This document provides biographical details about photographer David LaChapelle. It discusses his early life and family in North Carolina, his move to New York City at age 15 to pursue photography, and his career working for magazines like Interview. LaChapelle describes his creative process, focusing on fantastical scenes and elaborate productions. He emphasizes that his photos are meant as an "escape" and break from reality. The document also touches on LaChapelle's artistic influences and the evolution of his signature style over the years.

1. FRENCH PHOTO - ISSUE 457 - MARCH 2009 : TEXTS IN ENGLISH - INCOMPLETED

2. N°457 SPECIAL DAVID LACHAPELLE
PAGE 18 out of The Sound of Music. And we would lot, but because of the cropping, no one
HIS LIFE
go to old estates and country clubs around would ever know.
Connecticut posing with other people’s cars We were a middle-class suburban family li-
and sheep dogs. She has thousands of ving in a hideous North Carolina apartment
photos in albums, all of this and take one complex ; I was a pot-smoking teenage di-
click of the camera and thay came out saster. In the family albums we look like
great. I think of all the film i go through and i Vanderbilts. My mom remade her reality
My mom once showed me a pictorial from
feel a little amateurish by comparison. through snapshots. Maybe that’s were i got
Playboy of Ursula Andress naked under a
Then we moved to North Carolina. I twas a the idea to make up fantasies in photo-
waterfall and said that is what a woman’s
shock : subdivisions and fast-food places graphs.
body should look like. And i Have to say
went up overnight. There were wild divor- There were moments of fun, but for the
my mom’s did. She ate health food and
cees with bubble bouffants and long lashes. most part i was tormented in school be-
worked out religiously in the family room
Nothing like Connecticut. One we were cause i was freak. I would daydream all day
way before it was fashionable. Men would
playing kickball in the apartment complex about being in New York. I was sure that i
hound her on the street or at the small. She
parking lot when this woman came downs- would be a painter or an illustrator, but the
would laugh and think it was funny. Sexi-
tairs with a giant hairdo, halter top, hot moment i picked up a camera and found
ness with humor : those things are normal
pants, cork platform wedgies, and started out that my friends would do anything to be
for me.
smashing her husband’s new Lincoln with a in a photo, i knew what i’d spend my life
I took my very first photograph in Puerto
hammer. We were mesmerized. Seeing her doing. By the end of my first roll of film, all
Rico on vacation with my parents. My mo-
on all fours, screaming, crawling on that car my misfit firends were naked in my room,
ther made a bikini out of a Frederick’s of
and bashing it, with that outfit, that hair, posing like mad.
Hollywood bra top and gold belt buckles.
those fingernails… well, i twas a little bit of I left home in 1978, when i was 15, and
We were in this brand-new 1970s hotel.
heaven. I’ll never forget it. I love drama and came to New York City. I lived at the 23rd
She set up the shot. She put an astray on
outrageousness. I love crazy scenes. Al- Street YMCA, and then with a friend in the
the carpet to mark the spot where i should
ways have. East Village. I tried to get a job at Fiorucci,
stand. She posed ; I pushed the button. I
In North Carolin ait was harder for my mom but i was too young. I started workingas a
still love that photo. I think i was around six
to find all the beautiful places to shoot : it’s busboy at studio 54. Halston, Gucci, Fio-
or seven.
all about strip smalls there. No more ye olde rucci… clams on the halfshell and roller-
Family photos were a huge production. My
New England backdrops ; she hated it. So skates… that time had a big influence on
mom would direct the scenarios and meti-
she got more creative. She shot pictures of my pictures. All that pop imagery. At studio,
culously style all the outfits. For my baby
my brother and me that look like we are still a moon would come down from the ceiling,
photographs, she posed me as en angel.
