- only by being on shoots or working in industry will you really understand what’s inportant- a strong work ethic, reliability, a good understanding of the basic skills and techniques and a pleasant disposition, eventually building on this foundation and developing your own style, making your own contacts etc. This takes time so don’t become disheartened if you don’t become successful as quickly as you had. For more details see www.saras-designs.co.uk
Eyes Wild Shut Make Up / Anita Kulon Model & Styling / Michal Scholl
Fire walk with me Make Up / Anita Kulon Model & Styling / Michal Scholl
Noir Photo: Michael Taborsky MUA, Hair Stylist, Stylist / Nadine Mayerhofer Models / Magdalena Petrovic @ Stellamodels Peter Gorondy @ PH Models Vienna
For The Love Of Winter Photographer / Martyna Gumula Make-Up / Michael Sadowski Model / Veronica - AS Management Hairstyle / Anna renal Styling / Thomas Brzecki Production / Rebellius Team www.rebelliusteam.com
Paul Costelloe is an Irish born designer who moved to London with his business in 1999, set up in 1979 in Dublin, after a vast training experience in both France and Italy, the brand was expanded in the 1990’s and pitched up in London’s Knights bridge. Fast forward to the second decade of the new millennia and the brand is taking a large step to attract a new customer, a younger gentleman with a discerning eye and a keen interest in the finer detail of his garments.
Q1. Paul can you tell us the first thing you do when you wake up, to your normal rituals you do before you start on your designs. Tell us about your average daily routine, from unpredictable situation to craziest thing that usually happens. I’m quite an early riser and very quick at showering and shaving (you have to be in our family home!). I sit with my wife in the garden, if the weather is nice for our breakfast ritual of coffee and croissants. I cycle everyday from our house in SW London to my studio in the West End breaking pretty much every red light on my journey. Cycling is great because you can stop at any point. I like to take a look at some of the windows on Sloane Street on my way (if any happen to catch my eye) for inspiration.
Q2. in the late 1960s, you went to Paris and enrolled at the Chamber Syndicate, the French equivalent of the British Fashion Council. You learnt most about fashion just by living in Paris in the era of Ungaro and Cardin. By 1969, still only 23 years old, you were design assistant to Jacques Esterel. Can you elaborate on the time you spent in Paris, and were you’re naturally creative tell us your influence growing up whether art or a member of the family etc. Paris was a very tough time as I made very little money. I only got paid on the designs that were sold. I lived in one room with damp walls and ceilings and green moss on the floors, but where I worked was on Rue Faubourg Saint Honore, which was a beautiful area to be in and a complete contrast to my reality. I worked in the Jaques Esterel design studio with other designers around the world. At this time, Paris was so free, relaxed and young. It has changed allot these days. Art was the only good subject I was at in school. So I excelled at that. I had a brother who went to the Central School St Martins for Art so he influenced me quite a bit.
Q3. Two years later, you became a designer with La Renescente, the department store whose previous designers had included Giorgio Armani. Doing your apprentice you must have accumulated body of knowledge regarding the fashion industries and the clients you’ve worked for. Tell us about the experience you have acquired both past and present.
Other than learning how to cook a great bowl of pasta and learning the language I really learnt more about materials and styles in Italy, Paris is where I saw the more in depth format of the fashion industry.
Q4. You have created numerous collection/design such as your most recent Spring/ Summer ‘14 collection. Give us full details why these design where the inspiration came from and how it relates to you as a designer. For my Men’s’ S/S 2014 Collection, my inspiration definitely comes from Italy. Italian men are the best dressed in the world. For casual menswear I looked to the life style of the Hamptons and Cape Cod, think of the Kennedy’s on Holidays. The Americans are great at working the casual look.
Q5. We all know high-quality design is not just about producing pretty garments; it’s also accumulating quantifiable business goals. Tell us how you’ve achieved this goal as a designer. Provide us some illustrations of how your designs have transformed into higher sales or greater visibility for your clients? I believe one has to be realistic on prices and provide great quality without losing the design essence of your brand.
