The editor of the Italian edition of Vogue magazine Anna Pyaggi somehow called the stylists a surdo-translator of the photographer. We often admire beautiful photos of models, forgetting the names of those who created these images. Pressing the camera button is easy, if everything is ready. So what’s the question of who is responsible?
Professional stylists create unique images with the help of hair, make-up, clothes. Let’s talk about really cult representatives of this “offscreen” profession, about what principles they profess in their work and how they achieved their success.
This woman-stylist is called by many, as the very first professional in this business. And her work was really significant – she collaborated with Richard Avedon and Helmut Newton. It was Mellen who was able to do everything to make the pictures of these gurus so sensationally exciting. Mellen worked as a fashion editor in such cult American magazines as Vogue and Harper’s Bazaar. In sum, her career stylist stretched out for a long 60 years. And it all started with the provincial magazine Mademoiselle, where Polly worked as an assistant. Then, thanks to a school friend, she met Diana Vriland, who at that time was the editor of American Harper’s Bazaar. Mellen remembers that the friendliness of Vriland even discouraged her. Over time, this lady with connections introduced the beginning stylist to Avedon and Newton. Interestingly, in the 1950s, no one thought to mention the name of the stylists in the filming for magazines. But the styles of photographers – the aggressive sensuality of Newton and the cold ascetic-futurism of Avedon was invented and developed by Mellen. She herself told that she loves to be one step ahead of everyone. Ordinary stylists try to please, but so they lose their magic. Mellen also sought to challenge, moving away from indifference and mediocrity. So there was a joint work with Newton “The story of Ohhh …”, which caused both irritation and resonance.
And in the late 1980s Mellen was able to introduce the editor-in-chief of American Vogue Grace Mirabella to Anna Winthur, who was then unknown to anyone. And within a month there was castling in the editorial office. And the stylist remembered her only hairstyle – a short bean. With the new leader, Wintour, Polly had less and less work to do. The famous stylist began to feel that the magazines are boring, instead of them people start to flip through the catalogs of expensive clothes. Mellen found the outlet in the support of the beginning designers, she was warmly remembered by Isaac Mizrahi and Helmut Lang, noting her enthusiasm and the ability to adapt to new conditions. Maybe that’s why Mellen managed the style for so long. She’s already about eighty, and Polly anyway – consider her a legend or not. Simply, she lived and worked on what she was really interested in, and today watches the fashion and style.
Few can compare with this stylist in fruitfulness and scope. For an incomplete forty years of his career, Grand was able to participate in the creation of three magazines at once: POP, Dazed & Confused and LOVE. At the same time, Katie managed to serve the displays and advertising companies of such famous brands as Louis Vuitton, Prada, Miu Miu, Bottega Veneta, Proenza Schouler and Luella. But there were still shooting for the American edition of Harper’s Bazaar, Interview, Arena Homme +, The Face and Russian Vogue. It seems that Grand tries to catch up with all that she missed in her youth. Alcohol dependence has taken her best years, now the woman is in a hurry to live, allowing herself only three days off in the year. Grand is known for neglecting advice and reproaches, she simply does what she believes. Noticeably this is also from her shootings – they seem to be untidy and uncombed, glued together as if in a gateway. And the stylist herself is not categorically painted, she walks around, does not try to straighten her teeth, or correct her accent.But Katie thinks she knows what other people should like. The stylist is literally crazy about shoes and bags – they are present in every frame.
And the Grand chosen this profession by accident. When she was lying around at home with a bad cold, her father bought her several Vogue numbers, as a means of boredom. The girl immediately wanted to become such a classy. She wrote a letter to the English editorial office, where she was advised to go to St.Martins. But there Cathy studied for a year. Not only that the items were simply not given to her, so on one of the parties she met Rankin and Hack, with whom she decided to release the magazine Dazed & Confused. The first issues of the publication in general had to be stitched by hand, and six months later, Grand was engaged in photographs. Then everything was twisted – shootings were replaced one another, the show followed the show. There was no time to rest. The stylist takes his demand for granted. After all, she really knows the fashion, her story, can assess the changes that occur with clothing. But many stylists do not know this. The correct education for a person in this profession, according to Grand – reading the necessary magazines, shopping trips. But not everyone can understand what is given to her.
Today the famous stylist leads the French Vogue. In her opinion, this variant differs from the American one in its sexuality and passion. And Karin’s opinion can be trusted, because she has been cooperating with the overseas edition for a long time. But today she likes to make her own magazine, where you can show on the cover a cigarette or half-naked pantyhose. Freedom of creativity makes you feel really comfortable. In the mid-90’s, Reutfeld noted the shows and advertising campaigns of Gucci. Then the brand was run by Tom Ford and the company’s name became synonymous with the word “sex”, before that the collections were sensual. As the designer recalled, for some models he simply copied the clothes of his stylist. Yes, and advertising images of the brand depicted models, ready to passionately pounce on each other.
