Monday 21 March 2011

    From http://www.leninimports.com/helmut_newton.html

    doisneau


    [born: october 31st, 1920]
    [
    died: january 23rd, 2004]

    Born Helmut Neustaedter in Berlin October 31, 1920, he grew up in privileged circumstances in the home of his wealthy button-manufacturer father.

    He attended the city's American School, but was a bad student and was expelled when his fascination with photography, sparked by a camera bought when he was 12, overshadowed his interest in class.

    After leaving school in 1936, the young Helmut worked as an apprentice to top photographer Elsie Simon, known as Yva, a job he held until he was forced to flee after the start of Adolf Hitler's vicious pogroms against German Jews two years later.

    As he flirted with death by consorting with Aryan girls, his parents managed to secure him passage on a ship to China, but he stopped off in Singapore, where he got a job at the Straits Times newspaper, a job he held for just two weeks.

    "Soon I realized how far I was from the goal I'd set for myself of becoming a Vogue photographer," he told the New Yorker last year.

    Instead he met a glamorous older Belgian woman, and powered by an epic sex drive, became her lover and caroused around the British colony until moving to Australia in 1940, just ahead of the Japanese invasion.

    After briefly being interned as a German citizen, he later joined the Australian army and in 1948 married actress June Brunell, who would remain his partner for more than 50 years until his death.

    Neustaedter changed his name to Newton, opened a small photo studio in Melbourne, and soon began contributing fashion photos to French Vogue in 1961, a magazine that he made his own for a quarter century.

    Over the years, Newton also contributed to magazines such as Playboy, Queen, Nova, Marie-Claire, Elle, and the American, Italian and German editions of Vogue -- his stark and provocative style setting a new industry standard.

    His studies of nude women became his signature and the self-obsessed and often distant poses of the models frequent caused polemic in the art-world. He won the sobriquets "King of Kink" and Prince of Porn" in the 1970s after the publication of his erotic photo book "White Women."

    His row of oversize prints of naked models, "Big Nudes," has perhaps become his best-know work, while his work had fetched up to 100,000 dollars apiece at auction.

    An Australian citizen who lived in Monte Carlo in the summer and at Hollywood's Chateau Marmont hotel in the winter, Newton defied convention and set tongues wagging to the end.

    Through his work, he evoked his close scrape with the Nazis -- his mentor Yva died at Auschwitz -- in a series of portraits of the most surprising subjects for a Jew who had spent his life wandering the world.

    They included Hitler's official documentary maker Leni Riefenstahl(news) -- who, according to his 2003 autobiography made him promise not to "call her an old Nazi" -- former UN chief Kurt Waldheim, who also was inked to the Nazis, and far right-wing French political leader Jean-Marie Le Pen.

    But the exuberant photographer never dwelled on his luck nor the past. "I find this kind of living in the past useless and unproductive," he wrote in his book.

Helmut Lang

from http://www.vogue.co.uk/biographies/080422-helmut-lang-biography.aspx

Helmut Lang is a cult figure and, despite leaving fashion in 2005, his legacy lives on. Everything he made carried his distinct fingerprint - from his jeans to his perfumes. He was hyper-attentive to detail and Viennese through and through - he was born there in 1956.

Having shown on the Paris catwalk once, Helmut Lang returned to Vienna until 1997, when he finally moved to New York. Austerity and cerebral couture have characterised his work throughout. He was one of the first designers to embrace the internet and, in 1998, broadcast his new show on it.

• Lang only decided to move into fashion after he failed to find the perfect jacket and T-shirt in the shops and was forced to make his own
• Prada bought a 49 per cent stake in the Helmut Lang business in 1999. Unhappy without 100 per cent creative control, Lang walked out five years later
• Since then the brand has carried on without him. In 2006, Prada sold it to link Theory Holdings Co, which hired design duo Michael and Nicole Colovos to explore Lang's signature high-tech fabrics and modernist looks and colours - but, said Theory president Andrew Rosen at the time: "The door is always open for Lang if he chose to return"

"I wanted to be an artist but I was so in awe," Helmut Lang explained to Vogue in September 1998. "I had a Catholic education, which leaves you with a great big helping of guilt and unworthiness that I went to business school instead." Ultimately he has ended up with the reputation of an artist.

