Peter Strongwater


equal-means-equal

IN JUNE, 2013, I RENTED A PHOTO STUDIO ON 26TH STREET IN NEW YORK FOR A FASHION EDITORIAL SHOOT . IT WAS OWNED AND RUN BY A MAN WHO, MONTHS LATER , I DISCOVERED TO BE CELEBRITY PHOTOGRAPHER PETER STRONGWATER , WHO HAD SHOT THOSE ICONIC INTERVIEW MAGAZINE COVERS IN THE 80’S. ONE OF THE MOST INFLUENTIAL POP-ICON PHOTOGRAPHERS OF ALL-TIME.

Reserved: How were you able to catch the shiny ‘Crystal Ball of Pop,’ that is, Interview Magazine, or did it catch you? How did it happen?


Peter: It was years ago. I had a connection to Fred Hughes who was Andy’s manager at that time. I just mentioned casu-ally, “Gee, I like Interview. It would be fun to work for them.” I was a good friend of Linda Hutton.
He said, “Go do a picture,” they like society names and stuff. Linda Hutton came from a pretty substantial family. He said, “Go take a picture of Linda Hutton.” I took a picture and they said okay, we love it. Then they called me up about a week later and said, “How would you like to do a cover?”
I was speechless. I said that’s great, yeah, fabulous. I remember, they said, “Well, we’re going to send you Isabella Rossellini.” That was my first cover in ‘80, ‘82, somewhere around there. I became very friendly with the managing editor, Rob-ert Hayes. It was very nice. I mean, I knew Andy, and at The Factory, most of the time when I was working, I would just come up, it was all very informal. Marc Balet was the creative director. Of course you never got paid. That was a minor problem. They wanted 16×20’s. Each shooting cost me like a thousand or fifteen hundred dollars, but it was great fun, and I got to shoot everyone. I became pretty good friends with Bridget Berlin up there, who lives around the corner from me here, and it just worked. I mean, for I don’t know, three, four years, I must have done sixteen covers, or something like that.


Reserved: Wow! Visually, who were your favourite subjects?

Peter: Who was my favourite? I think Mick Jagger was great. I loved doing Mick. He was incredible. He just came here, and there was no entou-rage at that point. He just arrived. There weren’t a million PR people. He just rang the doorbell, said, “Hi, I’m Mick.” You know, literally. It was that cool!
He was really great. We had a really good time, and the pic-tures were amazing. I really liked him. Diana Ross was very interesting. She came with a huge entourage of people. That was fun. Then sometimes we would prepare a lunch outside on the terrace, and Andy would come over sometimes. He would do the Polaroids of them, and then get them suckered into do a portrait. That was one of the purposes of the inter-view. It was a marketing tool because he would say, “Well, I’ll get you on the cover of Interview. Oh, by the way, you can do a triptych, it’s really reasonable,” it’s only $30,000 a print at that time or something. Just about everyone that I ever photographed, John McEn-roe or Diane von Furstenberg, they wound up eventually buying prints from Andy. Andy would come with his little camera and take photographs of them while I was shooting, or while they were getting dressed. He never said much, but he would hang around for lunch and stuff. Sometimes we’d also have lunch down at The Fac-tory. That was another way to sucker them in. He would have sponsors—try to get a liquor company or a camera company to buy some pages. The magazine—it was pretty primitive then as to what it is now. I mean, when it was being run by Peter Brant’s wife, the paper quality was not there. I mean, it had graduated a great deal from being a movie review magazine, which was how it started. Andy was too cheap to buy tickets to go to the film festival but he wanted to go, so he said, “I’ll start a film review magazine.”


Reserved:  I love it. Wasn’t it Fran Lebowitz, one of the re-viewers?


Peter: yeah, that’s how Interview started: it was a film review magazine, so he could get into film festivals for free. I re-member seeing him walking up and down Madison Avenue, handing out copies of the magazine at different stores as a way to advertise.


Reserved:  Paul Morrissey involved, wasn’t he?


Peter: Yes, he was. I mean, most of the people that were in the ‘painting’ department— art department— really didn’t have much to do with the way Interview was run. When I say a shoestring, it was really basically Mark and Robert, maybe two or three interns. We had André Leon Talley who was the fashion writing con-sultant. We had all of these kinds of people that would come and go. Basically, the magazine was put out maybe by three people. Richard Bernstein did the covers. Everyone thinks Andy did the covers. Andy did not do the covers. I would present a picture, and Richard Bernstein would paint over them, and it looked like they could be done by Andy, but it was real-ly all done by Richard. I don’t think he ever really got the credit he deserved for doing this, because everyone just as-sumed that it was Andy. It looked like something that Andy would do.


