The Kardashians and Jenners are back with Calvin Klein in the latest campaign for #MYCALVINS. All the sisters are there, but it’s Kourtney Kardashian and Kylie Jenner whose hair was styled by Andrew Fitzsimons. The photographs, shot by Willy Vanderperre, are presented in black and white, and present the sisters as a family, inviting us to join in. “Join our family,” is the slogan, and who better than Andrew to create covetable hairstyles that feel as glam as they do accessible.  Andrew’s consistent work with the Kardashian and Jenner clans has raised him to prominence as a stylist, but don’t let that scare you off. His social media is full of tips and tricks so that you can achieve the very same styles in your daily life. Take a look through this new, beautiful campaign with Calvin Klein and then head over to Andrew’s Instagram and learn how you can bring the same taste into your style.

Kelly Rowland has been a staple in the pop music scene since the late 90s, continually returning to popular awareness thanks to her music and TV projects, always bubbling with her signature lightness and dropping impressive vocals. Earlier this season she sat for a profile in Vogue Australia and teamed up with Jesse Lizotte for the shoot. Jesse and Rowland stayed in the studio, utilizing an all-white background to keep the energy flowing, and focusing it into a sharp tool. “I was really blown away and humbled by the enthusiasm and excitement she brought on set” Jesse says. “She was one of the most down to earth and professional people I’ve ever had the pleasure of working with. As a starting point, I would show her a still image from a music video or a film in reference to a pose or a mood we wanted to create and then she would just run with it! The final images arrived somewhere we never would have anticipated.” All white studios can be a challenge. That setting forces everyone involved to bring their A-game; there’s no set to add energy or environment to rely on. But when Jesse met Rowland they were up to the challenge. “I treat a white studio like a blank canvas,” explains Jesse. “Sometimes when shooting on location, the background dictates the narrative of the image, consciously or subconsciously. I like to shoot certain subjects in studio because you are taking them out of context and combined with an unbiased canvas, creating something completely new.” They were able to use the white background as an asset rather than a liability, reinventing Rowland with every look. “Usually I would start a shoot with the intention to capture a range of expressions from a subject,” says Jesse. “Kelly was very confident in front of the camera and vivacious by nature, so It was easy to create a vibe in the studio with an array of clothes helping her get in character. And of course: the right music!” Every element of Rowland changes in each of Jesse’s images. It’s not just her hair or the wardrobe, but also the shapes she makes with her body and the energy she exudes. Every tool she has in her arsenal adapted to the vision of the image, reshaping with every frame and helping Jesse tell the full story of Kelly Rowland. Jesse Lizotte is represented exclusively through our Sydney office. Credits:Stylist: Petta ChuaHair: Michelle RichardsonMakeup: Rae MorrisManicure: Oli Antunes

Do you ever wonder what it takes for food to get to your table? Even something as seemingly humdrum as butter has an entire industry behind it before its a part of your dinner. Land O’Lakes invited Kyle Bean, through Hornet, to help them bring that process to life, so Kyle created an animated TV spot that explores the relationship between the farm and pat of butter on your plate using his unique aesthetic and brand of animation. “My approach to animation, as in a lot of my work, is there’s always a physicality to it and I like to keep things as tactile and in camera and as real as possible,” says Kyle. “That’s my slightly stubborn approach to things. Where possible: keep it real and make it physically, that’s my mantra. And luckily for me, it was an approach which the client was really into.” Even though Kyle and his team started with a slightly different path in mind, they were provided enough time from Land O’Lakes that he was able to develop and optimize the concept and create a beautiful stop-frame animation made entirely in camera. “We were able to really meticulously plan it and get a really great team,” Kyle explains. “It evolved naturally through conversation with the agency and with the client to become something a little bit more immersive, more detailed, and more textural. Initially, we were thinking it would just be a simple paper craft kind of scene and then it ended up evolving to something where this entire real table top in a set that becomes a very textural miniature farmland.” That’s right: everything you see in the spot was created in real life, the trickery is everything that happened in the moments between the frames.  Stop-frame animation can get complicated. There are hundreds of elements to prepare and balance, but the challenges are never quite what you’d expect. “In some ways, the animation shots that seem quite complex were the easiest ones,” Kyle explains. “Obviously, I look at it differently from everyone else because I can see the shots that were really tricky to get right versus the shots that weren’t. And generally speaking, if I were looking at it purely as an outsider, I can tell that the shots that work best are the ones that were the easiest ones.” When all is said and done, everything flows flawlessly and Kyle’s magic is that it all looks easy because it’s all seamless. If you're interested in understanding the process better, don't miss the Making Of video at the bottom of this post!