In August 2008 an exhibition of his art goes on show at Kestnergesellshaft in Hannover, Germany.

Alex Box

From http://illamasqua.blogspot.com/2009/06/alex-box-biography-and-exclusive.html 12 JUNE 2009

Alex Box Biography and Exclusive Interview

Alex Box studied and exhibited as an installation artist before training to become a make-up artist, with her main focus on relationships between the body and the environment. As a make-up artist, she went on to explore this relationship between art, science, nature and the magical. Today, Alex creates out of the box [!] looks for designers including Gareth Pugh, Alexander McQueen, Biba and Chanel.

Leading the field in experimental beauty, she is a regular contributor to i-D, Vogue, V, Harpers Bazaar and 10 magazine as well as ShowStudio online.

I grabbed a quick word with the lady herself…

Hi Alex, how are you today?

I am very good! I have got a lot done – I’ve met with two photographers to talk about creative projects for the near future, had a conference call with Rankin about our new book and been to the dentist. I’m now off to Brewer Street for a late lunch and to pick up some material!

Why did you agree to become Artistic Director for Illamasqua?

How could I say no? Julian Kynaston [Chairman of Illamasqua] approached me through Myspace after reading an article about me, written by Bethan Cole for the Sunday Times Style where I mentioned that the art of applying and enjoying make-up was being slowly lost and replaced by corporate cosmetic fads. He came to me and presented an idea for an emotional cosmetic brand that would bring the fun and life back into an increasingly stagnant industry. The fact that he approached me in such a human and informal way – through Myspace – really touched me and I fell hook line and sinker for his vision. It was not corporate, it was not business, it was passion and I absolutely understood where he was coming from as it was coming straight from the heart. We could not have been more in tune and so it was inevitable that we would form a really solid relationship.


How has the journey from idea to reality been for you?

Amazing. Ive learnt a lot; how you develop a range literally, how you translate ideas into physical product and the highs and lows of life on the production and business side of cosmetics. Of course, there are frustrations - certain pigments can’t be used on certain areas of the face, certain textures are impossible to achieve, but it is the struggles that make you really appreciate the triumphs.

I am a creative at heart and I believe that if you have a strong enough idea and enough passion and commitment to something then it can create something wonderful. I have become extremely confident and proud of Illamasqua – our visions are being shared by so many people and it is extraordinary to be a part of something like that. I believe we have barely scratched the surface. Illamasqua is going to be huge and I am going to be there every step of the way!

Has exploring individuality has always been more important to you than trends?

Yes. It’s a life long journey to discover yourself, who you are, what you believe in. Why pretend to be someone else or do what everyone else is doing? Trends are very transparent. If you try to be on trend, you’re already off which is the irony of fashion. Once you are wearing the trends, the ‘trend setters’ are on to the new thing and thus you have already fallen behind. You become like a dog chasing your own tail.

One person being labelled ‘alternative’ does not create a movement – you need more than one voice and at Illamasqua we have a whole choir! When you look at it from that perspective, our counters become even more incredible.

What advice would you give to anyone wanting to become a make-up artist?

Believe in yourself and just go with what is in your heart – a lot of people will tell you to adapt and change your ideas to suit the current fashions and if that is who you are then fine, but to be an innovator you need to be able to step away from it all and be able to reflect on your life and experiences you have had. Take time out to experience new cultures, visit exhibitions and spend time with friends as this will influence your work and give your work a view point and develop your artistic impulse. What will inspire you otherwise?

The best advice I ever received was when I was just starting out - a top make-up artist told me: It’s a stayers race. This is completely true – many people will drop away but it’s all about stamina and belief.
How would you describe your style?

An acid goth. Pure and simple.
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