Reserved: Did you just hand over the photograph, and he would …


Peter: I would just hand over the black and white print and that was the last I’d see of it! The next time I would see it would be one the newsstand and it would be in color. I was shooting everything—we did no color at that time—I was shooting everything in black and white. We never did it in color, because that probably would’ve blown the budget to pieces!
Peter: Richard painted them all. I don’t even think Andy re-ally gave much advice. I think he let Richard do whatever he wanted to do. Mark would come to the shooting, and he did a really did a great job. I mean, he was a great art director at that, you know, photo magazine because they really let you do what you wanted to do. I mean, once in a while we would come up with a theme or an idea or something like that. When we did Mick, Mark got the idea to hang records from the ceiling, and that became the background. We would use a striped wallpaper or some-thing like that.
Again, we were somewhat limited in what we could do be-cause we had no money almost. 


Reserved: Did you find that liberating or constraining? Was it frustrating?


Peter: No, I felt it fun, because most of the stuff was done on white. Once in a while we would do some kind of set, but it was very, very, basic. It was unfortunate. We did one picture of Diana Ross on the street, where she was in a Jeep being driven. Other than that, I really can’t remember that we ever did anything outside of the … no, no, excuse me …We did a real-ly a great, great story of Phoebe Cates out in Southampton. The only reason we could do that is I was very good friends with Marty Raynes who had a large estate out there. I asked Marty if we could use his house to do these pictures of Phoebe Cates, who was then very hot. She had just come off, what was her first… 


Reserved: Fast Times at Ridgemont High?


Peter: yes! He said yeah “as long as I can meet her.” I said, “Don’t worry about it.” At the very worst, we’ll put a Polaroid under your pillow. He did like that!


Reserved: That’s great.


Peter: Yeah, that was a location shoot. I think John McEn-roe—we shot him in his in his apartment, because he was too lazy to get out of his studio. 
I could kill myself, because I had stacks, you know, you start dealing with the only payment you could get is you could get as many copies of the magazine as you wanted. There’s a store now on 57th Street and Park Avenue that sells these vintage covers for over $100 a piece.


Reserved: Yeah. You’re being auctioned now, I see.


Peter: They are being auctioned now, at the Phillips du Pury in London and also here in New York. Of course it never got past official approvals. It was kind of complicated. I also worked on a project for the USIA during that period, where I photographed a lot of… it was called Monuments, and it was basically a collection of photographs of people who have fundamentally changed your life. Whether good, or bad, or something. It was everything from Oppenheimer, who made the hydro-gen bomb, to Hugh Hefner who revolutionized magazine publishing, to Mohammed Ali. It was just a weird collection of people. The man who designed the interstate highway system, people who really made major contributions to your life, but you really weren’t aware of what they did. Who did it? How did this highway system, you know, how did it come to pass? Or Dr. Johnson from Masters and Johnson. It was an inter-esting collection of people. That was scheduled to tour the communist states. Of course they never got past the cycle; it was kind of complicated but I got to do the photographs.


Reserved: Did they ever see the light of day?


Peter: They’re in the Smithsonian Museum in Washing-ton, D.C. They did get to see the light of day. They didn’t go on tour. They were all gifted over to the Smithsonian.


Reserved: That’s fantastic. You have a wide breadth of ex-perience in your career.


Peter: It is. I mean, Interview opened up a lot of doors. 


Reserved: What do you do now to nurture your creative spirit? Do you shoot still? 


Peter: No, I actually got to want to live a life, and eat, and do things like that. I have a production company, and what we do is we organize difficult shoots for large com-panies, basically. Such as, one of our clients is the Ford Motor Company; Zip Cars; large pharmaceutical compa-nies; Budweiser, Anheuser Busch, Pepsi.


Reserved: So you’re full service production?


Peter: Yea, what we do is we organize these shoots, and we cast them. We have location scouting, we organize every-thing: we produce a book and just guide them through the shoot. Then, of course, we have a rental studio next door… Having the knowledge of photography, it’s great. A lot of photographers trust me because I’ve been through. It’s not like I’m coming from an office experience. I have a pretty deep background in photography.
So that keeps us pretty busy. Also, managing the collec-tion of prints that I have from Interview. There’s an ex-hibit now that’s going to be done in Colette in Paris. I just got an email from them about it. They’re going to add more pictures up. Again, it’s a labor of love more than a labor of cash, by the time I get them framed and by the time I ship them and stuff like that. But it’s nice to know that people like them: they’re iconic and they really stand out. Just managing that takes some time. Between all of the things, I’m relatively busy.


Reserved: Is there any one or anything that inspired you creatively?


Peter: Creatively? I don’t like to complain about what’s going on now. 


Reserved: Oh, I do!


Peter: I just think, I don’t want to sound ancient but digital has taken the soul, I think, out of photography. It has become almost a mechanical wall before, I was inspired by so many great photographers that I would see. I mean, Bill Solano was a great friend of mine, also Hans Fuhrer, all of these photographers. There was motion, they were great… you looked at Vogue, or even you looked at the New York Times, and they were great fucking pictures. You look at the stuff today and it all looks like Glamour. Some kind of version of Glamour. There are specialized publications that try to do a nice job that are really bark-ing after advertising and willing to take new photogra-phers: new choices and stuff like that. The mainstream publications that everyone sees, they’re for the most part uninspiring. I mean, Conde Nast has cut their budgets back. There’s no longer a month trip to Tokyo. I remember working for Seventeen when we used to fly on a plane that was Walter Annenberg’s plane to fly to the locations. We used to call his pilot Mr. Lucky. That stuff isn’t done today. Today, it has unfortunately become more of a business than anything… even in the successful ‘art photographers,’ there’s just sighs, huge, gigantic sighs. We’ll sell it for a couple of hundred thou-sand dollars. It just changed a lot. Like everything else new, it’s be-come unfortunately money driven, where before people did it because they loved it.


Reserved: Yeah, and it’s had such a different aesthetic. My father shot for Playboy in the 70’s.


Peter: It was, it was inspiring, because they really, really, loved everything about it. At Playboy was Marilyn Gowansky, it was a great publication at that time, I used to work with her and also Joe Brooks at Penthouse. At that time Penthouse put out a “high class” women’s mag-azine called VIVA with none other than Anna Wintour as its fashion editor, today every time I see her around she tries not to remember that we worked together it is really very funny, it is a strange back story and I am not sure if many people know it. Every time I see her she pretends—I see her weird-ly in certain situations. Obviously she knows me, I mean I worked with her, and it’s like she can’t really process the point that she worked with Elliott Erwitt. VIVA was a beautiful publication. It had a great art director, Roland Johnson, and it was really way ahead of its time.


Reserved: Photography has really changed. Thanks to computers, photos are too perfect… extremely over-re-touched.


Peter: Yeah, and Photoshopped to death. We worked with several photographers that will remain nameless, and the pictures don’t even look like a picture. Then a client stands over the monitor during a shoot.
One of the beautiful things about film is that you never really knew exactly what you were going to get, so there was always the surprise at the end. Sometimes disaster, but a lot of times, great. I’m a pretty good friend of Elliott Erwitt, and, you know, the unexpected result of photographs at that point was so much better. Today, they see it and it’s done—and if they don’t like it they’re redoing. You do it again until it looks exact. They beat the life out of it until there’s nothing left, and then that becomes the picture.
It’s unfortunate, because it has changed the direction and if they don’t like it they can Photoshop it, do whatever they feel like with it. They look almost cartoonish.


Reserved: Shots done with film, compared to the digital shots of today, what a difference! There’s something to really be said for the element of surprise, when you don’t know what you’re going to get and you can’t see what the photographer is seeing.


Peter: It really is true. I mean, you look at some of the old books of any of the photographers in the beginning, and they’re just very, very, different.


Reserved: Do you think that the shots were more thought out? you had to, when you were shooting with film, right?


Peter: yeah, because A. you didn’t have the flexibility of shooting these shots… It would’ve cost a fortune. You had maybe, at Interview, you were to get it in ten rolls. If you didn’t get it in ten rolls…you really had to get it pret-ty instantly. Generally, what I would do is I’d try to get as much information about the subject as I could before I shot. Especially the government shots, because there you’re on their time. What they would do is they would clear out the office and set everything up. You’ve got ten minutes, and that was the deal. You’re interviewing you have a very good idea of what you wanted to do, and how the person would react to certain things. Because there wasn’t time, you didn’t have unlimited film to waste. It was much more focused and much more direct, basi-cally.


Reserved:  How do you feel about magazine covers now? How do you feel about what kind of thought is put into them, or the creativity?


Peter: For fashion they’ve changed. They got rid of the models, and they just put Kim Kardashian on the cover or something like that. I guess they sell more, because, really, I look at a fashion magazine as a better produced People.


Reserved: Do you think the pendulum will swing back, in your view?


Peter: That’s a difficult question. Everything eventually changes, but you don’t really hear that much about, there are some ‘supermodels’ out there today, but they’re not like the Christy Turlingtons, they’re not like even the Giseles …


Peter: I couldn’t name any models. They’re younger, too. A lot of them are from the Slavic countries, Eastern Europe. They’re fifteen to sixteen, they’re giants. They hardly speak any English, and they really don’t have any personalities where before, you had the great Christie Brinkley, Cheryl Tiegs, Lisa Taylor, Patti Hansen, Iman, Janice Dickinson, etc. Great personalities those models had. Today they’re almost bred for the times, because they can just dress them up in whatever they want, take a kind of stand in… I mean, you look at the cover of Vogue, look at the cover of Bazaar, look at the cover of W: except for a different face, they’re basically the same concept. They’ve picked some movie star, and they just put her on the cover. Because I guess people are celebrity-oriented today. They love gossip and they love celebrities, and any-thing in that category. It sells more. They’d rather read more about some celeb-rity than some model that no one knows anything about. Then you know all these kids now who want to be de-signers. The designer is the new rock and roll star. These designers. I mean, when you think, years and years ago. I mean Fashion Week; no one knew about Fashion Week.

Reserved: It was for the buyers.


Peter: Right. Buyers would come into the show room on Seventh Avenue, 1411 or one of those buildings, and they’d look at the line. That was that. There wasn’t any big extravaganza. Then you look at it today with the Mer-cedes-Benz things and the tents and the parties and the events. The fashion doesn’t even matter.


Reserved: That’s for the celebs in the front row, right? 


Peter: Fashion in these fashion shows is totally obsolete, because they never produce the stuff. It’s now, like every-thing else. It’s become a huge media event; a media cir-cus. That’s what they say when the circus comes to town.


Reserved: Yeah, it’s arrived.


Peter: And it gets bigger and bigger, not smaller and smaller. The tents, the ones in Lincoln Center, they’re bigger. Then there are all the outside ones, like Marc Jacobs is always across the street with the armory. I go—I have a few friends still in the industry—I go see and stuff like that. Yeah, it’s a very, very different.


Reserved: Yeah, there doesn’t seem to be as much soul. It’s all very surface and abstract and commercial. People are so worried about the money. They don’t want to take a risk.


Peter: All the clothing they put out there on these shows is just for show, just to be photographed to be in the magazines. I know, it’s a fact, that half the stuff never hits production or it’s too expensive. They can’t really knock it off. Besides, no one really gets dressed anymore. Who wears Versace? You really see all the wildness and stuff. I mean, it’s like a mystery. How many people are buying Valentino ball gowns? Most of them are given away to actresses for publicity.


Reserved: In the old days, when we would go out, people made an effort when they went out, because you were to be seen.


Peter: Right, yeah. But as I said you’ve got people today—even at formal events—they wear a suit. It’s less and less dressy which is fine with me, but I mean for the high end of fashion… there are how many people? I think in couture, if there are 100 buyers worldwide, that’s count-ing China, Russia, all those areas, buying couture at $30-$40,000 a pop or whatever it would cost, I think that’s about it. I wouldn’t say it’s more than one hundred. Ev-erything else is mass marketing.


Reserved: You have really shown us some amazing per-spective today! 


Peter: Thank you so much. I hope you’ve got what you need.


Reserved: I think we’re set. Thank you so much Peter!


Art
PANDEMIC FLOWERS ARTIST NEIL GRAYSON interview by Victoria N. Alexander Neil Grayson prepares his brushes by smashing the bristles straight into the wall then removing the damaged ones with duct tape. This ritual is to ensure the remaining bristles are strong enough to endure his unconventional brushwork. He prefers extra-long
Strike Oil by Nats Getty Reserved magazine.
STRIKE OIL NATS GETTY Nats Getty’s brand Strike Oil recently launched his collection of spray paint-inspired jewelry which is available exclusively at Maxfield for the 'Fine Jewelry' category, with the Semi Fine line available at strikeoil.com. To celebrate this momentous event he enlisted artist  Jack Winthrop, Mendel, and Bourn Rich to showcase their
Digital cover of Liily, photographed in New York City by Alexander Thompson for Reserved magazine.
THEY'RE CALLED, LIILY Photographed for Reserved magazine in New York City by Alexander Thompson. Interview by William R. Lankford. The definition of progressive in a nutshell is a happening. Or in the case of the Los Angeles-based band Liily, the happening. For members Charlie Anastasis (bass), Maxx Morando (drums), Sam
Ford model Alessiya Merzlova by photographer Greg Kadel for Reserved magazine.
BEAUTY UNDERWATER by GREG KADEL Hair: Dennis Lanni Makeup: Devra Kinery for MAC Models: Emily Grace at NEXT, Alessiya Merzlova at FORD, Bonnie P at The "In a way, this story is about being back in the womb. The blood and guts of life itself and the heartbeat of creation
DES ROCS A REAL GOOD PERSON IN A REAL BAD PLACE Interview by William R. Lankford Photography & menswear styling by Alexander Thompson A gigantic sound that's personal, unexpected, melodic, and range fully uninhibited. These are just a few adjectives that describe the New York native's sound that is Des
Emily McEnroe photographed for Reserved magazine by Alexander Thompson.
MODERNLY MCENROE EMILY MCENROE Interview by William R. Lankford Photography by Alexander Thompson It was Wednesday approaching the latter end of August that I was to meet with actor and voiceover actor, Emily McEnroe on the rooftop lounge of the Thompson Hotel in Hollywood, California. I arrived a couple of
Rorey photographed for Reserved magazine by Alexander Thompson.
ROREY! UNPREDICTABLE The most unpredictable thing about singer/songwriter Rorey, is that her musical range is the least predictable in every sense. The cadence for her recently debuted single “Predictable” is a gestural glimpse into the lyrically unsubtle vortex, exposing the unpredictability of a lover’s true position. Her internally self-expanded indecisions,
AN EVENING WITH... BLACK LIPS! Black Lips' most recent album, ironically titled, Sing In A World That's Falling Apart, was released January 24th, 2020. It was just a couple of months before the nationwide lockdown took place, and with the ensuing national uncertainties, was in and of itself an almost
ADAM GREEN MDVL: 1,000 YEARS OF DARK AGES Adam Green is an artistic polymath - a songwriter, filmmaker, visual artist, and poet.  A co-founder of The Moldy Peaches and author of ten solo albums, his songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis,
Digital cover - actor Nico Hiraga for Reserved magazine.
NICO HIRAGA ACTOR/SKATEBOARDER Nico Hiraga is a 23-year-old actor and skateboarder from the West Coast, making waves not only in the acting world, but in skating as well. You may have seen him playing Seth in the 2021 film Moxiem, directed by the fabulous Amy Poehler. Or as Tanner in
  SYLVIO GIARDINA HAUTE COUTURE COLLECTION F/W 21-22 INVITATION TO TRAVEL I invite you to travel In that country that looks so much like you. The languid suns of its clouded skies Hold for my spirit the enchantment of your eyes when they shine dim. Down there everything is order
  IRIS VAN HERPEN 'EARTHRISE' AUTUMN WINTER 2021-2022 Iris van Herpen shows her latest collection ‘Earthrise’ during Paris Haute Couture Week on July, 5th 2021. With our planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body we call
BAD HUMOR BOBBY DEAN DEMPSEY From the star, writer, and director of award-winning Candy Apple and Deadman’s Barstool comes full steam ahead...Bad Humor! Bobby Dean Dempsey’s highly anticipated new web series skirts the edges of political correctness with irreverent and poignant social commentary for the humorist in need of a
BOARD LUCAS BRENNER Photographer Kolby Knight's men's skater editorial for Reserved magazine. Starring male model Lucas Brenner with DNA Model Management New York. With incredible styling by Sarah Benge. Beautiful men's grooming by Elizabeth Morache. Music by Andrew LaVogue. https://youtu.be/uAmMMPJnm70
PRICE JAMES YOU CANNOT KILL DAVID ARQUETTE Price James is a comedy director and scriptwriter based between Los Angeles and London. Commonly known for comedy, genre and creative concepts, his high-energy performances veer into fantasy and action movie satire. If Terry Gilliam and John Landis had a child, this is
THE TRIAL AGAINST OURSELVES BLAUE & POPPY On Christmas Eve, 2015, Julian Blaue, Edy Poppy and their baby boy are robbed by two impoverished, armed men in Rio de Janeiro. Blaue & Poppy’s first reaction is to report the two assaulters to the tourist police. They later regret it. This
TAYLOR JUSTINE Q&A Los Angeles-based beauty Taylor Justine photographed exclusively for Reserved magazine. Photographer Randall Slavin. Editor Jules Wood. Hair by Gui Schoedler for Exclusive Artists using ColorWow Haircare and ghd tools. Makeup by Jocelyn Johnson. Taylor Justine at Agency Industry LA. Interview by Bonnie Foster. Photographed at Reserved Ranch
INJA ZALTA ACTRESS & ENTREPRENEUR Inja Zalta is a Slovenian actress, known for No Escape (2020), Rustlands (2019) and Godhead: In a fiction, In a dream of passion (2021). Photographed exclusively for Reserved magazine by Sinisha Nisevic. Editor Jules Wood. Makeup and hair by Mynxii White. Interview by Bonnie Foster.
DREAMER KOLBY KNIGHT Photographer Kolby Knight's beauty editorial for Reserved magazine. With makeup by Kacie Corbelle, using Dior Makeup. Models featured are Ana Milojevic from Ford Models and Isabelle Durant Geneviève Maniscalco from One Management. Photographed at Parachute Studios in Boston.
CATHERINE FULMER FASHION DESIGNER Born and raised in Southern California, Catherine Fulmer’s sensual garments meld together her passionate love of rock’n’roll and classic feminine designs. Her clothing has been featured on a number of celebrity clients in high-profile publications such as WWD, Vanity Fair, Elle, Harper’s Bazaar, The New York Times,
Ashley Benson photographed by Randall Slavin for Reserved magazine - Spread #3.
NO HELP FOR THAT ASHLEY BENSON American actress, model, writer, director and singer Ashley Benson photographed exclusively for  Reserved magazine by Randall Slaving. With styling by our Editor-In-Chief Jules Wood, makeup by Shane Paish and hair by Kylee Heath. Male Models featured: Phillip Ponesky from LA Models and Devin Truss
Andreas Kronthaler for Vivienne Westwood Autumn-Winter 2021-22 - Look #15. Reserved magazine.
MAYFAIR LADY AUTUMN - WINTER 21/22 “I could have spread my wings + done a thousand things, I’ve never done before. I’ll never know… my heart took flight. / I could have danced, danced, danced all night.” The songs of My Fair Lady R profoundly human + relevant to today. We gave
Vivienne Westwood Autumn-Winter 2021-22 - Cover #2. Reserved magazine.
VIVIENNE WESTWOOD AUTUMN - WINTER 21/22 This season, we started by looking at Daphnis and Chloe, 1743, a painting by French Rococo painter François Boucher, which is housed in the Wallace Collection, London. It became the main print for the season - with the sky and pastoral scenes reflected through the colors
DIRTY PINEAPPLE FALL/WINTER 2021 Individual proclivities in digital are a recurring theme at Dirty Pineapple. The team is no stranger to exposing the personal impact of modern digital behaviors. With Covid restrictions, online conversations have shifted to what's local, bringing attention to one's own back garden. From relationships to food
Libertine for Fall2021. Reserved magazine.
LIBERTINE FALL 2021 As the founding force behind Libertine, Johnson Hartig ups the ante in fashion by creatively immersing himself and those around him in a whimsical trip where old school classics meet new school know-how. Having first launched the label in 2001, today he continues upon his quest of
Willy Chavarria AW21 - look #16. Reserved magazine.
WILLY CHAVARRIA AUTUMN/WINTER 21 This is a story of elegance and endurance; the core elements of what WILLY CHAVARRIA designs. A call to simplicity. Clothing with a feeling of warmth and protection. The colors of New York are seen throughout the collection. Deep blacks, piercing blue reflections off glass skyscrapers,
Chocheng F21 - Opener. Reserved magazine.
CHOCHENG AUTUMN/WINTER 21 For his Fall/Winter 2021 collection, Designer Cho Cho Cheng transports us to the cheerful and inspirational tale of Mulan as choreographed in a 1980s Utopian style. A Peking Opera dripped in glamour and humor. A vibrant potpourri of fantasy, Disney and Fellini. Set in monochromatic and geometric
Spencer Draeger photographed for Reserved magazine by Alexander Thompson.
Dräger "THE VILLAIN YOU NEED" Dräger is the ethos of Spencer Draeger’s dystopian modern era. With his hand on the pulse of a generation saturated in anxiety and melancholia, part satirical, part sarcastic but overall playful—Spencer takes a light hand to the heavy themes of technology, love and society at
Private Policy FW21 - look #3. Reserved magazine.
PRIVATE POLICY FALL/WINTER 2021 Imagine the American Wild West in the 1800s: a grand landscape of mountains, ocean, desert, and valleys; ragged miners and cowboys; fortunes and opportunities from undiscovered gold that awaits throughout the land. However, not many may know the unique history in which hundreds of thousands of
AKNVAS FW21 - Opener. Reserved magazine.
AKNVAS FALL/WINTER 2021 The fall winter 2021 AKNVAS collection is created from a lens, which is looking at a world, in which we are all seeking comfort and safety. Creative Director Christian Juul Nielsen’s inspiration journey took him to revisit his roots while living in Paris and Copenhagen. The results
Ka Wa Key AW21 - opener. Reserved magazine.
  KA WA KEY AUTUMN/WINTER 2021 Through The Looking Glass, KA WA KEY AW 21 collection observes the duality of the imagination and reality inspired by larger than life characters and their dual personalities. Characters like Willy Wonka, Moira Rose, Peter Pan, Mad Hatter just a few to mention. Through
Timo Weiland menswear Fall/Winter 2021. Reserved magazine.
  TIMO WEILAND FALL /WINTER 2021 Polished leisure, the intention for the latest TW collection is timely in the uncertain era of WFH wardrobe and a return to the art of dressing for Zoom.  Co-founded in 2010 by Timo Weiland, Alan Eckstein and Donna Kang, Timo Weiland is a New
Sylvio Giardina Spring/Summer 2021 Haute Couture look book.
