Results tagged “CLAUDIA SCHIFFER” from one management blog

CLAUDIA SCHIFFER IN THE VOGUE 120


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Claudia Schiffer looking as iconic as ever in The Vogue 120: The Stylish Singers, Designers, Actors, Models and More (under 45) of the Moment photographed by Norman Jean Roy.

Follow list-makers from left to right: Karen Elson in Alexander McQueen, designer Sarah Burton of McQueen, designer Christopher Bailey of Burberry, Stella Tennant in Burberry Prorsum, Stella McCartney, and Claudia Schiffer in Stella McCartney.







ONE AND THE LITTLE BLACK JACKET


CHANEL'S ICONIC "LITTLE BLACK JACKET" SHOWCASING ONE'S CLAUDIA SCHIFFER, POPPY DELEVINGNE AND KIRSTEN OWEN.

FOLLOW THE LINK TO VIEW THE "LITTLE BLACK JACKET" FOR YOURSELF!

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GUESS WHO?


WHO ELSE BUT CLAUDIA!

HER NEW GUESS COMMERCIAL IS OUT NOW! 







YESTERDAY, TODAY AND FOREVER... CLAUDIA SCHIFFER!


GUESS CELEBRATES 30 YEARS OF SEXINESS AND ICONIC IMAGES! AND WHO BEST TO FRONT THE ANNIVERSARY CAMPAIGN THAN THE LEGENDARY CLAUDIA SCHIFFER?!

IF YOU WERE ANYWHERE IN THE WORLD 23 YEARS AGO, YOU WILL REMEMBER THE ICONIC "BUSTIER" IMAGE...

OF THE BRAND, CLAUDIA SCHIFFER SAYS: "GUESS WILL ALWAYS HAVE A SOFT SPOT IN MY HEART, AND I'M EXCITED THAT 23 YEARS LATER WE CAN STILL WORK TOGETHER SO SUCCESSFULLY. SHOOTING THE GUESS 30TH ANNIVERSARY CAMPAIGN WAS LIKE GOING BACK IN TIME. IT BROUGHT BACK SO MANY GREAT MEMORIES AND HAS BEEN A LOT OF FUN WORKING TOGETHER AGAIN WITH ELLEN AND PAUL."

THE LATEST IMAGES, SHOT WITH ELLEN VON UNWERTH AND PAUL MARCIANO, ARE SET TO BE AS ICONIC AS THE ORIGINAL!

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Claudia's Cashmere- Fall Preview


Claudia Schiffer Cashmere Film AW11 from Carla James on Vimeo.







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CLAUDIA BEATS THE HEAT IN PRADA


 

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Karl & Claudia do it Again


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ONE INTERVIEWS SOLVE SUNDSBO


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Christopher Michael: "If I've got a style, it's that I have no style," the sum of your style in your own words...it couldn't have been said better. If you've yet to be limited by any particular branding, what then do you think is the constant in your work that brings forth the Advertising clients and magazines alike knocking at your door?

 

Sølve Sundsbø: I hope it's a level of sophistication and quality. It's hard to analyze your own work, but I think the constant for me is that the work shows my curiosity and respect for the people I photograph.

CM: You've referenced the incredible amount of dedication that is exchanged during a working relationship between the 'teacher' and his assistant when talking about your time with Nick Knight...Have you run into a similar relationship with one of your own assistants which feels comparable to that?

SS: I have been very lucky to have had incredibly dedicated assistants, and I couldn't pick one specifically. There is no guarantee, unfortunately, that if you are a good assistant you will make a good photographer. Nick has been a persistently good teacher for his assistants over the years, and I hope that I can bring those lessons to my assistants as well.

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CM: I'm sure you will...You've brought up an incredible observation: that we are raised to believe that women's bodies sell products but when you apply that same notion to a male, you're met with some controversy... do you think that still applies? Or have you also noticed the increasingly ever present male nudity in today's editorial pages?

