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herve leger dress zip elaborate lighting and makeup
Last Updated 2012-04-06 - 14:15:51 (CET)
When it came to fashion photography, Ritts http://www.hervelegerbymaxazria.com/herve-leger-black-essentials-v-neck-bandage-dress-p-50.html helped put L.A. on the map as the premier destination in the world for shooting fashion editorials and advertisements. Malibu, Point Dume, the dry lake bed at El Mirage near Palmdale and the Santa Monica Pier were some of his favorite locations to achieve the pointillist and chiaroscuro-like shadows on the skin that were his favorite effects.
“It was a new look that the fashion establishment hadn’t seen before,” Martineau says. “And his interest in the nude and his location here make sense with the emphasis in L.A. on body culture.”
He worked with all the supermodels of the time, including Christy Turlington, Naomi Campbell, Linda http://www.hervelegerbymaxazria.com/herve-leger-novelty-essentials-black-bandage-dress-p-64.html Evangelista and Cindy Crawford, this last of whom Ritts photographed wearing a goddess-like gown in Malibu in 1993 for a Ferré catalog. “He is hiding the back leg behind the front leg, and you get this sinuous S-curve happening, which taps into Renaissance culture. She’s slightly askew, which creates asymmetry and a sense of playfulness,” Martineau explains.
Ritts wasn’t afraid to go against what was suggested by the fashion directors, and indeed, Vogue editor Anna Wintour is quoted in the exhibition catalog saying that Ritts "wasn't as interested in the clothes as he was the texture of the skin."
Much of Ritts' legacy lies in his celebrity portraiture. (He shot more than 200 magazine covers in his lifetime.) Who can forget the 1986 portrait of Madonna on the cover of her “True Blue” album with her head thrown back, her creamy skin and blond hair contrasting with the tough, black leather biker jacket pulled down around her shoulders? Or the exuberant shot of Michael Jackson on the Jan. 9, 1992, cover of Rolling Stone magazine, wearing a white tank top, smiling, with his face cast down and his hair pulled back; he never looked sexier. (“When Michael Jackson saw it, he called Ritts and asked if he was trying to ruin his career, which just goes to show how wrong he was about his own image,” Martineau says.)Or the shots of Richard http://www.hervelegerbymaxazria.com/herve-leger-black-v-neck-front-zipper-bandage-dress-p-51.html Gere, playing the hunky mechanic with a car on a lift behind him, taken in San Bernardino in 1977? Even Gere himself admits in the gallery’s audio guide that those images helped launch his career.
“There is a great sense of architecture to this picture, which was taken before Herb even knew he was going to be a photographer,” says Martinaeu. “He balances the softness of Richard with the hardness of the lift, and the diagonal lines that go between Richard’s arm, the fin of the car and his cigarette really energize the picture.”
Ritts had a knack for catching the essence of celebrities' personalities, which made fans feel like they had a connection to them in a way that was unique before the days of 24/7 reality shows and over postings on Twitter.
“Celebrity portraits in old Hollywood were taken with elaborate lighting and makeup. They were very staged,” says Martineau. “But Ritts complicated the issue by http://www.hervelegerbymaxazria.com/brown-herve-leger-half-sleeve-front-zip-bandage-dress-p-115.html showing the back of people’s heads [see the portrait of the back of fashion designer Jean Paul Gaultier’s blond head taken in 1990] or obscuring their faces so they were not instantly recognizable" [the 1990 photo of Sinéad O’Connor’s bald head, with eyes closed, which was more about form than showcasing her fame].
“It was a new look that the fashion establishment hadn’t seen before,” Martineau says. “And his interest in the nude and his location here make sense with the emphasis in L.A. on body culture.”
He worked with all the supermodels of the time, including Christy Turlington, Naomi Campbell, Linda http://www.hervelegerbymaxazria.com/herve-leger-novelty-essentials-black-bandage-dress-p-64.html Evangelista and Cindy Crawford, this last of whom Ritts photographed wearing a goddess-like gown in Malibu in 1993 for a Ferré catalog. “He is hiding the back leg behind the front leg, and you get this sinuous S-curve happening, which taps into Renaissance culture. She’s slightly askew, which creates asymmetry and a sense of playfulness,” Martineau explains.
Ritts wasn’t afraid to go against what was suggested by the fashion directors, and indeed, Vogue editor Anna Wintour is quoted in the exhibition catalog saying that Ritts "wasn't as interested in the clothes as he was the texture of the skin."
Much of Ritts' legacy lies in his celebrity portraiture. (He shot more than 200 magazine covers in his lifetime.) Who can forget the 1986 portrait of Madonna on the cover of her “True Blue” album with her head thrown back, her creamy skin and blond hair contrasting with the tough, black leather biker jacket pulled down around her shoulders? Or the exuberant shot of Michael Jackson on the Jan. 9, 1992, cover of Rolling Stone magazine, wearing a white tank top, smiling, with his face cast down and his hair pulled back; he never looked sexier. (“When Michael Jackson saw it, he called Ritts and asked if he was trying to ruin his career, which just goes to show how wrong he was about his own image,” Martineau says.)Or the shots of Richard http://www.hervelegerbymaxazria.com/herve-leger-black-v-neck-front-zipper-bandage-dress-p-51.html Gere, playing the hunky mechanic with a car on a lift behind him, taken in San Bernardino in 1977? Even Gere himself admits in the gallery’s audio guide that those images helped launch his career.
“There is a great sense of architecture to this picture, which was taken before Herb even knew he was going to be a photographer,” says Martinaeu. “He balances the softness of Richard with the hardness of the lift, and the diagonal lines that go between Richard’s arm, the fin of the car and his cigarette really energize the picture.”
Ritts had a knack for catching the essence of celebrities' personalities, which made fans feel like they had a connection to them in a way that was unique before the days of 24/7 reality shows and over postings on Twitter.
“Celebrity portraits in old Hollywood were taken with elaborate lighting and makeup. They were very staged,” says Martineau. “But Ritts complicated the issue by http://www.hervelegerbymaxazria.com/brown-herve-leger-half-sleeve-front-zip-bandage-dress-p-115.html showing the back of people’s heads [see the portrait of the back of fashion designer Jean Paul Gaultier’s blond head taken in 1990] or obscuring their faces so they were not instantly recognizable" [the 1990 photo of Sinéad O’Connor’s bald head, with eyes closed, which was more about form than showcasing her fame].
Post Category: Fashion
Post Tags: herve leger dress zip
