An editorial for Depeche Mode, 1973, featuring Paul Caranicas and Juan Ramos ’62, who painted the yellow background.
being renovated. She made him her daughter’s
one wanted to be close to him,” she says, in her
in everybody—all the important people as well
godfather, and has tender memories of the two
patient, soft-spoken way. “He was always at the
as the not-so-important people—the cook, the
playing together. “One New Year’s Eve, Vanessa
center of things. He knew how to put people
fireman, break dancers, models, teachers, celebri-
wanted us to celebrate with her, but Antonio and
together. He would say, ‘You two are going to be
ties. Everyone had something for him—their vibe,
I wanted to go out,” she says. “We turned the clocks
like sisters,’ and you would. He introduced me
their energy.”
ahead so Vanessa thought it was midnight, and we
to Anna Piaggi, who published my pictures in
put on hats and blew noisemakers. Then, when she
her magazine, Vanity. [Piaggi, the storied Italian
The painter and illustrator Alvaro is an exuber-
was asleep…..”
editor, died in August.] He introduced me to my
ant character bursting with infectious enthusiasm.
husband, and [the late fashion model and muse]
He grew up in the ’70s besotted with Antonio’s work.
Tina Chow to her husband. He was interested
“I was a kid from the South Bronx, a Puerto Rican
Lowit says Antonio’s immense charisma magnified his ability to interpret fashion. “Every-
20
hue | fall/winter 2012