MARIPOL ENGLISH

Little Red Riding Hood

Little R e d r i d i n g h o o d

C o n v e r s at i o n w i t h

a r t d i r e c t i o n by

M a rc J a c o b s

to w n h o u s e : A n to n A pa r i n & N i c k V o g e ls o n

Little Red Riding Hood

For the first time, I am mixing different media such as drawings, fashion styling, photography, Polaroids and collages, traveling in time through my archives to create the blueprint that best outlines my personality as an artist with a fashion background, which has always been present throughout the years…

Rummaging through my family album I discovered hidden photographs of my grandmother, whose fashion influenced me the most while I was growing up. Her name was Mathilde, which is also my middle name. I have always felt her presence in me since her death and I was proud that people always said that I am just like her. My attraction to fashion and jewelry (when stealing my mom’s dresses and high heels) made me a natural model, but the myths and legends that rocked my youth made me a winner for the best costume contest dressed up as Little Red Riding Hood.

When I landed in New York, unsure of being ‘just an artist’ fresh out of Beaux Arts school, I was picked by a talent scout from the famous Fiorucci house for my ability to design industrial objects into wearable sculpture and jewelry. Textures, fabrics, and scents were no strangers to the little girl who grew up in Africa, eager to go to the market and admire the craftsmanship of the locals, if it was beading, tapestry, or goldsmithing.

When New York became my new playground, my subconscious blueprint exploded through the ensuing decades of Art, Music and Fashion. The pages presented here will expose with humor the fragility of an innocent little girl growing up fast in the world of the big bad wolves…

— Maripol, New York City, 2010

MAGICAL

MOROCCO

Once upon a time In a land of Nomads, No man’s land for strangers Looked upon as campers There came a little girl Eager to settle Jolted through the desert to reach the next town Eager to see the world As her dad in a helicopter would hear the word A girl! A joy after three boys I grew up surrounded by love, nature and fun times with my three big brothers, And being propelled like a plane I became the tomboy, learning self defense and living in the trees Raising silk worms, turtles, rabbits and chameleons Once a week visiting the Souks in the most Ancient City Inhaling the smells and watching the colors explode in the tanner market Or the magic hands of gold and copper smiths Tic-tac-toc Imprint In my memories

Mediterranea: an ancient bed for civilization of sailors and merchants, the Phoenicians; my proud ancestors to whom I owe my creativity, my kingdom and freedom.

But one day suddenly I departed to my country of origin, to France, sadly leaving behind grandparents and uncles who could not dare leave their dead behind.

Back in Morocco, years later, I would travel to Tangiers, hanging out with Paul Bowles and other American poets; was this a premonition of my ‘American calling’?

How could I have escaped from a family tradition of grand voyageurs?

Little did I know that only a decade later I would land in New York, embarking in new chapters of my life...

Mom and dad got married upon return of my dad from World War II. My mother Aline is part Maltese on her dad’s side. They both had six siblings. We grew up in North Africa with nature and warmth from both weather and love.

My uncle Alfred had an adoration for his mom, I suspect he took her picture on the sofa! He was a doctor, writer, painter and spoke several languages. The woman wearing the burka passing by the arch becomes a silhouette, there is a lot of controversy around this ‘total look,’ but I think it’s elegant.

ENCHANTED

GARDEN

I left France and my family behind to conquer America, when I met this charming photographer, Edo. I was still attending the Beaux Arts school, and thought that, even though I had learned English in high school, I was unable to understand American English once I arrived in the States.

Reading newspapers and watching TV helped me overcome the language barriers. What an absolute treat to have so many TV shows on brand new cable TV, such as American Bandstand, and Midnight Blue America, a sex show, which were the inspiration for many drawings and pictures in this book.

We lived in an apartment uptown where I drew, I posed for Edo, I sewed and I snapped Polaroids.

We escaped the cold winter by going to the Islands, the whole time making accessories out of any material I could get my hands on.

We drove a Harley-Davidson and our neighbors called us the ‘Punks of Downtown,’ so eventually we moved to a loft downtown in NoHo. More space, more inspiration, more live music at CBGB.

Enchanted Garden was a club in Queens, opened by Ian Schrager and Steve Rubell before Studio 54 had opened.

We used to get there by a chartered bus.

The parties were Disco.

Antonio Lopez was King and the girls were high energy.

Grace Jones performed live.

When Studio 54 opened in 1977 there was a room where Oliviero Toscani would shoot portraits of people coming in for Italian Vogue. Daniela Morera pulled me up in front of his camera.

I had made my black satin skirt especially for that night.

At Studio 54 a giant moon came down from the ceiling and shook white flakes down onto the dance floor. The new drug of choice was cocaine, and this changed the music, the beat, the disco, non-stop dancing.

Fiorucci’s store on 59th Street was the ultimate stop to get your vinyl jeans and glitter tops, before going to Studio. Elio Fiorucci understood the term ‘branding’ early on and created designer jeans.

Fiorucci and his cappuccino bar were magnets for celebrities, with Leonardo Pastore bringing them in, and his brother, Tito Pastore, as the chief designer from Milan, bringing us the fashion.

Someone asked me then, when I was in my jewelry store inside Fiorucci, how long does it take you to dress like that in the morning. For which I answered, “As long as it takes YOU to get dressed in the morning”.

Okay, I am a stylist, if you insist.

I did not hire one, I am one.

Back then there was a very fine line between day and night, we would have week-long all-night parties at the store, while the artist Colette would be sleeping in her silk installation in our windows.

Truman Capote came with Andy Warhol to sign Interview magazine.

Joey Arias was running the store and was also in the band with Klaus Nomi, or Fabulon. Keith Haring and Kenny Scharf had their most early shows there.

One night at Enchanted Garden, Mirabella, an Italian girl working for Fiorucci, spotted me wearing the anodized fish earrings I had made, and she immediately ordered 300 pieces for the store.

Eventually, I designed the first jewelry line for them. This started my now 30-year relationship with the Italians. I quickly learned to speak the language, which is not a very difficult achievement, when what you really wish is to eavesdrop on your boyfriend’s conversations.

During the same era, there was a club uptown called Hurrah, opened by Harold Streitman and Arthur Weinstein, located one flight up near Lincoln Center, where we danced all night long. Smaller clubs made it easy to meet and talk to people.

We met Ricky Clifton—he was dating Elsa Peretti—and became one of our first friends, as well as the famous transvestite Potassa de la Fayette, whom Edo had photographed the previous year.

New York was a small community.

Then we met Glenn O’Brien. He was a brilliant writer and the editor of Interview magazine, but he wanted to start a new magazine called X. Edo and Glenn became inseparable. Glenn’s music column

Beat’ was the most avant-garde. It was illustrated with Edo’s pictures that I styled. It was pure bliss to encounter legends such as Nile Rodgers from Chic, Deborah Harry, Chris Stein, Robert Fripp, etc.