Every summer New Yorkers flock to the Hamptons to spend the season in style. It’s more than just a destination on Long Island, it’s a lifestyle, and the New York Post’s fashion imprint, Alexa, went right along with the party. They invited Tom Corbett into the fun to shoot the cover story for their Hamptons Issue, a story they created with actress Sofia Boutella. She used to be a dancer, most notably in a handful of Madonna’s music videos (in addition to a blistering amount of other work), which ended up making the shoot with Tom even more successful. “She’s a very interesting actress… She was amazing,” Tom says. “Her understanding of her body and how it relates to clothes, and the scenery, and her understanding of photography was amazing. It really was. She made it effortless.” Because of her command of shape and understanding of composition, Tom was able to work with her as a collaborative equal and create holistic images that work on every level. Sofia was the star of the story, but the setting was just as important. Tom used each environment to elevate the images. The Hamptons are known for the gigantic houses and refreshing pools, but Tom kicked it up a notch to show us more than we normally get to see. It’s not that we’re just getting a different angle of landscaping: he’s presenting it all with a new point of view. “I was trying to use the house in an interesting way rather than just sitting in the living room,” Tom says. “We were using interesting elements, graphic elements, architectural elements. Modern houses are such a pleasure to work in.” This is not the Hamptons as you’re used to seeing them, this is the next level.

Your bag says a lot about you. It’s how you bring your life with you, carrying all the accoutrements to live effectively. Vera Bradley makes some of the most expressive accessories in the industry, directed towards a specific consumer, requiring the market to speak to their unique clientele. The brand recently decided to take a different tack in their campaigns and recently asked Thayer Allyson Gowdy to help speak directly to their customer base. “In their previous campaigns they were doing very conceptual work, beautiful fashion conceptual work, and then they brought me on to do slice of life and really capture the spirit of Vera Bradley,” explains Thayer. “For them it was really like capturing the essence of Vera Bradley in the summer.” Thayer travelled to Indiana for the shoot, the home base of the brand, and soaked up what it means to celebrate the summer in that lifestyle. She and her team, including all the models, set up some great experiences and then let everything unravel naturally to capture the most authentic imagery possible. “It was very personal to the brand,” Thayer says. “In Indiana it’s all about lakes, all about lakes and we went to the little town, some little downtown area, the movie theater, the little local ice cream parlor, and we really tried to get a day in the life of a group of friends going to the lake. And it was a blast.” They spent all day just having a wonderful time, using the Vera Bradley products in the most genuine ways possible. This newer direction for Very Bradley was the perfect convergence of style for Thayer who loves to work in this way. Whenever she’s in control of a project, this is exactly the way she approaches it. “It’s really nice as a photographer when you get asked to do campaigns that are what you love to do and you’re good at,” says Thayer. “That doesn’t always happen, but this was literally everything I love to do… So it was definitely like a dreamy job to get to do.” By setting Thayer free to create the best imagery possible, the collaboration came to completion and they were able to create a campaign that elicited incredibly positive feedback.

Andrew Zuckerman recently sat down with Graphis for an incredibly in-depth interview about his inspiration, process, and the creative future (he doesn’t worry about the future). If you want a window to the inner workings of the artistic mind, this interview has it all. Best known for his incredibly vivid and detailed imagery of animals, Andrew describes how he’s able to make images like this happen: “I think your work is an extension of your own spirit, and if you naturally connect with the world around you and are curious and have a desire to meet others on an emotional common ground, that’s going to come through,” Andrew tells Graphis. He doesn’t draw a distinction between photographing animal subjects and human subjects, everyone is unpredictable, so he approaches each project with creative openness, shirking expectations. Instead of planning for a series of potential outcomes, he stays in the moment, remaining agile for whatever appears on the day. Andrew’s process is about being an observer of the world and keeping his eyes on what’s in front of him. If you stay aware, art will find you. “Inspiration is absolutely everywhere,” he says. “I don’t seek it. I think if you’re living in the world and you’re curious, you’ll find inspiration in unexpected places.” He finds incredible details in everything that he photographs, and then isolates them so that we are drawn in to see exactly what he sees. As Bjarke Ingels explains in his forward to the Graphis interview, Andrew’s work can inspire us all to look closer. “Andrew Zuckerman is a present-day Renaissance person,” Ingels says. “I had truly never seen an elephant until I saw it on Andrew’s wall (and now mine). Just as his work happens at the intersection between art and technology, his home and studio are like curated encounters with birds’ nests, space gloves, from different ages all fusing together in an obvious yet unpredictable coherence… I always leave excited about the world and what’s in it.” Ultimately every artist is creating a career that will span far into the future. It’s an important consideration whenever an artist is making work, but Andrew doesn’t want to be weighed down by the future. He can’t let that be a magnet that pulls him off balance. “I find that thinking about the future makes me really unproductive, so I try to stay in the moment,” Andrew explains. After all, photography is a medium that is about capturing moments as they happen, and the only way to capture them is to experience them in real time.