Mert & Marcus, who are Mert Alas & Marcus Piggott, top the list for multiple reasons — the breadth of their work across publications (Vogue USA, Vogue Italia, W Magazine, Pop Magazine, Numéro, and more) and brands (Louis Vuitton, Missoni, Giorgio Armani, Roberto Cavalli, Fendi, Kenzo, Miu Miu, and more), their unique style since joining forces in the mid 90s, and their ability to make innovative use of digital technology. Their work boasts perfection, both in their photography and in the presentation of their subjects, which is a result of fine-tuned craft and attention to appearance. In the genre of fashion photography, where perfection is paramount, Mert & Marcus are undoubtedly, and continually, at the top of the game.
2 ° -Nick Knight
Nick Knight came up through fashion, beginning with a book of photographs titled Skinheads that he released in 1982 while still a student in the U.K. He was soon noticed by i-D Magazine, Yohji Yamamoto, and Peter Saville, and has now shot campaigns for the likes of Alexander McQueen, Calvin Klein, Christian Dior, Jil Sander, Lancôme, Levi Strauss, Yves Saint Laurent, and more. He’s shown work internationally and was even appointed Officer of the Order of the British Empire in the 2010 Birthday Honors.
In November 2000, Knight launched SHOWStudio.com, a site dedicated to cutting-edge fashion media. It’s been recognized as a huge contribution to the fashion world in its experimental nature and its wide variety of top-notch, influential contributors.
3 ° – Inez & Vinoodh
Inez van Lamsweerde and Vinoodh Matadin have been unstoppable since they joined forces in 1986. Their talent was noticed by the fashion world after they created successful fine art projects together, notably for Lawina, MoMA PS1, and BLVD Magazine. They’ve challenged, reinvented, and rejuvenated fashion photography in ways no one can deny, winning countless awards for their work with Vogue, Paris Vogue, Vogue Italia, W, Visionaire, Vanity Fair, Harper’s Bazaar, L’Uomo Vogue, Interview, and others. They’ve also done iconic campaigns for houses Yves Saint Laurent, Balmain, Nina Ricci, Jean-Paul Gaultier, Isabel Marant, Giuseppe Zanotti, Lanvin Homme, Miu Miu, Balenciaga, Givenchy, and more. Their legacy thus far has been that of being pioneers in digital photography and creating a style of their own in the fashion photography world.
4 ° -Steven Meisel
Steven Meisel’s career started with work for Vogue and W. The fashion and music worlds became more aware of him through his photographs for Madonna’s 1992 book, Sex. From a young age, he was obsessed with beauty and models, who at the time were Twiggy, Veruschka, and Jean Shrimpton. The story goes that at twelve years old, he would have his girl friends call agencies, pretending to be secretaries of Richard Avedon, so he could get pictures of the models. Although he studied fashion photography at Parsons, he got the attention of Seventeen Magazine, after they saw the portfolio photos he took for his model friends as favors. His career is also marked by launching the careers of designers, stylists, make-up artists, hair-stylists, and models who he “discovered,” such as Linda Evangelista, Naomi Campbell, Kristy Turlington, Lara Stone, Coco Rocha, and Raquel Zimmerman, who he’d feature in Vogue and Prada ad campaigns. He’s also credited for launching the career of Ross Van Der Heide after he showed his work to Anna Sui. He continues to photograph every cover of Vogue Italia, maintaining a close relationship with its editor-in-chief, Franca Sozzani.
5 ° – Mario Testino
Mario Testino is such an iconic and legendary photographer by now that it’s hard to believe he grew up wanting to be a priest, or that he dyed his hair pink to get noticed when he did realize he wanted to be a photographer. He’s shot an overwhelming number of celebrities and cultural icons, from Diana, the Princess of Wales to Emma Watson, Cameron Diaz, Gwyneth Paltrow, Julia Roberts, Kristen Stewart, Gisele Bündchen, and Lady Gaga. He and stylist Carine Roitfeld are credited with reviving Gucci in the mid-90s with their groundbreaking, provocative ad campaigns. He’s continued to shoot for nearly every magazine, in addition to Burberry, Gucci, Versace, Calvin Klein, Dolce & Gabbana, Salvatore Ferragamo, Estee Launder, Michael Kors, and more. He continues to receive royal commissions, and in 2002 had a massively successful show at The National Portrait Gallery in London titled Portraits, which went on to tour in other cities internationally.
