Benn98
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Surprised he only got promoted now because he's been the driving force behind Dazed for some time.
I can't quite manage to warm to Elizabeth's styling though.
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Surprised he only got promoted now because he's been the driving force behind Dazed for some time.
I can't quite manage to warm to Elizabeth's styling though.
GivenchyAddict
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He stepped down from his position as creative and fashion director. He has not been promoted... He is executive fashion director for Dazed media (Dazed, another...) now like Tonnee doing some editorials time to time for US Vogue.
Benn98
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Marie Claire editor and managing director depart after print closure
By Jennifer Faull-19 September 2019 15:58pm
Marie Claire has lost two of its most senior staffers in wake of the decision to end its print edition to focus on digital.
Editor-in-chief Trish Halpin (above, left), who was appointed in 2009, and managing director Justine Southall (above, right), who joined in 2011, both announced plans to step down from the publisher in the next six weeks.
It comes shortly after the surprise decision to shutter its print edition after 31 years. At the time, it was reported that owner TI Media had entered into consultation with the approximately 35 members of staff that would be affected by the closure.
Halpin said she will leave at the end of September while Southall will exit on 31 October.
TI Media said a new leadership for the digital business will be announced “in due course”.
Chief executive Marcus Rich added: “Under Trish and Justine’s leadership, Marie Claire has continually set the agenda through its award-winning content, trailblazing campaigns and innovative brand extensions.
“Together with the Marie Claire UK team, they have shaped a legacy that will continue to inform this famous brand’s digital-first strategy. I would like to thank them both for the significant part they have played in the Marie Claire UK story and wish them all the very best with their future plans.”
The most recent ABC figures for Marie Claire's print run, published for the last six months of 2018, show that the magazine had an average circulation of 120,000 a month; although 35% of those copies were given away for free. Online, Marie Claire claims to reach 2 million monthly readers.
But its future looks dependent on an affiliate-supported shopping platform The Marie Claire Edit, set up by Halpin and Southall, which lets customers search 6000 brands featured by the title.
TI claimed the Edit will become its "biggest source of digital revenue" and will be the benefactor of further investment.
“I feel incredibly proud to have been one of the custodians of this powerful brand and to have worked with such a talented and passionate team across the Marie Claire business,” Halpin said.
“Marie Claire has been championing, challenging and entertaining women in the UK for 31 years and continues to be a voice for women's equality and empowerment in a world where these values are increasingly under threat. The inclusive global philosophy of the Marie Claire brand extends beyond fashion and zeitgeist, it stands for something that is timeless and still urgently relevant.”
Southall added: “It has been an absolute pleasure and privilege to have edited Marie Claire for the past 10 years and work with so many talented and creative contributors as well as commercial partners who have shared and supported our vision. Marie Claire has been at the forefront of so many vital conversations and I know it will continue to do so in its digital-first future. I wish all the team well in continuing Marie Claire’s incredible legacy.”
The Drum
Do you know whether he consults for brands? I barely see any of his work outside Dazed?
Benn98
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Women in Vogue: How the Australian magazine and Australian women have changed over 60 years
By Kate Midena
Updated about 5 hours ago
Sixty years ago, Australia's population hit the 10 million mark, Robert Menzies was our prime minister, and construction of the Sydney Opera House had just begun.
It was also when Vogue Australia was first published — a magazine which, in 1959 and now, has proffered itself up as a mirror to the social and political issues of the time.
But its longevity in an industry marred by poor circulation is, according to editor-in-chief Edwina McCann, a testament to the magazine's ability to print what women are talking about, thinking about and — of course — wearing.
"Vogue has evolved with Australia and with Australian women over the past 60 years," McCann said.
"The issues we're concerned with today are very different to the issues we were concerned with in the early 1960s.
"Some of the early topics look at women not being able to have a glass of wine in the same bar as men.
"We published some rather odd diets over the years as well!"
These early issues of the magazine can now be seen in a new exhibition at the National Portrait Gallery in Canberra, celebrating 60 years of Vogue in Australia.
According to McCann, today's women care a lot less about diets than they did all those years ago, and a lot more about issues like sustainability, wellbeing, technology and diversity.
"Emma Watson actually guest-edited an issue for me about two-and-a-half years ago, and I really do credit her with challenging us … specifically on more diverse casting with our models," McCann said.
"She was right. The minute I asked the agencies to send me a more diverse array of models, they did, and my reaction was, 'Where have all these girls been?'
"And it was as simple as, I wasn't looking.
"I firmly believe that a more democratic Vogue and a more inclusive Vogue is a better Vogue. It's a path that we're absolutely committed to," she said.
It is a path women like Indigenous model Samantha Harris have certainly benefitted from.
Her career was given a huge boost after she appeared on the cover of Vogue in 2010.
"I couldn't believe that I was on the cover of a magazine in general, let alone Vogue Australia," she said.
"To this day, it's still a pinch-me moment. My career took off.
"My mum was gobsmacked. When my mum was younger she never would have dreamt an Indigenous girl would have been on the cover of Vogue, let alone her daughter."
A young Ursula Hufnagl never thought she would end up on the cover of Vogue either, but her moment came in 1973.
"I'm a humble girl from a migrant family in Germany," Ms Hufnagl, who went on to establish modelling agency Chic Management, said.
"After I did the Vogue cover, I worked on an international level. It's a launch pad.
