Leica S Magazine No. 6

01·2015

The ENRIQUE BADULESCU Issue 4 192346 1 409909

9,90 € · 12 US$ · 8 £ · 1.400 ¥ · 12 CHF

6·ENGLISH

Editorial

I’ve been working as a photographer for world-class clients for over 25 years now, and

Pictorials

The Adventure

Elegantly Wasted

Liquid Poetry

Pirate Warrior

Catch Me If You Can

what I’ve noticed throughout that time is that there’s a growing tendency in the world of fashion to take things much too seriously! Nowadays, everything has to be done super fast, the production time frames are always getting shorter. This is also probably connected to the digitalization of photography. For the photographers it’s rather like having to work on a production line. When I started as a photographer in the eighties, there was a lot more freedom. There were less of us scrimmaging around, we did a lot of crazy things, and work was also an expression of an attitude to life somehow. Clients have become much more cautious today. They want their customers to recognize their brand. This simply leads to the fact that, everywhere you look, you see the same old story.

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138 Modern

Times

158 Color

That’s why it was great to work for the S Magazine. The key idea here was to give the spirit of the label we were working with a make-over, to interpret it in a new way. To

Vague

Splash!

184 Inside

Out

do so, we gave free rein to our creativity. Fashion productions today have become very complicated, and you have to consider so many requirements. We wanted to make it easier and purer, so we improvised a lot. Improvising is the best thing you can do in life – it means you have to be easy-going! Unfortunately, in fashion photography today, it’s an element that’s been lost.

Interviews

Enrique Badulescu

172 Antje

Winter &

Sarah Buschor

We worked on this issue of the S Magazine for half a year. It was hell. Organizing everything from A to Z demanded a lot from me. For a long time, I wondered if I should let myself get into it; but I was completely hooked by the idea of a photography maga-

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Testino

Arter

zine that is always looking to reinterpret fashion. I love photography and everything that goes with it. This magazine is one of the loveliest projects I’ve ever worked on, and it’s right at the top of my list of great experiences. It was fun to do and, above all,

177 Olivier

Lebrun

178 Aaron

Griesdorn

180 Vicky

Steckel

I have to be grateful to my team for the outcome. We wanted to produce series full of the unexpected, with eye catchers, reflecting a willingness to take risks. Even more than I usually do, I wanted to organize the work on this magazine as a creative process

183 Rodrigo

that thrives on passing the ball to each player. I also wanted to take the time to step back every now and then, and quietly take a look at the state of affairs; and to make more time for the picture taking, and for the editing – time for the post-production. A great thank you to the whole editorial team and to the magazine’s art direction, that we were given the chance to be part of the S Magazine for a while. It seemed to me that the Leica S was the perfect tool to realize the project with. It took me back to the thing that attracted me to photography right from the start: the careful focus of my thoughts on a motif, rather than shooting masses of pictures. Ideally, the quality of a picture is then so high that technical post-production is barely necessary. In the early days I pretty much managed without having to do any of that. Nowadays, there are some wonderful tools available, that can be applied very specifically. I wanted to show what could be achieved with them; but I also wanted to show how I envisioned the material after I’d given it some additional artistic treatment. Colors, foils, cloths, glues and scissors all belong in my toolbox! I’m very happy with the result. It was very daring and it was a great opportunity. I hope you thoroughly enjoy the following pages!

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194 Imprint

Palma

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Portrait

Rodrigo Palma

Enrique Badulescu is one of the top fashion photographers. While working for this issue of the S Magazine he has pulled out all his creative stops. In our interview, he explains why good humor and music are an intrinsic part of his work, what organic collaboration means to him, and why he is always enthusiastic to jump in at the deep end.

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Enrique Badulescu Your constant flow of creativity stands out; you like to use your craft to expand into new artistic dimensions. For the S Magazine, you picked up scissors and colors and post-processed some series by hand. Yes, at last I had the leisure and also the time to do that – I love working with my hands! In the case of Elegantly Wasted, I worked with Chinese ink. And this is the process: we made prints of the digital data on transparent photo paper, quasi a plastic film. Then I lay it on a light table, trickling ink on it with a pipette, and lay another plastic sheet on top. Once it was dry it was scanned. I’ve also used this technique on film. It’s exiting to see what comes out of it, it produces effects that you can’t control, and that’s great.

You really dove in deep for the S Magazine, like for the Liquid Poetry series. We took the pictures in a friend’s pool in TriBeCa, a district of New York City. I used a special underwater casing for the camera. Thanks to years of training, I can stay submerged for a full minute, while still keeping my eyes open. That was the challenge for the model as well, but she did a great job. We both went under at the same time, and then you have to release air, otherwise you rise and you can’t photograph. And I had to decide on the lenses beforehand. I took the Super-Elmar-S 24mm f/3.5 Asph and Elmarit-S 30mm f/2.8 Asph. Of course, we also needed to ensure the model was wearing waterproof make-up.

We agree! You’ve been working as a photographer since the eighties. How did you come to work for the great labels? Which was your first campaign? When I got to London I did lots of record covers. Four months later I did PR pictures for the Rolling Stones. I had to pitch to Nick Knight and I won! Then came the first assignments for The Gap. They booked me for my contrasts and my colors. Things got going and the rest is history.

What other technical aspects came into play? The light coming from above! We had to mount cinema spotlights and cables on wooden boards across the pool and take great care with it. Water and electricity – they’re known to be a dangerous combination. Contrasts are another of your trademarks. Can you tell us what other elements are typical for your pictures? Contrasts – I love contrasts! Not just of light and shadow, dark and light, but above all in colors. My work always has a lot to do with colors, and I also follow a conceptual approach. I do a lot in the water. There’s always a lot of movement, but also a lot of softness in the pictures.

How do you find the appropriate team members for a production? Your agent supports you, but in the end you have to make the decisions. You have to depend on your gut feeling. Over the years I’ve built up a group of people with whom I work time and again. Of course, there are always new ones coming along, that was the case for this project. We were very lucky: even though some of us hadn’t known each other for long, it turned out great.