6 ° – Bruce Weber
Bruce Weber is legendary. He’s shot some of the most iconic Calvin Klein, Ralph Lauren, Abercrombie & Fitch, and Versace ads to have ever been made, and continues to shoot for Vogue, GQ, Vanity Fair, Elle, and Interview. He got his start atGQ in the late 70s, but received widespread recognition for his Calvin Klein ads in the late 80s and early 90s for his in-your-face black and white images of both heterosexual and homosexual couples. He has also collaborated extensively with Ralph Lauren and done music videos for the Pet Shop Boys.
7 ° – Patrick Demarchelier
Patrick Demarchelier’s career began to take off in the early 90s, when Elle, Marie Claire, 20 Ans Magazine, Vogue, and Harper’s Bazaar took notice of his immense talent. He solidified a 12-year collaboration with Harper’s Bazaar, has shot covers for nearly every major fashion magazine, and did iconic ad campaigns for Dior, Louis Vuitton, Celine, TAG Heuer, Chanel, Yves Saint Laurent, Lacoste, Calvin Klein and Ralph Lauren. In 2005, he was awarded the contract for the Pirelli calendar. He continues to be a force in fashion photography and has interestingly been referenced in The Devil Wears Prada, Sex and the City, and America’s Next Top Model.
8 ° – Rankin
John Rankin Waddell, who goes by the name, Rankin, has had an immense photography career so far, of which fashion is just the tip of the iceberg. He, along with his partner, Jefferson Hack, started Dazed & Confused magazine, and since, he’s also started Another, Another Man, and HUNGER — all magazines that champion top-notch photography and art direction. His work for numerous other publications quickly became fine art exhibitions, ad campaigns, documentaries, and music videos, and he’s found brilliant ways to connect his work with philanthropic efforts. In short, Rankin’s influence as a fashion photographer has launched the careers of others to unexpectedly incredible proportions.
9 ° – Juergen Teller
Juergen Teller’s raw, overexposed style has made his work unmistakable. Mostly shooting in color, he has shot every Marc Jacobs campaign since 1998, including ones featuring celebrities like Winona Ryder, Sofia Coppola, Rufus Wainwright, M.I.A., and others. He tends to include himself in his photographs — in 2005, he photographed himself with Cindy Sherman for a Marc Jacobs ad. Teller also has close collaborative relationships with Helmut Lang, Yves Saint Laurent, Vivienne Westwood, and Céline. He has shown in a multitude of group and individual exhibitions, including at the Metropolitan Museum of Art, the Museum of Modern Art, and the Venice Biennale. In 2008, he and Marc released the book Juergen Teller: Marc Jacobs Advertising 1997-2008, which quickly sold out via pre-order.
10° – Annie Leibovitz
Annie Leibovitz is most known for her portrait photography and editorial work, most recently for a multitude of Vanity Fair issues since the 80s, yet her work crosses over to fashion. However, her career began as a staff photographer forRolling Stone Magazine, which she eventually became chief photographer for. She went on tour with The Rolling Stones in 1975, work for Vanity Fair in 1980, and launch Numérous exhibitions, books, and collaborations since. Many of her images have a huge place in our culture today, including the December 8, 1980 image of John Lennon and Yoko Ono, five hours before he was shot and killed. She photographed Queen Elizabeth II for her official Virginia state visit picture and the controversial Miley Cyrus topless Vanity Fair cover.
11° – Ellen von Unwerth
Ellen von Unwerth’s style is erotic and feminine, with an understanding of beauty that’s all her own. Interestingly enough, she was a model for ten years before pursuing a career as a photographer. The fashion world took notice of her skill after she shot Claudia Schiffer, and since, she’s shot for Vogue, Vanity Fair, Interview, Arena, L’Uomo Vogue, and more, in addition to publishing books and winning countless awards. She’s also known for shooting the early GUESS Jeans campaigns, which she shot again for the company’s 30th anniversary.