Antonio Lopez also linked us together: Grace Jones, Disco Diva, Jean-Paul Goude. Master of early Photoshop, who, by cutting negatives and air brushing his pictures, could turn you into the most incredible acrobat.

The 42 nd Street Fresco by Jean-Paul Goude took one month to complete, done by shooting small groups. You can spot writer Victor Bockris, punk singer Edwige, publisher Xavier Moreau, artist Ronnie Cutrone, Grace Jones, myself, and many others.

Styling was a vehicle for me to explore 42 nd Street, like shoe shops catering to drag queens and prostitutes. Now 42 nd Street is a giant stall mall…

it was october 1976. on our second day in new york, maripol and i went up the empire state building. the city opened up in front of our eyes. we immediately realized it was the perfect backdrop for our projects. it was the beginning of a wonderful creative adventure together, witnessed by many of the pictures in this book. — edo

Our first studio apartment on 84th Street, between Colombus and Central Park. On Christmas 1977 Edo gave me my first SX-70 Polaroid. I drew, I sewed, I scratched, painted Polaroids if I didn’t like them.

angels in my life angels in my work angels in my dreams children angels better to angels angelinos all over my right angel your left angel angel by the gross multiple angels angels of mercy

delight of the night of the sight, images of the past and transfered tomorrow in a cd-rom roaming the streets of the ghosts of the town we miss you all — maripol

From left to right. Fashion show at Elio Fiorucci 78. Studio 54 opening.

Joey Arias’ Band, Strange Party.

Colette. Ann Magnuson. Carmen D’Alessio. My Concession Store.

Andy Warhol and Elio Fiorucci at Fiorucci L.A. store opening.

Inflatable cake for the 15 years anniversary party of Elio’s label at Studio 54. Eliette Amar. Roberto Latuna & Colette.

mgp

IMAGE TO COME

SCREAMERS

Tommy Gear, ARP synthesizer, vocals and music composition; Tomata du Plenty, vocals; K.K. Barrett, drums; Paul Roessler, Fender Rhodes piano treated with distortion effects; Trudie Barrett, fan club.

I met The Screamers in 1978 when they performed the night of Fiorruci’s grand opening in an ancient theatre located in Beverly Hills, Los Angeles. After just a few songs the ceiling started to crack and they were asked to stop playing. I was with Edo and we stayed at the Chateau Marmont. It was there that I threw a late-night pool party, because of which we were promptly asked to leave the next day. The cops had shut down one of the best Hollywood pre-punk parties, where naked bodies were swimming in the pool.

After that impromptu, I invited The Screamers to come to New York City, where they were able to play at Hurrah and CBGB. Jim Fouratt, founder of the Gay and Liberation Front in New York, was booking bands like Klaus Nomi, Lounge Lizards and Gray. We then threw an unplanned concert for The Screamers at Olivier Mosset’s loft. We were overwhelmed when we saw the rushing water flooding down the stairs, caused by some punks that had tampered with the water valves. Needless to say, it was a very memorable night.

As The Screamers were leaving to go back to Los Angeles, I jumped into their van on the spur of the moment to join them as they crossed America. It was an unforgettable road trip that gave me a sense of the immensity of the States. We drove nonstop, taking turns at the wheel. Leaving Sunday, arriving Wednesday in Hollywood. I stayed with The Screamers at Tommy and Tomata’s place, known as the Wilton Hilton - a creepy old mansion where cult members had previously sacrificed cats back in the 1960’s. Scary noises, electrical shocks and sometimes random objects settled on my legs, would wake me up in the middle of the night. I could sense that the occult was part of Tomata’s life ever since he had snuck us in the back entrance of Universal Studios at night, to see the abandoned grave of Rudolph Valentino, invaded by hundreds of wild cats.

X: Exene Cervenka, lead singer; John Doe and Billy Zoom, bass guitarists. The first time I flew to Los Angeles was with my good friend, Muriel Cervenka. Her sister, Exene, and the whole band X came to pick us up at the airport in their van. I was about to discover the most powerful rock band out of the LA scene. Poetess and rocker with a soul, is how I would describe Exene. Muriel starred in her husband Gordon Stevenson’s film, Ecstatic Stigmatic, The night of the film opening, in Los Angeles, Muriel was killed by a hit and run incident. Muriel’s freak accident was a huge loss for Exene, but she courageously didn’t let herself slow down… Hollywood Babylon.

back in the bad old punk rock daze of the pre-mtv era, maripol and i befriended each other amidst the midnight glitteratti and scattered trash of new yorkʼs then-desolate downtown streets, where club kids and culture vultures could be found mingling alongside drug kingpins and artistic visionaries— a vertiginous mashup unleashing powerful creative energies that would propel some of us and, sadly, destroy countless others. living by our wits, on the edge and beyond the pale, required a savvy sensibility with a certain sense of style. with cosmopolitan éclat, maripol indelibly introduced a spicy soupçon of french verve to the scene. venturing forth from her loft at broadway and bleecker, armed with her ever-present polaroid sx-70 camera, maripol became an instant ethnographer of the divine and the demented, documenting her friends (famous and infamous) for fun and fashion— fleeting moments of the late twentieth century, frozen by a unique photochemistry, now images of lost time sitting in the palm of your hand.

— tommy gear

UNDER

GROUND

Roaming the Streets Of Downtown Manhattan,

With a can of spray paint was Jean-Michel Basquiat’s favorite pastime; writing and drawing on the walls of Manhattan was his means of expression, of his state of mind. Their political or popular consonance carried more weight than anything else we could see around.

On the other hand, the media for Keith Haring was white chalk on black subway panels, waiting to be covered by ads.

1979 in New York, where this wildlife underground, young and carefree was going to become the new protagonist of an artistic movement that was going to explode.

The Mudd Club was our living room, the night our bed, the day our heaviness!

Children of a New Beat Generation.

Hitting the walls with their marks.

Cavemen had done it millions of years ago.

The Graffiti Writers left their mark and covered trains. One winter, the Fabulous Five (Fab Five Freddy and Lee Quinones) entirely covered two train cars on the #5 line.

‘MERRY CHRISTMAS NEW YORK CITY’.

Music, Fashion, Poetry, Art.

The leisure of being free-spirited artists, low rent. There was no concept of ‘nouvelle cuisine’ and ‘gym deluxe’. We ate at Steve’s Corner Diner after leaving the Mudd Club. We swam on hot summer nights in public pools; Carmine Pool, Tompkins Square Park, etc. This was the closest we came to sophistication.

The ultimate goal at the time was to have your band play at CBGB or Mudd Club, to be part of the PS1 show, developed by Diego Cortez in Queens, or hang out at the art beach front at the bottom of WTC, where Battery Park is now, to show your painted clothes on paper (by Mary Lemley) at the Squat Theatre on 23 rd Street.

To have your Halloween costume ready for your live appearance on Glenn O’Brien’s TV Party, “That is a cocktail party, but which could be a political party”.

Jean-Michel was charismatic.