Many say that working with you is like being part of a family. How do you ensure good working conditions? Music, music, and more music. I play everything possible – from reggae to pop, all mixed up. It’s great to work with people who are talented and fun. I love to laugh.

Light, shadows and a lot of water are typical elements in an Enrique production. Where does this come from? I love the water! As a child I was always magically drawn to pools and, of course, to the sea. A house by the sea was really important for our family. Then, along came the series for Hermès at the beginning of the nineties, when I photographed under water. It went over so well that some of the motifs are still used for advertisements today.

Your holiday home, where you work a lot, is in Tulum, on the Caribbean coast of Mexico. Some of the series for this magazine were also taken there. How do you manage to separate your private life from the professional – or don t you? In fact, I always mix everything up a bit. If you go to take pictures in an atelier or an apartment, it’s much better than

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E n r i q u e

B a d u l e s c u

going to a hotel or a studio. They’re much too sterile. When we produce pieces in Tulum, everyone’s with me in the sitting room. Everyone gets to know each other – especially when there’s also tasty catering. We eat all together and afterwards everyone’s in a great mood. That’s exactly the mood I need for collaborative work.

That was the most exhausting series. Vicky is one of my best friends. She normally photographs her creations herself, before everything is washed off again. That’s part of her art. Our photo shoot was something new for her. I was the first photographer to take pictures of her work. Afterwards, everything was covered in color ...

How did you take the picture with the wave? It looks like you re standing directly in front of it. I was right in the middle of the wave and, of course, I got wet. I took the picture with a wide angle lens and held the camera just above the surface of the water. The wave wasn’t very high, but it looks as though it is.

It’s interesting that every now and then you sprinkle black and white images into your series. I studied at the “Bayerische Staatslehranstalt für Photographie” where we mostly developed and printed by hand in black and white. Back then all cool magazines, such as The Face or iD, were in black and white. When you look at them, it’s like you’re looking at an Antonioni film. Black and white is beautifully poetic. Color only came later with cross processing, that’s what gave color the push. At the time, in other words in the mid eighties, I was in London and also began experimenting with this technology, with this stylistic means. In the city they began to say, “the colorful Mexican has brought color to London”. Since then they only ever want color. This time I also had the chance to present some now rare black and white. I think it’s a lovely contrast. Together with other stylistic means that I’ve used, I want to interrupt the colorfulness that has become the norm.

The Nature Revisited series was also taken in Mexico. Compared to the others, this particular series is very minimal, practically purist. If you think of Mexico you automatically think of lovely weather; but when we were there to take the pictures it hardly stopped raining. The sky was low and cloudy. It’s my style to make things very colorful, but because of the weather it made more sense to go for a purist approach. Simple lines and virtually no shadows. In contrast, the Nouvelle Vague series has some very beautiful shadows. There are poetic impressions like a film from the seventies, enhanced by a collage. I always try to bring warmth into the pictures, even if they were photographed digitally. A lot of it is also the result of chance. You can’t predict everything, like, for example, how good the shadows of the palm leaves and the reflections on the water will look. I simply photographed my pool in this case. Like the previous one, the series was taken around my house in Tulum. During the photo shoot we cut off a palm frond and experimented with it. Afterwards I discovered that just laying it on top of another picture produced a really nice effect. In the Pirate Warrior series with the wrapped up torn shirts, you seem to have restrained yourself photographically speaking. Is that true? Of course, when you photograph something really arty that bursts with details, the talent lies more with those who have created the motif – in this case it was Antje and Olivier who had a go at the shirts. Even if a five year-old were to take a picture of it, it would look good. The challenge for the photographer is to bring everything within one frame – like in Color Splash!

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The scissor cut elements that appear from time to time are also very special. We did those in post-production. I have a weakness for collages. At home in New York I spend hours sitting on the floor with my seven year-old daughter, Fernanda, being creative with scissors and glue. In Catch Me If You Can, you can see the influence of Saul Leiter. We photographed that in New York, and it’s true with some of the pictures. I had given Antje a photo book of his and somehow it seems to have filtered in. But then we just experimented with the animal masks, music instruments and brief cases. On the day we took the pictures, it was cold and we had an unusually beautiful light. You can do anything with such a light. I think Saul Leiter is great and I like references; but I photograph completely freely, and so some things simply happen. What are your hopes and visions for photography? It should be more spontaneous, free and fun, just like the work for this S Magazine. If you watch the news, everything is very serious. We need to make life more fun, and as a photographer you can actually manage to do so.

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01·2015

The Adventure Photographer

Enrique Badulescu Styling Antje Winter @ Art Partner Make-Up Artist Mel Arter @ CLM Hair & Make-up

using M.A.C Cosmetics HairStyling Olivier Lebrun @ See Management NY Model Antonia Wesseloh @ Modelwerk Styling Assistant

Sarah Buschor 1st Photo Assistant Rodrigo Palma 2nd Photo Assistant Cono Quintana Digital Tech Elliot Ross

Videographer Fashion

Mihai Badulescu for i+i design Production Samuel Gomez Muñiz for Bandana Productions

Hermès Fall 2014 Womenswear Camera Leica S with Summarit-S 35mm f/2.5 (CS), Summarit-S 70mm f/2.5 ASPH. (CS), Apo-Elmar-S 180mm f/3.5 ASPH.