12° – Terry Richardson
Terry Richardson’s name is nearly synonymous with fashion photography, if not the entire genre of photography itself. His past as a serious bass guitarist in a punk rock band suggested that he wouldn’t follow in the footsteps of his photographer father, but he did, and has done incredibly well for himself. His style has always been highly sexualized and controversial, causing some to say that he’s re-instilled rawness into fashion photography, and causing others to say that he takes it too far.
While his work includes — but is not limited to — fashion photography, he’s shot for brands Marc Jacobs, Aldo, Supreme, Tom Ford, Yves Saint Laurent, and more, and has done covers and spreads for GQ, Vogue, Vanity Fair, i-D, Vice, Harper’s Bazaar, Dazed and Confused, and others. He had his first solo show TERRYWOOD at OHWOW Gallery in LA earlier this year.
13°- Mariano Vivanco
Mariano Vivanco, like many photographers on this list, got his start at Dazed & Confused. While working for the magazine in 2001, he met and began collaborating with stylist Nicola Formichetti (now Lady Gaga’s fashion director) on numerous iconic covers. Since, he’s published seven books for Dolce & Gabbana and photographed extensively for Vogue Hommes Nippon, Numéro, Numéro Homme, i-D, Dazed & Confused, Hercules, Details, GQ Italy, GQ Spain, Wonderland, Allure, Elle, and Vogue. He has three portraits in the National Portrait Gallery, of Lily Cole, Nicola Formichetti, and Rafael Bonachella. Having shot a ton of celebrities at the early stages of their careers, he published the book Ninety Five Chapel Market in 2008, which included Seinna Miller, David Gandy, Lily Cole, and others. He has recently done extensive collaborations with Formichetti, Mugler, and Lady Gaga, which includes photographing her for i-D Magazine’s “Exhibitionist Issue,” wearing Mugler.
14° -Steven Klein
Steven Klein studied painting before moving into his career as a photographer. His ad campaigns for Calvin Klein, D&G, Alexander McQueen, and Nike, in addition to spreads and covers for Vogue, i-D, Numéro, W, and Arena, catapulted him quickly into a realm of the greats. He’s collaborated extensively with Madonna, most notably on multiple W Magazine editorials and a traveling installation called X-STaTIC PRO=CeSS, which also included a limited-release book. His fashion photography, as a whole, has led him to work with other pop stars — Lady Gaga, Rihanna, and Britney Spears — in both photo and film.
15° – Peter Lindbergh
Peter Lindbergh is a fashion photography icon, interpreting the medium ingeniously in both commercial and fine art capacities since the late 70s. He got his start at Vogue but was quickly noticed by The New Yorker, Vanity Fair, Allure, and Rolling Stone. He shoots mostly in black and white, inspired by early German cinema and the Berlin art scene of the 1920s. In 1988, he shot Anna Wintour for her first cover of Vogue. In January 1990, he shot the iconic Vogue cover featuring Linda Evangelista, Naomi Campbell, Tatjana Patitz, Cindy Crawford, and Christy Turlington. Besides his commercial work, his 1986 exhibition put on by Comme des Garçons was a massive hit, his 1996 book 10 Women by Peter Lindbergh sold over 100k copies, and his shows and retrospectives at Bunkamura Museum of Art, the Met, and the Ullens Center for Contemporary Art have broken attendance records. He’s ambitiously ventured into film and other genres of photography, always knowing how to create a classic image.
16 ° – Craig McDean
Craig McDean had been trained as a car mechanic before studying photography. He began as an assistant to Nick Knight and did editorials for i-D and The Face, before getting noticed by Jil Sander, Calvin Klein, Harper’s Bazaar, Vogue, W, andAnother Magazine. He now shoots campaigns for Gucci, Giorgio Armani, Emporio Armani, Oscar de la Renta, Yves Saint Laurent, Calvin Klein, and Estée Lauder.
17° – Alasdair McLellan
Alasdair McLellan’s work can be found across publications, from W Magazine toSelf Service, Vogue, V, LOVE, Another, i-D, and more. He’s shot ad campaigns for Emporio Armani, David Beckham for H&M, Equipment, Calvin Klein, Y3, and Longchamp, and in 2012, he photographed the popular image of Kate Moss smoking a cigarette for Supreme.