"Vogue have embraced that multicultural feel within the magazine. That tells a great story for women."
While Vogue has made considerable headway with its cultural diversity, it, like many other fashion magazines, is often criticized for not featuring women with diverse body shapes.
McCann said that was something Vogue Australia was working on.
"We would like to shoot more varieties of women's body shapes, absolutely," she said.
"We want to shoot women with interesting stories … it's really about the story behind the woman on the cover, and the reason they were chosen for the cover."
While keeping a finger on the pulse of what Australian women are thinking about is one thing, staying relevant in an ever-evolving digital landscape is another.
"There was a choice to either see [digital media] as a threat or to see it as an opportunity, and we chose to see it as an opportunity," Ms McCann said.
"It has absolutely paid off. As a result, we've been able to invest in what makes us different and what makes us precious.
"We do invest heavily in the creation of our imagery. What hasn't changed about Vogue is really that we are storytellers through images.
"People don't like to throw away their Vogues. This is why we matter. If we're not creating this beautiful portraiture and imagery, what are people going to look back on in 60 years?
"It tells a story of who we are, yes, through the prism of fashion, but it's still who we are."
Launch cover - Spring/Summer 1959
Some of those images and stories are featured in the Women In Vogue exhibition, launching today at the National Portrait Gallery.
Assistant curator Aimee Board said the exhibition was a chance to "reflect upon how far women have come in the last 60 years".
"From the very demure depictions of women on the covers, we see that really change through the emergence of the second wave of feminism, the sexual revolution of course, the rise of celebrity culture," she said.
"We see a lot more attitude coming through on the covers.
"It's a retrospective, celebrating the 60 years of Vogue, but it's also really interesting to note the changes of the ideals of womanhood across the decades, how far we've come, and what it means to be an Australian woman."
ABC.net.au
By Kate Midena
Updated about 5 hours ago
Sixty years ago, Australia's population hit the 10 million mark, Robert Menzies was our prime minister, and construction of the Sydney Opera House had just begun.
It was also when Vogue Australia was first published — a magazine which, in 1959 and now, has proffered itself up as a mirror to the social and political issues of the time.
But its longevity in an industry marred by poor circulation is, according to editor-in-chief Edwina McCann, a testament to the magazine's ability to print what women are talking about, thinking about and — of course — wearing.
"Vogue has evolved with Australia and with Australian women over the past 60 years," McCann said.
"The issues we're concerned with today are very different to the issues we were concerned with in the early 1960s.
"Some of the early topics look at women not being able to have a glass of wine in the same bar as men.
"We published some rather odd diets over the years as well!"
These early issues of the magazine can now be seen in a new exhibition at the National Portrait Gallery in Canberra, celebrating 60 years of Vogue in Australia.
According to McCann, today's women care a lot less about diets than they did all those years ago, and a lot more about issues like sustainability, wellbeing, technology and diversity.
"Emma Watson actually guest-edited an issue for me about two-and-a-half years ago, and I really do credit her with challenging us … specifically on more diverse casting with our models," McCann said.
"She was right. The minute I asked the agencies to send me a more diverse array of models, they did, and my reaction was, 'Where have all these girls been?'
"And it was as simple as, I wasn't looking.
"I firmly believe that a more democratic Vogue and a more inclusive Vogue is a better Vogue. It's a path that we're absolutely committed to," she said.
It is a path women like Indigenous model Samantha Harris have certainly benefitted from.
Her career was given a huge boost after she appeared on the cover of Vogue in 2010.
"I couldn't believe that I was on the cover of a magazine in general, let alone Vogue Australia," she said.
"To this day, it's still a pinch-me moment. My career took off.
"My mum was gobsmacked. When my mum was younger she never would have dreamt an Indigenous girl would have been on the cover of Vogue, let alone her daughter."
A young Ursula Hufnagl never thought she would end up on the cover of Vogue either, but her moment came in 1973.
"I'm a humble girl from a migrant family in Germany," Ms Hufnagl, who went on to establish modelling agency Chic Management, said.
"After I did the Vogue cover, I worked on an international level. It's a launch pad.
"Vogue have embraced that multicultural feel within the magazine. That tells a great story for women."
While Vogue has made considerable headway with its cultural diversity, it, like many other fashion magazines, is often criticized for not featuring women with diverse body shapes.
McCann said that was something Vogue Australia was working on.
"We would like to shoot more varieties of women's body shapes, absolutely," she said.
"We want to shoot women with interesting stories … it's really about the story behind the woman on the cover, and the reason they were chosen for the cover."
While keeping a finger on the pulse of what Australian women are thinking about is one thing, staying relevant in an ever-evolving digital landscape is another.
"There was a choice to either see [digital media] as a threat or to see it as an opportunity, and we chose to see it as an opportunity," Ms McCann said.
"It has absolutely paid off. As a result, we've been able to invest in what makes us different and what makes us precious.
"We do invest heavily in the creation of our imagery. What hasn't changed about Vogue is really that we are storytellers through images.
"People don't like to throw away their Vogues. This is why we matter. If we're not creating this beautiful portraiture and imagery, what are people going to look back on in 60 years?
"It tells a story of who we are, yes, through the prism of fashion, but it's still who we are."
Launch cover - Spring/Summer 1959
Some of those images and stories are featured in the Women In Vogue exhibition, launching today at the National Portrait Gallery.
Assistant curator Aimee Board said the exhibition was a chance to "reflect upon how far women have come in the last 60 years".
