Joseph Szabo

They are pre–street style, pre-Internet, pre-Coachella; as Grace Coddington says, they’re “a reminder of life before cell phones and selfies and It Bags and all the paraphernalia of concerts today.” There are models for today’s perfect belfie shot, hands crisscrossed in the back pockets of each other’s jeans; there are covetable denim jackets; there is great hair and great leather; there are dirt-spattered dancers in the pit; there is a real and pure unrehearsed, unselfconscious, unhashtagged joy in the photos, an experience lived largely in the moment and captured mostly in memory, and what, really, is cooler and more fashionable than something that elusive and impossible to contain? For the fans that day, Szabo just happened to be there at the right time to witness it all. 
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Hedi Slimane Photography

Raf Simons

TT- I’ve read that the first fashion show you ever went to was Maison Martin Margiela. You said it was so beautiful that half the audience cried and it had a huge influence on you. Why? 
RS- Because that was the day that I understood that fashion could also be conceptual and intellectual, that it could be linked to a certain kind of social, psychological thing. That Martin Margiela show was in a really trashy area in Paris and it wasn’t in a building, it was in a playground from a black neighborhood. The parents had agreed to do the show for the Margiela company only if their children could come and see it. Everybody was expecting the children to just stay on the side and sit with the audience, but they didn’t. They started to play with the girls and it was a very, very different thing. Before my perception of fashion was a high-staged Americano, you know like sun tans, boys, healthy. Martin was turning it completely around; it was like they came out of a grave or something. They looked really different. I don’t have that background; my parents are very working-class and I come from a village where there is no culture. continue to read... 

Peter Lindbergh

I’m not interested, neither concerned, with the idea of photography being art or not.I feel more and more, that it is about photographing this “magic space”, situated between the photographer and the subject he’s photographing and not about the “architecture” of faces. Peter Lindbergh 

Hedi Slimane

''I have no reference to anything.''
 Hedi Slimane

Bruce Weber

''I think this idea of a photographer as a celebrity embarrass me. I think it's not such a good idea to be so caught up in that fame game kind of thing as a photographer, because what's wonderful is that you can go out in the world and people don't really know you. I just go out in each job and take pictures for myself. I’ll photograph trees or if I meet a really handsome guy or girl I’ll take their picture, even if they’re not part of the set. But I never felt like that word model was so important. It is more just a subject, a person, a friend, a family member.'' Bruce Weber

Image by: Michael Murphy

Pierre Bergé Talks Hedi Slimane and Yves Saint Laurent

SUZY: I want to ask you something. I wrote an article ages ago when I said that Karl played Salieri to the Mozart of Saint Laurent. Do you think that is true?
BERGE: Karl's problem is the following: it's like two starlets in the theatre or cinema, when one becomes Marilyn Monroe and the other is a nobody. I like Karl a lot - I've known him for ever. He is really cultivated and very intelligent.
Karl's big problem is that he has never been successful with his own label. And he has not been able to reach the same level of success as under the name of Chanel. It is sad.

Paolo Roversi

Do you take a lot of pictures when you’re not in your studio? 
I’m not the kind of photographer who always has a camera around his neck, always taking pictures of everything, with the fear of losing the moment. My life is full of pictures I didn’t take, or that I just took with my mind because I wasn’t fast enough with the camera. Maybe one day I’ll write a book about the pictures I didn’t take. (Laughs)


              BOY MEETS GIRL
              LOS ANGELES PARIS
              JUILLET 2012

Hedi Slimane

"There is always a part of what you do that refers to your childhood, or youth. I was precisely just like any of these guys I photograph, or that walk my shows. Jackets were always a little too big for me. Many in high school, or in my family, were attempting to make me feel I was half a man because I was lean, and not an athletic build. They were bullying me for some time, so that I might feel uncomfortable with myself, insinuating skinny was 'queer.' There was certainly something homophobic and derogative about those remarks. I was eating quite much, doing a lot of sport, but when I was 15, 16 or 17, that was simply the way I was built. I would turn to my music heroes, and this was comforting. They looked the same and I wanted to do everything to be like them, and not hide myself in baggy clothes to avoid negative comments. David Bowie, Keith Richards, Mick Jagger, Mick Jones, Paul Weller, I felt connected to their allure, aesthetic and style." Hedi slimane 

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