Everybody guy wants to be James Bond at least one time in his life. Our Blake guys play the game for your eyes only.
magazine masculin
Vogue, Vanity Fair, GQ, Elle, Interview, VMan… well Bruce Weber did it all when it comes to prestigious magazines.
This american photographer born in 1946 Greensburg, Pennsylvania, USA, became one of the most talented of his generation and is wanted all over the planets. From Brands (Ralph Lauren, Abercrombie & Fitch, Pirelli, Versace, Calvin Klein…) to celebrities (Ashton Kutcher, Monica Bellucci, Colin Farell, Nicole Kidman, Stella McCartney, Mary Kate & Ashley Olsen…) he kind of saw everything there was to see when it comes to photography and fashion/luxury photoshoot.
He even had the chance to takes pictures of one of the most iconic women of the fashion industry, Kate Moss, with very few clothes, not to say topless.
Here’s a selection of his work & more to see on his website : www.bruceweber.com
Terrence « Terry » Richardson (born August 14, 1965) is an American fashion photographer.
Richardson was born in New York City, the son of Bob Richardson, a fashion photographer who struggled with schizophrenia and drug abuse. Richardson was raised in Hollywood, a neighborhood of Los Angeles, California, where he attended Hollywood High School; and Ojai, California, where he attended Nordhoff High School. He was shy as a teenager and at some times deemed « completely lacking in social skills ». He played bass guitar in the punk rock band The Invisible Government for five years.
Richardson began photography when the band broke up and his mother introduced him to Tony Kent, a photographer who hired him as an assistant. There are several repeating themes in Richardson’s work, notably that of putting high-profile celebrities in mundane situations and photographing them using traditionally pedestrian methods, such as the use of an instant camera.
His work also explores ideas of sexuality, with many of the pieces featured in his books Kibosh and Terryworld depicting full-frontal nudity and both simulated and unsimulated sexual acts. Initially, many of Richardson’s subjects would be shot before a white background but in recent years he has expanded to other backdrops. He is also well known for posing with his subjects, often trading his trademark glasses with them so they may « pretend to be him » and vice versa.
Richardson has shot campaigns for Marc Jacobs, Aldo, Supreme, Tom Ford, and Yves Saint Laurent among others.
He has also done various magazine editorials for publications such as Rolling Stone,GQ, Vogue, Vanity Fair, i-D, and Vice.
Richardson has produced several campaigns for Diesel, including the ‘Global Warming Ready’ which won a Silver Lion for Print at Cannes Lions International Advertising Festival in 2007. Throughout the years he has also produced several private portraits for the company’s founder, Renzo Rosso.
In September 2011, they hosted a mutual book launch together with fashion editor Carine Roitfeld, at Colette in Paris.
In 2012 Richardson embarked on his first solo exhibition at Los Angeles’s OHWOW Gallery.
Nous sommes le 1er décembre et la température descend. Il est temps de faire un shopping mode pour affronter l’hiver, et Robin nous montre que porter des vêtements chauds peut vraiment faire remonter les températures! Bon week-end!
We are December 1st and the temperature comes down. It’s time to make a fashion selection to face the winter, and Robin shows us that to wear warm clothes can really make raise the temperatures! Have a nice weekend!
Photographe Thibault Bunoust www.thibaultbunoust.com
Maquillage: Delphie Make-Up
Modèles: Benjamin Déjoué & Gaël Pendola@Blakemen-Paris
Lorsque l’on parle du photographe Rick Day, on pense à une certaine esthétique masculine, aux corps musclés, redéssinés par sa lumière particulière et à cette sensualité qui émane de chaque image.
Retrouvez son travail dans les Archives de Blake avec notamment Simon Dexter en couverture des numéros 30, 32 et 49/50.
When we speak about the photographer Rick Day, we think of a certain male aesthetics, in the muscular bodies, redrawn by his particular light and in this sensualism which emanates from every image.
Find his work in Blake’s Archives with in particular Simon Dexter on the cover of the issues 30, 32 and 49/50.
Noël approche et il faut penser aux cadeaux…Voici une sélection en direct de la place Vendôme à Paris. J’espère qu’elle sera à votre goût.
Christmas approaches and it is necessary to think of presents… Here is a selection directly from the place Vendôme in Paris. I hope that it will be for your taste.
Come to join The Blake Men in Paris on december 4th at Le Queen for the Blake Birthday Party!
https://www.facebook.com/events/369212359832970/
Après les tailleurs de Saville Row, puis le grand Brioni, c’est Tom Ford qui habille Daniel Craig depuis Casino Royal. Le styliste renoue avec une silhouette près du corps comme l’affectionnait Ian Flemming et Sean Connery, en y ajoutant une modernité de coupe (sans doute fabriqué dans les ateliers Zegna) et des matières innovantes et contemporaines.
Probablement un des meilleurs films de la licence James Bond et sans doute un des plus élégant.
After the tailors of Saville Row, then the great Brioni, it is Tom Ford who dresses Daniel Craig since Royal Casino. The stylist takes up with a silhouette near the body as liked it Ian Flemming and Sean Connery, by adding it a modernity of cutting (doubtless made in studios Zegna) and innovative and contemporary materials. Probably one of the best movies of the James Bond license and doubtless one of the most elegant.
Cover boy du n°47, Armando a fait l’unanimité. Il incarne cette nouvelle vague de modèle qui cultive leur différence. La sienne? Sa pilosité. Loin des modèles lisses et stéréotypés qui chassent le poil à la limite de la pathologie, Armando le met en avant et fait de ce que certains pensent en handicape, une force d’attraction. Sa gentillesse et son professionnalisme font le reste. Lorsqu’on a travaillé avec lui, on n’a qu’une envie: recommencer!
Cover boy of Blake n°47, Armando made the unanimity. He embodies this new wave of model which cultivates their difference. His? His pilosity. Far from the smoother and stereotypical models which hunt the hair on the limit of the pathology, Armando advances it and makes of what some people think of handicaps it, a strength of attraction. Its kindness and its professionalism make the rest. When we worked with him, we have only an envy: begin again!
