Leslie Winer
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US Vogue September 1982
The Look-Makers - The Best Real-Life Day Dressing Pt.1
Photo Arthur Elgort
Models Kim Alexis, Andie MacDowell, Susan Hess, Leslie Winer, Nancy Donahue, Annette Stai, Paulina Porizkova, Terri May & Lise Brandt
Hair Simon Marsden
Makeup Paul Gobel
justaguy
The Look-Makers - The Best Real-Life Day Dressing Pt.1
Photo Arthur Elgort
Models Kim Alexis, Andie MacDowell, Susan Hess, Leslie Winer, Nancy Donahue, Annette Stai, Paulina Porizkova, Terri May & Lise Brandt
Hair Simon Marsden
Makeup Paul Gobel
justaguy
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- 88,496
- Reaction score
- 55,597
The ’80s Supermodel Leslie Winer Reissues Her Lost ’90s Album
CULTURE, WOMEN'S FASHION | BY JOSHUA TAYLOR | AUGUST 8, 2014 9:00 AM August 8, 2014 9:00 am
Leslie Winer, left, was photographed alongside Vivienne Westwood earlier this year for Westwood's spring/summer 2014 campaign. Juergen Teller
Leslie Winer was, in the words of Jean-Paul Gaultier, “the first androgynous model.” In the 1980s, her angular features landed her campaigns for Valentino and Miss Dior; covers of The Face and European editions of Vogue; and shoots with legendary photographers like Helmut Newton, Irving Penn and Pierre et Gilles. She fell into fashion by happenstance after moving to New York City from Massachusetts to attend the School of Visual Arts. There, she became a protégé of William Burroughs, partied hard and ran with the downtown demimonde of the era, dating Jean-Michel Basquiat for a time. Modeling, however, was just a job; music and writing were her true passions. “The fashion world was much smaller and less mainstream then than it is now,” she says. “No one outside of fashion had any idea who you were. There wasn’t the big money or the celebrity that occurred later.”
Winer in a fashion editorial from the 1980s. Jean-François Lepage
Modeling also brought Winer to London, where she became part of the orbit around Leigh Bowery’s mid-’80s club night Taboo. The city’s thriving post-punk and New Wave music scenes provided her with a circle of like-minded musicians, including Jah Wobble, the co-founder of John Lydon’s post-Sex Pistols outfit Public Image Limited and Kevin Mooney, the bass player for Adam and the Ants. With them, she recorded the cult 1990 LP “Witch,” which she released under the name ©. The album is now enjoying a second life, thanks to its release earlier this summer on the San Francisco-based reissue label Superior Viaduct.
A compelling mix of sampled and programmed musical fragments and beats, breathy spoken word and ethereal singing, “Witch” still sounds fresh today. “I saw and listened to a lot of early hip-hop when I lived in New York,” Winer recalls. The influence is apparent, along with reggae and dancehall elements that reflect her proximity to London’s Caribbean community. There are echoes of “Witch” in the work of later ’90s artists like Massive Attack and Portishead; the music journal NME once called Winer the “grandmother of trip-hop,” though she says she’s “not even sure what trip-hop is.” The breezily transcendent “John Says,” one of the album’s highlights, appears here.
Although “Witch” was a favorite of the legendary English radio DJ John Peel, and Winer went on to collaborate with Sinead O’Connor and Grace Jones, the album’s release was greeted with near silence. In the late ’90s, Winer settled in France, where she has raised five daughters and recorded and performed sporadically. She released a second album, 1999’s “Spider,” in an extremely limited edition with the help of her friend Helmut Lang.
The reissue of “Witch” prompted Winer to reconnect with the producer Fachtna O’Ceallaigh, another of the album’s original supporters, to work on new music. She has also recently published a volume of poetry, and serves as the executor of the Beat writer Herbert Huncke’s literary estate. And she’s even returned to modeling as the face of Vivienne Westwood’s spring/summer 2014 campaign, shot by Juergen Teller. Like her music, Winer’s life continues to write itself in unexpected ways.
“Witch” is available on vinyl at superiorviaduct.com and digitally at lesliewiner.com.
CULTURE, WOMEN'S FASHION | BY JOSHUA TAYLOR | AUGUST 8, 2014 9:00 AM August 8, 2014 9:00 am
Leslie Winer, left, was photographed alongside Vivienne Westwood earlier this year for Westwood's spring/summer 2014 campaign. Juergen Teller
Leslie Winer was, in the words of Jean-Paul Gaultier, “the first androgynous model.” In the 1980s, her angular features landed her campaigns for Valentino and Miss Dior; covers of The Face and European editions of Vogue; and shoots with legendary photographers like Helmut Newton, Irving Penn and Pierre et Gilles. She fell into fashion by happenstance after moving to New York City from Massachusetts to attend the School of Visual Arts. There, she became a protégé of William Burroughs, partied hard and ran with the downtown demimonde of the era, dating Jean-Michel Basquiat for a time. Modeling, however, was just a job; music and writing were her true passions. “The fashion world was much smaller and less mainstream then than it is now,” she says. “No one outside of fashion had any idea who you were. There wasn’t the big money or the celebrity that occurred later.”
Winer in a fashion editorial from the 1980s. Jean-François Lepage
Modeling also brought Winer to London, where she became part of the orbit around Leigh Bowery’s mid-’80s club night Taboo. The city’s thriving post-punk and New Wave music scenes provided her with a circle of like-minded musicians, including Jah Wobble, the co-founder of John Lydon’s post-Sex Pistols outfit Public Image Limited and Kevin Mooney, the bass player for Adam and the Ants. With them, she recorded the cult 1990 LP “Witch,” which she released under the name ©. The album is now enjoying a second life, thanks to its release earlier this summer on the San Francisco-based reissue label Superior Viaduct.
A compelling mix of sampled and programmed musical fragments and beats, breathy spoken word and ethereal singing, “Witch” still sounds fresh today. “I saw and listened to a lot of early hip-hop when I lived in New York,” Winer recalls. The influence is apparent, along with reggae and dancehall elements that reflect her proximity to London’s Caribbean community. There are echoes of “Witch” in the work of later ’90s artists like Massive Attack and Portishead; the music journal NME once called Winer the “grandmother of trip-hop,” though she says she’s “not even sure what trip-hop is.” The breezily transcendent “John Says,” one of the album’s highlights, appears here.
Although “Witch” was a favorite of the legendary English radio DJ John Peel, and Winer went on to collaborate with Sinead O’Connor and Grace Jones, the album’s release was greeted with near silence. In the late ’90s, Winer settled in France, where she has raised five daughters and recorded and performed sporadically. She released a second album, 1999’s “Spider,” in an extremely limited edition with the help of her friend Helmut Lang.
The reissue of “Witch” prompted Winer to reconnect with the producer Fachtna O’Ceallaigh, another of the album’s original supporters, to work on new music. She has also recently published a volume of poetry, and serves as the executor of the Beat writer Herbert Huncke’s literary estate. And she’s even returned to modeling as the face of Vivienne Westwood’s spring/summer 2014 campaign, shot by Juergen Teller. Like her music, Winer’s life continues to write itself in unexpected ways.
“Witch” is available on vinyl at superiorviaduct.com and digitally at lesliewiner.com.
tmagazine.blogs.nytimes.com
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Older models: Leslie Winer
February 13, 2014 / admin
Reluctant eighties supermodel-turned-musician Lesley Winer is the striking new face of Vivienne Westwood. With strong, androgynous looks, American-born Winer was big in eighties fashion, friends with Warhol, Burroughs and Basquiat and married to Adam and the Ants bass player, Kevin Mooney. Blimey, I’d buy her autobiography.
Disillusioned with modeling, by the end of the decade she’d moved into music. Working with Sinead O’Connor before going on to record her own debut album Witch – often acknowledged as a precursor to trip-hop. The song lyrics, ‘What I look like is more important than what I do,’ reflecting Winer’s feelings about the fashion industry. Fortunately, she’s over all that now and back in front Juergen Teller’s lens for Dame Viv’s latest campaign.
Now based in Paris, here’s a fantastic photo of Winer with Farida Khelfa:
She’s the perfect Westwood muse.
Photos: Vivienne Westwood, District MTV & BBC.
Posted in beauty at any age, older models, style inspiration, style over 40 / Tagged older models, style
thatsnotmyage.comFebruary 13, 2014 / admin
Reluctant eighties supermodel-turned-musician Lesley Winer is the striking new face of Vivienne Westwood. With strong, androgynous looks, American-born Winer was big in eighties fashion, friends with Warhol, Burroughs and Basquiat and married to Adam and the Ants bass player, Kevin Mooney. Blimey, I’d buy her autobiography.
Disillusioned with modeling, by the end of the decade she’d moved into music. Working with Sinead O’Connor before going on to record her own debut album Witch – often acknowledged as a precursor to trip-hop. The song lyrics, ‘What I look like is more important than what I do,’ reflecting Winer’s feelings about the fashion industry. Fortunately, she’s over all that now and back in front Juergen Teller’s lens for Dame Viv’s latest campaign.
Now based in Paris, here’s a fantastic photo of Winer with Farida Khelfa:
She’s the perfect Westwood muse.
Photos: Vivienne Westwood, District MTV & BBC.
Posted in beauty at any age, older models, style inspiration, style over 40 / Tagged older models, style
