• 8.18.16

    Gregg Hubbard Keeps YesJulz Honest for Puma

    You might not know who Julz (@yesjulz) is and that’s okay. It just means you’re totally washed and out of the loop. As a brand ambassador and influencer she uses her social reach to tip the scales on what’s worth paying attention to. Her hundreds of thousands of fans follow her every move on Instagram, Twitter, and Snapchat and each one of them know what she looks like from day to day. So when Gregg Hubbard was tasked with designing a makeup look for her in a recent shoot with Puma it was a special challenge.

    Unlike movie stars, Julz’ face is seen every day and from every angle. She’s become a star for being herself, so that’s what Gregg had to highlight. Julz is not someone who can hide behind angles and contouring, instead she interacts with her fans in person and has to be recognizable from one day to the next. Gregg brought in a taste of her signature street glam with a well shaped eye and glossy lip, and even offered a little bit of shadow on her cheek, but nothing that feels too formal or loud. It’s a balance that Julz strikes every day and with a little help from Gregg it’s sure to never go out of style.

  • 4.5.16

    Gregg Hubbard Reaches Perfection with American Psycho

    In the world of American Psycho style is how you find your place in society. Lives are lost to jealousy over the correct shade of white for a business card or hard-to-secure restaurant reservations. In the torrent of Reagan’s Wall Street, apartment addresses are more valuable than human lives so it speaks to reason that the Broadway musical based off Bret Easton Ellis' novel has to get the look just right. That’s why they turned to Gregg Hubbard for their latest ad spot.

    In the video, Patrick Bateman jams out to Huey Lewis, Phil Collins, and Whitney Houston all while preparing his body to commit more murder with an axe in a three-piece suit. Gregg’s grooming creates a chiseled smoothness on Patrick’s face, and keep his coif in just the right arrangement. Perfection is the only acceptable result and luckily that’s exactly what Gregg has to offer on every part of Patrick’s body. In Patrick's mind what we look like is who we are, and he’s impeccable thanks to Gregg.

  • 6.16.15

    Gregg Hubbard’s Details Paint Vogue Hombre

    The male Vogue of Mexico, Vogue Hombre, offers a look at a man on adventure. Entitled “Tierra de Nadie” (Spanish for No Man’s Land), Matthew Scrivens’ photographs look like a man in mid-safari. The shapes that Gregg Hubbard employs in the hair and make up complete a look that is calculated but a little wild. The model’s hair is structural and almost unruly, echoing the energy of exploration. With the subject lounging against shipping crates, as if between stops, and a backdrop like a tent in the plains, the images concisely capture a man on adventure. The fashion is neutral, relying on a narrow pallet and a broad range of textures. The sharpness of the model’s facial hair, carved by Gregg, adds contrast at the focal point of the image, showing that this man knows who he is, where he is going, and we’ve caught him in the midst of his raucous journey.

    Similarly, in a music video for Oh Honey and their song "Sugar You” that Gregg worked on, we see a world where two strangers engage in a romantic game of cat and mouse. The fantastical video is dusted from corner to corner with powdered sugar, offering a totally sweet glaze. As these two strangers fall in love the whole video blurs the line between reality and the dream world, showing us how infatuation makes us see everything differently. Gregg’s make-up aligns with the energy of the video that is a heightened reality. Exaggerated eyes, lips, and cheeks add to the drama and fantasy of this quick love story, bringing us into an everyday fairytale where we can be the princess or cavalier prince.

    Both of these projects have shown us how small details like hair and make up can lift the story of any project into another world.

  • 3.16.15

    Platon Gets Revolutionary for Cutler and Gross

    More than two decades ago, small eyewear brand Cutler and Gross teamed up with local London photographer Platon to work on a series of advertisements that were both provocative and intimate. Cutler and Gross birthed itself out of the counter culture of Late 1960's London, offering eyewear for customers who were less interested in buying product that made them assimilate, and more interested in expressing their own views of their world and themselves. The campaigns were successful in how they spoke to the customer base Cutler and Gross were seeking to attract, and as time went by Platon and C&G went their own ways. Until now.

    After a recent period of solid growth at C&G, Platon got the call. “I got contacted by Majid Mohammadi, the CEO of Cutler and Gross - he’s a really fantastic guy,” says Platon. After explaining to the photographer that his previous work with C&G is still an inspiration to the company, Majid asked to work with him again. “So we plotted to collaborate once again after all these years,” says Platon. This rekindling of their past relationship aligns perfectly with both Cutler and Gross and Platon's sensibilities. Platon's more recent history of photographing instigators and provocateurs is exactly what Cutler and Gross wanted to tap into for their latest campaigns. “Cutler and Gross is built on an idea of individuality and expression so it’s a natural fit for me because it’s a chance to say to everybody: ‘never follow the rules, and certainly don’t be conservative,’” explains Platon. “This is a chance to always have an undercurrent of humor and revolution.”

    When it came to composing the images for the campaign, Platon didn’t have to look farther than the designs built directly into the line. “In each image, there’s something in the sunglasses that I feed off for the picture. In the case of the snake, there’s a snakeskin pattern in the glasses,” Platon explains. For the snakeskin images, Platon and his team actually got a small troop of snakes to drape on the models. “Some people thought we faked it! No, we didn’t fake it,” says Platon with a laugh. In fact, the model was totally comfortable with snakes and was happy to interact with the animal in that way. Some others on set weren’t as relaxed around the legless reptiles. One participant had to leave the room so as to no longer be in the same space as the snakes.

    At the end of the day, the campaign is about catching peoples’ attention. They really played on the softness of the woman's face, accentuated by the hair and makeup work of Gregg Hubbard, and the exotic power of the snakes. “There’s something really powerful about this woman and her skin is so gentle and then you’ve got this bloody great python that could easily squeeze the life out of this girl,” says Platon. “And there’s nothing more beautiful than an animal like this that’s just raw. And then you also have the seduction of a young woman in her prime. It’s a nod to being cheeky and revolutionary type existence.”

  • 2.5.15

    Platon and Russia's Leaders in Human Rights

    In 2012, in the Cathedral of Christ the Savior of the Russian Orthodox Church in Moscow, five women in knitted balaclavas mounted the dais and performed their punk rock song “Mother of God, Drive Putin Away.” It was the eve of the Russian Presidential election with Vladimir Putin as the overwhelming front-runner. He had held the office before the contemporaneous president, Dmitry Medvedev, whose term Putin’s presence had overshadowed. His powerful grip on the Russian politic had never loosened despite gestures of stepping out of the spotlight. Those gestures never turned into real action, and the political career of Russia’s latest Czar was concretized just a few days after the Cathedral performance with his affirmative election to the Presidency. Putin remains President to this day.

    The five women in that church that day were all members of the punk rock band Pussy Riot. Their performance landed three of them in jail; Maria Alyokhina and Nadezhda Tolokonnikova were arrested for hooliganism while Yekaterina Samutsevich was arrested later on similar charges. They were eventually found guilty and sentenced to two years in Russian Penal Colonies, and would eventually be released shortly before the completion of their full sentence.

    Platon, the perennial documentarian of the personalities behind cultural conflict had the opportunity to shoot both Alyokhina and Tolokonnikova in his New York studio for the most recent issue of Wired Magazine. Anyone familiar with Platon’s work should find no surprise that Platon was the photographer tapped for this project. Activists of innumerable ilk have sat for the photographer to display the humanity of their actions. “Through this whole period I had watched Pussy Riot make a giant imprint on the world with their own brand of courage and flare,” Platon explains. “They have proved not just to be cultural icons, but also to be effective contemporary activists with a capacity to inspire the next generation.” Inspiration comes from the persuasion of possibility. By showing the humanness behind figures like Pussy Riot their actions and philosophies become far more accessible and we realize that these forces for change are the same flesh and blood as we are. It forces the viewer to ask if they could make the same choices. “I wanted to show a sense of tenderness and humanity. These activists are the real deal and it was imperative not to show them as merely a two-dimensional media-made cartoon. They are epic humanitarians and I am honored to know them,” says Platon. Activists: they’re just like us.