"From the very demure depictions of women on the covers, we see that really change through the emergence of the second wave of feminism, the sexual revolution of course, the rise of celebrity culture," she said.
"We see a lot more attitude coming through on the covers.
"It's a retrospective, celebrating the 60 years of Vogue, but it's also really interesting to note the changes of the ideals of womanhood across the decades, how far we've come, and what it means to be an Australian woman."
ABC.net.au
Benn98
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An Honest Gaze: Tyler Mitchell on Social Media Aesthetics, Artistic Integrity, and that Iconic Beyoncé Cover
OCTOBER 10, 2019 11:42 PM
by JANELLE OKWODU
OCTOBER 10, 2019 11:42 PM
by JANELLE OKWODU
- Tyler Mitchell was handpicked by Beyoncé to shoot the cover of Vogue’s September 2018 issue, he was relatively unknown outside of photography circles. A lot can change in a year. As the first African American to shoot the magazine’s cover, Mitchell made headlines worldwide. A milestone worthy of celebration, the cover, which now hangs in the Smithsonian, propelled him into the spotlight while underscoring the need for representation behind the scenes.
This has been a busy year for Mitchell: He helmed campaigns for JW Anderson and Calvin Klein, captured stars like Alek Wen and Zendaya, and even racked up a second cover for Vogue. Throughout it all, he’s maintained a singular vision focused on bold color, clean composition, and celebrating the beauty of blackness. At Vogue’s Forces of Fashion, Mitchell sat down with Studio Museum of Harlem’s director Thelma Golden to talk about representation, moving freely between film and digital, and the story behind that now-famous shoot.
On the “call to action” that led him to photography.
“It is funny because I don’t know if I am technically an artist. I know I like making images. I know I’m an image-maker, but the world of fine art sometimes feels far away. I grew up with social media as my main inspiration for images and why I felt compelled to make them: looking at pictures on Tumblr by Larry Clark and Ryan McGinley. Those [were] pictures where I saw young people who were free and effortless documented in this very contemporary way. Those were kind of a call to action to make pictures.
A lot of what I felt was lacking in those pictures I’d see on Tumblr was myself. I love Larry Clark’s pictures—and Ryan McGinley’s—but I thought that I was missing the black body within those images, seeing the black body as something that was either expressive, sensitive, or just free.”
On working in multiple disciplines.
“My first interaction with the camera was a DSLR, which always has a video and then a photo button. So when you’re making videos—which was my interest at first, I was watching a lot of skate videos and Spike Jonze movies—you would make them and upload to YouTube, but then you would also play around with the photo feature. My [development in both fields] was simultaneous. While I was going to film school at Tisch, I was sneaking onto the photo floor and scanning pictures and being a renegade while I was making videos. It was always together, and I feel like that is specific to the technology of this day and age. You don’t necessarily think of [filmmaking and photography] as being in the same basket.
My work ultimately does cross a lot of boundaries...within fashion. It also utilizes the tools of documentary. [So] I’m always working on film ideas, videos—ultimately, for me, that seems as simple as breathing air.”
The story behind that Vogue cover.
“It was Raoul Martinez, the creative director of the magazine, who called me first about the opportunity. I was on another shoot. I was already working a lot. I was a year out of school, and I remember I was in Los Angeles. Raoul was very secretive about what the project was, but he just said, could I call you? We spoke while I was on another shoot, and he offered me the commission. He also told me I would be the first African American photographer to shoot the cover of Vogue. So it was already together—I knew the weight of this commission, but in a weird sense, I felt very ready for that.
In a way, I felt very much like the person to do that. It [was] by no accident, the choices I’d made in my images before had led me to that kind of a commission. [First] I asked him if I was being punk’d and, secondly, when are we doing this? Just to make sure it was real—I wasn’t entirely sure until we shot it that it would be real. But sure enough, it was.”
The symbolism of the cover.
“[Before each shoot I do] research, research, and more research of course. I feel that the sentiment going into this shoot, especially even the conversation with Vogue, which was so open and collaborative, was always about making this shoot feel like any one of my other pictures. Pictures that are intimate pictures that feel like my friends are in them, you know, whether that’s Beyonce, a musician, my best friend, or myself within the images; there’s an intimacy and a freedom that we see in the subjects I photograph.
I was looking at a lot at images of working black women. I was looking on Tumblr, going deep into kind of the proverbial space of the laundry line, [exploring] the idea of what the laundry line stands for in the history of black women. Who is that woman who is hanging up that laundry outside in her backyard? So a lot of those symbols [were] worked into the shoot, and you saw it there within the cover of her in the McQueen dress with the pan-African flag colors and the laundry line [in the background].”
On creating with social media in mind.
“I am often designing images with the phone in mind. I’m making images because I look at so many things on my phone. My roommate at NYU used to say I fell asleep with my phone in my hand every night. I’m very much about the kind of use of vibrant color and a use of clean and clear composition that reads well on people’s phones, that reads well as an image [that] is widely disseminated. It’s funny, now that I’m starting to get into printing and kind of framing and presenting things in museum and art context—that’s more foreign to me.”
On the image-makers who inspire his creative output.
“I don’t think of my work as being something that is overtly new. I think it’s working within a history and a lineage of photographers who have come before me: Gordon Parks, who was shooting for the pages of Vogue and Harper’s Bazaar; Roy DeCarava, who was photographing jazz musicians. These were black image makers who set the precedent for what I’m doing now, who were mixing commissioned work, personal work, and blending genres to expand on the lexicon of what black life looks like.”
