PORTAFOLIO Summer 2012 by Portafolio Magazine

PORTAFOLIO

COMME

TOUJOURS

CONTENTS 4

LETTER FROM THE EDITOR

DAVID LESLIE ANTHONY

ANTHOLOGY

LESS IS MOSE

LOVE BOAT

BOLD AND POWERFUL

INSIDE THE HOURGLASS

INTERVIEW

SELECT WORKS BY DAVID ANTHONY

CLAIRE CURRAN CORBETT

PHILIPPE NDZANA

ENIKO SZCUKS

CONCEPT FASHION STORY

JOANNA KRAUSE ON THE COVER:

PHOTOGRAPHY PHILIPPE NDZANA STYLING ROMA TRAVIN MAKEUP JULIA MODEL JULIA AT ABA MOSCOW

ICARUS

FRAGILE WINGS

MARVIN BARTLEY

THE LIFE OF A SILK MOTH

BRYAN WHITELY

5 M

2 0 1 2

PORTAFOLIO P O R T A F O L I O M A G AZINE | ISSUE NUM. 5 | SUMMER 2012

ED I T O R -I N -C H I E F | CR E AT I V E D I R E CT O R | P U B LI S H E R

JH ONNAT A N HER N A N D EZ - B ON OL A E X E CU T I V E D I R E CT O R

SARAH ELIZABETH RICKER F EAT UR ES E D I T O R | A S S O CI AT E D I R E CT O R

JORDAN JAMES SCHROEDER

ASSO CIATE DIR ECTOR O F P H O T O G R A P H Y

PHILIPPE NDZANA ASSO CIATE FAS HION ED I T O R

ROMA TRAVIN C O NTRIBU TOR S

CLAIRE CURRAN CORBETT DAVI D ANTHONY PHILIPPE NDZANA ENIKO SZUCS JOANA KRAUSE BRYAN WHITELY MARVIN BARTLEY

SAL ES AND ADVER T I SI NG: JH ON H DEZ , I NC. C/ O P OR TAFOLI O ADS 1 5 0 N. MI CH I GAN AV ENU E, SUIT E 2800, CHICAGO, ILLINOIS USA 60601 MAI N OFFI CE: +1 3 1 2 .2 9 1 .4 625 BY EMAI L: ADV ER TI S I NG@P OR TAFOLI OM AG .COM I NT ERNSHI PS OP P OR TU NI TI ES AVAI LABLE, PLEASE SEND COVER LETTER AND CV TO: JH ON H DEZ , I NC. C/O POR TAFOLIO INTERNSHIPS 1 5 0 N. MI CH I GAN AV ENU E, SUIT E 2800, CH I CAGO, I LLI NOI S U S A 6 0601 [ P LEAS E NO P H ONE CALLS ]

PORTA F O L I O M A G A Z I N E | I S S U E N U M . 5 | SUMMER 2012 ISSN 2156-9525 (PRINT) | ISSN 2156-9533 (ONLINE) PORTAFOLIO MAGAZINE IS A JHON HDEZ, INC. PUBLICATION. PORTAF OL I O M A G A Z IN E I S P R I N T E D I N THE USA AND PUBLISHED QUAR TERLY. COLLABORATION PROPOS A L S PE R R EQ UES T O N LY A N D S UBJECT TO EDI TORI AL AP ROVAL. S U BMI T Y OU R PORPOSALS TO C OL L A B OR AT IO N S @ P O R T A F O L IO M A G . C OM FOR REV I EW. SU B SC R I PT I ONS ARE AVAILABLE TH RO U G H POR TA F O L IO M A G .CO M Y E A R LY SUBSCRIPTION FEES: UNITED STATES: 79.95 PER YEAR; IN TERN ATIO N A L : 11 9 . 9 5 P ER Y EA R . P L EA S E ALLOW 1 0 -1 2 W EEKS FOR FI RST I SS U E TO ARRI V E.

A L L R I G H T S R ESERVED © 2 0 1 2 P O R TA F O LI O M A G A Z I N E | J H O N H D E Z , I N C. R EP R O D UC T I O N W I T H O U T P E R M I S S I O N P R O H I B I T E D .