18° – David LaChapelle
David LaChapelle was put on in the photography world by none other than Andy Warhol, who noticed his talent, and assigned him work for Interview Magazine. His work hasn’t been strictly fashion or commercial, but much of his success can be attributed to his blurring of editorial, fine art, and fashion. He’s shot iconic spreads, covers, and ad campaigns for Italian Vogue, French Vogue, Vanity Fair, GQ, and i-D, in addition to a plethora of celebrity portraiture. His style has retained its hyper-realistic, highly saturated aesthetic, often making social commentary.
19° – Karl Lagerfeld
Karl Lagerfeld is mostly known as the head designer and creative director of Chanel, but his photography career is lasting and impressive. Among his notable projects are Visionaire 23: The Emperor’s New Clothes (series of nude models and celebrities), a 2005 V cover of Mariah Carey, a 2011 VMAN cover of Kanye West, and his 2012 Little Black Jacket exhibition.
20° – Mario Sorrenti
Mario Sorrenti became well-known from his nudes for Vogue and Harper’s Bazaarand ad campaigns for Calvin Klein. Always provocative and stunning, his work forW, Self Service, Vanity Fair, Another Man, Lancôme, Paco Rabanne, Benetton, and the Pirelli Calendar 2012 is equally impressive. He continues to shoot and show work internationally, including at the Victoria and Albert Museum and the Museum of Modern Art.
Art lovers and history will not be left high and dry this winter. Here is a list of major museums around the world to visit during the winter season. Whether you start a weekend or a month, the destinations are for all tastes: from Italy to the United States, passing through Russia, a map to navigate the beauties to be discovered scattered around the globe.
Yayoi Kusama was born in Matsumoto City, Japan in 1929. She studied Nihonga painting, a rigorous formal style developed during the Meiji period (1868–1912) to deflect the wholesale influence of Western art through the revitalization of the traditions of Japanese painting and their synthesis with aspects of Western art. Attracted by the experimental promise of the postwar international art scene, Kusama moved to New York City in 1958.
As a young struggling artist in New York, Kusama produced her first astonishing Net paintings in 1959— vast canvases measuring up to 33 feet in width, entirely covered in rhythmic undulations of small, thickly painted loops. The inherent philosophical paradox of these paintings—that “infinity” could be quantified and constrained within the arbitrary structure of a readymade canvas—combined with the more subjective and obsessional implications of their process, distinguish these works from Minimalist abstraction, which would dominate the New York art scene several years later. The mesmerizing, transcendent space of the Nets was further reinforced by Kusama’s own insistent psychosomatic associations to her paintings. She went on to develop other striking bodies of work, including the phallic soft-sculptures Accumulation, Sex Obsession, and Compulsion Furniture, which she later incorporated into full-scale sensorial environments. From 1967 she staged provocative happenings in various locations, from the New York Stock Exchange to Central Park to the Museum of Modern Art. Painting the participants’ bodies with polka dots or dressing them in her custom-made fashion designs, she created risqué situational performances that merged her inner artistic world with external realities.
In the early 1970s Kusama returned to Japan, where she began writing shockingly visceral and surrealistic novels, short stories, and poetry, including The Hustler’s Grotto of Christopher Street (1983) and Violet Obsession (1998). Later, in her art, she began to revisit earlier themes, including theInfinity Net paintings and Accumulation sculptures. In recent years she has continued to invent ingenious embodiments of infinity in dizzying walk-in mirror rooms and freestanding sculptures, such as Passing Winter — hand-beveled mirrored cubes that yield an abyss of endlessly repeating self-portraits to their viewers.
Following the success of her project for the Japanese Pavilion at the Venice Biennale in 1993—a dazzling mirror room filled with pumpkin sculptures, like an artful pumpkin patch over which she presided in magician’s garb—Kusama went on to produce a huge, vivid yellow pumpkin covered with an optical pattern of black spots as an outdoor sculpture. The pumpkin, like the infinity net, became a kind of alter ego for her. She has since completed major outdoor sculptural commissions, mostly in the form of brightly hued, monstrous plants and flowers, for public and private institutions including the Fukuoka Prefectural Museum of Art, Fukuoka, Japan; Benesse Art Site Naoshima, Japan; Matsumoto City Museum of Art, Matsumoto, Japan; Eurolille, Lille, France; and Beverly Hills City Council, Beverly Hills, California.