On what representation means to him.
“There’s this example my friend gave me once: There are two different ways of operating within the world. One is: There are 12 soccer players on a field with one ball, and there’s a goal, and all 12 can see the goal. Then they can quickly put the ball in the goal in two seconds.
There’s another way of operating where you have a group of inmates in prison who can all see the guard with the key, but they can’t see each other, so they’re not able to share information and figure out how to escape. Inclusion is simply the first one. It’s just about sharing more information. It’s about giving other people the visibility of [saying]: Okay, here’s the ball and the goal, and you can actually easily score.”
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MON
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Thanks for these Benn!
A big LOL at Tyler Mitchell talking about Artistic Integrity when he clearly adjusted his style for US Vogue.
Artistic Integrity means having a take it or leave it attitude, not adjusting when one can benefit.
A big LOL at Tyler Mitchell talking about Artistic Integrity when he clearly adjusted his style for US Vogue.
Artistic Integrity means having a take it or leave it attitude, not adjusting when one can benefit.
Benn98
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Pleasure! Rolled my eyes throughout that entire article to be honest....'I don’t think of my work as being something that is overtly new.' - indeed!
I was however impressed with Edwina McCann basically admitting that diversity was never a priority until Emma Watson guest-edited an issue, and basically saying the fault was with her! That's something really rare and honest for a sitting editor because they normally come up with a list of excuses.
Benn98
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There we go, here's a new job for Tonchi! LOL.
Drew Elliott Exits Paper, Joins M.A.C. (Instagram)
Drew Elliott is stepping down from his role as editor-in-chief of Paper to join M.A.C. cosmetics as its new global creative director. Elliott confirmed the news on Instagram this morning. “This is a dream come true,” he wrote. “Growing up in Indiana, I could go to the M.A.C counters and see artists and images that spoke to me, made me feel I belonged, and ultimately made me fall in love with fashion.” Elliott also took a moment to reminisce about his time at Paper. “I will forever remain connected to my PAPER family. I am extremely excited about my new role and what’s to come. Stay tuned!”
Fashionweekdaily
Drew Elliott Exits Paper, Joins M.A.C. (Instagram)
Drew Elliott is stepping down from his role as editor-in-chief of Paper to join M.A.C. cosmetics as its new global creative director. Elliott confirmed the news on Instagram this morning. “This is a dream come true,” he wrote. “Growing up in Indiana, I could go to the M.A.C counters and see artists and images that spoke to me, made me feel I belonged, and ultimately made me fall in love with fashion.” Elliott also took a moment to reminisce about his time at Paper. “I will forever remain connected to my PAPER family. I am extremely excited about my new role and what’s to come. Stay tuned!”
Fashionweekdaily
Benn98
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Moore is hilarious, especially with the bit about Obama. Plus I like Tom Cruise even more now!
The Untold Tales of GQ Legend Jim Moore
The man responsible for some of the most iconic photos in GQ history has a new book collecting his favorites. Here, he shares a few behind-the-scenes gems.
In his 40 years at GQ, Creative Director at Large Jim Moore has seen it all. He’s worked with legends of every sort, from Academy Award winners to Presidents. Along the way, he’s left an indelible mark on men’s style, teaching entire generations of guys how to dress.
His new book, Hunks & Heroes, chronicles his influence by collecting his most memorable photo shoots for GQ. To celebrate, we asked Jim to share some behind-the-scenes stories from some of the most iconic photos his book collects. He didn’t disappoint.
From trying on clothes with Kanye for nine hours straight to taping a basketball to Michael Jordan’s hand, here are seven wild stories from Jim’s work with American icons. You can find more of them in Hunks & Heroes, out this September from Rizzoli.
The Time Kanye Tried on Clothes for Nine Hours
I really have [former GQ Editor-in-Chief] Jim Nelson to thank, because he's the one that said, “Let's get Kanye to play your 25th anniversary in Milan.” That's where the two of us hit it off. After his performance and then after the party, I remember we didn't even sit—we just stood there and we talked for an hour and a half or so. We just love talking about fashion. Let's face it: he loves talking about fashion.
This was a really important shoot, because it was the first time we ever did this one-color dressing. I met Kanye up at the Mercer hotel with a mood board and I said, “For this shoot, I really want to do one color, head to toe.” And he said he really loved it. Then he showed up at the fitting with all these clothes. [Fear of God designer] Jerry Lorenzo was his assistant at the time, and he was like, "I like the one-color thing, but look at all of these beautiful clothes. Don't you want to try all them on?" We had—I'm not exaggerating—a nine-hour fitting. Never sat down. He tried on basically everything in the room. It breaks all Guinness Book of World Records for fitting, breaks right through the ceiling. The shoot itself lasted an hour.
The Time Tom Cruise Flew to and From the Shoot
We shot Tom around Mission Impossible 3—we had four hours, and I just wanted to do him in one suit. He wanted it to be near an airstrip so he could fly in.
The tricky part was getting him to wear the Ray-Bans because he kept showing me this pair of sunglasses that he had in his bag that he really loved. But I was like, "I kind of want you to wear these." Then he gave me that toothy smile-laugh and said, "I see where you're going with this. Okay, we'll wear the Wayfarers." Because it's basically a little bit of Risky Business, a little bit of Mission Impossible, and a lot of Tom in his 20s.We just shot him in this car, and at various stages of the day, he would take the jacket off and undo the shirt and he got a little bit grubbier as the day went on, which created an action hero vibe.