PORTAFOLIO

EDITOR’S LETTER There is a particularly interesting thing about this section that I get to write in; I’m not going to lie, whenever I read up-and-coming magazines or other large and established monsters, I tend to skim right through them, straight into the pretty pictures, and sometimes end completely lost as to what the message was. I guess it’s one of the main things: we’re not too interested in reading the manual, nor fans of asking for directions.

I’ve had people write to me and ask me what on earth I was thinking when I publish the magazine. Honestly, sometimes I don’t know. That’s the reality of things sometimes, I don’t think too much about it and sometimes I don’t think about it at all. It’s an intuition. With this issue, I decided to leave the whole word play and usage of complicated sermon-like words for something very... everyone.

However, I then realize: ‘perhaps the message was in the editor’s letter.’ Maybe it was, maybe it wasn’t, but it’s too late, my brain forms its own message based on the contents of the magazine.

Comme Toujours explores exactly what it implies... Life, as Always. I have had the privilege to experience economic hardships and have had the opportunity to enjoy luxuries.

I have gained friendships, and have lost people. I have been given, and have had things taken away. I have, in turn, given and taken away....I have experienced the maximum pleasure of documenting in-my-head reactions. Being completely interested in our human interaction and reactions to “cause and effect”, I have noticed that we, despite our social and economic level, continue to live life as we have always known it. To the ladies of society, sipping on champagne and enjoying their shopping sprees down in their town ‘shoppes’, it’s become evident that despite what’s going on, their lives continue .

comme toujours

The men and women struggling to accomplish their goals, whatever they may be, unaffected by what’s going on around them, continue to pursue their goals .

comme toujours

Time and Love, and ages.

comme toujours, impartially consumes

Everything continues as it has always been. Despite what times may come (despite what times may be), as a human characteristic, up to some sort of egotistical extent, we decide to continue with our lives. Is this it? I’m no one to judge and preach about what to do; I simply expose what I have documented in my head. But because this isn’t a personal diary, I decided to curate different suggested effects to different situations and expose them. Emotions to commodities, reactions to circumstances. The results are, , left to your discretion.

comme toujours

Jhonnatan Hernández Bonola

Comme Toujours Editor-In-Chief | Creative Director

PORTAFOLIO

DAVID LESLIE ANTHONY There is something amazing about David. I remember the very first time we met, it was a cold Thursday in February. and it was only Jordan (a great friend of mine and Features Editor of PORTAFOLIO and FRAMED), Ricardo (also a friend and Associate Editor of FRAMED) and myself. We were already running about 8 minutes late, apparently I miscalculated our walk from our previous location over to the cafe we had agreed to meet in. Jordan, and Ricardo, obviously taller than me, could have gotten there faster (they sure have longer legs) but how nice of them to make an effort walking at my pace, which I’m pretty sure was what made us 10 minutes later than what we already were. We finally arrive, after texting David about how unfortunately short I was compared to Jordan and Ricardo and that we were very close, as we’re walking into the cafe, I see David sipping on some soup and about to enjoy something else. I was more worried about David’s reaction of seeing all of us as opposed to his reaction of us being late, nonetheless, I was still quite worried about that too. However, as soon as we introduced ourselves, David’s assertiveness and his cool eased me right away. I knew this was going to be just great meeting. What was intended to be a short meeting ended up being three hours or so of some great conversation. By the way, whatever happened to those places where you could sit, sip a coffee or ten and just enjoy your surroundings in good company? Well obviously, that wasn’t the case here. After David’s meal, we were enjoying some coffee inside a South Loop cafe in Chicago. I would mention the name of the Cafe if it wasn’t for the death stares we were getting from the owner. I don’t blame her, we were there quite a while. I had never been so intrigued by the passionate character of someone. How David spoke about photography and his experiences in Paris made it, without a doubt, one of the most memorable meetings I have ever had. David had made some interesting and valid points on how difficult it has been to venture out in the local creative scene, when the standards are not set up as high as those bigger creative capitals, such as Paris, Milan, London and even New York City. A point in where we both agreed. I dare to say it’s the lack of vision, consistency, support and interest from the local public that has made everything on a local level so difficult, and quickly suffocates any promising proposal. However, the beauty of modern technology is that with a single click, you can travel to a world of opportunities from wherever you may be... hard work now goes a longer way. In this 5th issue of PORTAFOLIO, not only will you get to read a special interview with David but also enjoy a very special feature dedicated to David Leslie Anthony and his amazing work throughout the years.

