tito

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I'm thinking of going to Brazil to meet Linda. be crazy my trip?

Making of recording in madrid : http://www.grazia.es/belleza/actualidad/2013-09-24/linda-evangelista-para-la-gran-via

Terry Richardson's Diary terrysdiary.com/

Linda evangelista and Steven meisel officialstevenmeisel

I Want To Be Adorned Editorial from Vogue British Magazine, July 2013 myfdb.com

Grate cover!! thanks for the news

Linda Forever The legendary super model on life, love, and that notorious reputation. Plus, see her exclusive fashion shoot in our October issue. Linda does not do social media." The Linda in question, the one talking about herself in the third person, is Linda Evangelista, the monumental '90s supermodel and fashion-industry rabble-rouser. It's a rainy day and we're sipping coffee in New York's Chelsea neighborhood, a few blocks from the penthouse apartment she bought more than a decade ago, debating the pros and cons of the Internet. The pros? "You know when an airline loses your luggage? That's when I wish I had Twitter," she says, flashing that high-fashion smile. The cons, of course, involve things that come up when one Googles oneself. "If I'm ever feeling real good about myself, all I have to do is go online and read a blog or two, and it brings me right back." Indeed, the life of Linda Evangelista provides colorful search results. She was a small-town Canadian girl who moved to New York in the '80s and, along with cohorts Naomi Campbell, Cindy Crawford, and Christy Turlington, became one of the world's most sought-after supermodels. She filled fashion magazines with glamour and tabloids with drama. She was a diva. She changed her hair color 17 times in five years. She married Gérald Marie, the head of her Paris agency, at the age of 22, then left him for (and almost married) the actor Kyle MacLachlan. In 2006, she had a son, Augustin James, but refused to name the father. (It was later revealed to be the French businessman François-Henri Pinault.) Most recently, she dated Hard Rock Cafe cofounder Peter Morton before splitting with him this past spring. Evangelista, 48, became known for being the industry's best in front of the camera and the industry's worst away from it. In 2001, she was sued by her former agency Wilhelmina for defrauding it of commissions before the agency dropped the case. Not that bad press mattered. She was still booked solid. That's what led to the infamous quote that pops up with any Internet search of her name: "We don't wake up for less than $10,000 a day," a reference to her fellow supes, and one that she hasn't been able to live down since. And last year, when she took Pinault to Family Court in Manhattan to sue him for child support, the media (myself included) reviewed her court ensembles as if it were a fashion show. What Evangelista finds most appealing about social media is the idea of speaking directly to those fashion fans who grew up idolizing her. "Maybe I should start a blog," she says. "You control it. You can correct things that are said about you. That's the first thing I'd do." Like, for instance, the details that were reported in her child-support case—that she allegedly sued Pinault for $46,000 a month, though her lawyer insisted she was not seeking a specific amount of money, and she eventually settled for an undisclosed sum. Evangelista says she was surprised at all the attention, since the headline-making behavior recalled a former version of herself. "Motherhood is my whole life now," she explains. "It's the best. I am so fulfilled." The week before we met, she spent a month vacationing with her family in Canada, at a house she rented in Muskoka Lakes. "This place was the furthest you can be from five-star. It was basically one step up from camping." The notion of Evangelista as a mother hen on float trips is hard to reconcile with her haute couture alter ego, a dichotomy she readily acknowledges. "There are lots of things you don't know about me," she says. "I do needlepoint, I do crochet, I cake-decorate." She says she's a proficient chef and a barista, and can play a mean accordion, a skill she acquired growing up in St. Catharines, Ontario. ("I have two in my apartment, but they have dust on them. It's more of a winter thing.") When she's not working, days that used to be spent shopping, sleeping, and on the beach at her house in St.-Tropez are now filled with crafting, specifically macramé, and playdates. And while Evangelista refuses to speak about her son, whom she calls Augie, a few bons mots slip out. "Let's just say I have a child who doesn't like fashion. He wants jerseys. We watch sports and go to games. I do boy things now." As for dating, since splitting with Morton, she's single, not dating, and happy about it. "I look at it this way: I have been so lucky in love," she says, adding with a cryptic smile, "Except for two times." Yet even with her various hiatuses from the spotlight, Evangelista is as super as ever. She was featured on the cover of Italian Vogue's "25 Years of Fashion" special issue this past summer, and recently starred in campaigns for Chanel Eyewear, Hogan, and Talbots. And the supermodel's appreciation for her three-decade-and-counting career has grown over time. The images she created with photographers like Irving Penn, Richard Avedon, Peter Lindbergh, and Norman Parkinson (not to