And then when he was done, and right before he jumped in the plane and took off, he said, "Before I go I just want you guys to line up on the tarmac." We lined up on the runway and he brought the plane around and came back right over our head, flew a loop and then went home. Just right over our heads.
The Time Jim Hit the Deck with Tom Hanks
Richard Avedon was such an amazing photographer to work with—his famousness really trumped all the celebrities. Everybody would come to New York, and you could only be photographed in Avedon's studio: Avedon wasn’t going to go to LA or Atlanta or whatever because you're in movie. Whoever we needed would fly in and be just in awe of being photographed by Dick.
Dick was famous for taking no more than six to eight sheets of 8x10 film. That was it. The first one was a Polaroid and he would look at it to make sure the exposure was okay. Then he'd take the six sheets. He was always on the floor to shoot from a low camera angle, practically sitting on the floor. You'd have to style the clothes very quickly.
I remember once [when we were shooting] Tom Hanks, as I was fussing with the suit, [Avedon] just yelled my name and I knew that he wanted me to get out of there. And the only way to get out of there fast enough was to just...drop to the floor. I knew the photo crop was going to be right below the jacket, so I just laid there until he was done with the six sheets.
After a while that got to be my favorite part of the shoot: he would get up from taking those six pictures, and he'd go over and say, "Thank you, it was very nice to meet you." Then he'd walk out. Inevitably the person would be like, "Is he going to check the film? Are we taking a break?" I'd say, "No. No we're done. That's it." It would take 7 to 10 minutes.
The Time He Helped Michael Jordan Palm a Ball
When we shot Michael Jordan, Richard Avedon really didn't know a lot about athletes. He put Michael’s name on his hand so he would remember it. He was like, "Oh, Mike do you play basketball? Now I would assume that when you play basketball, the ball bounces." Michael said, "It's called dribbling." And Richard was like, "Well, then maybe that's the picture now. Can you hold on to the basketball?" He's like, "Sure, I can hold on to it."
At one point I had to put some double sided tape on Michael's hand because he was trying to get the shot just right. He had a fair amount of body oil on so that might have had something to do with it.
The Time Tom Brady Showed Off His Man Cave
This shoot came at a point in Tom’s life where he was really killing it. It was after winning his first Super Bowl. It was a real celebration.
He's such a positive, happy guy anyways, and he’s incredibly good looking, then and now. He always said, "I knew I was in good hands. I trusted you guys. You guys are going to make me look my best and I don't have to worry about looking like a fool. Even when I'm holding a goat it's going to be the best picture of me with a goat."
I went to his house for [another] shoot a few years later.We were in his house and he takes me to his closet—it was just Tom Ford from here to the window.
So I'm up at the house and Gisele's making cookies and he says, "Jim, I want to show you something. You might be interested in this. This is where I go. This is my man cave." I was like, "Okay. Tom," but I'm the biggest sports dummy. I was like, "Is this the desk where you decide all the plays or whatever you do?" And he's like, "Yeah. I'll show you how it works."
He takes out these binders and there were these plays printed out. I don't know what I was looking at—it was all Greek to me. I said, "Tell me how you do it. You watch last night's game and you decide what you're going to do based on that?" He's like, "It's a little bit of that, but you also have to know each player and each team." He's explaining it to me and there's the football and there's the ring. He's as normal as you can be in that situation, and generous.
The Time He Made Obama Change His Tie
The first time I shot Obama we went to Washington. It didn't happen at first because there was a really controversial bill on the Senate floor and they actually ended up working through the night, so our shoot was canceled. We had to come back exactly a week later. Then I was really worried about what he was going to wear. You can't dress him.
He had a blue suit on and blue shirt and an orange tie and I almost died. The only reason I knew that [in advance] is because his assistant had a closed-circuit TV, she could zoom in on him on the senate floor. I had a few things in my bag and I didn't really know what to do because I thought, I needed to get him into my stuff. So I'm scheming, but the press secretary is like, "Put those clothes away." My blood pressure's going through the roof, because I'm not going to bring back a picture of him in an orange tie. She's like, "I'll get the word to him." He agreed to go home, which was close by. They use those tunnels that connect to the White House and the Senate and to his office.
Then the second time I shot him, I asked him, "Do you remember?" and he's like, "Yeah, of course I remember. You didn't like what I was wearing—and [I can tell] you actually don't like my tie now." I said, "Well, a dark tie might be better." So he's like, "I'll go home and get you some dark ties.” I don't know why but I said, "Will that take long?" And he's like, "Jim, I live upstairs."
GQ
The Untold Tales of GQ Legend Jim Moore
The man responsible for some of the most iconic photos in GQ history has a new book collecting his favorites. Here, he shares a few behind-the-scenes gems.
In his 40 years at GQ, Creative Director at Large Jim Moore has seen it all. He’s worked with legends of every sort, from Academy Award winners to Presidents. Along the way, he’s left an indelible mark on men’s style, teaching entire generations of guys how to dress.
His new book, Hunks & Heroes, chronicles his influence by collecting his most memorable photo shoots for GQ. To celebrate, we asked Jim to share some behind-the-scenes stories from some of the most iconic photos his book collects. He didn’t disappoint.