Valuable experience in creating drafts for models was obtained. Today, Reutfeld operates in a similar vein. On any of her shoots, there is either a naked breast, or apart legs or an indecently protruding undergarment. The stylist realizes that in fashion she is far from being a professional, and in the history of design she understands poorly. But clothes for Karin – not the main thing. It is important to her what the heroine of the picture thinks, she should stir up the desire to be in this place. That is why small surprises are so important – a carelessly unbuttoned button, a lowered strap. It is also good that Roightfeld’s greedy coquetry in the French publishing house is balanced by fashion director Emmanuel Alto. If Karin wants to undress, then her assistant thinks about how to properly dress in a combination of songs.
And on the other side of the ocean from the previous hero in Vogue for more than twenty years reigns Grace Coddington. She believes that the worst pictures are those – on which you can not consider all the details of clothing. That is why it is fundamentally against various piles, multilayered and complex sets. Coddington creates a style with utmost accuracy, for fear of mistakes. In her shootings, there are not enough accessories and ornaments, the jacket often rhymes with a skirt of the same color, and a sparkling satin dress means lacquer shoes. That’s why Coddington’s work looks ascetic. Perhaps, her style had affected the previous work with Calvin Clein, where she stylized shows and advertising companies.
In her youth, Coddington won the model contest held by Vogue magazine. But she could not think that she would ever have to work in such a cult place. But after all, she waited for each number in the store next to her house. Anna Wintour believes that Grace in the command crown is the largest diamond.According to Wintour, no one else has and will not have such a subtle understanding of what will happen to fashion tomorrow and even the day after tomorrow. And became part of the American team Vogue Coddington in the late 1980s. She immediately forgot all those tricks that she taught her British Vogue. Grace realized that you should play by your own rules, which have not yet entered a single magazine. So, for example, she decided to take pictures of children and animals. And the stylist has devoted her own work with such beloved cats to a whole illustrated album. Having started work with Anne Leibovitz, Grace began to attract celebrities as well. This step allowed the American Vogue to step on top of other branches. Often Coddington chose models that were similar to her and stylized her own manner of dressing. Grace was used to not exchanging things for trifles. And although the choice of clothing – for the stylist an important part of the work, we still need to highlight the inner world of the model, to make it burn from within. And in this regard, it is not so important, what will be wearing a jacket at the same time. As a result, each of the photographers who worked with Coddington, praise her understanding of the integrity of the picture. She considers fashion only from modern realities. And Grace herself says that only an impeccable shot can satisfy her, which she has not managed to achieve yet.
This stylist controls the fashion in English Vogue, controlling both photos and layouts. This is a great success for Lucinda. It works well with accessories, managing on one page to push bright and original decorations with things-highlights. The stylist likes to decorate in principle and it seems to her anyway – there will be people or a Christmas tree. Previously, all the other Chambers began to get involved in cumbersome jewelry, devoting entire sessions to massive rings or multi-layered bracelets. Her images, she begins to build with something random – this may be buttons on the dress or part of the necklace. Then the style of clothes is determined from here. The head of British Vogue, Alexander Shulman can not be pleased with the creative employee. After all, Lucinda with enormous scope represents any set, making with the help of things a real fairy tale. It is important that the stylist perfectly feels the color. Chambers is able to present surprises – incongruous, it would seem, things she forces not to argue with each other. In her manner, there is no stylization of bazaar or shouting, for Chambers simplicity is above all. However, colleagues say that such simplicity can be seen only in the images of fever.
This stylist works with French and Italian Vogue, W Magazine, Arena Homme +, and in Interview he even worked for some time as creative director. Filming Karl is distinguished by drama and breakdown, masculinity is observed even in the work with women’s clothing. The pictures clearly feel aggression, they are motivated to fight. Karl himself says that he wants to create images that reveal their character even in the smallest detail. It is important to open the inner core. The stylist is not fond of redundancy, for him the main thing is the realism of what he sees around. For a stylist, it’s better to have fewer details, but better ones. He always chooses self-sufficient things, even if it’s not highlighting. After all, for Karl much more interesting context and the socio-cultural layer in which there was this or that piece of clothing or shoes. The stylist constantly strives for authenticity, sometimes hyperbolizing the thing to the level of a symbol. He himself is quite well versed in pop culture and understands visualization. And childhood spent on the street does not allow us to overestimate the importance of details. Camilla Nickerson.
Today, the famous stylist is the senior editor of fashion W Magazine. And before that for 13 years, the woman worked in the American version of Vogue. Shootings in this magazine, she alternated with advertising campaigns Yves Saint Laurent, Michael Kors, Narciso Rodriguez and other not so large brands.Camilla Nickerson’s photographs are always full of hints and implicit citations. The stylist turns inside out the traditional images, rethinks the role of historical figures and experiments with images of modern heroes. This causes Camille to approach his work extremely fundamentally. Already two weeks before the shooting begins, she begins to look for images that inspire her. Of these, she composes the associative series that she already needs.
