#1. I really liked that you wore a silk robe to speak about Robert Mapplethorpe in the recent documentary. Could you explain why this was so important for you? And how it connected you to him? It seems like it’s about the fabric and how it feels, as well as how it looks …
The black silk chinese robe was worn for Robert.
He liked black, silk, and robes. Three out of three…
I always wore and wear robes around my place.
Usually black, but a caftan on either sex is quite the way to go also.
You are dressed and easily undressed.
#2. Are there any other garments that link you to him? Or to that period in your life?
In 1970 when Robert and I met, there was still a late 60’s vibe.
I was in London all of 1969 as a model with Monty’s in Chelsea off
the King’s Road, an agency formerly known as English Boys Ltd. that
was started by Mark Palmer. It was more than fun working with David
Bailey, Bill King and Brian Duffy etc.
I did Mr. Fish shows. There was a great trip to Wales wearing Antony Price’s
mens collection. Antony is and was a riot of talent and fun. The razor
blade print shirt from Mr. Fish is still with me, the rest I left in
London and Paris.
I think if one wears too much vintage after a certain age, then you
look a certain age.
Dated without a date.
Best to mix it up with new and treasured vintage bits from here and there.
#3. I loved the show you curated at Alison Jacques Gallery in 2013 – what made you decide to focus on Mapplethorpe and fashion? And how do you think jewellery design fitted into both Mapplethorpe’s and your own work?
The show at Alison Jacques in London was her idea and she asked me to
lend some of the jewelry that Robert made for me. Alison showed some
of the early polaroids Robert did of me from 1970 and 1971. Wearing
robes, and not.
I always wore vintage pieces bought or given to me by family and friends.
The Chelsea Antique market on the King’s Road was a cool place to add
to the mix.
I wore an elaborate necklace made of black cord and silver as an every
day piece and a big black hat from Herbert Johnson with floor sweeping
black coats.
Robert always loved jewelry and it was fun to hunt around New York for
vintage stuff.
He started to make things with the bits and pieces we found and we
wore them around town. Friends such as Loulou de la Falaise, Marisa
Berenson, Halston and YSL admired and bought some for themselves and
friends.
#4. You told me you met Susan Bottomly at the opening of Paraphernalia and that it was a key moment for you – what was that night like? Were you conscious of the impact it would have on you at the time? And did your involvement with Warhol’s milieu make you more conscious of how you dressed and presented yourself?
The day I met Susan Bottomly and Andy Warhol was the start of that
life and the end of another. My school days. I was 18. I did not even
know who Andy was. He liked that. And I liked Susan. First trip. The
Cannes Film Festival to screen ‘Chelsea Girls.’ Susan and I were
supposed to be there for 2 weeks. We stayed for a year. Andy was not
too pleased about this as Susan aka ‘International Velvet’ was his
newest Superstar after Edie Sedgwick had left the scene. Paris
beckoned and we obliged. The way I dressed started early. My Mother
was a beautiful woman who wore mostly solid, dark colors. Black and
more black. My brothers and I were quite impressed. Understatement. It
cannot be overstated.
#5. Your photographs and drawings often have a sense of movement and fluidity to them – do you think your own work as a model has influenced the way you show the body?
I was a model before becoming an illustrator.
The modeling started in New York when I was 17, and took off in London
when I was 19. The Illustration also began in London. Harpers Bazaar
gave me my first jobs.
Fun stuff, full pages. lucky boy. I always looked at fashion magazines
at home as a kid. Jean Shrimpton, Veruschka and Donyale Luna were and
are my fave gals. Susan and I lived with Donyale in Paris for a while.
Donyale and I met in New York in 1965. Teenagers. These girls could
move. Richard Avedon was and is my inspiration for how it’s done. The
sense of movement and the extreme extremities influenced my work. And
play.
#6. You’ve created images of so many fascinating people, and worked with Halston and Diane von Furstenberg for example – how do you approach photographing a portrait versus presenting a fashion brand or garment?
Working with so many wonderful persons since I was very young was the
key to all the images one made and makes today.
Halston commissioned me to do portraits of many of his best friends.
Elsa Peretti, Loulou de la Falaise, Marisa and Berry Berenson, Paloma
Picasso among
others. I approach all jobs the same way. Get to know the sitter’s
likes and dislikes.
Their favorite colors, clothes. Who they were, are and would like to be.
In the portrait and in life.
The jobs for magazines and advertising are more defined. Draw this
shoe. Make the dress a bit more. Or less.
More or less?
The story of ones Life.
David Croland
New York City
5 / 17 / 16
All photographs courtesy of David Croland.
All photographs courtesy of David Croland.