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ELEGANTLY WASTED PHOTOGRAPHER

Enrique Badulescu STYLING Antje Winter @ Art Partner MAKE-UP ARTIST Mel Arter @ CLM Hair & Make-up

using M.A.C Cosmetics HAIRSTYLING Olivier Lebrun @ See Management NY MODEL Martha Streck @ IMG STYLING ASSISTANT DIGITAL TECH

Sarah Buschor 1ST PHOTO ASSISTANT Rodrigo Palma 2ND PHOTO ASSISTANT Jacob McFadden

Nicholas Riley Bentham PRODUCTION Natalie Stranescu for Northsix FASHION Dior Pre-Fall 2014 Womenswear CAMERA

Leica S with Summarit-S 35mm f/2.5 (CS), Apo-Macro-Summarit-S 120mm f/2.5 (CS)

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Liquid Poetry Photographer Model

Enrique Badulescu Styling Annelies De Rouck Make-Up Artist Grace Ahn Hairstyling Sirsa Ponciano

Victoria Lee @ DNA Models NY Styling Assistant Franziska Sanwald 1st Photo Assistant Rodrigo Palma 2nd Photo Assistant

fashion

Steven Sichel 3rd Photo Assistant Max Papendieck Digital Tech Dylan Long

Seilenna Swimwear, www.seilenna.com, by Annelies De Rouck Camera Leica S with BS Kinetics Underwater Housing, Super-Elmar-S 24mm f/3.5 ASPH., Elmarit-S 30mm f/2.8 ASPH.

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Pir ate Warrior Photographer Make-Up Artist Models

Enrique Badulescu Styling Antje Winter @ Art Partner Art director Andrés Burgos

Mel Arter @ CLM Hair & Make-up using M.A.C Cosmetics HairStyling Olivier Lebrun @ See Management NY

Antonia Wesseloh @ Modelwerk, Estee Rammant @ Supreme Management Paris Styling Assistant Sarah Buschor 1st Photo Assistant

Production

Rodrigo Palma 2nd Photo Assistant Cono Quintana Digital Tech Elliot Ross

Samuel Gomez Muñiz for Bandana Productions Fashion Charvet, Hackett London, Marco Polo, Zara Camera

Leica S with Summarit-S 35mm f/2.5 (CS), Summarit-S 70mm f/2.5 ASPH. (CS)

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Catch Me if You Can Photographer

Enrique Badulescu Styling Antje Winter @ Art Partner Make-Up Artist Vicky Steckel @ Bryan Bantry NY using Mehron Hairstyling

Hiro + Mari @ Bryan Bantry NY using Bumble and bumble Models Quinta @ Silent Models NY,

Leo Eller @ Soul Artist Management Prop Styling Anna Surbatovich Styling Assistant Sarah Buschor 1st Photo Assistant Rodrigo Palma 2nd Photo Assistant Production

Daren Thomas 3rd Photo Assistant Sebastian Beckmann Digital Tech Aaron Griesdorn

Bandana Productions fashion Louis Vuitton Spring 2015 Menswear Camera Leica S with Elmarit-S 45mm f/2.8 ASPH. (CS), Summarit-S 70mm f/2.5 ASPH., Apo-Elmar-S 180mm f/3.5 ASPH.

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Nouvelle Vague Photographer Make-Up Artist Model

Estee Rammant @ Supreme Management Paris Styling Assistant Sarah Buschor 1st Photo Assistant Rodrigo Palma

2nd Photo Assistant fashion

Enrique Badulescu Styling Antje Winter @ Art Partner Art director Andrés Burgos

Mel Arter @ CLM Hair & Make-up using M.A.C Cosmetics HairStyling Olivier Lebrun @ See Management NY Cono Quintana Digital Tech Elliot Ross Production Samuel Gomez Muñiz for Bandana Productions

AWINTER Spring 2015, sunglasses from Céline, hat by Ina Böckler Camera Leica S with Elmarit-S 30mm f/2.8 ASPH., Summarit-S 35mm f/2.5 (CS), Summarit-S 70mm f/2.5 ASPH. (CS)

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Modern Times Photographer

Enrique Badulescu Styling Antje Winter @ Art Partner Art director AndrĂŠs Burgos

Mel Arter @ CLM Hair & Make-up using M.A.C Cosmetics HairStyling Olivier Lebrun @ See Management NY

Make-Up Artist Model

Miles McMillan @ Models 1 Styling Assistant Sarah Buschor 1st Photo Assistant Rodrigo Palma

2nd Photo Assistant Fashion

Jacob McFadden Digital Tech Nicholas Riley Bentham Production Natalie Stranescu for Northsix Paul Smith Spring 2015 Menswear Camera Leica S with Summarit-S 35mm f/2.5 (CS), Summarit-S 70mm f/2.5 ASPH. (CS)

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Color Splash! Photographer

Enrique Badulescu Concept, set, space and body paint art by Vicky Steckel HairStyling William Schaedler

Model

Quinta @ Silent Models NY 1st Photo Assistant Rodrigo Palma 2nd Photo Assistant Cono Quintana

3rd Photo Assistant

Adhat Campos Digital Tech Aaron Griesdorn Production Bandana Productions Camera Leica S with Elmarit-S 45mm f/2.8 ASPH. (CS), Apo-Macro-Summarit-S 120mm f/2.5 (CS)

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Legendary lightheartedness, apparently limitless creativity and a strong sense for team work â&#x20AC;&#x201C; Enrique Badulescuâ&#x20AC;&#x2122;s images reflect his masterful capacity, as well as his ability to magically bring it all together. On the following pages, those involved offer a glimpse into their work on this issue of the S Magazine, and give some clues as to how the images came about.

Interviews

171

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I n t e r v i e w s

Born in 1970, Antje Winter studied fashion design in Paris. After working for designers such as Christian Dior and Torrente Couture, she became a fashion editor for French Vogue in 1996, under the guidance of editor-in-chief Carine Roitfeld, who became her mentor. Since 2000, Antje has been working as a free-lance stylist and consultant for international fashion houses. In 2013 she established her own fashion label. Sarah Buschor, fashion editor and stylist, supports Antje in both words and deeds. In the following interview, they explain how they collaborated to create the perfect backdrop for Enrique’s light painting.