Kusama’s work is in the collections of leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Center, Minneapolis; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; and the National Museum of Modern Art, Tokyo.
Major exhibitions of her work include Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, 1987; Center for International Contemporary Arts, New York, and the Museum of Modern Art, Oxford, 1989; “Love Forever: Yayoi Kusama, 1958–1969”, Los Angeles County Museum of Art, Los Angeles, 1998 (traveled to the Museum of Modern Art, New York; Walker Art Center, Minneapolis; and Museum of Contemporary Art, Tokyo, 1998–99); Le Consortium, Dijon, 2000 (traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul, 2001–03); KUSAMATRIX, Mori Art Museum, Tokyo, 2004 (traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity’s Modernity, National Museum of Modern Art, Tokyo, 2004 (traveled to the National Museum of Modern Art, Kyoto and other venues in Japan, 2004–05); and “The Mirrored Years,” Museum Boijmans Van Beuningen, Rotterdam, 2008 (traveling to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand, 2009).
A gigantic glass-encased structure overlooking the Jardin d’Acclimatation, a popular children’s park, is coming up on the northern edge of the Bois de Boulogne in western Paris. Visible from far away sailing above the trees, the Fondation Louis Vuitton appears to be a ship floating on water, mirroring the river nearby. American-Canadian architect Frank Gehry, who’s heading the project, terms it an iceberg encircled by a cloud in what is a revolution in the use of glass in architecture, where translucent panels are positioned to reflect different colors and light patterns throughout the day. Having built a reputation in fashion, the French luxury goods conglomerate LVMH (Moët Hennessy – Louis Vuitton, which includes Louis Vuitton, Christian Dior and Givenchy among its many brands) desired a more permanent place in the art world and unveiled a striking design by the 85-year-old architect housing a new cultural foundation that Bernard Arnault, Chairman and CEO of LVMH, views as a logical follow-up to his company’s extensive sponsorship of the arts.
Mostly though, this monument dedicated to contemporary art (it includes a restaurant, 360-seat auditorium and forum and lower-level gallery that may be used for live fashion shows) will demonstrate Arnault’s role as the penultimate tastemaker and LVMH as an institution devoted to fostering high culture in France and abroad. The new building may also allow Arnault to score a publicity coup against his luxury goods rival, François Pinault, owner of Christie’s, Gucci and Yves Saint Laurent, who abandoned plans to build a museum for his contemporary art collection outside Paris, after years of red tape, and acquired the Palazzo Grassi in Venice instead.
On site, the edifice soars 46 meters high, resembling a ship made from a confusion of wood beams, steel and aluminum, where we can see the complex fastening mechanism. Composed of a succession of white shapes punctuated by four tree-lined terraces, the imposing iceberg with a white concrete façade, strange and chaotic with its curves and angles, seems to disappear under immense glass canopies composed of 12 twisting glass sails that were subject to tests of high wind resistance and form the defining feature of the building, demonstrating esthetic audacity and technical prowess.
The unique characteristic of this architecture is that every element is different. A sub-layer of black insulating material, then 19,040 white custom-cut Ductal (ultra-high performance concrete, a ductile material that beautifully expresses shape) panels – a veritable conundrum of geometric precision to respect the imposed layout – covers a hull of 9,200 sqm comprising the iceberg’s facades. The 13,500 sqm of external glass surfaces are constituted from 3,584 panels of the same size, curved or fitted, installed on a structure of wood and steel. Each piece of glass has a unique shape, respecting the architect’s complex design.
This envelope will allow the creation of spaces housing a permanent collection formed from Arnault’s vast corporate and private collections of art, including 20th-century classics from Picasso, Yves Klein, Henry Moore and Andy Warhol and modern work by Agnes Martin, Frank Serra, Jeff Koons, Pierre Huyghe and Gilbert&George, and the organization of temporary exhibitions of the work of established and contemporary artists like Jean Dubuffet, Jean-Michel Basquiat, Francis Bacon or Damien Hirst. Based on an art collection that is mainly contemporary, the Foundation’s purpose is to support art and creation and to promote its national and international outreach by welcoming all audiences. Its tasks include: exhibiting permanent collections, showcasing temporary exhibitions of modern and contemporary art, organizing multidisciplinary events, developing educational activities and programs – notably aimed at young audiences – and organizing meetings and talks with outstanding artists and cultural partners.