PORTAFOLIO

1993

PM: Tell us a little bit about when you first started in Photography. Who were your biggest influences in photography? DA: I began my career in October of 1990 in Los Angeles, after having spent numerous years as the International Artistic Director for some major Hairdressing Companies. I’m completely self-taught, other than spending time assisting and shooting photos. I started with two(2) Canon A1 cameras, and would shoot with one, and hock the other one to pay for film and processing. I would then take the pictures to the model agency, get paid, and get my other camera out of hock. 6 Months after I turned “Pro”, I got selected to shoot the national Z. Cavaricci Campaign in a look and style that few people were doing at the time. The look was “Cross-Processing”, and it wasn’t that I was some “innovative genius”, it was the fact that I was self-taught, and when I went to buy colour-developer, I bought the wrong developer and developed my E6 film in chemistry for C41. Anyway, I came out with these wonderful colours, and when I asked my friends at A&I Colour Lab what I did “wrong” they told me I used the wrong chemistry. Fascinated, I began experimenting with every type of film and filter combination I could think of, and learned to control the look to get natural skin tones, yet brilliant saturated colours of the fashions, locations, etc. Going back to Z. Cavaricci; I was not the first photographer selected. It came down to between me and a “big name shooter” out of New York, and he was actually selected for the job. He shot the campaign and the company didn’t like what he did, so they had him reshoot it. Again, they didn’t like what he did, so they “tapped me” to shoot in this cross-processed look. The final outcome: MY photos were what ran as the national campaign, in magazines such as Glamour, Interview, Vogue, Rolling Stone, Marie Claire, and others…with MY name on the side! I then began shooting for numerous fashion clients and smaller magazines. Two of the biggest influences in my career were Guy Bourdin and Helmut Newton. Then I saw the surrealistic work of Sarah Moon, the clean lines of Avedon, the starkness of Penn, and the lushness of Herb Ritts. It was then that I realized that I had ONLY gotten lucky, and that it wasn’t because I was “so good, or knew so much”. And that if I REALLY wanted to be where I wanted to be in my career, I needed to assist the best person and/or persons I could find in the profession. I made a list of five photographers, and was essentially accepted by each one, but I made the decision to assist this one Photographer because he had a wonderful range to his work, yet strong with a definite viewpoint. So, I packed up my meager equipment, some clothes, and what monies I had saved and moved to Paris, the Mecca of fashion! I learned another lesson when I got to Paris. That was “make sure you know the true value of your money BEFORE you travel anywhere”. I totally miscalculated, and rather than telling the photographer I was assisting my “error”, I bought a sleeping bag, and lived in a park in Paris, bathing in the park rest room. I spent one Franc for my daily meal, and kept a few 10 centime coins to use the public restroom. BUT…..this was the most wonderful thing to happen to me, as I walked the Paris streets at night, seeing things, the city, and “photographs in my mind” that few people will ever have the opportunity to do! All this helped me “see stories” and light in a way I never could have imagined. Later, I was very fortunate to have been able to sit down and share a coffee and really spend time talking with two of the major people I respected and looked up to: Guy Bourdin and Helmut Newton! By the way, I STILL keep a one Franc coin in my wallet as a reminder of where I came from, and how far.

PORTAFOLIO

< 1994

PM: How has your photography evolved from when you first started? DA: Good question. I think as a photographer, your work never stops evolving. I never like shooting “in just one look or style”. Fashion changes each season and each year, and the look of the photos must change WITH these changes. If you only “see things and the world” one way, to me, it’s kind of like a skipping record. PM: Tell us a little bit about your process in photography, from gathering your source of inspiration and themes to the actual day of shooting. DA: I’m greatly influenced by films and music. These both play a big part in my “fashion stories”. I’m well aware of the past, and couple it with the present, to create my future in fashion photography. Italian and French films of the 60’s are recreated in modern day fashion, and music selections I make on my IPod, greatly set the tone and “feel” of my photographs.