mention her iconic Bazaar covers) have become part of fashion history. "I knew they were legendary, but I didn't know how relevant their work would become. Now I'm like, 'Linda, you fucking idiot!' I didn't appreciate it at the time, and I regret that." Francesco Scavullo was another master, and one of the few who got her to undress in front of the camera. "He said I had to do a nude with him, and I finally said, 'Fine, but you're cropping it. You can't go past my chest, and I'm turning my back.' That was my nude. It's beautiful." She remembers when makeup artists and hair stylists didn't have teams of assistants, when the backstage cabine was the size of an airplane bathroom, and admits to being nostalgic for that era. "It was more personal. It had more energy." Evangelista says that in pre-digital-camera days, she felt she was creating art with photographers, which isn't always the case now: "These young whippersnappers have brilliant eyes and ideas, but they're not old-school enough for me." She misses the great technicians who didn't rely on computer wizardry. "When we were satisfied with how our Polaroids looked and we moved to film, those pictures did not need retouching. Now everything is [done in postproduction]. Sometimes I look in the mirror and see wrinkles in the clothes or streaks in my makeup or a glob of mascara on my eyelashes, and it pisses me off!" Talk about intimidating: Can you imagine doing Linda Evangelista's makeup? It would be like playing the piano for Mozart. "Sometimes I just say to a makeup artist, 'Listen, I don't know what you've heard about me, but you're doing my makeup and it's going to be all right.' Sometimes they do things like, when they get to my mouth, they hand me the lip pencil. And I say, 'Oh, no, you do it. Just give it a shot.' " Evangelista is quick to crack a joke, which raises the question: Could the model the industry loved to paint as bitchy and cynical actually be playful with a killer sense of humor? "I don't know," she says. "I'm just too honest. I say what other people wouldn't. I like to be tongue-in-cheek." Her nasal, winging voice, immortalized in Isaac Mizrahi's 1995 documentary, Unzipped, when she moaned backstage at a fashion show about always being stuck with flat shoes while Naomi got the heels, now lets loose with punch lines and double entendres. I tell her that Karl Lagerfeld calls her "the best." "The best what?" she snaps back. "The best complainer?" And she's not afraid to poke fun at herself. "Want to know what I'm doing when I'm not working? Therapy—individual, group, all of it." Still, few can boast the kind of fiercely loyal cadre of friends that Evangelista has built for herself. Famed photographer Steven Meisel is one of her closest confidants. So is Carlyne Cerf de Dudzeele, the French stylist who Evangelista says "acts like a mom to me. She is very protective, caring, nurturing. And she yells at me!" And the hairstylist Garren, who was largely responsible for her colorful crops and fluorescent bobs through the 1990s, Evangelista calls a big brother. Earlier this year, too, it was revealed that she was the only one of John Galliano's famous friends who visited the designer in rehab following his 2011 dismissal from Dior. "I hadn't seen him in a long time, and I suspected he wasn't well," she recalls. "When I was brought up-to-date on the situation, I asked, 'So, who's going to see him?' and they said no one. I booked a ticket and spent the day with him, and then went right back to the airport. I didn't want him to be alone." She didn't tell anyone; Galliano was the one who spilled the beans. "I've always been there," she adds. "If you speak to people in this business who've known me for 30 years, they'll tell you. All the stuff that is said about my ways and my personality is far more interesting than the truth." Her friendship with Galliano aside, Evan gelista refuses to be pinned down when asked to pick a favorite designer, even when I point out that she's wearing head-to-toe Céline. "No! It's like asking a mother to pick her favorite child!" She does say that she's adamant about supporting American labels. And she reveals a recent go-to: the Row, the line by Mary-Kate and Ashley Olsen. Evangelista says she was at Barneys and a sales associate was pushing a leather skirt on her, and she asked who the designer was. "I said, 'Those two little girls? I'm not trying it on.' But she put it in my dressing room and I put it on, and it became my favorite skirt." She calls the Row a reliable label now. "I think those girls were put on this planet to be designers, not actresses. I really respect them now. I didn't want to, but I do." To hear Evangelista talk about fashion is to listen to a woman describe her first true love. "I still crave fashion. I still love fashion. I mean, I've traveled the world to work in studios. Nobody put me in bathing suits on a beach." She wasn't the sexpot; she was the supermodel we wanted to dress up and project our fashion fantasies on. But when I mention the S-word, she says, "I don't even know what that means anymore. Is that era over? Who is a supermodel now? Is everyone? Is no one?" She squints her eyes and smiles. "You can call me whatever you want to call me. All I know is this: I'm still here." http://www.harpersbazaar.com/magazine/feature-articles/linda-evangelista-interview-1013?src=spr_TWITTER&spr_id=1447_23833783