in Connecticut at some Mystic Seaport set- with a spoon that went to its nose, and then
She made paper angel wings – really detai-
ting with weathered planks, docks, and it would start snowing. A giant heart plug-
led ones with indivudual paper feathers. As i
pllars. Actually, we were at a Long John Sil- ged into a giant socket would swing fown
got older, the photo sessions got more am-
ver’s, a fast food-fish restaurant, at the on special nights… and everyone seemed
bitious. My mom would style outfits for the
shopping center in the middle of a parking beautiful, and people got dressed up, and
entire family so we looked like something
2

3. N°457 SPECIAL DAVID LACHAPELLE
women wore makeup, and the music then bills. I don’t take anything for granted now, a pink cat suit alongside a highway in Detroit
was happy, happy, happy. either. Being in New York for 16 years, i’ve (p.63): he was really there, hanging off that
I had fun but i decides to finish high school. seen people come and go, just burst on the truck. That girl in balloons was really in
I somehow got accepted by North Carolina scene and disappear. But if i nerver got Times Square (p.33). She was freezing cold
School of the Arts. When i came back to hired again, i would still take photos. If and we didn’t have a permit and we blocked
New York i was 18 and i wanted to just start there’s en exhibitionnist left who wants his traffic, but it was much more fun to shoot
working. The first place i went was Interview or her picture taken, i’ll be there. than if it had been a composite, which a lot
magazine because i’d met Andy Warhol at a I never really had any kind of mentor. Get- of people thought it was. Lili Taylor really sat
Psychedelic Furs concert at the Ritz. I was ting started for me in New York meant going on a giant mushroom and drank a milkds-
in a ridiculous New Romantic outfit : pirate to nighclubs, galleries, and darkrooms. I hake. That’s the great part: at the end of the
pants, a sash on my head. He’d said, « Oh, spent a lot of time on my own printing, loo- day, when everyone’s laughing and we can’t
come by, show me your photographs. » I king at pictures, reading Andy Warhol believe that we got this picture. And we
went there with the photos of my naked books, and stuff like that. I’ve always loved can’t believe that this our job, this is what
high school friends and he said they were magazines and movie stars and pop art and we actually get paid to do.
great. I was thrilled. (Later i learned that he fashion. That’s what i come from. I get maniacal about the details. The night
could look at a cookie and say, « it’s great. For me, taking photographs, planning them before the Lili Taylor shoot (p.99) I was loo-
») So Interview was the first magazine to and working on them, is a big escape. Just king for a milkshake container. I actually had
publish my work. I twas Marc Balet, the art as what the pictures depict is an escape a bag full of them, but I knew that I didn’t
director who eventually hired me. I worked from what’s really going on in the world. I’m have the right one. After all the stores clo-
for them consistently over the next seceral thankful to be able to do this really creative sed, at 1 a.m., I started digging through
years. thing – to think of some wild fantasy and garbage cans on Avenue A in the pouring
I learned a lot at Interview : it was like art make it happen and get it published. rain. Then I saw somebody that I sort of
school for me. I would go to the offices al- When i first started doing these photo- know, and as he walked by I was about to
most every dat to eat the leftovers form the graphs, i wanted to see color, and glamour say hi and explain what I was doing, but he
extravagant buffet lunches. They were very – i want my pictures to be a break from rea- pretended not to see me and from the look
good to me. Being in that environment you lity, because i know that living in this time is on his face I imagined him thinking, « Oh,
would always hear Andy’s philosophy about really difficult. The are so many things going last week he’s a photographer doing really
the magazine. Everyone had to look beatiful on that are sad, so that when you’re flipping well, and this week he’s digging through
in Interview, and that really made an impres- trhough a magazine i’d like my pictures to garbage cans, looking for a tidbit to nibble
sion on me. No matter whom i photograph be a small intermission, a break of beauty. I on, » which is totally possible in New York. I
– I may get them doing the wildest thing, think that anyone can be beautiful in some ended up finding the perfect red-and-white
but i want them to look beautiful. way. Or they can be funny. Funny is beauti- striped cup at the Gem Spa.
My first assignment was a disaster. It was a ful. John Beluschi was beautiful because he People say I should make movies because
Country-Western star. She was expecting a was so funny. my pictures remind them of film stills. I like
glamorous New York photo shoot, but ended I’ve lived in the East Village on and off since to think of them like that. Or as stories. So-
up on the roof of my East Village hovel ins- i was 15. I lived in an apartement with no meone told me that my pictures are like
tead. We had to climb out the window to get electricity or telephone fort too long. I en- pressing the pause button on the VCR. It
to the fire escape to get on the roof. vied the squatters next door : at least they bores me to photograph in a studio against
The reflector boards made her eyes tear – didn’t pay rent for their hellholes. I certainly white paper. I like to invent scenes. I have a
which i throught was great, because the don’t want to go there again, even in a hard time looking at new photos that are
title of her album was « When I Cry. »… The photo. I’ve had so many friends OD on he- copies of old ones. To me, it’s lazy to open
hairdresser sculpted a huge, hideous palm roin, die of AIDS, commit suicide, and have an Avedon book and copy what’s in it. Why
tree nightmare. I was too intimidates to ob- myself dealt with so much stuff, that i don’t not come up with new ideas ?