PORTAFOLIO

1995 >

PM: Despite your involvement with high fashion and top level modeling agencies and brands, describe what your personal style is. DA: My personal style is how I see things. How I view the world. The places I’ve lived and traveled to, the people I’ve met along the way, women who I’ve loved, and have loved me, the films, art, and books I gravitate towards, and the music I listen to, which is everything from Classical to JayZ and Tupac. These ALL go into “my personal style” in my photographs. PM: How do you consider yourself an avid supporter of the new generation of talent? DA: I’m a supporter of young talent who realize MUCH was accomplished WAY BEFORE they were born. Young talent who listen, and strive to be the very best that THEY can be. Young talent who are NOT “legends in their own minds”. PM: What advice would you give to people who want to work in photography? DA: If you are going to call yourself a “Photographer” earn the right to do so, by learning everything you can about your craft and profession. I shoot both digital and film, but I came up through a film background in the industry. The top photographers out there shooting for the major magazines and clients ALL did so. So when we shoot digital, we do so from a film understanding, meaning we strive to create the majority of the image “in-camera” and “on-set”, rather than “fixing it in photoshop”. I have nothing against digital and computers, as they are tools we work with, BUT I am against people who do a half-ass “photo” then photoshop it to death, then “pat themselves on the back and call themselves creative”. What [bs]. I always tell my assistants to also learn to work with film, as it will make them a better photographer when they are working with digital. Create the photograph, NOT “make it up in photoshop”.

PORTAFOLIO

1995 | New Orleans

PORTAFOLIO

1998

PM: How do you feel about modern mobile technology and how it’s been impacting the photography industry? DA: When it was only film, people would look at what you did and say “you’re a really good photographer”. With the advent of digital and camera phones, people now say “that camera takes really good photos”. Today everyone thinks themselves a “photographer”. They buy an IPhone, add Instagram, and post it on Facebook, and people “ooh and aw”. What a crock! I think technology is both a blessing and a curse. On one hand, what we used to do in the Darkroom, we now can do in the light with computers. On the other hand, so many of the young entering the business today from these “schools” are lazy. They don’t want to learn to be good photographers, instead they ask to learn “tricks of the business”. There are no “tricks”, only solid knowledge and experience which allow you to then create. I’ve had photo schools ask me to give talks to their students, and I’ve actually had students ask me “how long does it take to get where you are in photography”. Unreal, as if there was a time pattern in any career. PM: Now that film and ‘live streaming’ have dominated in the way not only fashion shows are being done, but also high fashion editorials, do you think it will at one point make photography a thing of the past? DA: No. I think these developments will add to what we do as Photographers. I’m getting hired more and more to not only shoot a client’s campaign, but also to create and direct fashion films to further illustrate the campaign. I’m also working on films for myself, and getting more involved with conceptual and storytelling music videos. Our industry needs to continually evolve and new art forms need to be created for “the visual to survive as an art form”. Regardless of how much new technology is developed, it still takes us as a person to realize the creative.

PORTAFOLIO

1998

PORTAFOLIO

HARPER’S BAZAAR | MOLLY

PM: What have been some of the most memorable projects you have worked in? DA: I still remember a shoot up in Canada for Harper’s Bazaar, Intl. Editions, where I had a “casting session” with horses, to select the right one for the shoot. I selected this one horse named “Molly” who was gray and had a long mane. The trainer gave me these sugar-hay cubes and told me to give them to her. Anyway the shot called for the model on the horse to gallop past me as I was shooting. “Molly” would do one take, THEN refused to do another until I gave her a sugar-hay cube, THEN she would do another shot! Talk about a prima-donna horse…[laughs]. PM: What are some of your most current projects you would like to share with us? DA: I’ve got some great ad campaigns and editorial shoots coming up, that I’m not free yet to discuss. They involve both still photos and film. PM: Are there any particular talents you are currently following or would encourage the industry to follow? DA: The people I suggest young Photographers to study are Mario Testino, Steven Meisel, Mario Sorrenti, Terry Richardson, and past photographers such as Guy Bourdin and Helmut Newton, as their influence is STILL heavily copied by MANY! PM: Where do you see yourself in the next 5 years? DA: Living back in Paris, sipping coffee, and still creating photographs. •

