A Quote by Hari Nef

I was always looking at Helmut Newton photos with the Le Smoking suit and Stella Tennant in Self Service magazine. It was never just about an ultrafeminine woman for me.
Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography.
There was always Helmut Newton coffee table books around when I was growing up.
We wanted to have in Lotus Eaters something that looks really beautiful on the outside but is not necessarily on the inside. There's a lot of superficial references. I remember we were looking at Helmut Newton's photographs - they just look so glossy and beautiful, but you look closely and you can see the cellulite.
I think Stella Tennant is amazing. And then I really loved all those 60s society models, like Edie Sedgwick.
I think Stella Tennant is amazing. And then I really loved all those '60s society models, like Edie Sedgwick.
Learning that aesthetic as a kid - seeing those photos - made me think that that's what photos are supposed to look like. I never understood snapshots. I was looking at them like, "This is horrible; that's not what a picture is supposed to look like." I was taught by these photos. So when I picked up the camera, though I had never done it before, I kind of already knew what I was doing.
I have never been a major fashionista, but I love a suit, and I did have one made for me by the tailor Stephen Williams. The great thing about a bespoke suit is that it covers up my pot belly. When I buy a suit, I'll pick shoes, belt, tie, shirt and socks, and that will be what I always wear with it.
For a woman, le smoking is an indispensable garment with which she finds herself continually in fashion, because it is about style, not fashion. Fashions come and go, but style is forever.
There are a lot of photographers who have influenced me; some of the great ones, like Herb Ritts, Helmut Newton, and [Alfred] Stieglitz. I draw from all of them. You're supposed to steal from the good ones.
I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.
People always say theres no such thing as bad publicity, and you always think theyre right, because it seems self-evident: nobodys going to buy a magazine that nobody ever talks about, so people should want to buy a magazine that everybodys talking about.
I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.
People always say there's no such thing as bad publicity, and you always think they're right, because it seems self-evident: nobody's going to buy a magazine that nobody ever talks about, so people should want to buy a magazine that everybody's talking about.
A lui la foi, a' elle le doute, a' elle le fardeau le plus lourd: la femme ne souffre-t-elle pas toujours pour deux? For him, faith; for her, doubt and for her theheavier load: does not the woman always suffer for both?
I always did what I thought was interesting. I always just did what caught my fantasy. Looking like a woman, that was never the criteria for me. It was always to do drag. And drag is not gender-specific. Drag is just drag. It's exaggeration.
I always have two bracelets on my right arm. One is a purple and white bracelet from a fan. I love it! I also wear a bracelet from a waterpark- I've had it on for two or three years. My mom says it's pretty nasty, actually. But you'll never see me without them ever! In magazine photos, the bracelets are sometimes airbrushed out, but viewers will always see me wearing them during scenes.
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