18th February 1934: Paco Rabanne was born at San Sebastian in the Spanish Basque Country. In 1952: While studying architecture at the Beaux Arts in Paris, Paco Rabanne met many intellectuals and artists. To finance his studies, he produced accessories for the couturiers of the day and became involved in all forms of artistic expression. In the 1960s: Attracted by the tremendous energy stimulated by artistic research, Paco Rabanne decided to create Haute Couture clothing.
1st February 1966: 12 experimental and unwearable dresses in contemporary materials, a collection title that sounds more like a manifesto. Rhodoid and metal, clips and soldered material, and black fashion models dancing to the rhythm of Marteau sans Matre by Pierre Boulez. Then the collections followed one after another, with leather, metal and fabric tending to become increasingly fluid.
1966: creation of disposable clothing: paper dresses sold in envelopes.
1967: the first molded clothing offered a new perspective on the body, before knit fur and aluminum jersey arrived and altered once again the conception of classic clothing.
1969: Calandre his first fragrance for active women, a bottle circled in metal, a cypressy fragrance, a revolution for the time. After it he created a number of fragrances, always innovative, always ahead of their time: Paco Rabanne pour Homme in 1973, the first aromatic fern fragrance; Sport in 1986, offered a daring combination of tangy citrus; XS in 1993, mingling a variety of woods to underline the masculinity of men and women in 1994.
Paco, a green, floral fragrance, was released in 1996, the expression of urban youth searching for movement and excitement. The complementary clothing line was precise and always in step with the times. In 1998, Paco Energy burst out in color: orange to wake up body and soul. The end of the century brought with it Ultraviolet, a message of serenity for the planet.
1990: Paco Rabanne created his women”s ready to wear line, a very stylish wardrobe. In perfect harmony with the Haute Couture creations, this new line took a proud stand for modernity with its innovative material, elegant simplicity, spicy femininity, and essential look.
1991: Trajectoire, Paco Rabanne”s first book and the second biography of the fashion designer, affirmed itself as a runaway success. That of a visionary who isn”t afraid of sharing his personal experiences with a public in search of spirituality. The book was followed by Le temps present and
La fin des temps, which went further still in this meeting with the public.
1999: The master”s Haute Couture was now 34 years old, already had its place in prestigious museums all over the world, and had won every possible award.
Ready to wear would shortly blow out its ten candles. Paco Rabanne decided to stop working on Haute Couture, which he felt was not in harmony with the new millennium. Instead he devoted his energy to developing the entire brand.
Fascinated as always with art, music and design, he saw the year 2000 as a new adventure.
2000: Preferring to concentrate his work on the major women”s ready to wear line and accessories, Paco Rabanne decided to discontinue the Paco unisex brand in 2000. This decision coincided with a general policy of refocusing the Rabanne brand.
In 2005, Patrick Robinson becomes Artistic Director.
In 2013, Julien Dossena becomes the new Artistic Director.
Men and flying machines that perform in perfect synchronicity, in a spectacular dance-art technology: Sparked is one of the most recent performance of Cirque du Soleil in collaboration with the Federal Institute of Technology Zurich (ETH) and Verity Studios.
NO MAKEUP, NO DECEPTION. It is an exploration of the state of the art technology applied to entertainment: the video has not been retouched with slow motion and other special effects and quadricotteri flying in complete freedom, without wires or rails of any kind.
The fleet of drones is controlled by radio from a complex algorithm developed by Raffaello d’Andrea and his colleagues at ETH Zurich, the system tracks the trajectories of individual aircraft, dynamically adapts to the surrounding environment and manages the cooperation between all means engaged in the work.
The video was filmed in the Flying Machine Arena ETH Zurich using a complex system of high-speed shooting capable of locating and tracking multiple objects moving in space and to predict their position in successive instants.