Katie Grand ❤ Hogan SS14 Film: http://www.thelovemagazine.co.uk/index.html

LINDA EVANGELISTA AD 'KATIE GRAND LOVES HOGAN'SS 2014 vogue.es/moda/news/

INTERVIEW GERMANY OCTOBER 2013 Amber Valletta, Christy Turlington, Daria Werbowy, Kate Moss, Linda Evangelista, Naomi Campbell & Stephanie Seymour by Mert & Marcus glossynewsstand.com

Drew Barrymore Says Fashion Week Will Make You "Feel Cool For a Minute!" | POPSUGAR News http://youtu.be/O5eGQoS8t-o?t=1m52s

Clarol Linda Evangelista 1995 http://www.youtube.com/watch?v=KrZPXJgB_wg

US Harper's Bazaar October 2013 Linda Forever Photographer: Terry Richardson Stylist: Alastair McKimm Model: Linda Evangelista Make-Up: Fulvia Farolfi Hair: Duffy fashionscansremastered.net glossynewsstand.com

We’re strolling down memory lane in anticipation of our 50th anniversary grand celebration! Supermodel Linda Evangelista’s timeless beauty is a perfect match for The Limited’s sense of style during a campaign in the ‘90s. instagram.com/thelimited

Proenza Schouler - NYFW Spring 2014 - Interviews & Runway - Videofashion http://youtu.be/T5PTqb9ZTTo?t=5m44s

John Demsey (Group President EsteeLauder) rocks w/ muses Linda Evangelista and Drew Barrymore his launch for Modern Muse fragrance instagram.com/jasonbinn

NEW YORK, NY - SEPTEMBER 12: Model Linda Evangelista attends the Estee Lauder 'Modern Muse' Fragrance Launch Party at the Guggenheim Museum on September 12, 2013 in New York City. (Photo by Bryan Bedder/Getty Images for Estee Lauder)

LOEWE AURA FRAGRANCE: LINDA EVANGELISTA http://www.youtube.com/watch?v=afG4tg3iaZ4&feature=youtu.be

NEW YORK, NY - SEPTEMBER 11: Linda Evangelista and Derek Blasberg are seen outside the Proenza Schouler show on September 11, 2013 in New York City. (Photo by Daniel Zuchnik/Getty Images)

