Fabien Baron - Artistic director - Page 2 - the Fashion Spot
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Join Date: Mar 2006
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I think he is very talented and i am sad to see him leave Vogue Paris.

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rising star
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Forgive me. I was actually editing out the link to the picture but the pc crashed and 10minutes time to edit has elapsed. Anyway, it's just one picture. I'm sad, too, that Fabien has left Vogue Paris. I'm thinking though, if he's back in Interview Magazine, he might be the art director of this, can someone please verify???
Photo taken from bryanboy.com
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File Type: jpg interview.jpg (116.2 KB, 3 views)

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I'd like to know too...I'm rather hoping not.

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new york times style magazine 08spring/summer

ph by:fabien baron
styled by:karl templer

screencaped by me from nyt site

btw...the madonna interview cover is just superwhen will the new interview magazine under him out?

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the official relaunch is the september issue, but i think he's been involved since the maggie gyllenhaal issue last month.

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Source | Hint Fashion Magazine | Special Thanks to The Imagist

Fabien Baron: One-Man Brand

Fabien Baron—graphics guru, branding visionary, creative director extraordinaire, multitasking myth-maker—can do more in 15 minutes than just about anyone. So it was no great surprise when news spread earlier this year that he'd been named editorial director of Andy Warhol's Interview (as well as Art in America and Antiques), a title he shares with style writer Glenn O'Brien, both of whom had worked for the magazine before. The September issue marks the official relaunch, but Baron has already been putting Warhol's axiom to the test with three "warm-up" issues, as he calls them, one of which featured Marc Jacobs on the cover in a gray-white tousled Warholian wig. But while Baron can whip up miracles in mere minutes, give him 15 years and he can recreate the publishing universe. That's exactly what happened when he was appointed creative director of Harper's Bazaar in 1992. His signature negative space splashed with oversized letters became the aesthetic benchmark to imitate and himself a Warhol-worthy superstar. All the while, with his branding agency Baron & Baron and its staff of dozens, he's been conceiving and realizing the ad campaigns and product designs for such blue-chippers as Calvin Klein, Burberry, Balenciaga, Dolce & Gabbana, Prada and Giorgio Armani, to name only a few. Here, at his new Hudson St. digs in Tribeca, where straight lines and right angles still dominate (save for massive round light fixtures), the unflappable maverick opened up to Lee Carter about everything from his Interview redesign to his designs on the White House.

This is my first time in your new office. Last time we met was on 57th St…
I'm so glad not to be there anymore.

Why did you move?

It was too small and too…well, too small.

You're still going through growing pains. How do you juggle everything?
I'm a perfectionist. I'm very respectful of deadlines, but I usually hold back if I know there's a little something wrong. It doesn't go out if it's not right.

Everyone says they're a perfectionist. Do you have a note from a doctor?
I should. It's almost a disease. I don't know what it is, if it's control or because I just like to do things well. I'm like an athlete trying to break a record. (Phone rings.) It's Craig McDean calling about a layout. He wants me to send it to him, but I'm not finished—exactly what we were talking about.

In our last interview, you were saying you're always on the go…

That hasn't changed.

Where have you been of late?

I'm still doing a lot of magazine work, packaging, ad campaigns, photography and commercials. I mix my mediums. I like that. I find it easier to work.

Which commercials?

For Calvin and Giorgio Armani.

And, of course, there's Interview. Has that started?

Yeah, kind of. September is the official first issue, but we're putting out three issues before that, like warm-ups.

What's different with September?

The size is new, the paper is new. I think the photography and attention to all the details will be new. It will be a total redesign.

Who's on the September cover?

I can't tell you! (Laughs.)

What exactly is your role is there?

I'm editorial director, one of them, with Glenn O'Brien. I share the title with him. He's an old partner of mine.

You've been friends for a long time.

I've worked with him for about twenty years, and with Karl [Templer, creative director] for fifteen. I've known Peter [Brant, publisher] for about twenty.

Like a family…

We're all connected. And with that we create a buzz, I guess, which goes back to what Andy tried to do. The Factory was an open house. None of us overshadows the others. Karl is very fashion, I'm very visual, Glenn is very wordy. And each one of us is interested in what each other finds. Together, we're taking care of three magazines [Interview, Art in America, Antiques], redesigning them and repositioning their editorial content.

To be sexier? More intellectual?

To be more of a reflection of what's going on today. I think Interview was basically a style magazine invented by Andy Warhol for his friends to be in it, a vehicle for showing stylish people, to bring marginals and high society together under the same roof. He was really obsessed with fame. We have plans to make it much more important than it's ever been.

Will anything stay the same?

I like the name.

What's the competition?

I don't think there is any. The thing with Interview is it's at the crossroads of art, fashion and entertainment, which we can treat in a very authoritative way. It's a unique position that not many magazines can accomplish. Today one jumps between the worlds of art, fashion and entertainment all the time. Designers hire artists to work on their products, while artists want fashion people to be interested in their work, and they both care about fame the way Hollywood cares about fame. Where before these fields were very elitist, today they spread out everywhere. They're interacting more than ever, overlapping and becoming almost one. Interview will represent that. We can make a special fashion issue and be believable, or make a special art issue and be believable, or do entertainment.

It seems like that's what Andy would've wanted.

And it's what he did very well. He was able to mix glamorous and trendy on the same page, to show the worlds together as one. We can be the ambassadors of this vision.

A big swirl.

Yes. Vanity Fair rules Hollywood, American Vogue rules fashion, and Art Forum rules the art world. I think we can have the authority where those three fields meet, to own that spot. If Vanity Fair were to do an art issue, they would focus on where the money is coming and going. They would seek out the underbelly of the art world, to fit the position of the magazine. And if Vogue did it, where will they put the fashion? They could only do a six or eight page story. I'm not saying it would be bad. It would be very valid, very much like the piece you need to see about the art of the moment—what's coming up at the Met or the Modern. But they'll never be able to get into the story like we can. We can blow twelve pages on an artist, show his art and interview him, then another artist right after that. Then a portrait of sixteen artists, or some big collector, etc. At the same time we can have special backstage story on Paris couture. Then we can interview Martin Scorsese or do a big thing on Brad Pitt. It's vast. And the three categories of art, fashion and entertainment need and want each other more than ever, the same way they did in the 60s and 70s. It's all more and more connected.

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And to me, one of your warm-up covers, Marc Jacobs, embodies that philosophy.

Exactly. His front row has music types, actresses, downtown people that you never see in other front rows. And he collaborates with artists like Richard Prince. Marc is representative of the new ethos. He's very much like a curator because he's always curating things that represent his world. There's no other magazine that can deliver that more than Interview. That's the legacy and the mission, to preserve the brand but bring it forward—to basically go out there and kick ***.

You always kick ***. Did you ever met Andy?

Strangely enough, when I was a kid in Paris—well, I was like 16—I went to my first fashion show, Yves Saint Laurent. I was assisting a photographer who had a front row seat. I was sitting next to him when Andy Warhol came in and sat next to me. I was like, oh ****. He was very quiet. He looked at me, I looked at him and that was it. A few years later I met him a second time at another fashion show. I think it was Perry Ellis, when he was still alive. I was running late and the show had started, so I stood at the entrance. I looked next to me and there was Andy. We watched the Perry Ellis show side by side.

Did you talk to him?

No. And he didn't talk to me either.

Do you still get star-struck sometimes?

Yes, of course. I guess everyone does.

When was the last time?

When I met Madonna for the first time. I met her at her home on Central Park West to talk about working on her Sex book. It was very comfortable but very uncomfortable at the same time, which is a very interesting feeling. She's very imposing and knows what she wants. She's very informed and opinionated, which makes her genius. She takes you in and swallows you up—and you don't mind it, you actually enjoy it. There's an unspoken seduction that goes on. I was young, She was young, too, and beautiful.

That was an unforgettable era.

Yeah, she put that book out at the best moment. She timed it very well. She knows what she's doing. And such drive. Some people want to lift stones and see what's under it. She'll be on a beach with millions of stones and want to lift every one of them.

You have that kind of drive.

I'm more of a prima donna. (Laughs.)

So what's next for you?

Whatever I'm working on needs to be of a certain quality.

Do you think there's been an overall decline in quality?

Yes, absolutely.

In fashion?

Yes, with everything. There's definitely a lack of quality going on, a lack of craftsmanship, a lack of intellect. There's also a search for ideas. Things don't look as good as they should. What happened was you had these big luxury brands that advertised themselves really well and opened mega-stores. They've put out a lot of smaller products of a lower grade and communicated those products at a lower common denominator. Then you have mass-market companies like H&M, Gap and Banana Republic that are trying to go up. So today, if you look at the advertising for the two sides, if you remove the logos, what you're looking at is very similar. This overlap has created a blend. High and low are not so different anymore. We have to deal with it.

What will happen with big labels?

They'll be fine. There'll always be a need for people with a lot of money to dress in a certain sophisticated way. They'll always want a sweater that won't stretch after six wears or fall apart if you wash it once.

I think you should have a fashion line.

I don't think so.

Why not?

It's too complicated. I'm good at branding. I wouldn't know what button to use. I've thought about it, though, but I'm not interested.

Any offers?