PORTAFOLIO

PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO PORTAFOLIO 22

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DAVID LESLIE ANTHONY

MODA FG

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28 SCENE MAG

BRITISH COSMO

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CHICAGO MAG

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VOGUE ITALIA

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HARPER’S BAZAAR

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BRITNEY SPEARS

ROBERTO CAVALLI

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LESS IS MOSE

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SWEATSUIT ALEXANDER WANG PRINT CLUTCH TWELFTH ST. BY CYNTHIA VINCENT ANEMONE BRACELET ORLY GENGER BY JACLYN MAYER HEELS 3.1 PHILLIP LIM

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ADLER SEQUIN DRESS TIBI CROCODILE CLUTCH DIANE VON FURSTENBERG BENNET NECKLACE ORLY GENGER BY JACLYN MAYER

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DRESS TIBI BLAZER 3.1 PHILLIP LIM ROPE NECKLACE ORLY GENGER BY JACLYN MAYER COLORBLOCK ENAMEL NECKLACE MADEWELL

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TAHITI SLEEVELESS DRESS TIBI

DRESS TIBI BLAZER 3.1 PHILLIP LIM ROPE NECKLACE ORLY GENGER BY JACLYN MAYER COLORBLOCK ENAMEL NECKLACE MADEWELL MESH BOOTIES MCQ – ALEXANDER MCQUEEN

LESS IS MOSE PHOTOGRAPHY CLAIRE CURRAN CORBETT | STYLING LAUREN MUELLER AT FORD ARTISTS | MODEL KIRSTEN MOSE AT FACTOR WOMEN | HAIR AND MAKEUP KAT O’SHEA AT CIELO BLUE | STYLIST ASSISTANT PHEOBE HASLEY

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Love Boat PHOTOGRAPHY PHILIPPE NDZANA | STYLING ROMA TRAVIN | MAKEUP JULIA MODEL JULIA AT ABA MOSCOW

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BOLD A N D

P O W E R F U L

PHOTOGRAPHY ENIKO SZUCS STYLIST CAMERON K. CARPENTER MAKEUP JENNIFER NAM MODEL MINKAH DAVIDSON

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SHIRT RAD BY RAD HOURANI

HAT STYLISTS STUDIO TURTLENECK SHIRT UNIQLO, SHORTS 3.1 PHILLIP LIM, PARKA OAK NYC, LEGGINGS AMERICAN APPAREL, BOOTS CROFT.

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DRAPED SHIRT JOHN VARVATOS SWEATPANTS AND VEST [A]GAMIC

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UNDERWEAR CALVIN KLEINv JEANS KENNETH COLE REACTION

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UNDERWEAR CALVIN KLEIN

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BELT PRADA JEANS MODEL’S OWN

INSID E

HO URG WHEN

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DESIGN

JHONNATAN

LOVE

GETS

THE

WAY

BETWEEN

YOUR

THE

GLASS

OBSESSION

ETERNAL

YOUTH

AND

BEAUTY

BEN

PHOTOGRAPHY JOANNA KRAUSE | MODELS MICHAELA IRELAND, BEN AT OXYGEN MODELS | HAIR AND MAKEUP LAURA RZEMIENIECKA | STYLING SANDRA AJI

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EVERGREEN

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OLD

AGE

TOGETHER

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ICARUS 80

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ICARUS PHOTOGRAPHY MARVIN BARTLEY | MODEL BRAD ALLEN AT SAINT INTERNATIONAL STYLING DEXTER ‘3D’ POTTINGER | HAIR AND MAKEUP MICAHACIM WHEATLE

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PREVIOUS PAGE DRESS & BELT AGGA B. | THIS PAGE: SEQUIN LEGGINGS & TOP AGGA B.

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SEQUIN LEGGINGS & TRIPLE COLLAR SHIRT AGGA B. BLACK BLAZER MCEBBRAT

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SHEER TOP AND FLOW VEST AGGA B

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SEQUIN TOP AGGA B. PANTS FRENCH CONNECTION

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PHOTOGRAPHY BRYAN WHITELY | STYLING MARTA CEBRAT-CZERNIK

MODEL DELANEY AT FACTOR MODEL MANAGEMENT | HAIR AND MAKEUP KRISTINA MARIE FEYERHEM

PORTAFOLIO

COMME

TOUJOURS