SS: Well there is an increased level of nudity in the world in general, it seems to have become the norm. However, it is interesting how male nudity outside of gay porn still causes a controversy. After the male nude for YSL M7, we did a shoot with GQ Style with Tom Ford and every penis had to be censored. Even though it is not unusual to show full frontal female nude in fashion magazines, male nudes are still considered a taboo.

With regards to male nudity in advertising the six pack and the broad shoulders are the norm, and I guess that this is as unfortunate as the big boobs and flat tummied girls being used for nude shots and the skinny girls being used for fashion. Some people argue that these are healthy ideals, but it's about stereotypes we have become accustomed to. And I think it's great every time this mold can be broken. Diversity is beautiful.

CM: It is actually, and I'm quite curious to see just how this new look into the male anatomy in the industry's eye fully unfolds.. Not all photographers are able to boast equal success in both editorial as well as advertising, you seem to do quite well with both...what's the secret?

SS: It's in the approach; I think they have an equal importance. One doesn't work without the other. Maybe I have also been lucky in being given advertising work that has an editorial quality and a certain freedom. It's hard to keep the balance sometimes, last year was filled with too much advertising, and I want to do more editorial this year.Picture_5_1_0.png

 CM: Too much advertising in this economy? You lucky lucky man...When working on campaigns with legendary lines, you've been able to bring your own art direction to the table..I'm quite curious as to how much resistance you were met with when suggesting the full frontal male nudity for the YSL Fragrance..

SS: The male nudity was not controversial with the client, as the client was YSL when Tom Ford was in charge. Thomas Lenthal, who was the art director for YSL Beauty at the time, and I discussed it at length and worked out several proposals but we both believed strongly in a full frontal male nude. This married nicely to Tom's idea of a hairy chested man in a world of shaved torsos.

img379.jpgCM: Makes sense..In an era where both fashion's followers and it's creators alike have once again called upon the super selling power of the Supermodels, you yourself have partaken in the luxury of their major return in the recent times as well...what for you is the major difference in working with a Supermodel vs. the modern day 'girl of the minute'?

SS: The reason why they are supermodels is often forgotten. They are not necessarily Super just because of their looks, but because they are incredible performers in front of the camera. Being a photographer is easy when you work with a Supermodel. They do so much of the work for you. When you work with new models you have the luxury of a blank page. You can impose much more of your ideas into the picture without it having previous connotations. Sometimes you are lucky and find a brand new model with the ability to interpret what you want to do, and more often than not they become the new Supermodels. 

 

 







Claudia Covers


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ONE LOVE : MARIE CHAIX


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Q: I'm not sure if I'm wrong in this fact find but it seems as though you finished up at St Martins and went straight into working at Self Service, how does one lock down such a stellar start in the business?

A: I was looking for an internship after school, I always loved the magazine. I think that was the first place I called and they told me to come in....a week after I was there working and I didn't leave..


Q: Off to a nice start you were..... After 5 years at the magazine you seemed to have undergone a sort of Big Bang theory and your works were suddenly amongst the pages of numerous publications from i-D, Another Magazine to Russian Vogue Covers, Vogue Paris stories etc...what brought on the sudden expansion?

A: I think it happend sort of naturally in a way. I mean, I became freelance and I worked for Mixte for about 6 months, and then I started working for English magazines like i-D and Another, while still working for Self service, as well as various Vogue publications. The more you do it, the more you learn, and sort of experiment in different areas, doing something that is more independent and more free creatively and more polished. To do different magazines like this helps you also to explore different sides of what you do.

 

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Q: Definitely. As you know, the Modeling world can be a fierce jungle and in some cases even, girls decide that the fame and glory is not worth the gruesome travel schedule and endless competition the business brings forth...how would you explain it from the stylist side? Is the world equally ferocious amongst the climb that occurs in the career of an editor as well?