ject. So i just cropped it out later. Her silver want to see a bunch of depressed 18-years When someone comes in to be photogra-
Stephen Sprouse thigh-high boots sank olds sitting around in expensive clothes loo- phed, I’m not so interested in capturing
into the hot tar. She was stuck. We had to king like they’re about to drop. In the mid- their soul through their eyes. I’m more inte-
pull her out. Then she had a real break- Eighties everyone started wearing black… rested in what they’re wearing, how they
down. The boots were ruined ; i thought i and they kept on wearing blakc. It’s like have their hair done. I think you can learn
was too. we’ve been in mourning for ten years. And more about a person from the way they’ve
I also worked at Pucci Manikins painting in a way, we have seen. pulled their outfit together than by looking
mannequin faces with oil plant. Training I’ve been really fortunate with the maga- at a black-and-white photograph of their
took three months. Every day we would get zines i’ve been working for : Details, Vogue, eyeballs staring at the camera. There is a
blanck cast heads of the big models of the The Face, Vanity Fair. Details was the first tradition of celebrity portraiture that at-
day : Iman, Sarah Capp , Kelly Emberg. I magazine that gave me the chance to take tempts to uncover the « real person » be-
painted those models faces every day, all the king of pictures i had always dreamed hind the trappings of their celebrity ; I’m
day, ove rand over : eyebrows, eyeballs, og taking. Lately, tje magazines have allo- more interested in those trappings.
lips. Everyone who worked there painting wed me to go completely cray, to do wha- I think people look intelligent when they have
faces and doing mannequin hairdos was a tever i want to do. a sense of humor about themselves and
fashion casualty. They had all worked in the A lot of people think it’s all done on the their images, so I try to bring that out. Tori
business…One hairstylist left the business computer, but it’s not. I’m a photographer, Spelling, for instance, sitting in a limousine
because she cut a model’s earlobe off when not a computer person. In fact, it’s sort of with garbage on the floor (p.68). I wanted to
she was high during a shoot. She prefered important to me that these scenarios existed play on the idea a lot of people had of her at
mannequins : they don’t complain or bleed. somewhere, for some period of time, even if the time. And because she went along with
I never expected to make money when i it was only for an hour. It’s more fun to pho- it, she wound up looking like she had a
started taking pictures, i remember really tograph something real than to do it on a sense of humor about herself. But I also
well praying to make just enough to pay my computer. Tom Jones hanging off a truck in tried to make her look as sexy as possible.
3

4. N°457 SPECIAL DAVID LACHAPELLE
The « American trash culture » pictures The Day of the Locust, surrounded by rio- can sense that I’m sincere about trying to
came out of a time when I was guetting ting fans (p.2). She’s the last Hollywood le- take a great photo. You can take a picture
really depressed, because I love nature and gend, the last big star. Faye loved this shoot of a porno TV host that people will remem-
it was getting hard to find. When I go on va- because she was not only able to look ber. That’s my goal : to get the pictures torn
cation, I want to go to the woods. But it got beautiful but was able to put some emotion out of the magazine and up on the refrige-
to the point where anywhere I’d go, all I’d and energy into the picture. She’s an ac- rator. I’ve always thought of the magazine
ever see were fast-food jionts, strip malls, tress ; she was allowed to act. At one point as the gallery and the refrigerator as the
industrial parks. So I just decided to start she said, « Do you want tears ? » so I offe- museum. If my picture makes it to so-
finding things to like about them. And now red to get the makeup artist and Faye said, meone’s fridge, I’m really happy.
I’m not bothered by looking at places like « No, darling, I’m an actress. I have my own «LaChapelle Land», Callaway.
McDonald’s. I see them and think, « Oh, I tears. » She threw back her head. . . she
could do a photo here. » They’re colorful, was weeping.