From trying on clothes with Kanye for nine hours straight to taping a basketball to Michael Jordan’s hand, here are seven wild stories from Jim’s work with American icons. You can find more of them in Hunks & Heroes, out this September from Rizzoli.
The Time Kanye Tried on Clothes for Nine Hours
I really have [former GQ Editor-in-Chief] Jim Nelson to thank, because he's the one that said, “Let's get Kanye to play your 25th anniversary in Milan.” That's where the two of us hit it off. After his performance and then after the party, I remember we didn't even sit—we just stood there and we talked for an hour and a half or so. We just love talking about fashion. Let's face it: he loves talking about fashion.
This was a really important shoot, because it was the first time we ever did this one-color dressing. I met Kanye up at the Mercer hotel with a mood board and I said, “For this shoot, I really want to do one color, head to toe.” And he said he really loved it. Then he showed up at the fitting with all these clothes. [Fear of God designer] Jerry Lorenzo was his assistant at the time, and he was like, "I like the one-color thing, but look at all of these beautiful clothes. Don't you want to try all them on?" We had—I'm not exaggerating—a nine-hour fitting. Never sat down. He tried on basically everything in the room. It breaks all Guinness Book of World Records for fitting, breaks right through the ceiling. The shoot itself lasted an hour.
The Time Tom Cruise Flew to and From the Shoot
We shot Tom around Mission Impossible 3—we had four hours, and I just wanted to do him in one suit. He wanted it to be near an airstrip so he could fly in.
The tricky part was getting him to wear the Ray-Bans because he kept showing me this pair of sunglasses that he had in his bag that he really loved. But I was like, "I kind of want you to wear these." Then he gave me that toothy smile-laugh and said, "I see where you're going with this. Okay, we'll wear the Wayfarers." Because it's basically a little bit of Risky Business, a little bit of Mission Impossible, and a lot of Tom in his 20s.We just shot him in this car, and at various stages of the day, he would take the jacket off and undo the shirt and he got a little bit grubbier as the day went on, which created an action hero vibe.
And then when he was done, and right before he jumped in the plane and took off, he said, "Before I go I just want you guys to line up on the tarmac." We lined up on the runway and he brought the plane around and came back right over our head, flew a loop and then went home. Just right over our heads.
The Time Jim Hit the Deck with Tom Hanks
Richard Avedon was such an amazing photographer to work with—his famousness really trumped all the celebrities. Everybody would come to New York, and you could only be photographed in Avedon's studio: Avedon wasn’t going to go to LA or Atlanta or whatever because you're in movie. Whoever we needed would fly in and be just in awe of being photographed by Dick.
Dick was famous for taking no more than six to eight sheets of 8x10 film. That was it. The first one was a Polaroid and he would look at it to make sure the exposure was okay. Then he'd take the six sheets. He was always on the floor to shoot from a low camera angle, practically sitting on the floor. You'd have to style the clothes very quickly.
I remember once [when we were shooting] Tom Hanks, as I was fussing with the suit, [Avedon] just yelled my name and I knew that he wanted me to get out of there. And the only way to get out of there fast enough was to just...drop to the floor. I knew the photo crop was going to be right below the jacket, so I just laid there until he was done with the six sheets.
After a while that got to be my favorite part of the shoot: he would get up from taking those six pictures, and he'd go over and say, "Thank you, it was very nice to meet you." Then he'd walk out. Inevitably the person would be like, "Is he going to check the film? Are we taking a break?" I'd say, "No. No we're done. That's it." It would take 7 to 10 minutes.
The Time He Helped Michael Jordan Palm a Ball
When we shot Michael Jordan, Richard Avedon really didn't know a lot about athletes. He put Michael’s name on his hand so he would remember it. He was like, "Oh, Mike do you play basketball? Now I would assume that when you play basketball, the ball bounces." Michael said, "It's called dribbling." And Richard was like, "Well, then maybe that's the picture now. Can you hold on to the basketball?" He's like, "Sure, I can hold on to it."
At one point I had to put some double sided tape on Michael's hand because he was trying to get the shot just right. He had a fair amount of body oil on so that might have had something to do with it.
The Time Tom Brady Showed Off His Man Cave
This shoot came at a point in Tom’s life where he was really killing it. It was after winning his first Super Bowl. It was a real celebration.
He's such a positive, happy guy anyways, and he’s incredibly good looking, then and now. He always said, "I knew I was in good hands. I trusted you guys. You guys are going to make me look my best and I don't have to worry about looking like a fool. Even when I'm holding a goat it's going to be the best picture of me with a goat."
I went to his house for [another] shoot a few years later.We were in his house and he takes me to his closet—it was just Tom Ford from here to the window.
So I'm up at the house and Gisele's making cookies and he says, "Jim, I want to show you something. You might be interested in this. This is where I go. This is my man cave." I was like, "Okay. Tom," but I'm the biggest sports dummy. I was like, "Is this the desk where you decide all the plays or whatever you do?" And he's like, "Yeah. I'll show you how it works."
He takes out these binders and there were these plays printed out. I don't know what I was looking at—it was all Greek to me. I said, "Tell me how you do it. You watch last night's game and you decide what you're going to do based on that?" He's like, "It's a little bit of that, but you also have to know each player and each team." He's explaining it to me and there's the football and there's the ring. He's as normal as you can be in that situation, and generous.
