![]() ![]() Sam Shahid was art director and different fashion editors were there, like Grace Coddington. YY: Were you working directly with Calvin Klein himself or more closely with his team?īW: Calvin had a team. I always felt that the great thing about photography is that you can collaborate with people. I think these two worlds colliding gave these pictures their thing. ![]() He was out all the time and that was his life. So when I was working with Calvin, I just felt like, okay, this is what's going on in my life, that is what's going on in his life, and how do I interpret those two worlds? You have to understand, I was very, very different to Calvin. I had ten cats then! But studying with Lisette had taught me to believe in myself and stick up for myself. I didn't go to Studio 54 a lot, you know. Did that help you to relate to him?īW: We had mutual friends in common, but I was really square then. YY: You and Calvin Klein are close in age. So I was really happy that it worked out. I had learned to always be truthful about your feelings, no matter what kind of situation you're in. So I said, 'Well you're lucky I like him!' And I can't believe I said that, but it was the way I felt. But then he said, 'If you don't like the guy, you don't get the job.' So I was pretty cocky and replied, 'Well let me see the guy.' This guy's name was Romeo and he looked a lot like James Dean. He called me in and said, 'Look, I like your pictures and it would be fun for you to shoot my jeans.' So I said, 'Yeah okay, it sounds good.' I was pretty open.I still am I hope. How did this collaboration begin?īW: Calvin had seen some pictures I had done of a water polo player called Jeff Aquilon for Details, which then was sort of an underground magazine. YY: Between 19, you worked closely with Calvin Klein, producing a number of iconic campaign photographs. Sit down.' Because at that time, a lot of people were trying to copy her work and take pictures in her style. We hadn't sat down together yet and she asked, 'Well, do you want to take photographs like me?' And I replied, 'Oh god no, I wouldn't even know how to begin.' And she said, 'Okay good. YY: The first time you met Diane Arbus, was that by accident? Didn't she approach you at a café?īW: Oh yeah, instantly. I've always liked when photographers, even the kids who work for me, find somebody that they want to celebrate in that way. I think today, we don’t really remark on that – we don't celebrate the individual. Diane was so interested in the viewpoint of people who were individual. She gave Diane a lot of courage to go out and take pictures that she had a feeling about. YY: So you met Lisette Model through Diane Arbus who was also one of her former students.īW: Yes. I always think that the best photography is recording somebody's personal history or some historical event. We talked about experiencing things and recording history. And not photography in the sense of what shoot did you do or what was your f-stop. I used to meet Lisette down in the Village where there were all these drag queens, prostitutes and heroin addicts, and we would sit there and talk about photography. ![]() I found out about her through another woman I got to know quite well, Diane Arbus. It was very democratic and I always believed that photography has to be that. She accepted all ages and all kinds of people. How would you describe that experience?īruce Weber: Lisette really pushed all of us. You were privileged to study photography under Lisette Model at The New School in New York. Yuka Yamaji: Let’s start from the beginning. Phillips' Yuka Yamaji and Bruce Weber discussed beginnings, working with Calvin Klein and the Obsession campaign. This provocative and sensuous image was seared in the memory of a generation that experienced the consumer culture of the 1980s.īruce Weber Ric and Natalie, Villa Tejas, Montecito, California, 1988Īs the highlight of this spring's ULTIMATE CAMPAIGN, a selection of rare and exclusive photographs for Phillips, we are excited to present a unique oversized gelatin silver print of this iconic image by Bruce Weber. ![]() An exceptional example is Weber's black-and-white photograph of a naked couple on a swing used for the 1989 Obsession ad. Introduced in 1985, Obsession would come to produce some of the most famous campaign images of all time. When the moment came to create another explosive campaign, this time for his fragrance, Klein once again turned to Weber. Featuring Olympic pole vaulter Tom Hintnaus, Weber's groundbreaking photograph stopped traffic when it appeared on a billboard in New York's Times Square. In 1982 when Klein launched his underwear line that would come to define the brand, he commissioned Bruce Weber to shoot the advertising campaign. We never knew what was going to be in a Calvin Klein picture.įor nearly four decades, Calvin Klein's advertising campaigns have produced provocative and generation-defining images. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |