Marco Glaviano: Supermodels

Total Page：16

File Type：pdf, Size：1020Kb

Marco Glaviano: Supermodels 1 CINDY CRAWFORD, ST BARTH, 1989 166 x 125cm giclee print Edition of 7 £10,000 + frame + VAT = £13,500 also available as 90 x 60cm print, edition of 25, £3,400 + VAT unframed 2 EVA HERZIGOVA, NEW YORK, 1994 125 x 163cm giclee print Edition of 7 £10,000 + frame + VAT = £13,500 also available as 60 x 90cm print, edition of 25, £3,400 + VAT unframed 3 CINDY CRAWFORD, CABO SAN LUCAS, 1991 60 x 90cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 125 x 188cm print, edition of 7, £12,500 + VAT unframed 4 CLAUDIA SCHIFFER, ST BARTH, 1990 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 8, £3,250 + VAT unframed Please note that prices are subject to change at the discretion of the gallery. All enquiries: 020-7349 9332 / [email protected] Marco Glaviano: Supermodels 5 ANGIE EVERHART, ST BARTH, 1998 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £10,000 + VAT unframed 6 ASHLEY RICHARDSON, ST BARTH, 1984 60 x 90cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 sold out in other sizes 7 CECILIA, MILAN, 1990 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £10,000 + VAT unframed 8 LISKULA, PIER 54, NEW YORK, 2010 60 x 90cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 125 x 188cm print, edition of 7, £12,000 + VAT unframed Please note that prices are subject to change at the discretion of the gallery. All enquiries: 020-7349 9332 / [email protected] Marco Glaviano: Supermodels 9 CINTHIA ANTONIO / B, PARIS, 1993 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £10,000 + VAT unframed 10 CINTHIA ANTONIO / C, PARIS, 1993 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £10,000 + VAT unframed 11 OLGA SEROVA, COSTA SMERALDA, 2006 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £12,000 + VAT unframed 12 PAULINA, NEW YORK, 1986 80 x 60cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 166 x 125cm print, edition of 7, £12,000 + VAT unframed Please note that prices are subject to change at the discretion of the gallery. All enquiries: 020-7349 9332 / [email protected] Marco Glaviano: Supermodels 13 STEPHANIE SEYMOUR, PARIS, 1982 60 x 80cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 125 x 175cm print, edition of 7, £12,000 + VAT unframed 14 TATIANA PATITZ, NEW YORK, 1987 60 x 90cm giclee print Edition of 25 £3,400 + frame + VAT = £4,500 also available as 125 x 187cm print, edition of 7, £10,000 + VAT unframed Please note that prices are subject to change at the discretion of the gallery. All enquiries: 020-7349 9332 / [email protected] .

Copy Link

Recommended publications

Taís De F. Saldanha Iensen TRABALHO FINAL DE GRADUAÇÃO II O SEGREDO DE VICTORIA: UM ESTUDO SOBRE AS ESTRATÉGIAS PUBLICITÁRI
Taís de F. Saldanha Iensen TRABALHO FINAL DE GRADUAÇÃO II O SEGREDO DE VICTORIA: UM ESTUDO SOBRE AS ESTRATÉGIAS PUBLICITÁRIAS EVIDENTES NO VICTORIA’S SECRETS FASHION SHOW Santa Maria, RS 2014/1 Taís de F. Saldanha Iensen O SEGREDO DE VICTORIA: UM ESTUDO SOBRE AS ESTRATÉGIAS PUBLICITÁRIAS EVIDENTES NO VICTORIA’S SECRETS FASHION SHOW Trabalho Final de Graduação II (TFG II) apresentado ao Curso de Publicidade e Propaganda, Área de Ciências Sociais, do Centro Universitário Franciscano – Unifra, como requisito para conclusão de curso. Orientadora: Prof.ª Me. Morgana Hamester Santa Maria, RS 2014/1 2 Taís de F. Saldanha Iensen O SEGREDO DE VICTORIA: UM ESTUDO SOBRE AS ESTRATÉGIAS PUBLICITÁRIAS EVIDENTES NO VICTORIA’S SECRETS FASHION SHOW _________________________________________________ Profª Me. Morgana Hamester (UNIFRA) _________________________________________________ Prof Me. Carlos Alberto Badke (UNIFRA) _________________________________________________ Profª Claudia Souto (UNIFRA) 3 AGRADECIMENTOS Inicialmente gostaria de agradecer aos meus pais por terem me proporcionado todas as chances possíveis e impossíveis para que eu tivesse acesso ao ensino superior que eles nunca tiveram, meus irmãos por terem me aguentado e me ajudado durante esse tempo, meus tios e tias, que da mesma forma que meus pais, sempre me incentivaram a estudar, meus avós que sempre me ajudarem nos momentos difíceis com sua sabedoria e experiência. Gostaria também de agradecer em especial à tia Edi, minha dinda, minha madrinha de coração que junto com meus pais, sempre me deu todo tipo de apoio para que eu não desistisse, mesmo nos momentos mais difíceis. Meu amigo Rafa que me deu a ideia do tema e ter me ajudado até a finalização do mesmo.
[Show full text]
Model and Believe It Is a Potentially Exciting Opportunity
INFLUENCER & TEAM TESTIMONIALS Companies gain market share by inorganic growth...by acquisition, by playing Pac Man in the marketplace. Few companies gain Internet valuation metrics by such a formula because users are fickle and they themselves cannot be "bought" in the normal way that revenue and economies of scale can be purchased. Hunny is different...where old school meets new school...disruptive and creative and highly monetizable, we believe. WE sought to aggregate influencers.....100 at first...200 after that....maybe 1000 after that. Who are influencers? They are the new way to market to Millennials and the consumer......through people who trust people. An Influencer, by definition, has a following of people that he or she "influences." They may be promoting the way they cut something in half, a jump rope, or the way they interact with cats. Whatever they are promoting, their micro universe of fans likes it, enough to call themselves a follower. And Corporate America likes that...enough to pay those influencers, in some cases, a million dollars or more to promote their brand or product. Yes, we said a "million dollars or more." Our brand and product is a new social communications platform...but you already know that. You're at the end of the business plan. In the next section, you will read what we call third party validation. You will see the veracity of our plan with respected people in the influencer world who state, in unequivocal terms, that they believe they can bring us the coveted 100 influencers with which to initiate our platform to the world.
[Show full text]
The Independent Magazine September 2003 P. 6-10 Foreign
The Independent Magazine September 2003 p. 6-10 Foreign bodies Think Nineties grunge-chic, and you’re probably thinking of a Juergen Teller Image. But, as the photographer tells Sebastian Smee, while he’s still fascinated with the wilder shores of fashion, his work is moving ever closer to home. Portrait by Gautier Deblonde THIS ONE will take some explaining. The photographer Juergen Teller pauses for a good 10 seconds, then ruffles his hair. I have asked about the circumstances that gave rise to the somewhat surreal image you see above. The sprouting flora, I have already learnt, is not an overgrown hedge: it’s a resplendent version of the artist Jeff Koons’s most famous work. Puppy. Nor is that a discarded Barbie doll straddling one of its ears: it’s the American supermodel Stephanie Seymour. This, as it happens, is Seymour’s place in Connecticut: her freshly mown lawn, her Puppy, and — not far out of shot — her 100 horses, her two swimming pools, her world- class collection of haute couture, her collection of late 20th-century art... “I guess I met Stephanie around ‘94,” begins Teller. We are on the ground floor of his studio and home in London’s Ladbroke Grove. A table in the middle of the room is piled with prints of photographs. There is a scale model of a gallery on the floor, which Teller and his assistants are using to plan the hanging of his September exhibition at Milton Keynes Gallery; at the far end of the room is a doorway and stairs leading up (to his studio) and down (to his living quarters).
[Show full text]
Celebrities, Culture and a Name Economy
Celebrities, culture and a name economy Moeran, Brian Document Version Final published version Publication date: 2001 License CC BY-NC-ND Citation for published version (APA): Moeran, B. (2001). Celebrities, culture and a name economy. Link to publication in CBS Research Portal General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us ([email protected]) providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 Celebrities, Culture and a Name Economy Brian Moeran Visiting Professor Department of Intercultural Communication and Management Copenhagen Business School Dalgas Have 15 DK-2000 Frederiksberg Denmark [email protected] Abstract Drawing on previous research, this paper discusses how celebrities act as intermediaries between culture and economy in the promotional industries. By focusing on celebrity endorsements in advertising, it outlines how film actors and actresses, athletes, models, pop singers, sportsmen and women mediate between producers and consumers via the products and services that they endorse. Here celebrities are cultural intermediaries as they give commodities ‘cultural personalities’ and perform across different media, linking different cultural spheres into an integrated whole. But, given the facts that who they advertise for and what they do or do not do have major financial implications for the corporations whose products they endorse, celebrities can also be said to be economic intermediaries.
[Show full text]
Celebrities, Culture and a Name Economy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenArchive@CBS Celebrities, Culture and a Name Economy Brian Moeran Visiting Professor Department of Intercultural Communication and Management Copenhagen Business School Dalgas Have 15 DK-2000 Frederiksberg Denmark [email protected] Abstract Drawing on previous research, this paper discusses how celebrities act as intermediaries between culture and economy in the promotional industries. By focusing on celebrity endorsements in advertising, it outlines how film actors and actresses, athletes, models, pop singers, sportsmen and women mediate between producers and consumers via the products and services that they endorse. Here celebrities are cultural intermediaries as they give commodities ‘cultural personalities’ and perform across different media, linking different cultural spheres into an integrated whole. But, given the facts that who they advertise for and what they do or do not do have major financial implications for the corporations whose products they endorse, celebrities can also be said to be economic intermediaries. Introduction The relation between culture and economy is, to say the least, tricky. It is one that has been exercising the minds of scholars in management, organisation and consumer studies, on the one hand, and of those in disciplines like sociology, cultural studies and anthropology, on the other. Yet, even though it is now well over two decades since Raymond Williams (1977: 136) noted that ‘large scale capitalist economic activity and cultural production are now inseparable’, we have not got that much further in our understandings of just how they are inseparable. This paper focuses on the activities of celebrities, and in particular of models, as a means of trying to bridge the conceptual gap between culture and economy.
[Show full text]
Videofashion Content Catalogue 2020
CONTENT CATALOGUE 2020 Founded in 1976, Videofashion is the world’s premiere producer and supplier of fashion news programming, video content, and footage. We have over 3,000 television programs; over 19,000 fashion video segments; and over 18,000 hours of fashion-related footage — with more than 100 new programs produced annually. All of our content is available for licensing worldwide, in all formats, and for all media. What follows is an overview of our ten most popular program series, plus short form content and footage. Select programs are available in 4K. Additional program series not listed in this guide are available as well. Contact us for details and specifics. TABLE OF CONTENTS 10 Most Popular Current HD Program Series 1. Videofashion News p. 3 2. Videofashion Designers p. 4 3. Videofashion Models p. 5 4. Fashion VIP p. 6 5. The Year In Fashion p. 7 6. Videofashion Bridal p. 8 7. Videofashion Swim p. 9 8. Videofashion Men p. 10 9. Videofashion Style p. 11 10. Fashion: Uncensored Uncut p. 12 Short Form Content p. 13 Footage p. 14 Contact Information p. 15 Page 2 Videofashion News SPECS: 24-minute episodes | New episode every week | HD | With Voiceover | 43 Seasons Behind the scenes. Beyond the runway. Continuously produced since 1976, Videofashion’s flagship series is your 360-degree weekly insider look at what’s happening in fashion, and why it matters. The total fashion experience. Watch the trailer here: https://vimeo.com/271312583 SCREENER: Videofashion News 43#2: Fashion Camp In this special episode of Videofashion News, we go inside the Metropolitan Museum of Art’s latest Costume Institute Exhibition, Camp: Notes on Fashion, for a lesson in all things camp! Then, explore camp on the catwalk through the decades, via the Videofashion Archives.
[Show full text]
THE STAGES Domenico Dolce Was Born in Polizzi Generosa (Palermo
THE STAGES Domenico Dolce was born in Polizzi Generosa (Palermo) on August 13th, 1958. Stefano Gabbana was born in Milan on November 14th, 1962. October 1985 Début of the Dolce&Gabbana brand with a fashion show during Milano Collezioni - New Talents. March 1986 First self-produced collection and fashion show called Real Women. March 1987 First women’s knitwear collection. August 1987 Opening of the new showroom in Via Santa Cecilia, 7 Milan. October 1988 Domenico Dolce’s family based in Legnano (near Milan). April 1989 First women’s fashion show in Tokyo. July 1989 First lingerie and beachwear collections. January 1990 First men’s collection. April 1990 First men and women’s fashion show in New York. October 1990 Trade agreement with Genny group of Ancona as fashion consultants for the line Complice (which ends in 1994). November 1990 Opening of the showroom in New York, 532 Broadway. June 1991 The “Woolmark Award” for the most innovative men’s collection of the year. September 1991 January 1992 July 1992 First licensed men’s beachwear collection. October 1992 Bride collection (ends in 1998). First women perfume produced and distributed by Euroitalia: Dolce&Gabbana Parfum. January 1993 First licensed collection of men’s underwear. 1 THE STAGES May 1993 Opening of the new showroom for the men’s and women’s Sales Department in Piazza Umanitaria, 2 Milan (as of May 2002 it has moved moved to Via Goldoni, 10). Dolce&Gabbana line till 2006. Dolce&Gabbana Parfum is awarded the International Prize of the Perfume Academy as the “Best Feminine Fragrance” for the year 1993.
[Show full text]
Tim Gunn Fashion Innovators
PUBLISHER’S NOTE Fashion Innovators SUR¿OHV WKH PRVW LQQRYDWLYH DQG 7KHWH[WRIWKHHVVD\VDUHGLYLGHGLQWRWKHIROORZLQJ LQÀXHQWLDO LQGLYLGXDOV LQ WKH GHYHORSPHQW RI IDVKLRQ • Early Life provides facts about the individual’s From the post–World War II revival of haute couture to upbringing. Where little is known about the per- WKH³PDVKXS´VW\OHRIWKHWZHQW\¿UVWFHQWXU\WKHKLV- son’s early life, historical context is provided. tory of fashion is immeasurably rich, with milestones • Life’s Work, the heart of the article, consists of a WKDWKDYHUHYROXWLRQL]HGRXUVRFLHW\7KLVQHZWLWOHH[- straightforward, generally chronological account amines those individuals most responsible for the design of how the individual gained recognition, em- and production behind fashion today, from designers to SKDVL]LQJ WKHLU PRVW VLJQL¿FDQW HQGHDYRUV DQG the models popularizing their designs. achievements—and failures. • Personal Information includes post-achieve- SCOPE OF COVERAGE ment activities or positions, family life, and top- Fashion Innovators features more than 180 biographies ics of general interest. RILQGLYLGXDOVZKRKDYHKDGDVLJQL¿FDQWLQÀXHQFHRQ • Each essay also includes an annotated Further the development of fashion, culminating with the styles Reading section that provides a starting point for of today that borrow from both hip-hop and unisex in- additional research. GLHVW\OHV7KHPDMRULW\RIWKHVHELRJUDSKLFDOHVVD\VDUH derived from Current Biography, which is a monthly SPECIAL FEATURES magazine that H. W. Wilson began publishing in 1940. Several features distinguish this series from other bio- Biographies represent a strong multi-ethnic, cross-gen- JUDSKLFDOUHIHUHQFHZRUNV7KHEDFNPDWWHULQFOXGHVWKH der focus, with accompanying sidebars describing the following aids, appendices, and indexes: DI¿OLDWLRQZLWKZKLFKWKDWLQGLYLGXDOLVPRVWRIWHQDV- • Timeline presents a comprehensive list of mile- sociated. Among the editors’ criteria for inclusion in the stone events in the evolution of fashion since the VHWZDVDQLQGLYLGXDO¶VKLVWRULFDOVLJQL¿FDQFHZKHWKHU 1940s.
[Show full text]
P24-25 Layout 1
24 Friday Lifestyle | Feature Friday, September 6, 2019 File photo shows German photographer Peter Lindbergh during a press conference for his show ‘Peter In this ﬁle photo taken on September 24, 2010 a visitor walks past the photographs ‘Kate Moss’ (right, Lindbergh - On Street’ in Berlin. — AFP photos 1994) and ‘Mathilde’ (1989) by German fashion photographer Peter Lindbergh during a press preview of the exhibition ‘On Street - Photographs and Film’ in Berlin. eter Lindbergh, the German photographer up, big-hair studio shoots of the day-that helped imperfections was legendary. “There is no credited with launching the careers of su- define his stark, cinematic style. beauty without truth. All this fake making up of Ppermodels such as Naomi Campbell, The new faces included Evangelista, Christy a person into something that is not them cannot Cindy Crawford and Linda Evangelista, has died Turlington and Tatjana Patitz, all of whom would be beautiful. It is just ridiculous,” he said in No- aged 74, his family told AFP Wednesday. Lind- go on to become stars of the international cat- vember 2016 when launching the 2017 Pirelli bergh’s stark black-and-white images of models walks. “He had a way of turning your imperfec- calendar. and stars staring straight at the camera, which tions into something unique and beautiful... and For that feminist-friendly edition of a calendar played with light and shadow, helped overturn his images will always be timeless,” Crawford long synonymous with langorous nudes, he glossy standards of beauty and fashion in the wrote on her Instagram account. “Caring, kind, roped in veteran stars Helen Mirren and Char- 1980s and 1990s.
[Show full text]
MEET VINCENT LONGO – MAKEUP ARTIST EXTRAORDINAIRE Posted by Arielle 04.15.12
MEET VINCENT LONGO – MAKEUP ARTIST EXTRAORDINAIRE Posted by Arielle 04.15.12 Makeup artist and cosmetic brand developer, Vincent Longo was born in Swan Hill, Australia, and spent his childhood amidst the majestic beauty of the outback. The light, colors, textures, sounds and purity of wild nature made a lifelong impression and deeply stimulated his exceptional “eye” for color. While in his late teens, Vincent’s family immigrated back to Italy, and he enrolled in B.C.M. – the Beauty Center of Milan. With effort and passion, Vincent soon mastered the art of makeup application through working with Gianni Versace, Giorgio Armani, Dolce and Gabbana and Gianfranco Ferre. His career took off when he was booked to work on Cindy Crawford for the cover of Italian Vogue. Shortly thereafter, Vincent made his professional debut in New York in the 90s. Cindy Crawford, Christy Turlington, Linda Evangelista, Naomi Campbell, Stephanie Seymour, Claudia Schiffer, Heidi Klum, and Elle McPherson are among the many models Vincent has worked with in his career. In 1995, he launched Vincent Longo Cosmetics, which is sold at Bloomingdale’s as well as boutiques and spas across the U.S. Read on to learn more about his brand and how his experiences have shaped his passion for beauty. http://www.vincentlongo.com/ What led you to develop your own line of color cosmetics? While working with all the super models and celebrity clients on photo shoots and red carpet events, I could never find the right shade of foundation to match their individual skin tone so I would find myself mixing the exact shade for each one.
[Show full text]
Peter Lindbergh: a Different Vision on Fashion Photography”
Vogue September 7, 2016 GAGOSIAN GALLERY Inside “Peter Lindbergh: A Different Vision on Fashion Photography” Todd Plummer Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder, and Stephanie Seymour, Brooklyn, 1991. Photo: Peter Lindbergh / Courtesy of Peter Lindbergh, Paris / Gagosian Gallery The influence of Peter Lindbergh on how we see fashion today cannot be understated. Of course, when people think of Lindbergh, the original supermodels come to mind; long before the current generation of Snapchat-savvy models, his iconic shot of Linda, Tatjana, and Christy frolicking in their white oxford shirts created the original #SquadGoals. For the first time, an exhibition at the Kunsthal Rotterdam—”Peter Lindbergh: A Different Vision on Fashion Photography”—will offer a robust survey of the photographer’s opus. Lindbergh, who is currently represented by Gagosian Gallery, has had segments of his work included in gallery shows, museum exhibitions, and permanent collections around the world, but this exhibit at the Kunsthal offers a fresh glimpse of the man behind the camera. A range of never-before-seen personal notes, props, Polaroids, contact sheets, and storyboards will be shown, organized by Lindbergh’s “influences and obsessions,” as curator Thierry- Maxime Loriot explains. Loriot, a former model who worked with Lindbergh in the 1990s, is also the brains behind the wildly successful “The Fashion World of Jean Paul Gaultier” show that started in Montreal, as well as the Viktor & Rolf retrospective opening at the National Gallery of Victoria in Melbourne next month. Loriot spoke with Vogue.com about why this Lindbergh exhibition might just warrant a flight to Rotterdam.
[Show full text]
Imitation Game
ALBERT TAUBMAN DIES REMEMBERING CARLOS FALCHI AND DR. FREDRIC BRANDT WERE REMEMBERED AT SEPARATE MEMORIAL HOLLYWOOD HIGH SERVICES. PAGE 6 BURBERRY HEADED TO THE GRIFFITH OBSERVATORY FOR A SHOW AND PARTY. PAGE 10 MALL PIONEER AND DEVELOPER WAS 91. PAGE 7 U.S., CHINA PRESSURE XXXXXX Alibaba’s Challenge: Xxx Xxx Xxx Fighting Counterfeits Xxx Xxx Xxx Xxx By LARA FARRAR By OVIDIS A NATQUE NET BEIJING — As Alibaba faces continued criticism MENDA VOLUPTA turepudit, quias nestis accus as from regulators in China and the United States over resti beriasi doluptatem. Nem aut aperunto est ut its business practices, analysts say it could be chal- perrori taquidem aut qui blatem ad eium fugiantur lenging for the e-commerce giant to overcome some modi cus vel iusam fugiamus, omnim volendus, sinus problems, particularly what appears to be an endem- eaquas dolorep tatatent qui que sandelendis quis aut MONDAY, APRIL 20, 2015 ■ $3.00 ■ WOMEN’S WEAR DAILY ic presence of counterfeits and gray-market products voluptur? on its consumer-to-consumer marketplace platform, Nam essint aut ea duntinv elendiciam num exp- WWD labo ribusae niam quidebi ssimet autat. Taobao.com. The platform is renowned among Chinese shop- Antiur, nobit faceptat. pers for its vast array of goods for sale, ranging from Idis molupti nonsequis doloren impelecae nusci pets to fake college diplomas and counterfeits, or im solente molorep eribus des corpora tibus, odis et very close replicas, of fashion brands. dunt dolorpo reiciatem dolo int adigend uciendus “It is very hard to eradicate the problem,” John aperita consequam utatur, quiani conectiam ut as Fang, an analyst with the Shanghai-based China intionsequas et quaeriat qui aut unt omniendi blabo.
[Show full text]