Is Antonio Garza A Guy Or A Girl That Does Makeup On You Tube

Photo: Juan Ramos

Donna Jordan and Corey Grant Tippin in St.-Tropez, 1971

Who ever said a muse has to be a woman? Certainly non illustrator Antonio Lopez. Among the '70s style icons visitors will discover at "Antonio Lopez: Future Funk Fashion," the new El Museo del Barrio exhibit dedicated to the creative person's piece of work, are models and mentees including Carol LaBrie, Donna Hashemite kingdom of jordan, Jerry Hall, and Corey Grant Tippin—a handsome blond boarding-school grad from Connecticut who inspired and worked with Lopez. The ii met when Tippin was a student at Parsons, and further bonded when they lived in Paris in the early 1970s.

At the suggestion of Lopez, Tippin, who was at the eye of the mad mix of art and way flowing between New York and Paris, started doing makeup, enhancing the looks of distinctive models similar Donna Hashemite kingdom of jordan and Jane Forth for sittings with his mentor, and for Andy Warhol's film, L'Amour, described by one reviewer every bit "a deliciously naughty saga of innocents abroad" (a phrase which as well sums up Tippin's years in Paris). Tippin, who was not averse to a wearing dab or two of makeup himself, got up to plenty of hijinks along the fashion, including prank-calling Pierre Bergé and Yves Saint Laurent, who bandage Tippin for his debut menswear drove.

Tippin'south moving-picture show work led to more beauty assignments, including with photographer Guy Bourdin, as well every bit a modeling contract. Not simply was Tippin a self-described "witness"—with a full-access pass—to the fantasy and freakishness of the era, but through his styling, of himself and others, Tippin had a manus in creating the broader ideas of beauty that came to define that fourth dimension.

Here, in an exclusive interview, Tippin—who went on to piece of work with Martha Stewart before establishing his own decorating and antiques business organisation—remembers working with Lopez, shares a makeup tip from Processed Darling, and talks about posing for The Rolling Stones's Gummy Fingers album embrace (aye, that's him).

On sittings with Lopez and his art managing director, Juan E. Ramos
In those days, when Antonio started, that was an extremely respected and refined career. People were studying to be fashion illustrators. Every bit a matter of fact, when I went to Parsons, that was the category that I entered. Antonio had the sense and the groundwork and the ability to understand that what he was doing was and then essential and the conditions nether which he worked were so professional and so of the moment [and] the highest quality—it was like being in Avedon'due south studio. It was having the girl, having the right girl—having her groomed perfectly.

How did yous go into makeup?
Andy [Warhol] fabricated this flick in Paris called L'Amour and I'd been hanging out [in Paris] with Antonio and Antonio said: "You lot should be a makeup homo." There weren't any makeup people in those days. The girls did their ain hair and makeup and that'due south why the models were so individual. They weren't chameleons, they were giving you this interpretation of what they idea was beautiful. Diana Vreeland saw all that in people, she saw the individual presence of [a model] like Veruschka. I mean, Veruschka was always Veruschka; she got booked considering she was Veruschka. Peggy Moffitt couldn't be anybody but Peggy Moffitt, only she got booked because she was that incredible animate being. That was the thing that and so fascinated me most makeup and models—their incredible ingenuity of how they transformed themselves into this specific kind of bulletin.

Did you create the beauty looks for Antonio's portraits?
Oftentimes, I did. Antonio was, like myself, very, very interested in the essence, the individuality of the girls. He didn't desire to just use a catalog model or everyone, he liked to have real inspirational girls that he could work on and through the illustrations nosotros could embellish them and define their character. He would over describe it in the pictures and and so would copy information technology and then he would copy that and so it was layers on layers on developing the looks of these extraordinary models that he used.

How did you lot end up walking in Yves Saint Laurent's first menswear bear witness?
My best friends were Clara Saint and Thadée Klossowski de Rola, who eventually married Loulou [de la Falaise]. Thadée . . . is a total aristocrat, he's a blaaaast. I love him. They were a couple. I had no thought, I knew Clara worked somehow at Saint Laurent, simply I didn't pay attending. I guess she was the press attaché. Clara was from Chile. I loved her, nosotros were inseparable. I remember she was kind of pushing for me. I didn't realize it.

I was so naughty. Nosotros tried to kidnap [Yves Saint Laurent's] canis familiaris, Moujik—you know he kept having the aforementioned dog—and terrorizing [Saint Laurent] and Pierre Bergé. We got their private number [and] we would phone call them all the time and bother them. But I got booked for [Saint Laurent's] get-go men's collection. It was in rue Spontini, in the salon, really quiet with the creaky floors and carpets. Nosotros went into the little cabine and [Yves] dressed usa, and he tied my necktie and he said: "Voue êtes très chic," and I was like okay: That'due south my epitaph. That'south going on my tombstone.

It was a really good prove. I felt like I nailed information technology for the outset time. Pat Cleveland had taught me how to walk the way she learned how to walk. We were in an drome and nosotros were killing time and and so she said: "Okay, I'm going to teach you." She taught me how to pivot, what to exercise with my head, hands, how to piece of work the garment, everything.

Did y'all wearable makeup on a regular basis?
Yes . . . to heighten my pare. I remember Fred [Hughes] and Andy [Warhol] pulled me aside and they were like: "We've got to talk to you." I was similar, "What? They're like: "Yous're wearing fashion as well much makeup, you lot wait similar Holly or Candy." And I was like: "Well, what's wrong with that?" They didn't know what to say. They were trying to give me fatherly advice and I was similar: "I don't recollect so."

I read that Candy Darling gave you some makeup tips.
Candy used to take the mascara—it was Maybelline mascara in a tube—and she would heat the tube up on the stove so it got really hot inside the tube, and then she'd pull out the wand and put it on. Information technology went on hot, and information technology really, really coated your lashes, really, really densely coated them. That was a good trick from Candy.

I also read that y'all might have been the model for The Rolling Stones'due south Pasty Fingers cover, created by Andy Warhol. Were you lot?
I am going to tell you my experience. Other people may take had the same experience, other people might think information technology'southward them; I'yard just going to tell you what I think and what happened to me.

I wasn't their outset pick. Fred came to me and said: "Can we do it?" [Pose for Andy Warhol.] I was like, "Certain." I didn't even know what [specifically] it was for, he said it'southward for an album cover. I didn't like The Rolling Stones. [He] said: "We'll pay you 75 dollars." And I said: "Bully, I'm at that place." So I just went over. It took like xv minutes.

Now in those days they didn't accept Photoshop . . . there'south probably a footling bit of cut and paste somewhere. Who knows? But non much. You know, you can tell your beefcake, if it'south you or not. That's all I tin say. That's not my biggest claim to fame. I always tell people, simply Google it and figure out whatever you recollect is the reply.

This interview has been edited and condensed.

Source: https://www.vogue.com/article/corey-grant-tippin-interview-antonio-lopez-andy-warhol-sticky-fingers

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