HELGA AND
and bright. . . . Truman Capote said that « Exhibitionists make the best models. So-
good taste is the death of art. » Fashion meone who will give anything for the ca-
and advertising photography has always mera, do anything that you ask. I love
SONJA LACHAPELLE
been about good taste, about picturing the models who are hungry for fame or food or
good life. I want to see what’s been cut out, whatever. Shoots can be hard. Those peo-
DAVID’S MOM AND SISTER
I want to feature those things. It’s about ple in the Plexiglas box : they were there in
Mom and I really have very little to say other
photographing what’s on the way to the a Plexiglas box, naked, piled on top of each
than David is very much loved as son and
beautiful location, on the drive there. other (p.104). They weren’t comfortable,
brother. His heart is large with love and ge-
Photographers are always running away to but they look comfortable. And that’s what
nerosity. Even as a child he was very gene-
exotic places to do fashion photographs in matters in the end. My pictures are about
rous with his love, towards his family,
nature, but they’re always artificial – staged getting people to go along with me on a
friends, little animals. Once he had a pet
to look natural. You take a bus to the jungle, ride, a trip. Getting a celebrity or a model to
snail whose shell was cracked and he put a
and you get off at the tour spot and have a take off all their clothes, to wear a chicken
band aid on it to help heal the crack shell.
snack and buy camera batteries and get on suit, be wild, to go against what their publi-
He's a brother and son first and an artist
the monorail and look through Plexiglas. I’d cist recommends. There’s something great
second in our lives. We love him.
rather celebrate the artificial. Why not just about it.
Written for Photo, february 2009.
go into the middle of what’s all around us I try to make pictures I’ve never seen be-
and try to find the beauty there. In fact, not fore. I read somewhere that a photographer,
KUMI
just find the beauty, but make it beautiful. I think it was Hiro, said to an assistant, « If
Enhance it. Change the way you look at it. you look through the camera and you’ve
GENA TANIMURA
When you take a picture of something, you seen it before, don’t take the picture. » The
change the way it’s seen. We get excited French hate Disney World, so the first place
now when we see Golden Arches and par- I wanted to shoot in France for Paris Vogue I came from Japan hoping to experience an
king lots that stretch to the horizon. In Bra- was Euro Disney (p.98). Using what people Internship with David LaChapelle, he accep-
zil, the Far East, wherever you go you see think is ugly and making it beautiful, to me ted me and kept me over 6 years, David is
the same things. I don’t endorse them. I that’s the kick. Inspiration can come from amazing- he works 24-7 non stop. With his
don’t even eat at them. But they’re everyw- so many places, but my main source is my busy and packed schedule, he is available
here, they’ve replaced the forest. friends, hanging out with them, talking and and ready to work no matter how tired he is
When I was a kid, my parents said I was laughing, saying « What if we did - ? » Then after big shoots.
going to be a bum. I worked at Burger coming up with the wildest thing we can He is involved in any aspect of small or big
Kings, and Kentucky Fried Chickens ; and I think of, maybe even the most hideous jobs and he knows every little details of eve-
would get fired from all those places. Now I thing we can think of, and reclaiming it, re- rything that goes on in the office to the stu-
take pictures of them. deeming it as something beautiful. From dio. I always wonder where all the
I have to find something I like about a per- then on it will be seen differently. And it isn’t information gets stored in his mind, and
son in order to photograph them. I heard a about depicting violence and bloodshed also where his creative intuition and ideas
hooker say once on a talk show, « Well, I and murder. Those things aren’t extreme come out. I am still learning something new.
just focus on something I like about them, anymore. They’re banal as photographs, Its a big challenge and fun to be with La-
even if it’s their shoes. I think to myself, ‘Oh, and too much like reality. I think it’s better to Chapelle. Big smile and happiness.
they have really nice shoes.’ And then I can make beauty these days than to represent Written for Photo, february 2009.
have sex with them. » You know what I the ugly.
mean ? Even if somebody’s not very nice, When I was a kid, I spent a lot of time alone
I’ll try to find something about them that I (not by choice) ; I always wanted a group of
like, even if it’s only their nail polish. friends. I wanted it to be like Our Gang –
I’m not trying to trick or make fun of any- you know, putting on a show in the
body. I respect the people I photograph. backyard. Now I have that. I have a group
When I first talked to Faye Dunaway, she of people I work with. They’re really talen-
said, « I’m not familiar with your work. Tell ted, and we’re friends. I work with them
me what the ideas are. » I said I wanted her again and again.