In the summer of 1978 Edo and I went back to Europe, there we got the idea for a film about a young protagonist rummaging through Manhattan. I wrote the first synopsis. Being a foreigner propelled in this downtown New Wave made it so important for us to document it, I suppose. I presented the idea to Elio Fiorucci, thinking this New Wave would not last forever. Elio found the funds, Glenn wrote the script, co-produced, Edo directed and I was the art director. We realized, when Jean-Michel Basquiat came diligently to our screening tests, that he would be much more interesting as the main character in New York Beat, than our original choice of protagonist Danny Rosen.

“A star was born”.

The winter of 1980-1981 was the harshest in years, in every sense. We filmed New York Beat in two months without realizing that it would never see the light in the same era. It was completed in 2000 under a new title, Downtown 81, and became a cult film for new generations to witness the 80’s.

In 2000, Downtown 81 was selected in the Directors’ Fortnight category at Cannes Film Festival, chosen among 300 films along with Shadow of the Vampire, starring John Malkovich and Willem Dafoe, and Girlfight, starring Michelle Rodriguez. I always wonder if that was a good year or a bad year for the Directors’ Fortnight selection. When they called us to announce our nomination, they asked us: “Is the actor the real Jean-Michel Basquiat?”.

In Cannes, I was an emotional wreck after years of work; restoring, editing, enhancing the sound, color correcting the film to the original 16mm warmth of 70’s Kodak stock. All the while I was watching someone I missed so much, but I was happy to have fulfilled a promise to Jean-Michel, made before his death in August 1988, to complete this film, showing the strength and beauty of one of the most important contemporary artists of his generation.

New York 30 years later has lost this frankness. Fanatic mayors and a city oriented on financial gain alone will always try to kill this artistic spontaneity that is the spirit of New York, while we, at each street corner, we see the laughing and furtive silhouette of a young painter who will stand out in our lives forever…

maripol defined the art rock scene and shaped it into what is now a world-wide phenomenon — steven mass

THE

POPPYS

POP POP music, the Pope, the puppies, the poppies.

One year, when I was in Art school, I studied Popism, and would go see anything concerning Andy Warhol, I saw his movies with Joe D’Alessandro and naively didn’t realize that the actresses were men in drag.

In this period, Martin Scorsese’s first film, Mean Streets, was in the theater down the street from me.

I recall the night shot of Little Italy. I was fascinated by American culture, reinforced by my brothers’ taste in music from Dylan to the Blues Men.

I needed to pay for my studies, so, putting to use my knowledge of pattern making, on weekends I would head to the flea market to sell my clothing designs made with antique white linen and 70’s fabrics that I colored with natural dyes. They were so popular that I had to go to Paris to get more 50’s dresses imported from the US, usually driving with my friend Friquet Morellet, whose brother Florent also eventually settled in New York. Florent became an active member of the community and opened the best 24-hour French comfort food dinner, set in the meat market. This is where we frequently ended up after Jackie 60’s nights.

I met Edwige in Paris when she was only 17, an imposing beauty, shy and mysterious. She went on to become a top model, signed on by City Models’ founder Frederika Levy. She became the darling of Thierry Mugler and Jean-Paul Gaultier and posed with Andy Warhol for the cover of Façade magazine.

Punk was becoming fashionable and Edwige became an expert at piercing herself with safety pins.

After that came the tattoo craze, seen here in action by tattoo artist Ruth Marten. Edwige was the lead singer in the band Mathématiques Modernes, the band she had with Claude Arto, singing with the boyish voice that was characteristic of the new sound of Electronic Pop. The group was produced by Jean Caracos who created the Celluloid label. During the same period, Bernard Zekri and Jean-François Bizot founded Actual magazine and Radio Nova that rocked us with Alternative Punk Rock and World Music that came from all corners of the globe.

Edwige eventually came to visit us in New York and started to sing lounge accompanied by Robert Aaron. She became as magnetized as we were. There are very few places like New York where the energy engulfs you. Here you’re left stuck in the middle of the island of Manhattan, and you can never leave… The city that never sleeps…

MARIPOLITAN

Maripolitan was my jewelry company for years (which I operated out of the Loft in NoHo) until, thanks to a not so great landlord and lack of an elevator that made my business hard to operate, I moved the business to a gallery store at the corner of Bleecker and Lafayette in the Louis Sullivan building. I opened in October of 1984 to a crowd of downtowners. Ann Magnuson performed breaking plates…

Soon I was able to see crack dealers from my office window and realized NoHo was not very safe, then the mafia followed, demanding to see my books... The trash collectors refused to pick up cardboard boxes. So many things to be confronted with, I realized early on that if you are a woman alone you have to fight twice as hard. My next-door neighbor flooded the building (he wanted to expand) so all my rubber production was floating in oil (the building was a former gas station).

Insurance companies blamed the City and vice versa. My luck was running out and I decided to end the gruesome task of trying to run the business with no bank loans and declared bankruptcy in 1986.

Andy Warhol, my biggest supporter, came to the closing and bought a bunch of jewelry items for his nieces. AIDS was ravaging the City and so many friends died. Reagan had succeeded in closing numerous small businesses by sending crooked IRS agents to perform unexpected audits. Once when I was traveling to the Orient my account was seized and that stressed me out so much that I started smoking a pack a day, even though I had quit years ago.

During the same period I had interviews with MTV and with Madonna for French TV, the first MTV Award Memorable Performance… Album covers…

Madonna was the closest I ever had to a sister, and to have had the pleasure of working with her was the juice of my life. I nurture these memories deep within me of watching a young girl become the most phenomenal artist of her generation.

I was very productive and the fashion press loved my designs. Downtown was a magnetic field for artists all living within just a mile’s radius: Jean-Michel Basquiat, Francesco Clemente, Robert Rauschenberg, Keith Haring, Kenny Scharf, etc… Before cell phones existed, we could just drop in on each other.

The club scene changed, the music changed, and clubs like Roxy or Paradise Garage were pumping the music. Later in 1985, Area was the place to go. Eric Goode had monthly themes and it was so much fun.

Edo had fallen into drugs and we had separated in 1982. It was so painful to see my life partner wasting such talent that I just worked and worke d as a stylist and image consultant for many other great photographers such as Georges DuBose, Giampietro Favero, Jean-Paul Goude, Torkil Gudnason, Curtis Knapp, Kiri Teshigahara, Wayne Maser and Steven Meisel, whom I collaborated with on the iconic Madonna Like a Virgin album, styling and sewing away… The rest is history…

poor maripol always had to repeat herself to me as i could never understand her very heavy, but beautiful french accent. however it seemed that nothing could stop her from achieving her goals in the tangles of the fashion and art world of nyc. little red riding hood has indeed bitten that big bad old wolf in the ass. — deborah harry

From left to right. In the Loft: CC, Madonna, Keith Haring, Martin.

Self portrait. Madonna, Futura and I (photo by Keith Haring). Queens.