Antje Winter & Sar ah Buschor Stylists

What is the motto behind your work? Antje: To have fun. To set no limitations. To put together a team that shares the same vision. Sarah: For me it’s all about discipline, passion, a desire to experiment – and fun as well. Where did you meet, and how did you meet the members of your production team? Antje: Enrique was one of the first people with whom I worked. I remember my agent, Giovanni Testino, convinced him to do so. At the time I was still an assistant, or maybe I had just begun working as an editor. We did a photo shoot for an Armani exhibition. Since then we work together whenever we can. I first met Mel and Olivier through Enrique, and I was blown away by the amount of talent they both have. What is your stylistic approach? What is typically Antje? I have a typically French training, I’ve been influenced by French Vogue to not be afraid of mixing, and to use my styling to create a new look or find a new direction – without losing the predetermined look. Nothing is taken so seriously in France, but at the same time everything should look really good: the French focus on sexiness. The look mostly gets a kick thanks to the small details, so it’s nice sometimes that the skirt is too short or the shoes too high. The Brits in contrast have the sense of humor and punk, somewhat destructive, practically morbid.

And what makes you special, Sarah? I always try to be elegant and with a sense of humor – typically me. Antje, what made you decide to create your own label, AWINTER, and what was the idea behind it? I felt there was a lack of beautiful prints, and I was longing for uncomplicated Bohemian-style pieces. Because I like to work with my hands, aterials I simply started doing it – printing m and sowing the pieces myself. It began to grow very quickly, and I now deliver to a number of shops. I try to put an emphasis on sustainability. How could that also be applied to styling? It would be an original challenge ... Antje: Unfortunately, that’s not possible. It already starts with the air travel. What we’re doing on these kinds of jobs is extremely counterproductive, because we are encouraging people to consume more. When I’m working I have the picture, not sustainability, in mind – it’s good taste that I’m being paid for. We live in a minimalist era: the big movements such as punk, which were then transferred onto fashion, don’t exist at the moment. Maybe that’s where there’s a great opportunity – sustainable fashion shoots. Sustainable fashion already exists. After all, I know that you like to work with already

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available things. The hat made out of wallpaper in the The Adventure series is a good example. That’s true. The wallpaper was lying around somewhere in a Munich showroom. I’m a fan of Hermès wallpaper – so I absolutely wanted to get it into the picture. I simply took three metres with me to Mexico. The collection is very classical, so you always have to consider how to bring some tension into it. The normal thing to do is to take a couple of things along that you like. Most of it then gets developed with the team on location. Who or what inspires you? Usually music or art are good sources. Sarah: For sure, my greatest inspiration comes from my interest in and passion for art. Antje: Photos, films, old newspapers, art or fashion archives, sometimes an exhibition like the one about David Bowie ... I like the aesthetics of the seventies best, but not spread on too thickly, but rather as with the boyish types, like Jane Birkin, for example. Antje, how do you start to work on a production? Research. An idea is floating vaguely around in my head and I look for images that suit it: in films, on the internet, in newspapers and books. Having done that, I then have a very clear idea of what kind of look will work for the model, the hair and make-up, the lighting as

Portrait Enrique Badulescu

I n t e r v i e w s

well ... The themes are usually accompanied by a fashion show. I don’t necessarily know all the hair and make-up artists; we all have to adjust to one another, which, in the case of the S Magazine worked out really well.

predetermine everything, because that would destroy creativity. Sometimes the model looks different, sometimes the wind blows, and so on. It’s typically German to want to fix everything firmly, to have that security.

And how does the work with the collections get going? The things are sent to me and then I take a close look at the clothing. I drape them and then my trained eye can see what’s needed to spice them up. Some times it’s the way in which they need to be worn, like back to front, for example; some times you need particular accessories, like the riding accessories for Hermès, which I give a modern interpretation, like wearing the riding helmet backwards or taking the classic scarf and knotting it somewhere quite different. By the way, the crop was taken away from me at the airport.

Where do you find the accessories? Where are the most unusual places you find them? Antje: At the market in Rio, for example. The prop rental in east Berlin is also great. And, of course, vintage shops all over the world. Sarah: For me the question has little meaning because, most of the time, there are concrete prerequisites and little room to make changes.

Antje, which discipline do you work with first – hair or make-up? You have to reckon about an hour and a half per shoot for a styling, so you have to work with a lot of precision. The hair is a big issue. It mustn’t look thin and wispy, and with hair there’s virtually no way you can work on it later. There are only ten hair stylists around the world who really know how to deal with wigs. What Olivier achieves is incredible. He is easily inspired and has lots of ideas. I’m on exactly the same wavelength as Olivier. You can not

Is there anything you can’t buy? Antje: A good mood and good taste, I reckon. Sarah: Vision! How do you go about discussing things with Enrique? Do you have a particular routine for the production process? Antje: We have a very similar way of envisioning things. Some times he sends me a picture and I add to it, some times I send him a story and he comes up with great ideas for lighting or colors. We know each other pretty well. He is vibrant, he photographs very naturally, and he’s always chic, always elegant. And he really knows how to deal with colors. You know many photographers. What is special about working with Enrique?

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Antje: He’s funny and he’s fast; and he has a great eye for the picture. The light and coloring in his pictures are something special. Enrique is efficient and doesn’t lose himself. He works quickly and knows pretty much straight away if something is working or not. Sarah: He was incredibly inspiring and we were a great team. Enrique made us feel like we were part of one big family. The collaboration was very intense and unforgettable. What particularities are worth mentioning about the S Magazine production? Antje: It was lovely to just let go and have fun, and to be able to present so many pages. Sarah: The special thing about the work for the S Magazine was, without a doubt, the chance to work on six different stories for the same magazine. You never get that kind of opportunity normally; what’s normal is to work on one, maximum two stories for a magazine. What are your wishes and visions for your work in the future? Antje: I’m quite happy already, so things can continue as they are, as far as I’m concerned. I hope that the designers who work with an incredible love of detail will continue with us. I wish we don’t lose that, or that the look is developed only for the masses, so that things look the same everywhere. Sarah: I hope to continue having new ideas, inspiration and interesting encounters.