The Time He Made Obama Change His Tie
The first time I shot Obama we went to Washington. It didn't happen at first because there was a really controversial bill on the Senate floor and they actually ended up working through the night, so our shoot was canceled. We had to come back exactly a week later. Then I was really worried about what he was going to wear. You can't dress him.
He had a blue suit on and blue shirt and an orange tie and I almost died. The only reason I knew that [in advance] is because his assistant had a closed-circuit TV, she could zoom in on him on the senate floor. I had a few things in my bag and I didn't really know what to do because I thought, I needed to get him into my stuff. So I'm scheming, but the press secretary is like, "Put those clothes away." My blood pressure's going through the roof, because I'm not going to bring back a picture of him in an orange tie. She's like, "I'll get the word to him." He agreed to go home, which was close by. They use those tunnels that connect to the White House and the Senate and to his office.
Then the second time I shot him, I asked him, "Do you remember?" and he's like, "Yeah, of course I remember. You didn't like what I was wearing—and [I can tell] you actually don't like my tie now." I said, "Well, a dark tie might be better." So he's like, "I'll go home and get you some dark ties.” I don't know why but I said, "Will that take long?" And he's like, "Jim, I live upstairs."
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Benn98
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Ben Cobb Is Leaving Another Man
He became editor in chief of the British men's fashion magazine in 2015.
By Kathryn Hopkins on October 17, 2019
Ben Cobb joined Another Man 10 years ago.
Pixelformula/SIPA/Shutterstock
It’s time for Ben Cobb, almost as famous for his Seventies-style moustache as he is for his fashion magazine editing abilities, to move on to new pastures — but he’s not yet ready to reveal where they may be.
Cobb has decided to leave biannual British men’s fashion magazine Another Man, which he joined as editor 10 years ago, later becoming editor in chief in 2015.
“I’ve been at Another Man for 10 years this month, and a decade is a milestone. I’ve had an incredible experience at Another Man and I’m immensely proud of what I’ve achieved there creatively and commercially. I’m leaving the magazine in the best shape in its history so it just feels like the right moment,” he told WWD. “It’s always good to leave on a high.”
Under Cobb’s watch, the likes of Harry Styles, David Beckham and Keith Richards all appeared on Another Man’s covers, while it scored exclusive interviews with Alex Turner, David Lynch and John Galliano and launched special projects with Nick Cave, The Rolling Stones and NASA.
Cobb was also instrumental in Another Man’s online debut in 2017, which features, among other content, men’s wear show coverage.
“I’m very proud of every issue we’ve put out,” added Cobb, who sneaked out of a dinner in London to chat. “There have been huge moments like the Harry Style issues which were three huge cover stories with him, and curating the whole document was a major moment. I’m also proud of us launching the web site two years ago, but I think more than anything I’m very proud of our singular vision and how we always stayed true to that.”
As for what’s next, Cobb declined to reveal if he had anything lined up, although he confirmed that he wouldn’t be going directly to another magazine and gave a teaser of what could be in the cards.
“I think it’s a very special time in the industry right now. The landscape is changing and things are shifting a lot. It’s no longer so linear and I’m excited to explore this new era,” he said.
“Over the last few years I’ve been involved in some amazing projects beyond the magazine, from consulting with fashion houses to curating content with filmmakers and recently I had a lot of fun hosting a chat show with Love magazine,” he said. “I’m interested in developing all these different forms of storytelling. I’m curious where they all might lead. That’s really all I can say at this stage. I’m not in a rush to jump in anything. Really what I want to do is explore how all these different elements can come together.”
In a statement, Jefferson Hack, chief executive officer and cofounder of Dazed Media, the publisher of Another Man, thanked Cobb for his “outstanding contribution” to the magazine. “He has been an incredible leader, collaborator and colleague and we will miss his unique presence. We wish him all the best for his next adventure,” Hack said.
This was not the only news to come out of Dazed on Thursday. Emma Wyman was named fashion director at Dazed magazine, commencing with the spring 2020 issue. Wyman was previously senior fashion editor.
WWD
He became editor in chief of the British men's fashion magazine in 2015.
By Kathryn Hopkins on October 17, 2019
Ben Cobb joined Another Man 10 years ago.
Pixelformula/SIPA/Shutterstock
It’s time for Ben Cobb, almost as famous for his Seventies-style moustache as he is for his fashion magazine editing abilities, to move on to new pastures — but he’s not yet ready to reveal where they may be.
Cobb has decided to leave biannual British men’s fashion magazine Another Man, which he joined as editor 10 years ago, later becoming editor in chief in 2015.
“I’ve been at Another Man for 10 years this month, and a decade is a milestone. I’ve had an incredible experience at Another Man and I’m immensely proud of what I’ve achieved there creatively and commercially. I’m leaving the magazine in the best shape in its history so it just feels like the right moment,” he told WWD. “It’s always good to leave on a high.”
Under Cobb’s watch, the likes of Harry Styles, David Beckham and Keith Richards all appeared on Another Man’s covers, while it scored exclusive interviews with Alex Turner, David Lynch and John Galliano and launched special projects with Nick Cave, The Rolling Stones and NASA.
Cobb was also instrumental in Another Man’s online debut in 2017, which features, among other content, men’s wear show coverage.
“I’m very proud of every issue we’ve put out,” added Cobb, who sneaked out of a dinner in London to chat. “There have been huge moments like the Harry Style issues which were three huge cover stories with him, and curating the whole document was a major moment. I’m also proud of us launching the web site two years ago, but I think more than anything I’m very proud of our singular vision and how we always stayed true to that.”