Yes, but I've said no to all of them. I thought sunglasses were a nice thing to do on the side and wouldn't overlap with my clients. It's almost outside of fashion, but very fashionable.

Yes, your new sunglasses. I think they're fantastic. When I first saw them, I was thinking that all along you've created visual identities for large brands, so this is kind of a way to create identities on a smaller scale—for people.

Yeah. For me, it was about doing something personal that would reflect what I like.

What's the design concept?

I like classic things—with a measure of modernity, of course. It's a very simple accessory and it really does change your face, and it can change your personality.

They're handmade in Japan. Is that the best place to make them, like denim?

Yes. The crafting is better. We wanted to do something special that wasn't like everyone else.

Which one is your favorite?

The bug-eye ones, a little bit 70s.

What about doing a fragrance? You design all those bottles anyway.

That could be, but I have a clients in the business and I intend to keep them.

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Let's talk about your book that's coming out in September.

It's called Liquid Light [SteidlDangin].

Is it your first book?

Yes. It's all seascape pictures that I've done over the past twenty years in different places. Each one is very similar.

The same horizon line in the middle?

Exactly. The composition is always the same, but it might be noon, the middle of the night, stormy, whatever.

Is it a calming thing for you?

Totally, a way to do something personal and meaningful. I spend most of my time taking care of clients, magazines, etc.—making sure everyone is happy. This is something I started just for me. Then twenty years later a couple of people looked at the pictures and said I should make a book. I've collected over a 1000 negatives over the years.

What else do you have your hands in? What about a designer phone like Dior or Prada?

I was talking with Vertu a long time ago, but we didn't get along. I had problems with the phone they wanted to come out with. They told me it would be a luxury phone. I said good idea, and my first question was how much will it cost. They said $15,000 and I told them they were crazy. They'll have only a few people buying it. Plus I didn't think the phone looked very special.

Designing technology must be tricky.

It's not high-fashion. And I find, as technology progresses, people don't connect like this anymore. People don't know how to behave anymore. And those ****ing emails by the thousands. The time spent in front of the computer is insane.

Yet I noticed you're designing websites, too…

Yeah, we have to because people ask us. We did Balenciaga's website and Ian Schrager's website. And we're very happy with our own.

I remember asking you once what you thought of the web, which was still new then, and you said it was too slow to take off.

I remember that. It was too slow, but the minute broadband came along, it was like, boom.

And apparently a lot of the hotels in Paris didn't have high-speed and you had to change hotels just to communicate with your team.

Yeah, to the Park Hyatt, which I didn't like. What a nightmare. But you need that. These days I can do layouts from anywhere, and sending 20 mb is no big deal. Before, 2 mb was like a nightmare. I always thought when technology gets it together it's going to be incredible.

Do you get back to Paris much? You're from there.

When I worked at French Vogue, yes.

Is that completely over?

Completely over.

Do you still talk to Carine [Roitfeld]?

Yes, all the time.

She seems quintessentially French to me.

She is. She's comfortable with her own style. She knows what she's doing and where she stands. She's kind of crazy, too—a little bit sexy and a lot of fun. I love her for her uniqueness and her desire to push.

Do you think French culture is in crisis?

Well, they like to complain in France and work less and less. It comes from those years of socialism, when everything was taken care of too much. If you didn't work you got a salary anyway. What's that about? If you were sick you didn't have to pay for anything. That's great and fantastic, but you have to pay for it. The world changes. They're not in balance.

Why did you move to New York?

For those reasons. Because of politics and the way work was going, I felt like there were no options left in France to do something important at that time. So I left. I knew it was about coming here. Fashion and style were coming to America and New York was the place.

Is this America's century for fashion and style?

Back in the '80s it felt that way. Now I would say that things have shifted back to Europe again. I think Paris owns fashion today more than ever, with luxury labels like Chanel, Dior, YSL, Louis Vuitton, Balenciaga, Givenchy, Lanvin, etc. Strangely enough, none of the designers working for these labels are French except Nicolas Ghesquière for Balenciaga.

Art obviously has a very central role in all that you do. Do you have any art clients—artists, dealers, galleries?

No, but maybe that will change now.

Peter Brant is a big collector, isn't he?

Yes, he's very connected to the art world and the fashion world. He knows photographers, designers, stylists, models. He knows the way it works. He's a very charismatic character. He's also very passionate, which makes him a great person to work with, because he understands when you say we're going to need this or that. He gets it. What's interesting about Peter is he first acquired Antiques because he's an antique collector. For him it was important to own the magazine. The same with Art in America and Interview, since he collects so much art, like Warhol, Basquiat, etc. That's how he got into his magazines, because he's passionate about the subject matter.

Will he keep buying magazines?