I n t e r v i e w s

Testino – the name probably rings a bell. Giovanni, born in Lima in 1957, is Mario’s brother and has a doctorate in economics. Both siblings have a real talent to bring the right people together at the right moment. In 1992, Giovanni Testino founded the Art Partner Agency with offices in New York, London and Paris, which also represents Enrique Badulescu. Here, the man of Peruvian origin explains how important the right wavelength is, what makes a project successful and why he considers Enrique Badulescu the epitome of the Latin American lifestyle.

Giovanni Testino Agent

How does your agency go about acquiring new talent? We are constantly researching and looking for new talent; but in the end it is about connecting with the artists. There must be an understand ing of minds in order to be able to properly represent an artist. The most important thing for an agent is to be able to convey what the artist wants and needs in order to be creative.

Your company, Giovanni Testino Inc., takes care of business matters for your brother Mario. Who went into photography first, you or your brother? My brother started some years before me in the business. As it is today, I am the person in charge of securing the artists’ positioning and dealing with copyrights.

How do you know which team is best for a client? A lot has to do with experience. With the knowl edge of what has worked in the past for a specific client as well as for the market. There is definitely no formula; each client has myriad subtleties that make them unique.

Do you like using a camera, do you like taking pictures yourself? Yes, I do, but I don’t do it much … for family events and reunions mainly. I know that you and Mario have been working together for a very long time. Close to 30 years, in fact. My brother more than influences me, he is like a role model. His talent can only be matched by his work ethics.

What is necessary to be part of your business network? The answer is simple: hard work.

Who introduced you to Enrique, how did you get in touch, where did you meet for the first time? Enrique was shooting a very important rock band in LA, and photo producer Yasuko Austin introduced us, saying we “would hit it off” for sure. And so it happened and we have been working together ever since. What was your first impression of him? Enrique was and always is full of life, color and

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happiness. He is the epitome of what we trea sure in Latin America. What is so special about working with Enrique? Where do I begin? I guess a good word would be “friendship”. Enrique has been there for me, and gifted us with the most amazing imagery one could only dream of seeing in a life time. I will never forget when we use to wait anx iously for the box of prints from the lab, after having requested that the film be done with the “reverse process”, and seeing the most amazing shades of blue tones in the skies and oceans! Enrique is the “Real Thing”. How would you describe his style? What do you like about Enrique’s projects? Alive, colorful, beautiful, an explosion of the senses! I like his artistic approach; his unique sense of color composition and the way he can actually realize his ideas. Referring to your business, what are your wishes and visions for the future? I think that, moving forward, the artists and the Art Partner agency will be more and more like a media and entertainment company, where we will provide all different kinds of content, not only for the traditional media platforms; and where artists can present their personal work and projects, as an innovative source of engaging content.

Portrait Ezra Petronio

The fact that Mario Testino is your brother is no secret. What is your influence on each other? Your agency Art Partner and your network Business of Fashion represent renowned photographers, stylists and fashion film directors. How did it all begin? Well, my brother Mario had the idea of my becoming an agent. He introduced me to a friend of his and suggested to her that I start her photographer representation division. She accepted and I created the photographic arm of her locations agency. Years later I would go to New York alone to create Art Partner.

I n t e r v i e w s

Mel Arter, born in 1974, initially studied art before she trained at a private, beauty school. As an international make-up artist she has worked with some of the most famous faces, including the late Amy Winehouse, Beth Ditto, Helena Christensen, Kate Blanchett and Naomi Campbell to name a few. Her projects can be seen in top fashion magazines around the world, from Vogue to Dazed & Confused. Now she joined Enrique Badulescu to do some unique work for the S Magazine.

Mel Arter Make-up Artist

How did you come to dedicate yourself to doing make-up? What is your favorite era? Whether it’s creative or to simply beautify, I love how personal the experience is, I enjoy making people feel good. And, of course, I continue to love breaking rules where make-up is concerned, it makes me happy. My favorite era is the 60’s, because I love every aspect of the looks that were created. It was the beginning of a rebellion in so many ways. What would you say is the future trend? Future trends – I think women generally are more about enhancement than ever. As opposed to camouflaging. Women are becoming braver in this process too, so I think color will be prevalent. The future for me is about being an individual and not about striving for perfection. How do you develop your ideas? I’m a real observer. Something will log in my mind, it could be a colored tile I’ve seen in a bathroom for example and it sets me off. There will be a film still that I’ve seen. One thought leads to another. I love coincidence and the bringing together of peculiarities … What is necessary to get the best results for a production? You need to feel it, which sounds ridiculous, but you do. You wouldn’t dance to a song you don’t like. There needs to be a lot of trust in

the room and an understanding of how each person works. Communication is key. And of course, great taste and instinct.

an idea then develop it further. We had a few weather issues. Some of the results were different to what we originally expected and better.

What was your first impression when you met Enrique, and what makes it so special to be part of his team? I can honestly say I haven’t experienced working with any other photographer that makes the job appear so effortless. And believe me it isn’t. I was shocked and intrigued by this. He approaches work with such a vibrant, easygoing attitude. Enrique is extremely open. His beautiful, striking images reflect this.

In some of the series we see a natural fresh look, where you can hardly recognize any make-up. It’s certainly a piece of art to achieve a result like this. A natural make-up is harder to achieve than you think. We were shooting in daylight which is the most unforgiving light. I used natural tones to shape and sculpt her face. The tones are extremely subtle. You need a light touch. The desired effect, “something but nothing” I call it, gives the face dimension and polish.