Martin and Madonna. David, Erika, Madonna and Bagz. Madonna first album cover. Tom Cruise and I. In Queens. Trying oufits for Keith Haring’s anniversary party at Paradise Garage (Madonna performed Like a Virgin live). Madonna at Danceteria and Sag Harbor club.

THE RED SQUARES WILL BE DIE CUT

SCANSIONE (TUB0)

RENAISSANCE

Renaissance (French for ‘rebirth’; Italian, Rinascimento, from ri- ‘again’ and nascere ‘be born’)

I cannot explain life’s miracles, and I cannot try to ignore them.

I recall the hot nights in places filled with authenticity. When styled Les inrockuptibles rocked in style.

Through legends of Aesthetes, they came and conquered a moment, which they will never forget.

New pioneers of decades so risky, explosion of music so intense, fashionable divas, soft cushions sofas, posing and mocking, loving and creating.

Genre gathering crowds, they were the darling of our world, fused with passion.

If we did not cross the Atlantic what would have happen to us, like an archeologist on the ground of a new discovery exploring a civilization, I searched for answers many times, my existentialist questions always hitting the same wall, and when I expected the least, I had a child, one soul gone, one soul come. I let the blue light come in the hills of Hollywood, I let angels guide me and I used their wings in all my work, I too experience Sickness and pain, loss and misfortune, but I gain weight and my balance settled, I am thankful to be alive, thankful to have met such Artist as Mylene who always understood without words my loss of identity.

We cannot let the world go down in the Abyss of our Oceans, to be responsible for nature and our children is the biggest challenge we are facing, are you ready to open your eyes and look around, if so you can see beauty in every corner of our universe!

Let’s ride the Renaissance wave! Love to all…

CONVERSATION WITH MARC JACOBS

Maripol: It’s been a long time since we’ve spoken in person. I saw you at your party at the Boom Boom Room. Marc, I really thank you for doing this, it means a lot to me.

Marc Jacobs: Sure, I am happy to do it. I actually don’t remember the first time we met, I knew about you from a very early age. First time I ever set foot into Fiorucci I was 15 and I was, like, completely crazy. I was hanging out there quite a bit. And you know I grew up most of my life in New York so I was very conscious of the scene and I knew who you were before you knew who I was, I was just a kid.

Maripol: Do you know that Joey Arias showed his documentary yesterday, opening at the Tribeca Film Festival? It was amazing: Arias With a Twist. I don’t know if you saw his play last year?

Marc Jacobs: No, I didn’t see it.

Maripol: It’s amazing. At the end, I was crying, seeing all these people in it. There was rare footage of Andy at Fiorucci, it’s a very well done documentary. I wish him the best, honestly, he was really creative and crazy and stuff, and I was the art director. When you think about people like Keith Haring or Jean-Michel Basquiat, who used to have shows there, before the big commercial galleries concept, it was astonishing.

Marc Jacobs: Yes, I remember. I was 15, in the city for the summer and I was going to Fiorucci every day and I met Marc “Cha Cha” Fernandez.

Maripol: Yes, I still see him. He came to the launching of the line Marc by Marc at the store on Bleecker Street.

Marc Jacobs: So I was always going to Fiorucci, I loved that place, it was such a New York scene.

I mean there wasn’t a New York scene, but it was such a big deal in the city, and there were so many people I met there. And, like you said, before there was this gallery scene, Fiorucci was this kind of life…

Maripol: I know what you mean, when everything comes in a package, right. But did you really know early on that you were attracted by fashion? Did you go to Parsons, by the way?

Marc Jacobs: I went to the High School of Design first. I was into fashion from an early age, but again, like I said, I was very aware of what was going on. Do you remember the Sweet Beat Production, that magazine concession within Fiorucci? I was always going there to buy magazines like Interview, but then I was very conscious of the scene and even when I was like 13, or 14, I was reading about all these people, so I really got it from going to Fiorucci. I didn’t even realize you were the art director at the time, obviously. I knew more about you when you started doing your jewelry and of course through your association with Madonna. That’s when I became super aware of you and what you were up to.

Maripol: By the way, Robert Duffy twittered about the launch of the line recently—I completely forgot—that I might have given you jewelry for the first show you ever had?

Marc Jacobs: No, no, he thought so too, but he was confused. The first connection I had was Debbie Rockabilly or Debi Mazar, she had done the makeup for the show and that was in a restaurant but you didn’t do the jewelry.

Maripol: We tried, I remember the beginning of your collaboration with Louis Vuitton you asked me to do some rubber thing, you remember? It’s funny, everything comes around. Do you know that after we met, I was close friend with one of your boyfriends who unfortunately passed away, which also reflects in the documentary, the sadness of our New York, because people left really fast and we have been going through a lot of rough times. We lost so many talents and loved ones. And you know what really bugs me now? It’s almost as if we became numb to it because it becomes a casualty, but back then it took people two weeks and in two weeks they were gone.

Marc Jacobs: I know. It’s crazy, I met so many younger people and because they have no exposure or they didn’t know this era, and sometimes I see in them this kind of reaction to illness or death or whatever and I think it’s so strange. And I realized that part of it is that you become a little desensitised because we were all affected so much and it was so extreme and so constant that there was this weird sensitivity.

Maripol: I agree. It’s almost as when you watch CNN and you see the war in Iraq every day and you become numb to it. I think it’s like a defence mechanism so we don’t go through so much suffering, don’t you think?

Marc Jacobs: Well, yes, I think you’re right, but it also has to do with the era that we grew up in and the amount of time that we’ve lived. So again, younger generations are living in a different era, and there is also a little bit of a social disconnection. We didn’t grow up socializing through the internet or any virtuality. There was much more real interaction back then. Even at Fiorucci, people would go

there and hang out and meet people and then you’d go to people opening and things like that.

There was much more of an exchange of ideas and more communication and I think young people, in a way, have become desensitized because they don’t have to face people face to face, they do it by internet, which is really strange.

Maripol: It is, it’s very weird to see people walking in a street or people working and texting and I say to them: how can you instant message and work at the same time? And since you mentioned it, let’s talk about to the club scene. What is the first concert or the first club you went to? What is your first memory of New York clubs?

Marc Jacobs: The first club I went to was Hurrah. I used to go there quite a bit. I was working at the W Wilhelmina Agency in New York, so I used to be put on the list, but at the same time I was also going to Studio 54 and the Mudd Club. So you know it was quite exciting. I started going out when I was 15.

Maripol: So we did the same circuit. You know, I lived ten blocks away from Hurrah, which was still a bit disco and at the same time there was Xenon and Studio 54. And after Arthur Weinstein walked away… What happened is that at some point I started to meet the bands and people like John Lurie, who formed The Lounge Lizards and had their first concert there. And people from Los Angeles that I had met, the Screamers and that’s part of the chapter in the book, like X Band, Exene Cervenka, who just came in the store in Los Angeles and Jennifer was so thrilled to meet her. We kind of started to realize that disco was fading, I am not saying it was ending, they always had the rock club like Maxs and CBGB, but there was the punk-rock explosion and there was that new wave merging from London and all of the sudden we needed more venues.