    Bernstein and Andriulli makeup artist Gregg Hubbard was also on set to help complete the vision of the final look. “Everyone agreed that by who they are and what they’ve done these women are fighters,” says Gregg, explaining how he approached the delicacy of this project. ”So they walk in and there’s mistrust. You have to win them over. It’s about winning their trust and going slow.” Platon’s imagery is always so intimate, and about the humanity behind the face, so Gregg had to be sure his work fit into the final composition. He explains: “What I have to do is come and see how they arrive and just present the best version of them. So they still look and feel like themselves, but they’re just a little more camera ready.” By presenting who they are we can better grasp their story and their message. Even if we are not convinced, we can understand. Platon and Gregg worked together to ensure that there would be no filter between us and these women. It’s up to us to make the decision about how we feel.

    With the shoot capturing Pussy Riot, Platon has created a portfolio that includes some of the biggest names that have come out of the most trying social conflicts in Russia from the past few years.

    The TIME cover that Platon captured with President Vladimir Putin has proven to be loved in both Putin's regime and by his detractors in America. The image shows a man who to the Russians seems powerful, while others read it as a false display revealing an impotence of authority. This image inspired the trust of Putin's company, allowing Platon access to a government and a people that has proven more difficult considering international relationships that started as simply tenuous and have since become outright aggressive.

    That special relationship allowed Platon the access he needed to get the ungettable. Through a nine-month process orchestrated by Wired Magazine, Platon became the first photographer to shoot Edward Snowden since Snowden took his place in history by leaking the documents exposing the tactics of the CIA against the American People. Code names and fake social media updates worked towards securing this impossible shoot that shocked a nation back into considering who this man was and what the values of his actions were.

    “My relationship with Russia has been fundamentally important to my life’s journey as a photographer and human rights activist,” explains Platon. “It was through this process that I was privileged to meet and interact with some of the most courageous people on the planet- people who believe in freedom of speech and respect for the dignity of the individual.”
    We've included photos from these projects that have defined, in many ways, what Russia means to us as Americans. Sanctions have vastly narrowed Russia's ability to export oil, perhaps making their greatest export visible social issues. Platon has done what he can to bring our attention to these pitiable and remarkable errors. It's now in our hands to see what we can or should do to set them right.

  • 1.6.15

    Gregg Hubbard Makes High Fashion Accessible

    They say “The clothes make the man,” but the clothes are only as good as the accessories chosen for the outfit. Those accessories add a broader context and unique styling for any guy pulling off his look. But even the perfect accessories won’t complete it. For that, you need to tidy up the edges before you’re ready to go.

    When Gregg Hubbard got together with Vogue Hombre for their latest feature on men’s accessories, he was there to complete the man. His grooming put the finishing touches on the look Vogue wanted to highlight. In “Diálogo Masculino” (“Masculine Dialogue”), Vogue shows the epitome of a stylish man on the go. Fitted suits and sport coats from Tom Ford, Dolce & Gabbana, and Brooks Brothers, among others, sent the foundation for accessories from Valentino, Bottega Veneta, and Montblanc.

    These high-powered fashion names carry such a high level of prestige that they may seem unattainable to the average reader. But it’s all about balance. The look that Gregg Hubbard executed for the editorial shows the model as a very accessible guy. His cropped facial hair and effortless hair add a graceful look, bringing these top tier brands within reach of even most casual of fashion hobbyists.

    Check out the whole project, shot by An Le.

  • 11.19.14

    Amy Taylor and Gregg Hubbard Layer it On

    It’s getting cold and that means we are solidly in layering season. Layering is about being dynamic and flexible, evolving with the weather and the changing temperatures, while keeping a look fresh and comfortable.