And the stylist comes to the playground with a shoebox full of dozens of photos. Because with their help, Nickerson can easily explain to the make-up artist, photographer and her assistants what result she wants to get. About how her competitors work, she does not want to know anything, concentrating on her own perception of the work. Camilla always tries to make the shooting as topical and problematic. She takes something from the outside world, and then tries to tell about it with the help of clothes. And in the end, the most beautiful thing in her work turns out – something that could not even be imagined, suddenly appears on the final pictures.
This stylist started his work in English Vogue, but then Venetia suddenly moved to the Italian edition. In parallel, she continued to work with i-D, Another Magazine and W Magazine. In Scott’s style, lazy negligence is seen, she began to mix budget brands and key podium models long before other magazines adopted this practice. It only pleases that it can be copied and created with even a small budget – Scott never built around his expensive things. Excellent stylist works with vintage clothing, it is thanks to her and this fashion appeared. In the photographs of Venetia, a lot of things from the flea market and just commission, they clarify the main thing. It was Scott who, before all the others, came up with the idea of dressing fragile models in huge men’s things-a tartan’s shirt tied with a knot at the waist is among her favorite tricks. Another direction – constant fantasies on the theme of the maiden private school. The stylist constantly plays over the elements of this form. In her shootings you can find white socks, embroidered arms and pleated skirts.
And this stylist emphasizes that he does not create an image, but conveys the mood of his characters. Clothing is just a hint for those who can not wait to learn more. Therefore, from the frame, key details are wandered through – hairpin, then a straw hat, or a worn leather jacket. The unconscionable outward appearance of Scott liked in the late 90’s Mark Jacobs, who made the stylist creative consultant for companies Marc Jacobs and Marc by Marc Jacobs. So Venetia began to respond and for screenings, and for advertising companies Jürgen Teller. With this photographer, the stylist has been cooperating for 18 years. It was thanks to such spiritual intimacy that such distinctive works were achieved. According to Venetia in modern rhythm is impossible without trust, but everything is done so quickly that the team simply does not have time to work together. In the end, everything is done in a hurry, and the pictures are empty.
This stylist manages everything – he worked as creative director of Dazed & Confused, then directed the fashion in Japanese Vogue Hommes, and then he also visited the senior editor of fashion at Another Man. But the stylist is not yet 35 years old! In his active work on shows and advertising campaigns Prada, Costume National, Gareth Pugh and Alexander McQueen. His respectful portfolio of Nicolas collected in just 11 years. But in the late 1990’s, he was in the London department store just selling clothes to beginning designers. But luck smiled at the talent – he was offered to post on the set for Dazed & Confused. Formichetti realized that he could not miss this chance. Half Japanese, half Italian combined East and West. His images are rich and pretentious, the editors are filled with grotesque and exaggeration.
A young stylist confidently declares that he is not afraid of anything, but simply wants to give everyone joy.Looking at the kit that he collects for filming, it’s very hard to believe. This is some kind of Hawaiian mixture, and the scenic costumes of Lady Gaga, whose stylist Nicola is, in general, are balancing on the verge of good and evil. By the way, cooperation with the pop diva himself Formichetti very pleased. In his opinion, Lady Gaga is a real fashion queen who is not afraid of any experiments. Prior to her, Formichetti advised other stars – Kirsten Dunst and Scarlett Johansson. However, it was the joint work with Lady Gaga that made them both fashionable celebrities of world importance. With her, the stylist does not hesitate to experiment – her expressive circus dresses make Formichetti truly happy.
The stylist from Cyprus has long gone beyond his homeland – he collaborated with American Harper’s Bazaar, V Magazine, American, Italian and Japanese editions of Vogue, Another Man, Interview, Another Magazine, Arena Homme + and POP. In each of his shootings, Yapanis followed the grim manners of rhyming things. In his editors, black leather jackets are combined with high boots on laces, there are flaky nails, rivets, black feathers and disassembled knitwear. The last few years, Cypriot has been working on advertising campaigns and shows Rick Owens, Givenchy and Gareth Pugh. However, all this cemetery subjects are more to face to him, rather than to his models.
About the stylist they say that he literally lives his work. She is everything to him. And there is no such clearer and more recognizable handwriting than anyone else. This style is torn, nervous, even with blots everywhere. Cypriot adores tight silhouettes, deaf colors and deliberate shabbiness, as if the clothes for several days were under the gusts of the wind. For his work, he prefers things from Givenchy, Comme Des Garcons, Rick Owens and Ann Demeulemeester. And about what the stylist still lives, you can not find out – Yapanis is very secretive. Curious, he asks to leave him alone, to allow the creativity to move away from the rigid framework of the industry.