Marc Jacobs: And I don’t know if there is something that happened that came close to that. But even at the time it felt like something new was happening, there was really an exchange of ideas between people and different creative professions and you know, somehow it was rough and raw. So it wasn’t so organized or planned or manipulated or calculated, it was really beautiful because it was a spontaneous and raw kind of energy. That was so great.

Maripol: Which I think is what we miss. The young generation, they want to know about what we lived and they are always asking me what it was like. But, I am saying, in a way there is a new art scene, and a music scene but it seems like there is a huge shopping mall and everything becomes more commercialized, I completely agree. What about Jackie 60? We hung out there a lot in the late 80’s.

Marc Jacobs: Again, Johnny and Chichi belong to New York, and they were so much a part of the city, and they had that experience, so the thing is that they were able to create something with

authenticity and integrity. It’s so impossible to recreate or create energy, you know. It’s only genuine when there is some integrity and authenticity, and again there is experience, so I think that Jackie 60 was the place that could happen, because of Johnny and Chichi.

Maripol: Exactly. And you could have poetry reading at the same time as there were kids from Coney Island and the best drag queen shows, it was definitely great.

Maripol: So, lets talk about Paris and New York. What do you see in terms of difference in style?

Marc Jacobs: Well I always loved Paris, it’s a great place but it’s so different from New York, and I feel really lucky that I got to go back and forth between the two places. But New York energy is so unique, and Paris to me is just a really beautiful and cool place to chill. And I am not involved in the gallery scene there, and most of my friends there are Americans, or just travelling through. They are very few people that I am close to who live there, people just come over for dinner, but New York is always the place where I find it more inspiring.

Maripol: So what you are saying is that New York still has the edge of the street style, right?

Marc Jacobs: Yes, because there is youth culture in New York that I don’t find in Paris.

Maripol: Yes, or it’s all the way in Bastille or Oberkampf…

Marc Jacobs: I mean, I am not saying that there isn’t or that there hasn’t been a rock scene in France, but you know the music scene has always been in London or New York. Even the hip hop or the rap community in Paris always seems kind of funny compared to the American scene. Paris is a museum city, it’s beautiful but it’s quite provincial. That’s what makes London and New York so unique.

Maripol: Right. It’s interesting because now I am at a point in my life where when I go to France I like it. It is more relaxing there, like you said, I also have my family; we hang out outside of Paris.

It’s more restful after that New York energy. But then, I do not feel French as much. And then when I come back to New York, somehow, maybe because I am older, and my son is 20 and I have an “American-French” boy, he grew up in New York, but he is completely bilingual. But what’s really weird is that I do not feel American either, even though I am American now. So I think that, I am not saying that we are very similar, but I think that we both have a heart in the middle of the ocean, not knowing where our foot is going to be.

Marc Jacobs: But that’s totally cool. That’s one of the things I am most grateful for, that I really get to enjoy both. Like when I am feeling too energetic or stressed then I get a break in Paris, and when

I get too bored in Paris then I get to come to New York. It works out really well and I think it’s really wonderful to be able to enjoy both things. No? Maripol: By the way, I saw the documentary that Loïc Prigent did, it made me feel like, I am not saying sad, I am not saying I felt sorry for you, on the contrary, but it showed how hard your job is, how difficult it is, and the pressures that you have. And to be able to pull it off is just amazing.

You have two companies, even three or maybe four, as a matter of fact, I don’t even know, but it’s amazing to be able to juggle and balance yourself and be strong about it, you know. And I know that you have been going through a lot of changes in your life and I can only tip my hat to you, because staying strong is what makes people go around. You know what I mean! The strength!

Marc Jacobs: Yes, I mean I am lucky I work with so many great people and that we have been able to collaborate with so many great people such as yourself. My ego allows me to do things with other people, I had this great thing with Vuitton and Sprouse, and of course with Marc Jacobs we did the thing with you and others, and it’s great, but I think the work is always difficult but because you are passionate about it. Then you kind of do it, and again because we’re open to allowing other people in it, it kind of makes it new all the time. Which is really a great thing.

Maripol: I think so too. And also what I like about you is that you really had the best sense of bringing art into fashion. And having collaborating with Murakami and other Japanese designers or American and European, you know where your ground is and where you are and if I do understand you, you really don’t think there is a separation between music, movies, art and fashion…

Marc Jacobs: Yes. Again I think we are part of a generation that didn’t have to put ourselves in a box and say this is what I do and I only do this and I think that’s something to be really grateful for.

We grew up in a world where it was ok to exchange ideas with other people and again it wasn’t so rigid, and it’s like you said about the new wave and punk movement, it was much more raw and tougher and it was about a bunch of people who had something to say. It wasn’t so boxed in and so pre-fabricated. It was something very organic and cool and very hard you know, which is great.

Maripol: I agree. There is a kind of voyeurism in us and some kind of visionary. And we could say that about a lot of other artists too, but the fact that I came here in 1976, and the fact that I met people like Jean-Michel Basquiat, who was only 18, or René Ricard, then I think that if I had been an American… When you are a photographer… It felt like I was a peeping Tom, it was really amazing for me to come and to see all these crazy fun artists like James White and I think that when I went to the Mudd Club or CBGB and saw the B-52’s the first time they played. And Blondie, The Talking Heads, even James Brown at Irving Plaza. I grew up with all the American music, but to be able to see it live, it became necessary to capture it. It was a stroke of genius to have done a film about it

too, to witness and to show the kids now, because what matters is that the new generation, and like you said it’s a little bit scary they got so much instant information, they get to educate themselves, basically, don’t you think?

Marc Jacobs: Yes, of course, but you know, everybody has their path and, again, there is again a thing we share in common it feels very… I mean I spoke with Kim Hastreiter and other people about those times and stuff like that, and obviously there are still a bunch of us who have that experience and those references, but you know there are new things today, life goes on and it goes on differently. But we should be really grateful that we got to experience what we did, and again that we all kind of get to use it, and also that there is attention for it. Look at the success of what you did with us you know, there is a whole other generation, they’re just discovering for the first time, but they know something about it but they don’t really know about it.

Maripol: Exactly. And it’s not like we spent millions to publicize the line. It just flows naturally, it became instantly successful. Also you know I fell in love with all your people to tell you the truth.

I am freelance but I feel like you have an incredible big family, that’s what I like about it. And you’re very human and I have grown to know Joey, who is a friend of my son, and Weylon, who I knew before I started to do this with you, and then Jennifer that I knew when she used to work at APC, and Reed and Meghan and Jon Lynn and it’s really great to be part of this and I really thank you for this opportunity by the way because it was my first comeback after 25 years in design.

Marc Jacobs: Well I was thrilled and so happy when Reed and I first talked about it, I was like, this is so cool I am so excited, it’s one of those really nice rewards for having those experiences and having the ability to use them, to draw on them and to share them again and again and again with a group of people who never knew them.