need to wait guys

HARPERS BAZAAR october 2013: Linda Evangelista

Didier Fernandez – Steven Pan – Interview Magazine – September 2013 Inside Interview magazine’s September issue, our Didier Fernandez chats with journalist, David Colman, about his prolific career as one of the industry’s preeminent agents. Steven Pan photographed Fernandez, as he speaks about his start in fashion, the 1990s supermodel craze, and the very first time he met Linda Evangelista. After the jump, read their conversation in full. DAVID COLMAN: How did you end up in the fashion world? DIDIER FERNANDEZ: By accident. I was born and raised in Paris, and I started in the modeling business in 1990. I had never been interested in fashion. I was going to be a pastry chef until I discovered that the hours were terrible, so I ended up being a colorist and started meeting models in the salon. That’s when I got a little more interested in it. After six years, I quit to go back to art school, but then I got a phone call from one of the owners of Elite in Paris. I didn’t know why he called me, but he called me again, and I decided to go meet him. I started working the next day for the company. That was March 1990. Did you think, What have I gotten myself into? I was interested to see what it could lead to and I had nothing to lose. My first big moment was when they tried a few B-girls on me, and I got a French Vogue cover with a model named Heather Stewart-Whyte. She was then more of a catalog girl who nobody really believed in—until she got that cover. That led major girls like Linda Evangelista and Naomi Campbell to call me. They were with Elite, but managed by other agents, and out of the blue they switched to me. That was ’91. By the end of that year, I was with about 20 models—which was insane, considering they were all working nearly 300 days a year. It seems 1992 was a peak supermodel year. Yes, it was a big explosion. It was the beginning of a very exciting time for everyone in fashion. This is a naive question, but if they were doing so great already, why did they come to you? What more could you have given them? I didn’t really know, but I got very passionate about it. I was working 20 hours a day. I was living with Linda in Paris. I was spending my time with all of them going on shoots, going backstage, traveling. So maybe they liked how passionate I was about their careers. I love photographers, I love designers. I guess that did translate in our relationship. It was a very strong moment for all of us. We felt the sky was the limit. What do you remember about your first meeting with Linda? The first time we met—before she made that phone call—she was shooting couture with Karl Lagerfeld for Chanel. I was delivering the contract for her and she barely looked at me. It was one of those moments where I felt like, Okay, I’m invisible—which changed drastically a few months later. So what was your first meeting with her like when things changed? Well, she made that phone call. I guess we were all in New York when that French Vogue [september 1991] cover came out. It was the September cover. There was a little group—Naomi, Linda, Christy, Yasmin Le Bon, and Gail Elliott—and I think they were all in the same room when they made the phone call. They asked me if I would work with them, and I could not say no. I was very flattered. Do you remember just thinking, Wow? Everything was wow after that. I mean, some designers were fighting to get the girls on the runway when there were conflicting times, or when they wanted an exclusive, there was a war being fought on who would get the girl. There were Italian designers fighting over Linda or Naomi. It was just endless. We were starting at eight in the morning and finishing at midnight because I was dealing with New York, too. Most of those girls were based in Paris then, so the American editors were calling Paris, because they knew we had access to the girls and they’d get their answers faster. At the time, I was probably doing 75 percent of American Vogue‘s and Harper’s Bazaar‘s covers, which did not really please the New York office, because suddenly they’d lost touch with the main magazines. But the magazines knew I would give them a straight answer. And having those major models was definitely a plus. But it was also exciting to develop new talent—Amber Valletta, Shalom Harlow, Nadja Auermann. Nadja was really my first young new face. She arrived in Paris, I met her the next day, and signed her that same day. I remember seeing her walk on the runway in ’94. She was so tall and thin. She is nearly 6’1″. The legs are probably more than half of her body—it was shocking. Designers just went out of their way to make sure they made clothes for her. What was your first date with Linda like? It was very sweet. She’s a very friendly person when she wants to be, and we were not in public so it was very natural and very simple. I can’t remember details but just that we clicked. And soon after we sealed the deal, she flew me on the Concorde to New York, where she was shooting a documentary with Peter Lindbergh. That was my first flight on the Concorde, so I was impressed. How long were you at Elite? Seven years. I remembered the owners telling me, “You’re going to burn in two years.” But I guess it took seven. I quit July 14, 1997. I remember I was watching the Défilé, the French army parade on TV. After that I just I traveled the world for a while with Naomi and Linda. My quitting kind of came out of the blue and I guess they wanted to keep an eye on me. I went to Australia with Linda, I went to India with Naomi… They were on jobs but they just took me to be there and to enjoy. So that went on until March ’98, when Linda asked me to come meet her at the Ritz in Paris for lunch. We sat down and she asked me if I’d consider coming to New York to live and work exclusively with her and a few other girls. I wouldn’t commit, but I came, and I rebuilt my life here and I never lived in Paris again. You founded your own agency? I briefly had a separate office in the headquarters of Elite called Special Agent Management, because I felt some loyalty to Elite. Then I had a short time with Wilhelmina. Trudi Tapscott, the modeling editor at Vogue, was a good friend of David [bonnouvrier, the founder of DNA], and put us together. We met and hit it off, and we started working together. That was 11 years ago. Some people have talked about how social media has influenced modeling. Do you use it? Or have you tried to get your girls to use it? No, no. I don’t do it. I don’t think it’s relevant. These are great models, and people are going to call for you and you are going to do covers and campaigns and eventually get contracts, but it’s definitely not your Twitter account or your Instagram that’s going to get you there. I just don’t see how that could change anything in their professional life. What are you telling them? What you had for breakfast, that you’re getting on a plane, or you’re on the set but you can’t say where? And then what? It’s not relevant. What do you miss most about the days when supermodels stalked the earth and reigned supreme? The collaboration with a team. I’m talking designers, photographers, hair and makeup, editors, stylists, where I remember creating stories and ideas from scratch. It was really amazing—back then, it was very easy to be able to put all of those people together and create images or a moment on the runway, helping the young designers who were broke. That’s what I miss most now in the corporate world of fashion. There’re so many players, you can’t talk directly to a designer or a photographer or an editor. I remember editors picking up their phone and calling you without an assistant passing the phone. Liz Tilberis would call you out of the blue to ask you a question. The same with Franca Sozzani—a quick phone call to see if we could make something happen. And it was a yes or no—the deal was sealed in four minutes. Now, there are e-mails and 300 people between you and the person that you want to talk to, and it makes it impossible to achieve what could be achieved in a phone call. But I guess that’s the modern world now. dnamodels.com

Proenza Schouler Fashion Show.

Vogue UK ??