    Refinery29, who always has their pulse on current trends and needs, is acutely aware of how challenging layering can be. Layering means more articles of clothes need to fit squarely into one styled outfit. It must be a more forgiving look, while making room for diversity and shifts throughout the day as layers are added and taken away. And don’t forget the breadth makes room for plenty of self expression.

    What better way to express the fashion of layers than to set their shoot in an Amy Taylor layered utopia? Using huge sheets of paper, Amy constructed environments reflecting the layers in the clothes on the set, bringing that energy across the entire image. Her designs set the tone, creating a world with total context for the fashion.

    Gregg Hubbard was also on hand, completing the layered extravaganza. Adding a softness of color to blend beautifully with the surroundings. It’s a full three dimensional, immersive look at this theme.

    These two artists provided the thematic space to tell Refinery29’s stories. It’s seamless, almost invisible work, to ensure the story is told well.

  • 7.3.14

    Tom Corbett and Disney Reach Across the stars for This Shattered World

    On the heels of Amie Kaufman and Meagan Spooner’s wildly successful YA Novel, These Broken Stars, comes the second in the trilogy entitled This Shattered World. Two young adults, caught on opposite sides of a revolutionary war on another planet, find the promise of love inside one another despite the impossibility of their circumstances.

    To match the amazing cover of These Broken Stars that Tom Corbett shot last year, Disney tapped him again to recapture the magic. Tom was tasked with capturing the intergalactic love conflict in a single image without giving anything about the highly anticipated plot away. What Disney and the authors decided on was an image of the two lead characters reaching towards one another while being hurdled through space, tossed off an exploding world. Thematically, it’s an elegant idea, but the execution required intense work.

    Tom, his team, and the two models headed to a stunt facility in Williamsburg Brooklyn called Hollywood Stunts. The facility was fully outfitted with trampolines, jumping platforms, crash mats, and a handful of stunt instructors to keep everyone safe. After some careful experimentation, Tom and his team realized they would achieve the best results if they shot the models separately. “We had them jumping from a platform to a huge crash mat, jumping towards me,” Tom explains, which is neither easy nor safe without supervision. But, with some emotional direction by Tom, they were able to achieve a dynamic, three dimensional look as if both models were in movement together. “We got it in the end,” Tom recalls with a laugh.

    The high-energy day was fun, but not easy on anyone. Tom says, “There were a lot of bumps and bruises on the day, it was a lot of fun, both models were real troopers.” At the end of it, it was all worth it. Especially with B&A artists Don Sumada styling and Gregg Hubbard on hair and make up, everyone wrapped up safe, sound, and looking out of this world.

    Despite the energy and desperation with which the couple reaches towards one another, infused throughout is a feeling of high fashion. Tom is known for his spunky, energetic campaigns - a signature style unique to Tom. Recently, Photo District News caught up with Tom to catch some of that magic. The magazine is out now, where he describes "How I Got That Shot" going through the logistics, lighting, camera, and retouching process that complete his final looks. (You can see what results from that polished process with the Tom's newest Tissot ad campaign featuring Steve Stamkos.)

    Retoucher: Eddie Caruso
    Styler: Don Sumada
    Hair & Makeup: Gregg Hubbard

  • 6.5.14

    Tom Corbett and Refinery29 Turn Up The Heat

    Summer is about being bold. As the temperature rises, so do the opportunities to go big with beauty. Refinery29 teamed up with Tom Corbett to show off the potential locked inside that heat. The flip-side is that no one wants to stay indoors gussying themselves up, lacquering on make-up, and worrying about their manicure. That’s why Tom and Refinery29 chose looks that were bright, light, and easy to run with. It’s about looking good, not looking like a production.

    Using jewel tones and rich neutrals, Tom’s work shows off the confluence of sunglasses, lipstick, and nail polish. Just these three elements can bring a look together and scream, “Summer!” while still being effortless. 

