Helmut Newton...Me fascina

Sumo. 35.5 kilos de libro almacenado en un contenedor creado por Philippe Starck.

10.000 copias firmadas por Helmut Newton.

Casi 400 fotografías, la mayoría inéditas, una obra de arte exclusiva expuesta en museos.

Un festín para los sentidos...Helmut Newton en estado puro.

Me fascina Helmut Newton, el creador del porno chic y junto a Cecil Beaton, Irving Penn y Richard Avedon, uno de los cuatro dandis de la fotografía del siglo XX.

Me fascina su universo de provocación, de mujeres poderosas, de ambientes palaciegos…De mirón elegante.

Me fascina su fascinación por el desnudo y la seducción femenina y su fetichismo por los zapatos de tacón.

Me fascina que su elegancia y sobriedad impregne todo su trabajo y lo dote de un sello original y distinto que nos permite diferenciarlo de cualquier otro artista.

Me fascina que con sólo dos o tres disparos fuera capaz de conseguir algunas de las imágenes más icónicas del pasado siglo.

Y ahora, y para deleite de mi fascinación, Taschen publica una versión “de bolsillo” (al módico precio de 100 euros) de Sumo y expone en la Fundación Helmut Newton de Berlín hasta el próximo mes de enero las casi 400 fotografías que componen el libro.

(Todas las fotografías que ilustran este post pertenecen al libro Sumo de Taschen)

Erwin Blumenfeld. Before and after

“I play the following roles with the art of deceit: human being, Jew, infant whose testicles have been stolen, painter-poet-prince, thinker, stinker...”

Erwin Blumenfeld (1897-1969) was a renowned American photographer of German origin who created some of the most memorable fashion imagery between 1930 and 1069.



In the 1930s, he published collages mocking Adolf Hitler.

In 1939 he published on Vogue a series of photographs where Lisa Fonssagrives appears swinging from the girders of the Eiffer Tower in a Lucien Lelong dress, and more than 50 years after the publication are still an innovate and memorable images.

His more personal work is in black and white and his commercial work in fashion for Vogue and Harper's Bazaar, is mostly in color. In both media he was one of the greatest innovators of the past century.

Scoop Canela: Nicola Formichetti

Nicola Formichetti was born in Japan in 1977 to an Italian father and a Japanese mother and grew up between these two countries.

His unique style is a result of his upbringing: internationally eclectic; modern and traditional; Eastern and European.




He works as a creative director of Dazed&Confused, fashion director of Vogue Hommes Japan, senior fashion editor of Another Man and contributing fashion editor of V, V Man, Another, Arena Homme Plus and Haper’s Bazaar Usa.

He works as well as a consultant for a number of leading fashion brands like Custo Barcelona and D&G,

On the cover of Vogue

(Vogue USA, Sept., 1944)


(Vogue USA, Sept., 1943)


(Vogue USA, July, 1943)


(Vogue USA, Jan., 1942)


(Vogue UK, Sept., 1945)


(Vogue USA, October, 1957)


(Vogue USA, December, 1945)


(Vogue USA, August, 1945)


(Vogue USA, April, 1952)


(Vogue USA, 1947)

Magazine covers used to be staid, uninspired and shot solely in black and white; but John Rawlings with his glamorous shots elevated the commercial photography to an art form.

His innovative and mystique work for Condé Nast includes more than 200 Vogue covers as well as myriad ad campaigns.

(Via The Fashion Spot)

Scoop Canela: Slim Aarons.

"I knew everyone. They would invite me to one of their parties because they knew I wouldn't hurt them. I was one of them."

Slim Aarons, born George Allen Aarons (1916-2006), began working as a photographer for Yank Magazine (the official publication that was distributed to the armed forces).

After that, he worked as a freelancer for Life and Town & Country magazine, travelling to the world’s most desirable destinations and his snapshots documented the lives of the rich and famous people.



Slim Aarons, one of the prodigious photographers of our time and noted for photographing socialites, jet-setters and celebrities, is revealed in the exhibition Slim, Rich&Famous (on view at Getty Images Gallery until May 30 2009) as a keen observer of social mores.

And for the first time, we can see and enjoy not only the famous iconic colour images, but also the unseen black and white ones of 1950’s high society.