A: It's competitive, and I guess the more you do it maybe the more competitive it gets, but every industry is competitive in a way. Especially now with the economy I hear it has become more competitive, but I don't know. I just try, like everyone else, to do the best you can and to have fun with it as well. That's why you did it in the first place, but the more you do it the more you sometimes forget why you do it in the first place, so I think it's important to remind yourself of why you started doing it to begin with and not be too completely serious. Of course, you want to try and always push things, to bring out a certain quality in your work, pay attention to detail, but there are always going to be things you can't control! And that's what makes a great picture too, that special moment.

 

Q: Right now there is an incredibly unprecedented moment occurring in our business where the range of generations all working in tandem is far more diverse than before, and the new up & comers are getting the chance to share the platform with their idol's who are now considered living legends...what do you think made this new found era come about?

A: It's true actually. I didn't think about it before, but now that you mention it, it's true.... I think maybe it is because the industry grew and it's much bigger than it was before. There are many more magazines than there were before, so there are more pages as well. I guess it opens people's minds a little bit. I think after awhile you want to try something new and work with someone new because I guess they can bring something, and they (the idols and living legends) also bring you something very valuable-experience. When you are new, you maybe have some kind of fearlessness in your creative decisions. I think that perhaps it seems fresh for those who've been around longer to work with, and they bring you their experience, with the incredible body of work they produced..it is interesting...

 

Q: I personally love it, it's not just a range that is happening with the photographers and editors but also with the Models as well which has been great. Up until now the 2000's seem to remain unbranded by any particular fashion revolution, what has the first 10 years of the new millennium represented in fashion for you?

A: I was in high school and the beginning of college during the 90's and I was always wondering what that decade would be remembered by, and now it's 2010 and you look at something and say 'oh well that's so 2000, you sort of picture the excess or the logos or all these kind of things, but there were great moments and amazing pictures. It's maybe a bit too soon to look back on?

 

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Q: Excess, that works...The Tale on how Anna Wintour met the boys of Proenza is a funny one, what is the story behind your collaboration with them and how that whole thing come to be?

A: I think we just met and it kind of clicked really well, which is interesting because they are American and I'm French, but they do work with quite a lot of French people. I think it's a good mix, and feels quite organic in the way that it works, the dialogue and the dynamic... you have to get to know each other's taste and interests. Working with designers involves everything. It's not only research, its conversations and bouncing ideas. I don't know if the right word is organic, but that's how I feel like explaining it...and we are also from the same generation, which is great.

 

Q: Speaking of Generations, you yourself are a part of a generation fast in the coming, in a few short years at this rate Marie Chaix will be a staple name in the world of fashion, seeming as though you were always a part of it. However, with you being you I think that its rather difficult to see the picture the same as it is from the outside..What does it look like from your standpoint being inside the picture?

A: It's very different. You don't really realize these things because you're just in your mind and you just continue working, preparing the next shoot so you sort of lose track of actually where you stand. It's only when other people tell you but you're always the last one to know...you know what i mean?

 

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Q: Indeed, however I think that your standpoint is an admirable one, not being too quick to look back on your accomplishments...You mentioned earlier that there are a lot of magazine's right now and that there has been this kind of major growth in the business, the points of view on this matter vary..where do you stand? Do you think it's a good thing or no...

A: I think it's a good thing that people want to do things and have the energy to start something. I always kind of admire people who just get on and do something and they believe in it. I think if that portrays a certain kind of positivity then it's a good thing when the magazine has a different point of view, a strong identity, which is very important. People always talk about saturation of images and it is true but I think that somehow the internet adding on to it accentuates that even more. If people want to do a magazine it's great-it's a lot of work and a lot of responsibility, and I think that if people want to do that, yeah, it's a positive thing. We also need the magazines for new generations to express themselves, you need a voice and a magazine provides a voice. I love Acne paper, for example you know Matthias, and also Thomas, whom I know from St Martins, so they're people who share this kind of aesthetic and sensibility, and we can have a conversation on the same level as well, which is always good when you want to do something creative like that-it feels like we are part of the same generation which is nice.







Supermodels of ONE - A new World Trinity


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SUPERMODELS SELL - D&G FRAGRANCE








D&G By Mario Testino and the Supers


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