  SYLVIO GIARDINA SPRING 2021 COUTURE The new collection, divided into 7 “chapters”, plays on the disruption and radical transformation of previously codified balances and proportions, aiming at enhancing the regenerative power of a skillful artistic and sartorial craftwork and, at the same, the value of longevity, distinctive trait of
Glüme
  Glüme "GET LOW" Glüme shares her new single “Get Low”, the latest track from her debut album “The Internet”. "Get Low is about the high of falling for someone & how it effects your brain chemistry & nervous system. With autonomic dysfunction & a heart condition, it makes the
Terri Terri video still -
  TERRI TERRI "LOVERS IN NO TIME"   Terri Terri is the solo project of composer and multi-instrumentalist Mark Noseworthy. Noseworthy continues to write and produce his own music during his time off as a Magnetic Zero. ‘Lovers in No Time’ was written, recorded and performed alone in isolation with
Supermodel Natalia Vodianova backstage at Iris van Herpen S/S 2021 Haute Couture show.
  IRIS VAN HERPEN SPRING/SUMMER 2021 Iris van Herpen shows her latest collection ‘Roots of Rebirth’ during Paris Haute Couture Week on January 25th 2021. During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy
Luis Wright for Reserved magazine.
  THE BOY WHO FELL TO EARTH LOUIS WRIGHT Louis Wright! Introducing a new face to the modeling world!! Louis is a 17-year-old who hails from the Los Angeles area. Photography & Film by Mynxii White. Stylist/Art Direction Jules Wood. Thank you to NO SUCH AGENCY.        
  NO RHYME OR REASON MODEL RACHEL MAREN                
Allie Concannon photographed for Reserved magazine by Alexander Thompson.
  ALLIE CONCANNON AMERICAN BEAUTY Allie Concannon is one of those effortless looking girls. You know the type. The kind that gets photographed in a spectacular sequined gown, then casually tosses it off and throws on her boyfriend’s t-shirt and cutoffs, looking even more spectacular. When you ask Allie where
Musician John Roberts photographed by Alexander Thompson - Cover image. Reserved magazine.
JOHN ROBERTS FREAKS “I want to get hearts racing, energy flowing, and make people feel good!” says John Roberts, singer & songwriter, EMMY Award-nominated actor and comedian. His deep-rooted love for music can be traced back to his youth. At the onset of the 90's he fell in love with
DIRTY PINEAPPLE  SPRING/SUMMER 2021 Hush Garden “Hush little baby, don’t say a word” The opening lyrics of this perennial lullaby might be the repeating loop you hear in your head while experiencing Dirty Pineapple’s Spring/Summer 2021 collection. Individual proclivities in digital are a recurring theme at Dirty Pineapple. With previous
MADISON PAPP “Madison Papp’s Recipe For Creating Alchemy In The Kitchen & In Life” As a chef, Madison Papp takes a distinct and progressive approach to food, flavor, and cooking using a balance of fantasy, elegance, and unbridled vibrance. Born and raised in New York City, she grew up among
threeASFOUR - S/S 2021 Vesica Piscis   Directed by Jessica Mitrani and Alex Czetwertynski XR Virtual Production Content Alex Czetwertynski Director of Photography Charles Billot Choreography Jonah Bokaer Producer John Morgan Music Georgia Editing/VFX/Graphics Alex Czetwertynski First AC Bobby Davidson In Association with Worldstage Worldstage team Shelly Sabel - Creative
  COLLINI MILANO 1937 Spring/Summer 2021 NO ONE IS INNOCENT. No one is innocent. Our collective experience has revealed a common destiny, a shared responsibility, a connected humanity. With the awareness that the simple pleasures of life are the most precious. And a new priority: to add beauty and gratification
PRIVATE POLICY - S/S 2021 For Private Policy's upcoming collection, the designers chose to refocus our understanding of beauty. Embarking on a search for the modern day Aphrodite, the collection expands upon the belief that it is not a beauty pageant but a process of accepting ourselves and others, thriving
 Big Chief Dowee Robair Have you visited New Orleans and fallen in love with the city’s intoxicating mix of food, music and culture? The city is home to traditions—styles of art, cuisine, music and, yes, fashion—that cannot be found anywhere else. Nothing personifies this “only-in-NOLA” culture like the Mardi Gras
Carmine Rotondaro “Contamination For Glamour “ COLLINI’s Brand Legacy Of Heritage Couture & Resilience In The Age Of Covid-19 RESERVED MAGAZINE has a version sit-down with Carmine Rotondaro, COLLINI’s dynamic Creative director and CEO to discuss his vision behind their provocative new campaign. The juxtaposition of the model  engaged in
4254 Olympic Gold Medalists-turned-fashion designers, Élodie Ouédraogo and Olivia Borlée, speak to me over Zoom from their respective homes in Belgium. The interview was meant to be in person in Los Angeles, but like everyone, the girls have readjusted their plans for the worldwide COVID-19 lockdown. Among the many other fallouts of
ALABAMA BLONDE Alabama Blonde sits at her computer with a white background, keeping her surroundings mysterious. She’s relaxed in glasses and a black beret, and we begin by talking about her cactus garden. She’s afraid of heights, and the cactus barrier surrounding the edges of her balcony make her feel better
  JULIA CLANCEY Daria wearing Julia Clancey Pink Slinky head wrap, Earrings and Necklace PK Bijoux, Lion cuff Snake cuff Vintage cuff and ring by Hirst Collections, ring by Frangos, Bracelets @thehirstcollection by Kenneth Jay Lane, Satellite, Amishi, Askew London, Kenneth Jay Lane  Madi wearing Dragonfly Tassel Turban by Julia