− New York City, May 2010

Spread 14 Donna Jordan and Pat Cleveland modeling skirts in Fiorucci shop windows, Polaroids by Maripol Spread 15 Models wearing curtain dresses during Fiorucci’s 15 years anniversary party at Studio 54 (performance by Joey Arias’s band, Strange Party, and Madonna) Spread 16 See captions on the pages Opening photo me in Little Red costume by mom, photo by dad Spread 1 Marijuana leaves entwine with vines Spread 2 First Communion with my dove Spread 3 The Koutoubia minaret, drawing and Polaroid

by Maripol Spread 4 My grandmother Mathilde Abi Azar on her wedding day (studio photographer); a cage which is a globe, gold drawing by Maripol Spread 5 See captions on the pages Spread 6 Maripol at six months (studio photographer); Maripol at 20, La Rocca, Italy, photo by Edo Bertoglio Spread 7 Mathilde, 1920 circa (unknown photographer) Spread 8 Lines drawings, line cuts by Maripol, 1975, woman in white; my uncle Alfred in his youth Spread 9 Egyptian hieroglyphs by Maripol, Royan’s beach, at Beaux Arts school; confirmation, Baalbek, Bekaa Valley, Lebanon; Fellouk on the Nile; dancing at Beaux Arts; our sculpture class; Virginie and I in La Baule; dad always had a camera at the beach; my cousin Bernadette and I smoking the chicha; temple in Aswan, Egypt

Spread 1 Plane and New York City Empire State Building, Polaroids by Maripol Spread 2 Edo and I on the plane Spread 4 Edo and I on top of the Empire State Building, 1976, all Polaroids of architecture by Maripol Spread 5 Boombox, scratched Polaroid by Maripol; Edo and Maripol, photo by David Armstrong; picture of the studio by Edo; Wendy, drawing by Maripol; Maripol and Wendy, photo by Edo Bertoglio Spread 6 Scooter dress, sketch by Maripol; blue raincoat on the roof of 84th Street, picture by Edo Bertoglio; plastic transformation of Polaroids by Maripol Spread 7 Edo and I; poem and drawing of Edo by Maripol Spread 8 Maripol, studio photo by Edo Bertoglio, 1977; Bénédicte and Maripol; Maripol on a car, photo

by Edo Bertoglio; drawing on tracing paper by Maripol; Grace Jones, Polaroid by Maripol; Larissa, Steve Rubell and Maripol; Patricia, Lorenza, Maripol, Mattia Bonetti, Marie Beltrami Spread 9 Collage of Manhattan postcards and poem

by Maripol Spread 10 Maripol smoking, photo by Edo Bertoglio; early 1977 jewelry Spread 11 On the motorbike; Maripol in contact sheet by Edo Bertoglio; Edo and Maripol, photo by Lucas Bonetti; Edo on the motorbike, photo by Maripol; Maripol leaning on the motorbike, photo by Edo Bertoglio; Olivier Mosset and Maripol on Bikers, filming photo by Edo Bertoglio Spread 12 Sex, montage drawing by Maripol with contact sheet of Laura and photo by Edo Bertoglio; Maripol and Ram, 1978 New Year’s Eve, photo by Edo Bertoglio Spread 13 Maripol modeling her skirt, photo by Edo Bertoglio; pleated skirt with raphia, sketch by Maripol

Spread 17 Maripol with Atom the cat showing curtain dresses in the downtown Loft Spread 18 Kirsten modeling sci-fi designs by Maripol, photo

by Edo Bertoglio; drawings by Maripol (except for top right sketch by Juan) Spread 19 Grace Jones wearing Maripol’s slinky bracelets, photo by Anton Perich Spread 20 Slinky Bracelet modeled by Grace Jones, Polaroids by Maripol (mesh dress by Stephen Burrows) Spread 21 Sketch by Maripol; model on green cube, photo by Jean-Paul Goude Spread 22 Orangina commercial directed by Jean-Paul Goude, styling by Maripol; drawings by JeanPaul Goude, Polaroids by Maripol, photo by Edo Bertoglio Spread 23 42 nd Street, photo by Jean-Paul Goude, sketch notes and styling by Maripol

Spread 13 Walter Steding playing music on the opening party of Maripol’s Loft in 1979, photo by George DuBose; Polaroids by Maripol

Spread 1 The graffiti wall I did in my class with plaster and carpet. I invited my classmates to spray on it, 1975 Spread 2 Truck on the docks of Nantes, charcoal drawing

by Maripol Spread 3 The Screamers: Tomata du Plenty, Paul Roessler, Tommy Gear, photo by Moshe Brakha Spread 4 On the road, Polaroids by Maripol Spread 5 Grand Canyon, North Rim view, photo by Maripol Spread 6 Hollywood, drawing by Tomata du Plenty; Laurie, Brendan Mullen, Trudie, KK, Tomata, Sheela Edwards, Chloe, Gigi Cutrone, Maripol, Polaroids by Maripol, photo by Edo Bertoglio Spread 7-8 Maripol in Hollywood, 1978, photo by Edo Bertoglio; Chinese dress, drawing and tracing paper by Maripol Spread 9 X, drawing by Maripol Spread 10 Victor Bokris, Gigi Cutrone, Polaroids with marker by Maripol; self-portrait, cut out Polaroid by Maripol Spread 11 Jane Wieldin, Go-Go’s, Exene and Muriel Cervenka, John Doe, letter by Exene Cervenka, all Polaroids

by Maripol Spread 12 Photo by Edo Bertoglio handpainted by Maripol Booklet Artwork by Maripol Spread 13 Pink drawings by Maripol Spread 14 Drawing by Maripol; Penelope and Muriel Cervenka, Polaroid by Maripol

Spread 1 On the set of Downtown 81, writing by JeanMichel Basquiat, photo by Edo Bertoglio, courtesy New York Beat Films/The Estate of Jean-Michel Basquiat Spread 2 Jean-Michel Basquiat and Madonna in Limo, photo

by Patisse Spread 3 Self-portrait with ski mask, Polaroid with marker

by Maripol Spread 4 Sex Pistols graffiti; Keiko and Klaus Nomi, Polaroid

by Maripol; Head, Polaroid, courtesy by The Estate of Jean-Michel Basquiat; Martin Rev and Alan Vega, photo by Edo Bertoglio Spread 5 Polaroids by Maripol shot during the filming of Downtown 81 Spread 6 Rae Spencer-Cullen and unknown punkette, Polaroid by Maripol; texts and drawings

by Maripol Spread 7 Lugano, 1977, photo by Edo Bertoglio; sketches

by Maripol; top: Sheila E, middle: Whip Belt in rubber by Maripol, bottom: Anya Philips, Polaroids

by Maripol Spread 8 Maripol and Jean-Michel Basquiat, photo by Edo Bertoglio Spread 9 Suzanne Mallouk, photo by Edo Bertoglio, costume

by Maripol; 6 am, portraits of Jean-Michel Basquiat, Polaroids by Maripol Spread 10 On the set of Downtown 81, photo by Edo Bertoglio, courtesy by New York Beat Films Spread 11 Baseball and Head, drawings by Jean-Michel Basquiat; photos from the set of Downtown 81: Debi Mazar, Alof, James White, Ann Carlisle, Lee and Five Fab Freddy, photo by Edo Bertoglio, courtesy by The Estate of Jean-Michel Basquiat Spread 12 Deborah Harry, Maripol and Teri Toye on the set of Glenn O’Brien’s TV Party, photo by Bobby Grossman

