America, Peter Lindbergh, New York discussed on Design Matters with Debbie Millman

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Your photography so much that he ended up buying threes dollars worth of photography of the brooklyn bridge during that meeting. Also like you know. They were older work. I've done in france in magazine but there was also like to pictures taken maino myself and some of them in new york and so this brooklyn bridge pitchers and they were doing an article in house and garden on the brooklyn bridge and i think it was for the sentinel or something like that at the time. I don't know exactly. I got to be for that. But i remember like this. Oh you gotta go see rochelle adele. She works at our garden. Let me give her a ring and you got to go to see her and show those pitches. So i went to see rochelle. She was at house and garden and she looked at the pictures and to say. Oh these are lovely. We can we keep them for the bit. Then it took like four or five pitches and then you. I get a phone call from saying like oh actually like the the pictures that they're going to be running a really. Yeah and they paid like three thousand dollars speaking. I couldn't believe so basically. That was my first experience as a photographer working for publication in america. And then when you went to self you also worked with richelieu dell. Is that correct. She also worked for the magazine. She became a little bit. Like a miniature alex lieberman. She was working. I think she had self magazine. I think she was also up at mademoiselle. She was kind of like like alex. Lieberman's right task and she would come in and look over all the pages and then liberman would come in and look at the pages and we have to make sure that everything was well organized like each picture was supposed to be from this side which was very small to a double page side. And then you would play. Was things had a really like my time. Magazine g. q. Working was mayor shanahan's director and matama self magazine really like couldn't wait for these moments. Where would show up and michelle would show up kind of like shuffling everything around some part of it probably just to shovel and part of it to make more sense of the stories to learn so much about like what you can do. It was a story like are you can was editing. Sizing was putting things one when and other. Why would that be better and that to me. Like tidied up so nicely. Was all the things that i learned from my dad about the journalistic side of our. You put something together. So it's complete so it makes sense so there's a logic to it but there's also an artist about it when i was there itself and you know it's not that self was fantastic magazine. That's when i really like said while. I'm really liking this this i can. I was eating it up like there was no tomorrow and i loved it. I loved it. And like when i ll expert. Come you know like some designers will put patriots together was smaller guy in the corner and i would think like. I wonder how lieberman's going to change that. Maybe he's going to do this but he's going to do that. Maybe he's gonna. It was really intriguing to seem calm and change everything around but in education. The boasts intriguing. Part was that every time it was right. It was right people were so you have no idea designers. Were like crying over like the not crying literally like you like so upset that the layouts change and everything i was thinking but he's right and we had arguments argument some of the staff. I remember but much better in makes sense. Now it makes sense the stories better and people get like really like attached to their own work. I guess yeah. What a magnificent thing to be able to witness and to learn and be part of alex g. q. And you mentioned that you worked with our director. Mary shanahan and i read that she. You've said that she helped you clearly. Understand how an image can function. And i'm wondering if we talk a little bit about what that means and what she taught. Well i think she was the one who appeared on top of the i by saying like pushing this idea of the point of view that everything comes down to point of view everything comes down to vision and to a to express that vision in a very simple manner and i think that i learned that from her and she was very a definite about that. I think like really felt like oh complete. The circle here like the understanding of like to pass information the proper way in a practical way for my father and being a journalist understood the artistry and shuffling. And what you can do as an image and now you can say something in this way if you make the image decides on this way if you make the mich this is a little bit like the complete approach to the build up of a magazine but then a learn from mary that oh this is great but what is it. That is inside image. And what is that point of view and now to pass on that information as an art director into the dog refer so that point of view is palatable relevant and on point and that i felt like ooh i can't be an auditor straits and then the left i know i know and then and then lieberman was really pissed so after a year and a half g q betty carter. The former editor of esquire and the newly minted editor of a brand new magazine called new york woman. Invited you to become the founding art director. And i remember when the magazine i came out i actually had a friend who worked there as a copy editor and there was so much excitement about the launch. And i read that. You had many epic battles over the tone of the magazine you wanted to be cool and clean and they wanted it to be warm and cozy which seemed very odd for a new york woman type magazine. How did you manage looking back on it. How would you describe that time. Well well yes. I remember you mentioning that. Yes that's true. Add a couple of Battles with some of the stuff but not was betsy really. Because i think betsy understood at you know like it was late. Eighty s late eighties. S new york. City come on like the time. The city was the coolest was the place was the center of the world. I mean if anything and anything that was happening was happening in new york. So of course. I wanted to best photographers. Of course i wanted you know like the thing to be the coolest thing possible. Yes there was. It was american express was doing the magazine. Show is big. Let's say and but we we went against that. I think ni- yes. We different wanted the magazine to be cool to be like you know quite fashiony. At the time i remember. If that's the first i worked. Peter lindbergh was that new york woman. And that's the first time actually. Peter lindbergh Worked in america and then other talk. I like patrick. Demarchelier work there. Like spiel mccall package you know cast for at the time that were working for forecasts at sani. They were working in europe. More actually european stock strangely enough because also like mr lebron was not up left communist. He had he said he had plans for me..

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