How would you describe his style? Firstly, overall he just knows how to take a good picture. His work is classically beautiful, but with a difference. I feel that there is so much life and vibrancy in his pictures. It’s not just a girl in a dress – his images somehow talk to you, they are not static. He has great understanding of fashion, and he knows how to get the best from people. I like the approach Enrique takes, his open mindedness. What did you like most about working with Enrique for the S Magazine? It was pretty special for so many reasons, mainly because everybody was free to express themselves. I cannot call times like these “work.” Each shoot was so different to the next. So I had to think creatively all the time. We’d have

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The series with the wrapped male shirts is so arty! How did you come up with that idea? This story was so great for Olivier and me. There needed to be harmony between the statement shirts, the head pieces and my makeup. That’s the hard part. I made a strong statement with color and texture, but the application was subtle and minimal. It was raw but still beautiful. She was like a beautiful pirate warrior. What are your wishes and visions for the future? I just want to keep doing what I do and continue to develop my style. And on more days than not, come home and say “I did some really great make-up today.”

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When working as a DJ, Olivier Lebrun was shown a lot by his audiences – namely, how hair behaves when it is moving. He learnt his craft from a fashion stylist and at a Parisian hair salon. When he is not on assignment somewhere around the world, he experiments with new forms and materials at his atelier in Paris, or gives thought to the looks of the future. For the S Magazine, he has even managed to convey the art of hair styling to other textures. Here he offers insight into what is going on inside his head, while he considers what to do on the outside.

Olivier LEBrUn Hairstylist

How did you come to dedicate your life to styling hair? How did it all begin? I started hairdressing by chance. I met a photographer, who was a friend of a friend. I was always attracted to the world of fashion. I was a DJ when I was 18 and fashion has always been linked to music. Hair moves, stylizes and characterizes a person, just like music. I felt immediately comfortable with the shapes, volumes and textures of hair. I was lucky to meet a fashion hairstylist and I became his assistant; and just a few years later I started to work by myself and had my first hair-styling shoot. What are your favorite tools, besides your exuberant fantasy? My two essentials tools are my pink brush and a bottle of a famous hairspray … I just need those to do what I have to do.

Portrait Jens Stuart

What is your favorite era? I love the 60’s, it was all about beauty, femininity and glamor. And what would you say could be the future trend? When it comes to hair – shine, natural, organic, easy and sexy of course. But talking about the business and its philosophy, we should push things further. Right now it’s all about references – not that I don’t like them; but it’s time for something new: no references! It means we should work on new things, new techniques.

How do you develop your ideas? I listen to the team, the photographer, stylist, make-up. It’s a team effort and after that I try different ideas and we look at the results. It’s always easy to make changes, it’s the way for me to find the right look.

There is a series which is totally amazing: You wrapped shirts around the model’s head in the most peculiar way. How did you do it? I like to work with Bruno Hadjadj, a recycling artist and production designer, who has had quite an impact on me. He always says, “if something doesn’t look good or isn’t right, make it bigger or put more material in it.” I only used needles, knots, ropes and shirts, that’s all. I used all we had there in the studio. I like working on my own projects where I can work with anything, other than hair. I once used a dress and wrapped it around a model’s head. I like to shape things, anything. Hair, of course, is my first and favorite texture.

It’s good to have a great variety of looks on demand. What inspires you? My inspirations come from the street, from my trips all over the world, the movies I saw when I was young, the different kind of people I met when I was being playful and spontaneous, as for the shoot with Enrique. We had so much fun with Enrique and Antje. Is it hard to find new ideas all the time? Are there times when you reach your limit? Limit? Never! My job is to find a solution. That’s what I like – to find the hairstyle that matches all.

What did you like about your work for the S Magazine? The freedom! It was a great opportunity to work for a magazine like the S, and also working for a full issue is unusually rare and amazing. I’m so excited and impatient to see it. Thank you very much for this experience.

Who introduced you to Enrique, how did you get in touch? What was your first impression of him? I met him on a shoot for Marie Claire UK in Italy. I knew of his work and reputation, and I was excited to be part of his team. He is a gentleman, and very generous with his team. He is always open to new ideas. He is an artist.

What do you think money can’t buy? Money? This experience, for example. Money just helps you to get along, that’s all. What are your wishes and visions for the future? My vision is really simple: to make women as beautiful and attractive as possible!

How would you describe his style? Creative, curious, funny, talented … and so much more.

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Aaron Griesdorn is a seasoned digital artisan, trusted collaborator, and, since 2005, the founder of NYC’s Bespoke Digital. The agency is a boutique digital capture and retouching agency in Manhattan that focuses exclusively on fashion and luxury goods clients. Aaron’s work starts when photographer and team leave the set. For this special S Magazine Enrique Badulescu drove him to his limits. Here he tells us quite a bit about the amazing work behind the scenes and how he manages to even enhance what already appeared to be a masterpiece.

A aron Griesdorn Retoucher

Do you like using a camera, do you like taking pictures yourself? I love using cameras, but mostly large format film cameras. Someday when I retire I hope to travel around the world with a large format camera taking landscape shots. How did you come to dedicate your life to retouching? How did it all begin? Please tell us something about your career. It started as a byproduct of wanting to become a photographer. At some point I realized I was not going to become the next Nick Knight of fashion photography. I then studied “retouching”, but what I found I was doing was “interpretation”, you could say. I began using retouching and the digital platform like a digital darkroom. The goal became to try and make images more dynamic, to bring them to life as digital can often fall flat compared to the range of film. I love to play around with color and light to push the envelope and to help photographers deliver on their ideas. Would it be good to have a Master’s in Psychology to understand what your clients are up to? This is a funny question actually. Yes, I would have loved to have this degree. Our production manager does actually have a degree in Psychology, and I have met other producers in our industry who have Psychology degrees … We’ve always wished we could read our cli-

ents’ minds, as it can be hard at times to be on the same page. But, over the years and after much trial and error, I can attest that it does get easier and easier to find proactive solutions, that ensure a smooth collaboration and final delivery of the artwork according to the photographers’ or brand’s needs. Vibrant in color, 80’s style – you can recognize Enrique’s style in your advertising motifs. His style seems to fit well with how you represent yourself. An image we ran lately is definitely more of a look that we had developed as a style for and with Enrique over the last few years. Drawing from his past work, full of color, cross processing and often times breaking the photographic rules of what others consider to be correct, we wanted to play with these concepts and were thrilled with the results … rich, intense colors which, when paired with the right elements, yield this really amazing effect. We are also experimenting with other ideas and trying to collaborate on reinventing his look a bit, while still using the basic elements that make Enrique’s multi-faceted work so incredibly vivid and popular. Can you share something about how you generate the “Enrique” look? The actual recipe we use for Enrique is a bit of a secret, but I will divulge one major detail that many photographers haven’t seemed to figure