Q6. Although while it is not extraordinary for projects to drift from an original deadline, this may be due to changes in client’s needs, postponed fashion shows, events and unforeseen event. Talk about how you’ve dealt this and how you deal with pressure from the beginning leading to the last minute. As a designer you must believe in yourself and go by your instinct and keeping calm through the treacherous waters.
Q7. Professional designers have procedure in place to ensure their designs are not mediocre this might include a team of people working towards your collection; discuss in depth the manpower involved to create your garments. And lessons learned from the past or advice you’ve received. To be successful you need to have a strong technical team, a love for fabrics and good sample machinist. If you have all that, the only person to blame is yourself.
Q8. Three to two decades ago, fashion and art are entirely unlike, do you incorporate art or other mediums in your design if so, what does fashion mean to you and do you have any muses? Fashion is the balance between art, architecture and design. But to survive, one must not get caught up in all the academic content. At the end of the day your target is to dress the public. Nothing more, nothing less.
Q9. Tell about your individuality, your originality to your design and how you stay true to your designs. I stay true to my designs by the materials I use and the attitude of my lifestyle should always reflect in the clothes. E.g.: casual should always be laidback and drinking pints.
Q10. Any advice for aspiring designers or anyone looking to get into this market? To get into menswear, there are fewer opportunities than ladies wear, but I do believe working within a menswear manufacturing or design development unit, can give you great knowledge and experience.
Ambrose His dark side revealed in the light
Photographer / Stephane Sb Model / Ambrose @ Family Management Stylist / Carla Pedersen Make Up & Hair / Jenny Tseng I Turtleneck Topshop, Hat H&M, Sunglasses Aldo
Pierrot Girl Model / Weronika Kryszak MUA & Hair / Joanna Dembinska Photo / FairyLady www.facebook.com/fairyladyphotography
Featured Photograghper BARRY MCCALL - DUBLIN, IRELAND Tell us about a day in the life of Barry McCall. Which day! In this job no day is necessarily the same. I could be out on location from dawn shooting anywhere from a boutique hotel to a quarry or an abandoned warehouse, I might be backstage shooting a performer or I could be shooting from Bond Street Studios in Dublin, which is a great, modern and fully equipped studio space that I shoot from. If I’m not shooting I could be busy editing in the office or out and about at meetings, doing recces for location shoots or searching for great props for my editorials. Never a dull moment you could say!
Can you explain to us why your love for classic art, old movies and fashion has been a constant source of inspiration for your work? I have loved these since youth and I think they influence my work in the sense that I aim to produce imagery which has a touch of the classical and the timeless. There is an elegance and grace in the style of the old movies which I love and I suppose fashion, from past eras and also contemporary, if of course going to influence my vision for producing imagery. Classic art is something I also enjoy in my downtime and some of the great old master paintings would definitely influence my approach at times.
What are the greatest benefits and challenges you find working in Dublin? Benefits: it’s the city I was born in and am so familiar with, which is great for example when unusual locations are required for shoots. Also, I have worked alongside a number of great make-up artists, hairstylists and clothes stylists over the years, not to mention models and their agencies, who have also mostly been based here too so it’s great to work with crews where we understand each other and I know we all work well together. The same goes for clients that I have been working with for years. Challenges: Ireland is obviously a smaller country and therefore smaller industry than most which brings its restrictions, but nothing too challenging! I also travel and do jobs abroad but Ireland still keeps me very busy.
People usually just see the final product – But behind the scenes things can go wrong and take longer than expected – How do you deal with the stress of time management or something going wrong during a big shoot It’s crucial to be well prepared and we always are. From the start when a big shoot is planned myself and my in house team book in necessary meeting days, recess and have pre-production days where necessary. We try to find out as much as possible before the day to have as much of the set up in place as possible. After that, on the day itself, communication is key between myself and all the crew, myself and the client and of course myself and the models. I almost always have at least one assistant in studio; it helps to leave me to focus on what’s in front of the camera. If there is anything that the client is not quite feeling we fix it immediately on the spot, rather than trying to change things in post. Naturally, with all the prep in the world, things that are out of our control can go wrong, in which case you pick up immediately and find the best solution. Essentially it’s all about being well prepared, being very familiar with the client’s brief and communication.