Bobby Grossman; Parallel Lines, Blondie’s first album with cover photo by Edo Bertoglio and styling by Maripol Spread 16 Story of a dress, an outfit worn by Maripol’s mom (photo

by Maripol’s dad, 1950’s) and then revisited by the designer in the 80’s, photo by Roxanne Lowit

Spread 1 Jay Johnson, Edwige Belmore, Maripol, Delia Doherty, photo by Edo Bertoglio Spread 2 Drawing on refrigerator in the Loft by Kenny Scharf Spread 3 Skull, drawing by Edwige; Andy Warhol with SX-70 Polaroid, photo by Anton Perich Spread 4 Edwige and Maripol, photo by Edo Bertoglio; tattoo artist Ruth Marten and Edwige, Polaroids by Maripol Spread 5 Andy Warhol signing Edwige’s book, photo by Edo Bertoglio Spread 6 Top Polaroid, Martin, Andy and Keith at Mr Chow, 1985; Edwige and Andy; Edwige with body paint

by Ruth Marten; Maripol in wig at Keith Haring’s exhibition; fundraising invitation for Martin Burgoyne, artwork by Keith Haring; Debi Mazar, Keith Haring, Jacqueline Schnabel, Tereza Scharf, Polaroid by Maripol Spread 7 Andy Warhol and Keith Haring, photo by Ricky Powell Spread 8 Dress, artwork with newspaper and paint by Maripol; letter by Andy Warhol addressed to the Immigration Office Spread 9 Edwige and Ronnie Cutrone, Polaroid by Maripol; drawing by Keith Haring, courtesy by The Keith Haring Foundation/Bruno Schmidt Spread 10 Andy Warhol and Maripol; Madonna look-alikes contest at Macys, 1985, photo by Roxanne Lowit; Andy Warhol with contest winner Jean Ann DiFranco, photo by Roxanne Lowit Spread 11 Lips Compile from Girls; Wendy Whitelaw, Edwige, Fabienne and Cookie Mueller; Martin Burgoyne and Andy Warhol, Polaroid by Maripol; Jean-Michel Basquiat and Deborah Harry; Martin’s b-day party invitation, artwork by Keith Haring; Francesco Clemente and Tseng Kwong Chi, photo by Maripol; Lenny McGurr (Futura 2000), Maripol and Keith Haring in the Loft

Spread 1 Atomium logo created by Laurie Rosenwald in 1984 Spread 2 Maripol, artwork by Henry Banger Benvenuti Spread 3 Maripol by her store, photo by Roxanne Lowit; Maripolitan, drawings by Maripol Spread 4 Inside the store, artist Jeff Vaughan and his lights sculpture; Polaroids by Maripol Spread 5 Jewelry case in the store with rubber and peace signs, 1984 Spread 6 Mini-dresses, sketches and Polaroids by Maripol; photo

by Edo Bertoglio Spread 7 Molecule, notes; atomic earings, sketch and Polaroid by Maripol Spread 8 Maripol and Anna Shroeder at the Jefferson: Arthur Weinstein’s club designed by Colleen Weinstein, sculpture by Jo Shane, photo by Kiri Teshigahara Spread 9 Maripol’s jewelry, photo by Torkil Gudnason Spread 10 On the rocks of Isola del Giglio, Italy; underwater photos

by Edo Bertoglio; Polaroids by Maripol Spread 11 Jewelry, Polaroids by Maripol; Maripol in the pool, hand painted photo by Pier Poretti Spread 12 Mahen and Maripol modeling for SoHo News, photos by Georges DuBose Spread 13 Plastic Fantasies, Maripol modeling for Don Rodan; collaboration bracelet, design by Maripol, hand paint by Jean-Michel Basquiat, photo Torkil Gudnason Spread 14 Patricia, photo by Giampietro Favero, styling by Maripol; drawing by Maripol; Maripol yellow, artwork by Hubert Art.; Oui Magazine, cover photo by Jeff Dunas; yellow theme, polaroids by Maripol Spread 15 Deborah Harry, Fred Brathwaite and Maripol, photo by

Spread 17 Wigstory, Maripol in white wig at Palladium, 1985, photo

by Patrick McMullan; Adriana, Sharon, Perri Lister, Kiri Teshigahara and Maripol, Jil Jones, Mylene Farmer, CC McGurr, polaroids and drawings by Maripol (except for Maripol in pink wig, photo by Edo Bertoglio) Spread 18 Eiffel Tower by night, photo by Maripol, 2009; Maripol wearing her Eiffel tower earing, Hamptons, 1978, photo

by Edo Bertoglio Spread 19 Maripol and Bénédicte Siroux, self-portrait in Tortola Island; necklace designed by Maripol, polaroids

by Maripol Spread 20 Cross earings, hand painted paper by Maripol Spread 21 Madonna for her very first cover for Island Magazine, photo by Curtis Knapp, jewelry and styling by Maripol Spread 22 See captions on the pages Spread 23 Maripolitan jewelry price list; Maripol for Madonna Spread 24 Maripolitan jewelry; Madonna first album cover with autograph, photo by Gary Heery Spread 25 Madonna wearing the costume designed by Maripol for Keith Haring’s anniversary at Paradise Garage, where she performed Like a Virgin on a huge brass bed Spread 26 Preparatory sketches for the Like a Virgin costume; Like a Virgin album cover, photo by Steven Meisel Spread 27 Fan letters addressed to Maripol Spread 28 Billy Boy’s Barbie collection outfits by different designers; Maripol and Billy Boy Spread 29-30 Maripol, photo by Edo Bertoglio; drawings and cut out

by Maripol Spread 31 Mylene Farmer outfitted by Thierry Mugler for XXL video, hand painted polaroid by Maripol Spread 32 Fashion of the future, styling, polaroids and sketches by Maripol

Spread 33 Daisy necklace, drawing by Maripol, 1978; Maripol (wearing Andre Walker), outfitting Fabienne for Fashion show at Limelight

Endpapers Artwork by François-Marie Anthonioz Front cover Maripol, self-portrait, Polaroid

