Linda Evangelista, Henri Bendel, Steven Meisel discussed on Fat Mascara
And it's like, I know all of the aspects of creating a beautiful photograph and making someone look the best they can and not not try to make them. Like, oh, I I want them to be photographed you. Because I didn't grow up in that. I mean, I grew up in the air of studio fifty four where everybody was with everybody. And you had royalty next. You had celebrity next to you didn't have to go through this team of bodyguards, and and this team of publicists and all that, you know. And and that's what I love about, you know, doing new people. But then when you hit this snag somewhere where you get a new actress that is a somehow in her head thinks that you know, you have to do what they like I'm turned off. I mean, it's not that. I want to do what I wanna do. But I want to have a conversation. I remember there was one time and. One time. There was this one artist that her husband wanted me to make her over. And she was she's a great singer. And so she made an appointment to come to the salon because Steven Meisel shooting her and my salon was at Henri Bendel at the time, and I could see the Trump Tower of so now she's late. She's making me wait, and I don't like to be waiting. And so I still we were on time. Anyway, the story goes that she finally gets in the car and drives she could've walked kitty corner. Do you know what I'm saying what she gets in her limo, no posse, and I see this all playing out. I have a winning. You like, are you kidding? I'm now last. Oh, she did. And so yes, she did. And so she gets to the salon and they escort her to my stations. So embarrassed and all her crew is around her, and they're all talking, and I just looked at. I I got in front of her. Yeah. And the station, and I looked at her, and I said, you do speak because I know you can sing I said, so can we have a conversation. But you, and I said, you know, something I want you all of you to get out. I says I will not carry will not take this any further unless you all leave, and I have my conversation with her. And she goes that would be great. And then she just you know, at that point. It was like, well, I liked it. And I says all right would break in you over man. So the whole idea is that we've got. Come to some agreement. Yeah. So we did. And we ended up. It was a great moment. And it was a great moment for her. And but to this day, I just got called to do her for some billboard awards. And I just looked at. I looked at my agent. I said, are you kidding me? I said there's nothing I could do with her anymore because she's so stuck in this one look, and and I just said, you know, it's going to be just too much work. And it's not worth it for me too. It's like she's like she's like the Barbie doll. And I'm like, I can't you know, it's you are kind of known though for these transformations. Like, I think that that's why people come to you. Right. Well, so yeah, I wanted to ask you about that. You don't think I hope? Yeah. Transformation guy. That sounds good. Linda Evangelista that bomb? I cut her in a Bob we made her blonde we made a red. You know, we did all kinds of rate. We did the skater board haircut. What we clipped up the back of? But that was the time that models weren't being dictated by big companies that they had to grow their hair, you know, or they had long hair, and you know, you could Christmas men. Emmy, you know, you have all these girls, and you could you could do anything you wanted to their hair, and they still were able to work for companies, you know, but it's it's very interesting nowadays. It's it's it's a flip. You know? It's like you're at their mercy. And you know, and it's like I'm so lucky that I work with such great photographers that want to transform people..