in a ripped negligee holding her boob loo- It’s not like work. It’s fun. When someone
king at the camera in a trashed apartment comes in for the day to be photographed,
(p.91). She loved it. Then I told her, « The they feel it too. I put a ton of energy into the
first shot is going to be of you and the se- concept for each shoot, so whether I’m
cond is going to be about you. » The one shooting Faye Dunaway, or an unknown
about her is on top of a limousine, like in cable porn star like Kitty G. (pp.74-75), they
4

5. N°457 SPECIAL DAVID LACHAPELLE
CHAD FARMER JAMI GLASSMAN
STARS EXECUTIVE CREATIVE DIRECTOR DIRECTOR OF CREATIVE SER-
AND PRESIDENT, LAMBESIS VICES, LAMBESIS
The first time David and I worked together David is one of the most inspiring, visionary
PAMELA ANDERSON was in his studio in the village in NY about a artists of our time. He loves beauty in a way
decade ago. We were having coffee with so different from the conventional stan-
Amanda Lapore and Richie Rich, while dis- dards; his work really makes you stop to
MUSE/FRIEND
cussing iconic 70's french magazine co- think about the meaning of what you see
“In the overheated world of show business,
vers, we hung out in a room of boob and how you see it. And of course his stu-
the words “unique” and “genius” are thrown
covered walls ...as well as many other dio is just like his photos – crazy loud music
around with such abandon that I usually
rooms. ...and then the cops came running blasting, murals on the walls, and people
skirt them acidulously. Yet when I try to ex-
through the studio chasing somebody... you love to hang out with.
plain or describe my dear friend Dave La-
needless to say, we hit it off instantly and
Chapelle, such expressions are wholly
GARRET SUHRIE
have worked together on many projects
unavoidable. He is a man of such extraordi-
ever since.
nary creative energy, such powerful vision
Written for Photo, february 2009. MANAGER, DAVID LACHAPELLE
and such artistic determination in the pur-
STUDIO (L.A.)
suit of beauty, humour, irony, relevance and
Throughout his exhaustive career, David La-
just plain fun that I know of no equal. His
JOHN SCHOENFELD Chapelle has created more than just a
work is always entertaining and inspiring
name for himself, he's created a brand, a
and often provokes a real epiphany – et je
David is a very aware person constantly ab- culture. While the world may think they
lui aime! Nous sommes bien sûr des meil-
sorbing the details of life, digesting his expe- know the LaChapelle style and aesthetic,
leurs copains mais de temps en temps
riences and pouring that unique perspective he's constantly reinventing himself, as any
c’est vrais que nous faisons des sottises
through his own creative lens. For me, its true artist is, always evolving. He has pus-
ensemble!
great to have the opportunity to participate hed the limits of commentary using fashion
Written for Photo, february 2009.
and contribute to David’s creative process. I and celebrity as his platform, and is now
hope he has as much fun as I do. getting back to his roots, back to the galle-
There is a tremendous amount of thought ries and museum. With his unbridled en-
that David puts into his work prior to the thusiasm and uninhibited creativity, there
shoot, but to me what is impressive is how are exciting times to come in LaChapelle
he operates once he begins shooting. This Land!
is when he refines the idea, giving the work Written for Photo, february 2009.
its dynamic layers. He is inspired and direct.
Written for Photo, february 2009.
5

6. N°457 SPECIAL DAVID LACHAPELLE
JEFFREY KEYTON
MTV NETWORKS
Few artist have inspired me the way David
has. His unbridled creativity is contagious,
his passion deep and wise. And I will never
forget when he picked me up once when I
was creatively down with the gift of his
creative light, heart and soul.
Written for Photo, february 2009.
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7. N°457 SPECIAL DAVID LACHAPELLE
STEVEN PRANICA PATRICK TOOLAN
JESUS INTERNATIONAL MANAGER, DAVID LACHAPELLE
AGENT/MANAGER CREATIVE PLANNING
Provocative, Controversial, Prolific, Seduc- quot;The is a certain magic that surrounds a
tive... these are a few of the words that de- David LaChapelle photo shoot. As one can
fine LaChapelle's artistic style and also my see from the final products, the fantastic
14 year friendship and business relationship scenes are alive during these shoots. David
with David as his international agent. creates his fantasies and then he photo-
As one of contemporary art's foremost in- graphs them. One
novators, LaChapelle has continuously exhi- can really feel the beauty that is being made
bited the rare ability to analyze, translate, because everything the public sees in the
and record all facets of pop culture. In en- print is truly happening right before your
compassing a protean range of mediums; eyes.quot;
his visuals embrace the fantasy of indul-
gence and escape while satisfying the vie-
wer's insatiable appetite for aesthetically
significant work with intricately woven and
ironic, yet incisive commentary reflecting the
undertone of present day events.
His relentless mappings of the cultural
landscape at the heart of our society has
generated a compelling anatomy of the pop
culture psyche, allowing us to view our
most pervasive cultural narratives with new
clarity.
Whether he is exploring magnetic icons of
mainstream media or probing the subcultu-
ral margins, LaChapelle's contribution to
the continuing dialogue of art has transcen-
ded and redefined the existing creative pro-
cess for a new generation of artists; in turn
elevating his legacy into a pop icon.
7

8. N°457 SPECIAL DAVID LACHAPELLE
citement of every picture. It’s as if the mo- that we hear about when we die, walking
ART dels, whether movie stars or common peo- towards the light. This submersion in the
ple, characters and their environments are water in order to express this light, it’s like
infused with hyper-excitement. It is also very the submersion becomes a baptism, it be-
apparent that he is a brilliant colorist— comes an anointing.”
which he uses freely to amplify his images. Having for many years covered the whole
TONI SHAFRAZI The model, the set, juxtaposition, the ac- world of pop culture, the world of design,
tion, the humor and color are all pumped fashion and consumerism, the obsession
TONI SHAFRAZI GALLERY, NEW up, like in the best of pop music when eve- with beauty—fame—vanity and tempta-
YORK rything is well orchestrated, all these ele- tion—catastrophe and death, what his pic-
One late night many years ago, I think it ments working together are brought to a tures convey is a tremendous sense of
was ’93, I got a very excited phone call very high level, elevating the idea to a very innocence. There’s always a kind of opti-
from Naomi Campbell, impatiently urging high pitch until “the picture”—like great rock mism, a complete lack of nihilism—there’s
me to rush down to the studio of David La- and roll—sounds and looks out of this no major sense of cynicism or bitterness.
Chapelle, telling me that he was a great ar- world. Instead his pictures represent an abundant
tist whose work I would absolutely love, and feeling of enthusiasm. What always comes
that I had to get down there immediately. In his more recent work, like the Deluge and across is a most devoted love and passion
So at Naomi’s urging I put on some clothes Awakened series, people are presented in for creativity and imaginative playfulness.
and went to the studio, where I found them some ghostly ephemeral place, in a mo- New York, February 12th, 2009
in the middle of a big photo shoot—and ment of being awakened when one has a
walked right into the fantastic world of kind of epiphany—kind of half way between
David LaChapelle.
IN BED WITH
heaven and hell. Apparently when Quentin
Even then at first sight, that world of almost Tarantino had to have his portrait done, he
“guerrilla” and somewhat subversive “inde- specifically asked David that he be submer-
LACHAPELLE
pendent” picture making felt familiar and ged like in the Awakened series. It is ama-
close to me, as I had some small expe- zing that such a great director with
rience myself in making pictures back in tremendous energy and creativity would re-
1974. As it turned out some years before, in quest this particular image and experience,
the mid-80’s when David was a young boy, as if to be anointed, like a ritual that he
he had often come to my gallery and loved wanted to be a part of. David has said in his
the exhibitions, especially the art and sprit interviews that, “the tank of water was very
of Keith Haring, as well as Andy Warhol, much like a big baptismal. The experience
whom he started to work with. Soon after was like being photographed like babies
my visit we began work together. under water. The water was warmed and
What is most striking and clearly visible in there was this idea of rebirth, of the tunnel
David’s work is the tremendous level of ex-
8

9. N°457 SPECIAL DAVID LACHAPELLE
sense and acute understanding of what
BERNIE HOGYA
MODE makes something great are what separate
him from every other photographer in the
CREATIVE DIRECTOR, LOWE NY
world.
I once heard the expression that an idea is
It is a great honor of mine to have worked
like a snowball passed among warm hands.
with David LaChapelle, and I can’t wait until
VICTORIA FRAZIER Therefore, when you have a great idea, it is
our next project together.
imperative that you do everything you can
to make sure that it is executed as great as
HBO NETWORKS
INGRID BARAJAS
it can possibly be.
I love David LaChapelle! Entering the studio
To that aim, I have always believed that the
I just can’t wait to see David. I can’t wait to
quot;More than a world of colors and fascina-
best path to success is to hire the best ta-
see what he will be wearing, what he will
ting addictive photography,
lent in the world. It is why I find myself time
say, watch him dance, laugh and work. I
David LaChapelle's work is inspiring to ge-
and time again relying on David’s immense
feel like a child in his presence and always
nerations, proving that art is not just in all of
talents.
want more. And there always is more. You
us, but for all of usquot;
The “Got milk?” celebrity milk mustache
turn the corner and there is yet another un-
quot;LaChapelle's photographs delight us with
campaign was my idea. It was a big idea
believable set that David created the night
a colorful and insightful
that over the years has not only successfully
before that is so fabulous you think you are
contemporary interpretation filled with pop
sold milk but remains one of the most po-
dreaming. Even the art director couldn’t
art that seldom few ever
pular, iconic print advertising campaigns in
think this one up and we all begin to laugh
accomplish given the sensitive and mea-
America.
really hard. And we all dance to the music.
ningful intelligence his artistical images en-
There are a lot of accomplished photogra-
It is simply amazing and so much fun. I
tail.quot;
phers who specialize in celebrity portraits.
don’t want the day to end but it does and
But there is only one David LaChapelle. He
David gives me a hug. I must go back for
is an original. A visionary. A one-of-a-kind.
more because I feel so alive and so loved.
Creative people tend to think of advertising
Expressing oneself is an art. David is fear-
as an art form, but it is mostly a commercial
less with his expressions, his love and I can
endeavor. It is a business. There’s a product
touch it – it is all real. My favorite shoot is
to sell, a strategy to execute and a client’s
the fifteen foot tall silver sea serpent David
needs to satisfy.
had built and put in the ocean with our
David does it all, and along the way ma-
celeb riding it in the waves. They could
nages to bring imagination, artistry and an
have been electrocuted but nothing stops
incredible “I dare you to turn the page” ap-
David from getting the shot!
peal to everything he does. His pictures
I love you David!
burn in your memory. They start where eve-
rything else stops. His eye candy art direc-
tion, vivid color vocabulary, keen design
9

10. N°457 SPECIAL DAVID LACHAPELLE
VICTOR VELEZ
CREATIVE DIRECTOR, NYC
For most of my career, no one has been
more of a driving force than David Lacha-
pelle and to collaborate with him, for any ar-
tist, is a dream come true. It was certainly
mine. To glimpse into the mind of this mo-
dern day genius is to find a world where the
likes of Caravaggio and Vermeer collide to
create a world beyond reality and beauty,
where art meets modern culture. He will un-
doubtedly continue to influence all of us for
many years to come. Thank you David for
letting us experience the world through your
incredible vision.
NORA SALVAGGIO
REMY COINTREAU
'David exceeded our expectations during
the development of Remy Martin VSOP's
first limited edition. Not only did he capture
our brand's essence and energy with a
stunning RBG image - he worked with us to
ensure that the final limited edition bottle
and gift box were gorgeous.
David remained involved throughout the de-
velopment process, regularly contributing
his point of view and assisting us in making
judgement calls. For example we experien-
ced real challenges when adapting the ori-
ginal RBG image to create the bottle sleeve.
It was impossible to reproduce the desired
skin tones without affecting the blue hues in
the surrounding foliage. When we approa-
ched David with this issue - he asked to see
the prototypes. After studying these care-
fully, he explained that it was acceptable to
have slight color variances so long as we
delivered a truly beautiful bottle. Working
with David is a pleasure; he is incredibly ta-
lented, original, inspired, exacting, commit-
ted, humble and hilarious.
10