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out. Bear in mind, this is totally against the rules, however, from my point of view, it leaves one with a much better result for our special treatment: With digital cameras, we recommend to always underexpose the images by nearly a stop and perhaps even two depending on the lighting situation. It is much easier to recover shadows than to recover the highlights, and a simple exposure curve in your capture software should get you right back to where you want to be with very little image degradation. If you capture at a perfectly even exposure on a sunny day, you’ve pretty much just locked in the contrast and likely lost a lot of information in your highlights. This also reaffirms the need for a quality image sensor. The better the sensor the better this technique works. We often advise photographers switching from film to digital to use this technique to obtain the rich colors and depth that they had previously achieved by shooting with film. What do you like better, working in color or black and white? I like both but I’ve always liked the challenge of working in black and white as you can really push and pull the tones to create a certain feel. This really gives you an open palette if you know what your doing. On the other hand, trying to get a digital black and white image reproduced with the same soft organic quality as a beautifully printed black and white film image will likely always remain a challenge!

I n t e r v i e w s

What would you say is the future trend? So hard to predict this … but in my head I guess I always imagine something more Star Trek, minimalist … (laughs). Seriously though, and in regards to our industry in particular, you can certainly see how technology is increasingly integrating into everything we do and becoming more user friendly, more intuitive and with more capabilities. Someday it will be seamless across all platforms and media. I imagine everyone will have the ability to easily create their own ideas and concepts using mixed mediums on one platform that combines all the necessary tools … What does good quality raw data mean according to your work? The quality and exposure of the raw image is vital to our work. Processing the image is the most important step of our workflow, as everything moving forward from that point is working off that initial color balance and exposure. So all of those settings have to be in line with the direction that we plan to take the images. Having a high quality camera sensor is also really important to us … may seem simple, but it’s critical. We want the most range we can get from each and every pixel. With the Leica S I immediately recognized that we were working with the highest quality raw image available. You can see how the color in the file is much better than in comparable sensors … it can take a heavy contrast without breaking

up, the transitions are smoother and softer and you can shift colors more … pushing and pulling the exposure to get exactly what you want. What is special about working with Enrique? What was your first impression? My first impression of Enrique was that he was unusually cooler than most fashion personalities we meet and work with! Aside from that, Enrique also really likes to make work fun and not take it all too seriously. If we aren’t having fun then why would we do it? We are always making jokes and trying to make each other laugh on set, which makes it a welcoming atmosphere for everyone.

people would typically consider normal with color which makes my work challenging, but all the more exciting. Enrique is not afraid of losing detail in this tone or that as long as the end product looks beautiful. What was special for you when considering the work for the series that will be published in the S Magazine? I really like when Antje and Enrique team up to work on projects. I know they had terrible weather while working in Tulum on this project, but they managed to create beautiful and interesting images regardless and we were really happy with the end result of our work. I let some younger members of my team work closely with Enrique on this Leica project to develop some fresh ideas for the story. I didn’t want to impose the same recipe and approach that we have been doing …

What do you like about Enrique’s projects? The freedom to experiment with different colors and ideas. Enrique is always open to suggestions, whether it’s me or someone on my team or one of his assistants. He is open to input from everyone – ultimately, he will decide what he wants to do but no one can come to the table with a wrong answer, all thoughts are always welcome, anytime.

Referring to your business, what are your wishes and visions for the future? Well, where should I start? The world is changing fast and so many creative mediums and options are at our fingertips. There are so many ways to create and I think the future of what we do mainly at Bespoke lies in continuing to understand and use all these mediums, to collaborate with artists and help bring their visions to life. It’s a very exciting era right now where really anything is possible – and I feel lucky to be a part of it.

How would you describe his style? Oh man (laughs) … Mexican? Just kidding. It’s really rich with color … hot, sexy and sensual … he always likes to tie in a lot of movement as well as taking a dip in the ocean … we’ve lost a few cameras to the water over the years! He also likes to push the boundaries of what

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Vicky Steckel, born in the Dominican Republic in 1966, found comfort in the natural beauty surrounding her since she was a child. Her eye for beauty and color led her to a career as a make-up artist. Completely self-taught, she began sharing her art on Instagram, finding a receptive following of other artists and creators, which fueled her desire to pursue her passion as a painter. These cumulative experiences have inspired her current body painting project, an explosion of paint and color exploring the intersection of art, photography, and the human form. In this S Magazine, Enrique Badulescu photographed exclusive examples of her talent.

Vicky Steckel Artist

How did come to dedicate your life to doing make-up? How did it all begin? I have been doing this for over 20 years now. I used to paint, and I worked for a make-up company for 6 months. I got fired because I realized it was only about selling make-up. I love doing make-up and I wanted to do it on real people. My boyfriend Ward encouraged me to go further with my own projects. What would you say is the future trend in your business? Hold on, let me call my psychic … We are going into a very egoistic generation; everybody wants to do her or his very own thing, all alone. Collaboration and sharing is a nice statement and maybe a future trend against this. Referring to style, which is your favorite era? I love every era, especially the era we live in now. There is something good and positive in every era. Now is an amazing time. We have everything: Things from the past, things with no pattern ... everything is accepted! Maybe we freed ourselves from a certain style. How would you describe your style? Color Splash! (laughs). I’m doing art on a human canvas. For me right now it’s quite unusual to put color on someone’s body, and to take their picture. Many make-up artists have done it, but for me it’s still unusual.