BLACK DAHLIA: Candy and the Science of Bliss Arriving fresh out of the candy lab, Taryn Garcia makes the life of a confectioner sound just as surreal as the childhood mind imagines; it’s the life of an artist, chef, and mad scientist, all rolled into one.   Head chef along with Greg
Known for its lavish celebrity disco parties in the late 1970s, Studio 54 became a symbol of the NYC elite, and many of the images—such as Bianca Jagger on the white horse— were as notorious as the club that inspired them. Behind the camera of many of the famed photographs
Art
The moment Miljan walked into the Air France Lounge at New York’s JFK Airport he was immediately inspired by the architectural environment to create an installation/exhibition “Studio Visit”. As the first site-specific art installation of it’s kind the Air France lounge, his 35 large vibrant abstract works that were met
helena christen
‘In My Dream Last Night…’ is the armature behind an ongoing short film and sound concept by creative duo Stærk&Christensen, in collaboration with a number of artists from various fields who are a continuous source of inspiration to the duo. A collection of personal moments, thoughts and dreams are revealed
Art
ART & THE DNA OF CREATIVITY NEIL GRAYSON by Anthony Haden-Guest There is an empty frame on a wall in Neil Grayson’s SoHo studio. It’s a handsome frame, hanging alongside his portrait of his father. What he was planning to put in it? “Nothing,” Grayson said. “That’s Salvador Dali’s last
It is a historic time in the history of the United States. More women than ever are running for president, educational opportunities are slowly advancing for women globally, and America has returned to having a female Speaker of the House. However, the fight for women’s rights and equality still rages
Movement — a physical manifestation of our endless imagination. It allows us to create, to connect, to observe, and most importantly to know ourselves. To move is to be free. In this series, Fagan captures the intimacy of spontaneous expression. The motions, inspired by ballet, are so beautifully thoughtless they
Between running her own radio station, modeling, and campaigning in the ongoing crusade for equal women’s rights, it’s a wonder that Theodora can even find time to squeeze in an interview. Growing up in a household with Keith Richards of The Rolling Stones, it’s fairly inevitable that a strong musical
The Claypool Lennon Delirium is one of those rare bands that make you smarter when you listen to their music...The mood hovers around the spectrum of psychedelic rock, with dizzying bass riffs and otherworldly electric guitar.
Coincidentally, just a couple weeks before showing ZAC ZAC at Coterie, Posen was asked by Google and their online program Made With Code, to create an LED dress. Made With Code’s website encourages girls to study science and technology. It tells the stories of various young ladies who have learned
Art
Drawing across a surface is a mysterious adventure, full of complex possibility and poetry. While the works represented on these pages date from the 1970’s to the present and incorporate diverse processes and mediums, they all share my life’s preoccupation with the power of the drawn line.
My creative process is centered around the concept of evolution and the capacity to transform. I believe these concepts spring from a sense of optimism that we are not necessarily bound by our past, but by the boundless potential of the future. When a viewer engages with my work, I
Art
Most recognized for performance as a non-traditional method of painting, Brown uses her body as a tool to create artifacts that are remnants of her process. Reminiscent of abstract expressionist studies, Brown produces aesthetically whimsical paintings with a deep underlining rawness of human emotion. Viewing the body as a vessel
‘Etiam capillus unus habet umbram suam’ - The smallest hair casts a shadow + Francis Bacon
The school sits square, brick, and bunker like, cupping a central yard, which I do remember as the exact spot Artie Cano knocked the wind out of me with one punch to the stomach after I said something he didn’t like. This, right in front of the willowy Michelle Jones,
Feminist has become a dirty word. So often people feel uncomfortable openly identifying as a feminist because of the misguided notion that the term means that women should have power over men or that it is a euphemism for “man-hater.” Feminism is the belief that men and women should have
I don’t have an ideal type of man. I guess the ideal man is the one who identifies with these clothes and who feels better in them. My clothes don’t scream but they do tell a story. You have to have the patience to understand this story to really appreciate
1. At what point in your life did you first identify as a feminist and when did you become aware that a culture existed that devalued and debased women?  I didn’t really learn about feminism until I went to college. My mother was always a feminist but I don’t remember
Last spring we were invited to the home of producer, musician and guitarist, Nile Rodgers in Westport, CT for an interview and photo shoot of epic proportions. Along with us was Liz Derringer, renowned music journalist, who cut her teeth at Warhol’s Interview Magazine and former wife of music legend
Jen's ability to deliver cherubic, velvety vocals that effortlessly transition into the radical rumble of a runaway 18 wheeler doing 90 mph on an open highway is a feat in itself to witness live.