Maybe. We'll see.

Is Stephanie [Seymour] one of the editors there?

I think she's going to be like a muse for the magazine. She'll come up with ideas, do some interviews, help us, with anything actually. She's also very charismatic, with very good opinions on things. She collects art herself.

It's cool that you can be good friends with your clients.

It's better that way, it's much easier.

Do you have any clients you don't like?


Would you tell me if you did?

Yes, definitely. I did have clients like that at first. I told them I'm trying to help their business, but they're not listening to me.

They should. You're not just a visual person. You have a business mind, too.

I know how to make money for people, that's for sure—more than people think. I've made a lot of money for a lot of clients. The proof is in the numbers, no doubt about it. It takes a long time, a lot of drawing and a lot of failing, but little by little you understand the way it works.

There's nothing wrong with making money. Commercial doesn't have to be a bad word.

Saying something is too commercial is bull**** because there are a lot of things that are too commercial and ugly, but when something is commercial and very good, it's the best. Look at French Vogue, for example. They were in the red for more than eighteen years when I started. But in the time I was there [2003-2008] they were in the black and it looked great.

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Is that your secret?

I guess. What's wrong with having a product that looks great and that people want? Apple to me is the only American company that understands that design is important.

They should ask you to design a Mac.

They're doing pretty well by themselves. The iPhone is a beautiful object, although they should have worked out the technology more. It's still way better than anything from mi.. mic...



Did you really forget the name?

I never use their stuff. It's so ugly I can't deal with it. You look like a moron with those big fat computers that weigh a ton.

Have you met Steve Jobs?


On his yacht?

No, at a furniture show for Marc Newson. The Apple people were there and they had the iPhone. I tried it and fell in love with it instantly.

What is Steve Jobs like?

I don't know. I spoke with him for three seconds. But apparently he runs his business by talking to only five or six people, and that's it. Then they go out and do what he says.

Is that like cloning?

I could be Baron & Baron & Baron & Baron.

You told me once there's no other Baron besides you. Is that right?

But maybe one day there will be.

You have one son?

One son and two daughters.

Are they showing any interest in design?

Yes, of course, they're showing interest in everything. My 16-year-old daughter is more interested in writing. She's done an interview with Lapo Elkann for Interview. She knows him well, so we asked her for an interview. She thought it was boring what he was saying so she made it into an article instead. We're going to publish it.

Did you pay her?

Yeah, like a regular writer. And my son is into cinema. He's at Vassar. He's in heaven there. He's having a blast and getting into everything.

Like father, like son?


Or father knows best?

There are many things he knows better than me. Kids today are very smart. My generation is more old-fashioned, especially coming from Europe, and a little ****ed up in the head. We had troubles. Kids today are very happy. They're not desperate the way we were.

When was the last time you caused trouble?

The last time was the Calvin Klein Jeans campaign a while ago. It was quite controversial. The FBI got into it. They thought we were making kiddie porn or a porno film.


Yes, and it went really far. It was on the cover of the tabloids. It was a big scandal and then suddenly the case was closed.

No trouble since then?

Little things here and there, but nothing major. I like small amounts of trouble. It's like spice.

Okay, one last question, as if I don't know the answer: Barack or McCain?
Barack, but if he takes Clinton as his vice president. But I am scared of the dormant Republican machine. And when I saw that look Clinton had, the dressing up and the hair, I could foresee her losing to Obama. She looked like an unhappy lesbian.

I'm sure her lesbian base was happy. If only she wore Calvin Klein.

She could have looked better—more attractive, more seductive, more like a woman. She's a great person, and her ideas and concepts are very valid, but people care more about that they see.

It's true that people vote based more on image than issues.

The Democrats should call us then.

Love is what you want

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EROTICA [1992]
Directed by Fabien Baron


Love is what you want

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US Harper's Bazaar September 1992
Editor-in-Chief: Liz Tilberis [First Issue]
Art Director: Fabien Baron
Model: Linda Evangelista
Hair: Garren
Makeup: Laura Mercier
Photographer: Patrick Demarchelier

source | hfgl

source | scanned by MMA

Love is what you want

Last edited by MissMagAddict; 24-07-2008 at 01:08 PM.
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W Magazine May 2001
Model: Stella Tennant
Photographer: Fabien Baron

source | scanned by Alien Sex Friend

Love is what you want

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thanks for the itw MMA ....
but he doesn't look like a person i could bare irl ....
to be honest ....
though on some points, he's pretty right .....

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Calvin Klein Man Fragrance
Ph: Fabien Baron
Model: Garrett Neff


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Boss in Motion Fragrance by Hugo Boss
Ph: Fabien Baron
Model: Julien Hedquist


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