    Laura Miller, the photo editor of Refinery29, worked with Tom on the direction. Tom explains that they wanted to “make it fun and modern and have a sense of energy and spontaneity.” If you’re even a tiny bit familiar with Tom, you know how perfect this is because, as he said, “it sums up how I like to shoot.” 

    That fun that they’re talking about is obvious from the shoot – the looks are playful, light, and full of a carefree joy that cannot be PhotoShop’d in. Tom explains where those looks came from, the “models were told to enjoy themselves and with music blasting they made quirky, fun faces.” But wasn’t only in the photos, the pleasure wasn’t only in front of the camera. Tom says that the shoot was “great fun.” Laura agrees, saying, “I wish all my days on set were as fun!”

    Adding to the fun were Sara Cooper and Gregg Hubbard, who were styling and working on the make up, respectively. Laura sums up the project saying, “it felt like a really nice collaborative effort. Overall, it was an awesome team to work with.”

  • 5.13.14

    Inc. Unbuttons With Robert Maxwell and Partners & Spade

    Inc. tapped Robert Maxwell to capture Partners & Spade, the creative-branding muscle for J.Crew, Target, Warby Parker, and Shinola, among others. "It was a smooth shoot," Maxwell recalled. "Both Andy [Spade] and Anthony [Sperduti] were affable guys who took direction well, and Anthony was already familiar with my work and had kind things to say. I was really flattered."

    The photographer used a couple of different setups at Pier 59, each with simple lighting. "Inc. wanted the cover a little less buttoned-up and business-looking, which I tried to interpret through body language and the clothes we put the men in," Maxwell noted. "To achieve the right stance, it's give and take ... sometimes they did things on their own that I liked, and sometimes I told them, 'Move this, move that,' so it became a team effort." Other team members included B&A stylist Don Sumada and Gregg Hubbard for grooming.


  • 3.6.14

    Sam Robinson's Latest Work: Nike, Rockefeller Center, Lufthansa, & More

    Sam Robinson's latest projects include Nike's "We Own The Night" series, his inaugural commission for the sportswear giant. Set in his "second home, Barcelona, my passion for the city and brand resulted in a brilliant shoot that was fun for the whole team," he said. Lufthansa, another household name, turned to Robinson to lens its global advertisements. "Considered one of the most prestigious campaigns in Germany, it has been exciting to be part of their new identity from my first Lufthansa shoot back in 2012," he remarked.

    Robinson, B&A stylist Don Sumada, and B&A hairstylist and makeup artist Gregg Hubbard partnered on a recent campaign for Rockefeller Center. "Working with them was an incredible experience from start to finish," said Miranda Langan, senior director at Tishman Speyer. "Not only are the three at the top of the game creatively, they are serious professionals who get the job – and get the job done." Robinson described the images as "designed to talk to New Yorkers about locations traditionally aimed at tourists." Sumada and Hubbard added they always love participating in an all-B&A crew.

    Robinson was also the photographer behind British retailer New Look's "new look." He recalled: "They approached me to work alongside their in-house creative team and the incredible designers at & Smith to [contribute] to the rebrand of the fashion store." He helmed shoots in Cape Town, London and Scotland, featuring a trio of different collections and creating a new style for the High-Street chain.

    Both Little Bird Clothing by Jools Oliver and The Fableists, makers of sustainable garments for children, asked Robinson to apply his expert eye to kidswear. His one-off collaboration with Little Bird has evolved into four shoots a year – "and a superb family effort from all parties." For The Fableists, he noted, "heading ... with a band of rebellious kids to take over a skate park perhaps isn't everyone's idea of fun," but the completed images come with Robinson's own guarantee that "all stylish kids across the globe will soon be wearing these clothes."

  • 10.31.13

    Gregg Hubbard's Halloween Makeup for Martha Stewart Living

    With a wave of his magic ... spirit gum and sponges, Gregg Hubbard turned toddlers into sprites, and a teenager into an ogre, for Martha Stewart Living's October issue. "It was a specialty shoot, so there was a specific point of view," he said. "I just had to make sure to bring the appropriate products." Hubbard custom-fit ears for each elf and sprite, and applied green and brown treatments to the ogre's exposed skin – including his feet. 