What cameras do you use and why? Do you have a particular technique that’s your favourite when taking fashion pictures? My main camera is the Canon 5DMKIII which is a great camera; it allows really sharp and clean imagery. It’s a camera that really suits the modern aesthetic.
Over the last decades you’ve worked with supermodels, celebrities and billionaires, that’s quite an accomplishment. If you could some up all the dos and don’ts what will they be? How much time do you have?! Do’s: be professional no matter who your subject/talent is, try to find that connection with your subject, make sure they are at ease in front of you, be punctual and well prepared for all jobs and give each job your best. Don’t: try to be the photographer you are not, do what you do best.
You have a crazy amount of great editorials shot for different magazines – What would you say is your favorite shoot you have done and why? What were your main inspirations in that shoot? A shoot at Powerscourt House with the wonderful and international Mariacarla Boscono. It was shot on my old favourite 10 x 8 Sinar camera. All elements came together beautifully and she is a great model to work with, one of the best in the world.
If you could make anything where budgets, resources or time in not an obstacle, what would it be? Where do you normally source your models from? A weekend of shoots with Cate Blanchett on New York rooftops!! I source models from various places, it could be working with the top Irish model agencies, whom I have been working with for years and who have some great and well established girls on their books but also always have interesting new faces coming in. We also book through some of the top UK agencies, where I also have long time contacts. It depends on the brief, what kind of look we are going for and where we can find that. Professional photographers have procedures in place to ensure their pictures are not mediocre this might include a team of people working towards your shoot; discuss in depth the manpower involved to organizing a shoot. And lessons learned from the past or advice you’ve received. Our quality control is largely in our pre-production as discussed above and we use top quality Profoto lights and Canon cameras. Years of experience now, and trial and error, ensure that I generally need only a little time now to get the exact camera and light settings that I want. I have a small full time team in house, just my studio and postproduction assistant and my studio manager. We do all the prep work at our end for any shoot as discussed above. The clothes stylist will also do their own prep work before a shoot and I would often liaise with them before the day. On the day hair and make-up crew are also of course in and we also discuss the brief and look needed before they start. There is often a lot to be achieved on the day and communication is key to making sure things run smoothly and that the schedule doesn’t fall behind. Advice? As an old friend said to me, “When lighting there is only one sun!”
You recently published a 20 year retrospective entitled Pho20graphy - in aid of the ISPCC - which showcases a style that celebrates the very best of fashion and celebrity, pushing the boundaries of technique and vision to create true works of art. Can you give our readers a bit more information on it please? PHO20GRAPHY allowed me to share some of the images that have been such a joy for me to capture throughout my career, while also supporting an important charity. The project was born when myself and my partner Kari and good friend and top Dublin hair stylist Dylan Bradshaw, approached Caroline Downey Desmond, director and voluntary
fundraiser for the ISPCC, with an initial concept for a magazine spread of celebrity portraits. As talks progressed the project grew into the coffee table book. The book has over 300 images with images ranging from Liam Neeson in his family apartment in New York City to Snow Patrol in Red Square; Colin Farrell on a hotel roof in LA and U2 in Dublin; Claudia Schiffer and Sophie Dahl; Erin O’Connor and Yasmin Le Bon; Gabriel Byrne and Anjelica Huston; Sienna Miller and Jonathan Rhys Meyers. It also features some of my favourite fashion shots from over the years including those shot on my old 10 x 8 camera. I think it’s sold out now but for anyone who would like a copy it couldn’t hurt to contact the ISPCC in case they have a few copies left!
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