These photos of Gia by photographer John Stember ache my heart. Gia’s ease in front of the camera was such a gift, each shot is uniquely mesmerizing. Gia was the ultimate model in the 1970s & 1980s, and now every image of her is like an iconic portrait of that time. Stember’s photos really celebrate Gia’s bronze beauty and perfect mix of confidence and vulnerability.
The 2015 Pirelli calendar is a triumph! Steven Meisel photographs a diverse set of models, including Natalia Vodianova, Joan Smalls, Candice Huffine, Karen Elson, and Gigi Hadid, all posed like perfect little naughty pin-up cupcakes. I love every shot!
Constance Jablonski is a naughty little kitty cat in this shoot for Numéro by Greg Kadel. Those of you who know me best know that naughty kitty cat is my resting state. It’s such a delicious fetish to indulge. It looks darling, come hither, and feisty. Constance is playfully pulling the look off perfectly in every shot.
When I saw that Rihanna was back on instagram, I actually gasped with delight. As a people, we need Rihanna. Her unabashed sexuality and beautiful smile, smoking weed and wearing naked dresses is vital in a time when feminism is an everyday topic. These two editorials show how Rihanna look as comfortable in couture as she does wet and in men’s underwear.
By Paola Kudacki for Elle, Decemeber 2014
By Ellen von Unwerth for Esquire, December 2014
Guy Bourdin was a French photographer who worked extensively in the 70s and 80s. He was the first photographer to create a complex narrative, then snatch a moment—sensual, provocative, shocking, exotic, surrealistic, sometimes sinister—and simply associate it with a fashion item. The narratives were strange and mysterious, sometimes full of violence, sexuality, and surrealism. Bourdin was influenced by his mentor Man Ray, photographer Edward Weston, the surrealist painters Magritte and Balthus, and filmmaker Luis Buñuel. Although less well known to the public than Newton (also working forVogue), Bourdin might have been more influential on the younger generations of fashion photographers.
Because Bourdin’s models “often appeared dead or injured”, some critics have accused him of objectifying women. His photographs were described as “highly controlled” and “famous for a mysterious sense of danger and sex, of the fearsome but desirable, of the taboo and the surreal”