How do you develop your ideas? What inspires you? Life inspires me. And the people themselves inspire me. Everyone brings something different to the work. I don’t plan anything, I often get afraid, and when this happens I follow my instincts. In the end, it all turns out fine. It’s all about confidence and experience. You can’t beat experience! And most important, I just go with my feelings. When it comes to photo shoots, what is necessary to get the best results? Very good team work. Without it you can’t achieve good results. What makes it so special when working with Enrique? The team work is great. It nearly always feels like a family coming together at some beautiful beach. Working with Enrique isn’t that easy only because, once you’ve started, you want to keep on going … This is what everybody says! How would you describe his style? Tropical! You think of the rain forest, parrots and margaritas (laughs). What did you like most about working with Enrique for the Leica S magazine? He gave me complete freedom and made me push things further. Enrique told us he wanted

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us to be involved. He’s been talking about the project for a long time and you could see in his eyes how enthusiastic he was. Speaking about your art-work for the S Magazine, what did you find special? I felt flattered that he was interested in a concept I have developed all my life. Paint seems like a special kind of makeup to me. What kind of paint do you use? Please tell us something about this arty kind of work. I mix some of my home-made, water-based colors, and also use water-based paints from a company called Mehron. I sometimes mix milk or egg yolk with the pigments. It’s all non-toxic. We produced the series in my studio where there is paint all over the place. Please tell us how and when you developed this unsual idea? How long did it take to get it done? I’ve been doing body painting for five years now, but I kept it a secret. I’m still trying to per fect it. Every day I learn something new. How do you manage to clean the skin? That’s simple, you need just soap and water. The best things are simple. What do you think money can’t buy? The answer is simple, too: creativity!

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After studying Industrial Engineering and working in finance for two years, Rodrigo Palma, born 1983, attended Brooks Institute of Photography for three years. Shortly before graduating, he landed an internship at Mark Seliger’s studio in New York, one of the top portrait photographers in the world, and became his first assistant. A really hot tip from a friend brought him to Enrique Badulescu, who became his mentor. Influenced by two top photographers and his grandmother, a painter, Rodrigo presents some of his own work in the S Magazine.

Rodrigo Palma First Assistant to Enrique Badulescu

Please describe how you develop the ideas for your photography. Most of the time with my photography I want to portray or show myself, my feelings, how I felt at the time I created the image. So for my photography I always try to work from inside out, what is happening in my life or what I wish would happen, and go from there.

Portrait Art by Vicky Steckel

Is there a “visual role model” you admire? My role model is definitely my grandmother, she is a painter. She is 90 years old and still doing her art, and I try to be like her. You have also been working with Mark Seliger, who is noted for his portraiture. Please describe what Mark and Enrique’s work means to you, how big their impact on your way of taking pictures was? I met Mark right after graduating for Brooks. He is a great photographer and I’m very thankful to him. Mark was all about the light and the concept of the image. He connects in a way that he brings what he needs out of them to make the image so special. We used to work over 250 hours a month, traveling and shooting and editing. It was an amazing experience. When I arrived in Enrique’s world he shifted everything I learned with Mark. He was more free, never shot tethered to a computer, running around the beach and shooting at different angles. He connects to his subjects in a different way but still has a very strong connec-

tion, like Mark had. Two different approaches to achieving a memorable image.

and to err sometimes is better. Enrique’s style is fun, creative, colorful and also romantic.

What was your first impression of Enrique? My first impression when I saw him and his work was, ”who is this amazingly creative photographer?” I came from a very technical photo school where all lighting had to be perfect. I saw Enrique images and he was so raw and free. The images he creates are beautiful in a very organic way. He captures the moment and plays with colors and textures like no other photographer I’ve seen. And then I saw him with his bandanna and dressed very colorfully, and it all made sense: This was a man who enjoyed life.

What was the idea behind your story? We see a lot of interesting background posters. Did you produce them? For this story here I worked with a very good friend of mine, Andrés Burgos, who is a creative director. We decided to create a story that reflected my work, my style and myself. I shot all the background images for the story – we wanted to bring this girl into my world. The images are moody and mysterious. We wanted to create a world where you wouldn’t at first really know what you where looking at.

What did you learn from Enrique? What makes it so special to work with him? We have become quite close, he relies on me to help him create the images he is looking for. I’ve learned from him that no matter what you need, you must be creative and unique – no one makes a career by copying other people’s work. Enrique has helped me develop my own style and he encourages me to shoot my own stories. He has also taught me that photography is a team effort. He treats everyone with the up-most respect and, by doing so, everyone who works for him is 100% there to do whatever it takes to create the image. And most important of all is that no image is perfect, it has to be organic to be real and beautiful

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Placing the model in a corner is a nice reference to Irving Penn. Did you think of him somehow? Yes, I did think of him indeed. I have always been drawn to Irving Penn’s work and placing the model in a corner like he used to do was something I wanted to try for myself; specially with my backgrounds, it worked and made sense. It created the allusion of the model being in a distorted place. This was an important part of the story we wanted to create. Referring to your business, what are your wishes and visions for the future? Right now I’m focusing on my photography and my painting. My goal is to have a career doing what I love.

inside out Photographer Rodrigo Palma Styling J. Logan Horne @ Bryan Bantry NY Art Director Andrés Burgos Make-Up Artist Julianna Grogan Hairstyling Kim Garduno Model Kira Kramzar @ One.1 Management 1st Photo Assistant Daren Thomas 2nd Photo Assistant Bain Stevens Digital Tech Dylan Long Camera Leica S with Elmarit-S 45mm f/2.8 ASPH. (CS)

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left page

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top Marc Jacobs pant Missoni

sweater Acne skirt Thom Browne

shoes Pollini

shoes Fendi

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jumpsuit Esteban Cortezar jewelry Jennifer Fisher

dress Balmain

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left page

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top and skirt (as top) Esteban Cortezar

jewelry Jennifer Fisher

skirt Fendi Rings Jennifer Fisher

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Imprint S Magazine

Editor-In-Chief

Enrique Badulescu

A Special Edition of

Inas Fayed

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