    The makeup artist and hairstylist recommends tweaking the various appendages that are part of Halloween getups. "Purchasing, say, prosthetics doesn't mean they're the right size," Hubbard explained. "You might have to cut them a bit, as you would with regular beauty enhancements, such as false eyelashes or hair extensions." 

    Photographer: Anna Williams 

  • 9.13.13

    Tom Corbett Captures Teenage Love for Disney-Hyperion

    Tom Corbett and Don Sumada collaborated with Disney-Hyperion on the cover for These Broken Stars, the first book in a forthcoming, young-adult science fiction trilogy. The plot follows Lilac LaRoux and Tarver Merendsen, lone survivors of a luxury spaceliner crash. Sumada's styling helps visualize the protagonists – the daughter of the richest man in the universe and an adolescent war hero – and Corbett's direction captures their desperate brand of teenage love. Makeup artist Gregg Hubbard rounded out the B&A crew.

    Authors Amie Kaufman and Meagan Spooner called the cover perfect. Spooner told The Book Smugglers: "I think my favorite thing about it is that it's clearly both science fiction and romance. That's a hard thing to accomplish with one image. The way they're reaching for each other is so appropriate for the book, because they're the only survivors of their shipwreck – they have to rely on each other to survive." Kaufman added, "It's a haunting, slightly creepy and ultimately beautiful image, and that's definitely the experience Lilac and Tarver have on their unknown planet together."

    These Broken Stars hits bookshelves December 10.

    Cover designer: Whitney Manger 

  • 8.7.13

    Jesse Nemeth Does Double-Duty for Time

    Time enlisted a team of B&A artists to collaborate on images for this week's cover story, "The Childfree Life." 

    "Although we had all of the prop elements available, communicating the concept visually presented a challenge, despite its simplicity," recalled prop stylist Jesse Nemeth. "Using a borrowed beach cart, I carefully rigged all of our props and inflatables with wire, creating a colorful beach sculpture on wheels, within twenty minutes." But his work didn't stop there; Nemeth did double-duty, posing as the Sysiphean dad, "which was easy as a father of two-year-old twins."

    Stacey Jones, the wardrobe stylist, noted that the photographer envisioned a Norman Rockwell sensibility with a modern twist. "Using this as a starting point, I tried to bring a vintage style and color palette to the wardrobe," she said. "The location, which was also a throwback to that era, was a perfect backdrop to capture the overall feeling."

    Makeup artists Gregg Hubbard and Sophie Haig used the afternoon before the shoot for experimentation. "My only concerns were sun protection for the models and making sure their glowing skin did not come across as sweaty," Hubbard noted. On the morning of, "We arrived before the sun was up completely and we were finished by 11:30. Awesome day."

    Photographer: Randal Ford
    Prop Stylist: Jesse Nemeth
    Wardrobe: Stacey Jones
    Makeup: Gregg Hubbard, assisted by Sophie Haig

  • 6.27.13

    'Rock Me Easy' Gregg Hubbard & Elisa Flowers

    B&A artists Gregg Hubbard and Elisa Flowers work together on a fashion editorial for the June 2013 issue of Elle Mexico. For the story titled "Rock Me Easy Baby", Gregg and Elisa worked with six models in the iconic New York City establishment Katz's Deli. Models Nykhor Paul, Fernando Cabral, Dominique Hollington, Kone Sindou, Ty Little, and Taejahn Taylor are all pictured wearing pieces from Tommy Hilfiger's SS 2013 collection. The ten-page editorial feels relaxed yet intimate, like a group of friends enjoying a nice afternoon in the city together.

    Photographer: Santiago Rusenor
    Producer: Mirham Ascencio
    Grooming: Gregg Hubbard
    Hair / Makeup: Elisa Flowers
    Models: Nykhor Paul, Fernando Cabral, Dominique Hollington, Kone Sindou, Ty Little, Taejahn Taylor


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