Spread 34 Sketches, polaroids and storyboard for Tommy Page’s video Turning Me On directed by Maripol Spread 35 Maripol’s medieval mesh belt featured in Vogue America; Adriana Kaegi modeling mesh items designed by Maripol, photo by Giampietro Favero Spread 36 Idalis Leon wearing Maripol’s rubber design; Seduction, album cover photo by Adrian Buckmaster shot in Puerto Rico, art direction and styling

by Maripol Spread 37 Maripol, photo by Roxanne Lowit; Ins & outs in Maripol’s 1987 Christmas list Spread 38 Boomerangs and cone bras by Maripol, photo and artwork by Hubert Art. Booklet Artwork by Maripol

Back cover Artwork by Maripol

Spread 1 Angel in the Air, music video in Times Square by Marcus Nispel, styling and photo by Maripol Spread 2 Maripol pregnant, Tereza Scharf and Alba Clemente at David McDermott and Peter McGough Studio, 1989 Spread 3 Maripol and new born Lino; Lino wearing Batman and Ninja Turtle costume; Lino and his Mammie Aline; Lino and his Grandfather Gerry Meoli; Keith Haring; Maripol and Andrea Clemente Spread 4 The AI DS quilt, March in Washington DC; Florent Morellet and Diego Cortez with Jorge Soccaras, Dimitri and Lady Kier of the group Deee-lite Spread 5 Variuos invitations produced for numerous clubs Spread 6 Cher on the set of Walking in Memphis, video by Marcus Nispel, photo and styling by Maripol; Kim in Maripol’s feather outfits, photo by Giampietro Favero; reggae singer, photo by Maripol; Steve Olson and Maripol, photo by Moshe Brakha Spread 7 Mylene Farmer on the set of Instant X, video directed by Marcus Nispel Spread 8 I love you all very much, dead or alive!, Polaroids

by Maripol Spread 9 Shop window of Marc by Marc store on West 11 th and Bleecker with the new jewelry line Spread 11 Meghan O’Connor, Malia Scharf and Paulina Lempicka modeling Maripol’s jewelry Spread 15 Montage by Maripol; Maripol at the Lafayette House in New York, photo by Santiago, 2010

ACKNOWLEDGEMENTS This book is dedicated to my mom Aline, my dad Georges-Antoine, my son Lino, Gennaro Meoli, my brothers Pierre, Jacques, Jean and all my family.

There is so much I want to say and so many people I want to thank, without their generosity and dedication this book would not have been made. There I so many people who are gone, so many memories.

Thanks to Damiani: Enrico Costanza, Andrea Albertini, Gianni Grandi, Eleonora Pasqui, Alice Rose George.

Thanks to Townhouse: Art Directors Anton Aparin and Nick Vogelson, who have been constantly there to design; and thanks to Sebastien Robcis, Michael Jorris, and Jason Seldon, for all of their assistance.

Thanks to DAP: Alexander Galan and Elisa Leshowitz. Thanks to Edo Bertoglio. Thanks to my precious little bees: Malia Scharf and Adele Jancovici. Thanks to Madonna and Guy Oseary. Thanks to all the photographers, artists, models, muses, actors, writers, poets. Thanks to Gerard Malanga, Christine Shreyer, Jean-Paul Goude, Marc Jacobs, Robert Duffy, Meghan O’Connor, Reed Putlitz, Michael Ariano, Jennifer Baker, Waylon Watts, Kenny Scharf, Deborah Harry, Tommy Gear, Steven Mass, Philippe Pasqua, Laurence Delesti, Adriana Kaegi, Elio Fiorucci, Love Therapy, Giovanna Munao, Valmont and Nancy, Santiago Studio, Julia Gruen, Paulina Lempicka, Roxanne Lowit, Shoko, Gerard Basquiat, Edwige, Mylene Farmer, Agnès b., Thierry Suc, Ray Henders, Alba and Francesco Clemente, David Stark, Eric Goode, Jean-Yves Pilet, CC McGurr, Glenn O’Brien, Michael Zilkha, Annie Maurette, Patrick Gourt, David Armstrong, Henry Banger Benvenuti, Luca Bonetti, Moshe Brakha, Adrian Buckmaster, George DuBose, Jeff Dunas, Giampietro Favero, Bobby Grossman, Torkil Gudnason, Gary Heery, Hubert Art., Curtis Knapp, Patrick McMullan, Steven Meisel, Marcus Nispel, Patisse, Ian Patrick, Anton Perich, Pier Poretti, Ricky Powell, Kiri Teshigahara, The Andy Warhol Foundation.

© Damiani, 2010 © Maripol for the texts and the works © The authors for their texts © Photo credits: David Armstrong; The Estate of Jean-Michel Basquiat; Henry Banger Benvenuti; Edo Bertoglio; Billy Boy; Luca Bonetti; Moshe Brakha; Adrian Buckmaster; Stéphane Clavier; George DuBose; Jeff Dunas; Giampietro Favero; Jean-Paul Goude; Bobby Grossman; Torkil Gudnason; Keith Haring; Gary Heery; Hubert Art.; Curtis Knapp; Roxanne Lowit; Patrick McMullan; Steven Meisel; Marcus Nispel; Patisse; Ian Patrick; Anton Perich; Pier Poretti; Ricky Powell; Santiago; Kenny Scharf; Kiri Teshigahara; The Andy Warhol Foundation © Endpapers, François- Marie Anthonioz for Maripol Graffiti

MARIPOL LITTLE R E D R I DI NG HOOD

Editorial coordination by Enrico Costanza and Eleonora Pasqui US Representative Alice Rose George Art Direction by Anton Aparin and Nick Vogelson of Townhouse Prepress and retouching by Gianni Grandi Text editing by Susan Lassiter

Damiani editore via Zanardi, 376 40131 Bologna t. +39 051 63 50 805 f. +39 051 63 47 188 www.damianieditore.com info@damianieditore.it All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical—including photocopying, recording or by any information storage or retrieval system—without prior permission in writing from the publisher.

Printed in June 2010 by Grafiche Damiani, Bologna, Italy.

ISBN 978-88-6208-136-8

e a l ly wa s r g r i p ol a m v i t l in me l wa s av i ng rom f a r i po my h m d . e y luck arriv f v e ry h en i ion o or k w y tent n w i e the h o t in ne t with r n ism n e a d l o i m m the m e to alian ng i t uce d i d g o n n i r a dy br l int f rom a r i po e r de : m a . a -g s t t ho s u n d all n ava n a a c i a c r n c i’s ame a d on f io r u t of l to m r o a p h r d me e wa e ca m g u i de ter b ways a is l l a o h l . s e wh a r i po ends ry. m her st t r e d t e a t h i sto a he l d e d ic rds t , she a rt. towa d to to m e n y a l i s y m r e a f h t e tivit o lik cr e a e to e lif n t of in o d f e t t w h ol n es nter ons ta ost s a c on e i she i and m e any t v s i e g t n a l a c e t th w ho ng s . a b ou y thi n i ng di na r r lear o a cci extr f io r u — e l io

DE S IG N E D BY TOWN HOUS E

E U R 4 5,00 | US D 6 5,00 | G B P 4 0.00