As for what’s next, Cobb declined to reveal if he had anything lined up, although he confirmed that he wouldn’t be going directly to another magazine and gave a teaser of what could be in the cards.
“I think it’s a very special time in the industry right now. The landscape is changing and things are shifting a lot. It’s no longer so linear and I’m excited to explore this new era,” he said.
“Over the last few years I’ve been involved in some amazing projects beyond the magazine, from consulting with fashion houses to curating content with filmmakers and recently I had a lot of fun hosting a chat show with Love magazine,” he said. “I’m interested in developing all these different forms of storytelling. I’m curious where they all might lead. That’s really all I can say at this stage. I’m not in a rush to jump in anything. Really what I want to do is explore how all these different elements can come together.”
In a statement, Jefferson Hack, chief executive officer and cofounder of Dazed Media, the publisher of Another Man, thanked Cobb for his “outstanding contribution” to the magazine. “He has been an incredible leader, collaborator and colleague and we will miss his unique presence. We wish him all the best for his next adventure,” Hack said.
This was not the only news to come out of Dazed on Thursday. Emma Wyman was named fashion director at Dazed magazine, commencing with the spring 2020 issue. Wyman was previously senior fashion editor.
WWD
Benn98
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Finally, and thanks for this! Just the other day while going through the magazine I was wondering how cool it would be if they relaunched. That magazine is so dated, even next to the rest of the Taiwanese editions.
MissMagAddict
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source | mydigitalcopy
MissMagAddict
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source | system #13 | mydigitalcopy
MissMagAddict
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source | system #13 | mydigitalcopy
Bertrando3
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looooooool SO FUNNY I mean OMG lol... These people truly live in a bubble ! SO so sooo many fashion magazines have closed over the years and all these magazine editors think naively that the paper edition will have a bright future and that magazines will flourish again. What a desillusion?!
Men´s Vogue
Vogue Men China
Vogue Hommes Japan
L´Uomo Vogue
Elle Brazil
Teen Vogue
Glamour
Marie Claire UK
Cosmopolitan Australia
Elle Men Belgium
Lucky
Details
Harper´s Bazaar Chile
and so on !!!
I mean hasn´t this list been seen already by these editors??? Or are they too busy taking a photo of themselves for their Instagram feed? Geez... Sooooo many magazines have closed over the years:
- many either closed
- or went on to be a digital magazine
- or closed and opened again
- or decreased their publishing yearly issues and so on.
But ultimately print magazines (and it pains me to say it since i was a HUGE subscriber and magazines reader) will not exist in a distant or close future. Everybody is addicted to their phones or tablets, young people of the Z generation don´t buy magazines, men don´t buy as many newspapers as they used to (so let´s not talk about fashion mags) and women like men who read magazines have free access online or digital subscriptions. I stopped buying magazines and I am sure in the future very VERY FEW will survive in print.
Men´s Vogue
Vogue Men China
Vogue Hommes Japan
L´Uomo Vogue
Elle Brazil
Teen Vogue
Glamour
Marie Claire UK
Cosmopolitan Australia
Elle Men Belgium
Lucky
Details
Harper´s Bazaar Chile
and so on !!!
I mean hasn´t this list been seen already by these editors??? Or are they too busy taking a photo of themselves for their Instagram feed? Geez... Sooooo many magazines have closed over the years:
- many either closed
- or went on to be a digital magazine
- or closed and opened again
- or decreased their publishing yearly issues and so on.
But ultimately print magazines (and it pains me to say it since i was a HUGE subscriber and magazines reader) will not exist in a distant or close future. Everybody is addicted to their phones or tablets, young people of the Z generation don´t buy magazines, men don´t buy as many newspapers as they used to (so let´s not talk about fashion mags) and women like men who read magazines have free access online or digital subscriptions. I stopped buying magazines and I am sure in the future very VERY FEW will survive in print.
tigerrouge
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When digital titles flounder and fail, no-one even notices.
Going online is no guarantee of any sort of future, and a lot of momentarily popular sites have already taken their place in the listings of the Wayback Machine, a remembrance wall for cremated online content.
Meanwhile, there are currently more print editions of Vogue and Bazaar available than I can ever remember in my three decades of buying magazines.
Going online is no guarantee of any sort of future, and a lot of momentarily popular sites have already taken their place in the listings of the Wayback Machine, a remembrance wall for cremated online content.
Meanwhile, there are currently more print editions of Vogue and Bazaar available than I can ever remember in my three decades of buying magazines.
Xone
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and Elle also...Also the amount of bianual magazines is increasing too, specially in Europe....Maybe in America the impact is bigger bc of it's more comercial and business driven market...
I think people are more conscious what to buy in print...that's why it decreased the number...also it's very difficult to buy something in print when comercial magazines shares all their "exclusive" content online in order to motivate people to buy...that's a bad strategy, people (the mass) not gonna buy a magazine just because their fave celebrity is on the cover, maybe only die-hard fans....
Overall, magazines are still figuring out what people want from them...only digital versions is not the answer for sure...
After the Fall of the Glossy Magazine, What’s Left of Condé Nast?
Really good long read on CN with interviews from all the major players.
Some excerpts I found interesting:
Really good long read on CN with interviews from all the major players.
Some excerpts I found interesting:
