“De vuelta a las raíces”
Yo no conocí a mi abuelo. Se llamaba Juan, era un hombre de campo y llevaba las tierras de su familia. Mi abuelo era una persona seria, amable, simpático y trabajador. Siempre llevaba sombrero y los guardaba con mimo en sus cajas redondas y altas. Diría que el mayor recuerdo que tengo de él, es mi padre, el caserío y un sombrero suyo. Me hubiera gustado que me enseñara a conducir con el Land Rover, que me regalara mi primera navaja y me enseñara como ponerme moreno trabajando. Siempre que voy a Los Zapateros, descubro algo nuevo, algo que tiene su nombre de alguna forma. Me imagino a mi abuelo, enorme como él era, madrugando para ir trabajar y agachándose a besar a mi abuela Lola, bajita como era. Eso es para mí este lugar, un espacio extraño a la vez que familiar, donde ir a re-encontrarme con mis raíces, para no olvidar quien eres y de donde viene el tamaño de tus manos.
Back to the roots
I never had the chance to meet my grandfather. His name was a Juan and he was an authentic man from the countryside in spite of being the landowner. People say he was quite of a serious man, kind and hardworking. My grandfather had always a hat on his head which he would then keep in one of those tall and rounded boxes. I’d say that the brightest memory I have of him comes from my father, the hamlet and one of his hats. If he could have only taught me how to drive a Land Rover, to give me my first jacknife and how to get tanned by working under the southern sun. Every time I visit the Shoemakers as the hamlet is called, I find out something new about him, something that has his name and souls on it. I picture my grandfather big as he was, getting up early to go to work and having to bend down to kiss my grandmother all short as she was. That is what this place means to me: strange but familiar where I can come to find my roots again, so that I don’t forget who I am and where the size of my hands comes from.
....the final assembly. Unretouched. And yes, those clouds are meant to be upside down. For the print advertisements and brochure the background seam and print supports were retouched out. Necessary? Copies by other brands soon appeared, but all using digital photo compositing with predictably flat results. ..
@etro #etro50#ss2000 styling: @malahavisnu makeup: #pascaleguichard hair: @stephanelancien production: @cecia_bm @superstudiogroup #fashionadvertising#reachforthesky#largeformat#sonotdigital
Any takers? No? Then I’ll just leave this here then 🤷🏻♀️ I’ve always been inspired the #NYC Wild Posting Campaigns where posters are repeatedly lined up across the walls. Between those and the meme about the boys hanging up an ad they “made” for McDonalds (which tbh I’m lowkey salty I didn’t think of first, but I’m still a fan of theirs) it has me wondering if I should start slipping the “ads” I make into their respective stores 😏 possible new hobby coming to shopping centers near you?✌🏻 #wildposting
Always happy to work for @stephane_christian_ campaign👓
with beautiful @alicjalab @jsagency.kr
Styling by me @minkimmy
Make up @sommakeup_
Styling assistant @soshinggut
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Sad news about the closing of Bendels, had worked there in the 80s in the advertising department designing ads and catalogs with the divine Pat Peterson, along with @orangepatty @angel_alla_italiana @lindaandwinks @therobertrufino @danutaryder under the auspices of Geraldine Stutz. The store was not the same after The Limited had bought it in 1987.
Here’s some ads and catalog covers I designed and a photo of Geraldine Stutz in the original Street of Shops.
The black and white ads were all written by Ms. Stutz and photographed by the incomparable Gösta Peterson. The "beauty ads" were always illustrated by among others @fleshervivienne @anderswenngren and @bobhiemstra. The ads would appear in the Sunday New York Times with the photographic half-page ads appearing on the "Society Page" and the illustrated beauty ads on page 2 or 3.