Dario Calmese Wiki – Dario Calmese Biography
Dario Calmese is the first Black photographer to shoot a cover for Vanity Fair.Credit…Teron Beal .Until about two weeks ago, Dario Calmese didn’t know he was the first Black photographer to shoot the cover of Vanity Fair. But he had a suspicion, so he asked the editors, who went digging.
VIOLA DAVIS on the VANITY FAIR July/August cover.
This is the FIRST time a BLACK photographer has shot the cover.
CONGRATULATIONS, Dario Calmese the photographer!
THANKS, everyone at VANITY FAIR for welcoming change and having courage to show others that it’s VERY necessary! pic.twitter.com/gaE7JmY021
— EVA COLE 🇺🇸 (@EvaColeBooks) July 14, 2020
Until about two weeks ago, Dario Calmese didn’t know he was the first Black photographer to shoot the cover of the Vanity Fair. But he had a suspicion, so he asked the excavation editors.
“As far as we know, the first Vanity Fair cover made by a Black photographer,” Radhika Jones said in the July-August editor’s letter. The subject of the cover is Viola Davis, who tells the same number of interviewers Sonia Saraiya that Black women have not traditionally been photographed for the cover of the Vanity Fair.
In her letter, Ms. Jones manages the numbers: Vanity Fair released 17 solo covers full of Black people 35 years before being elected as editor. As of Tuesday, Ms. Jones published eight times with two interracial married couples two and a half years ago.
success exists in a wider and sad reality
However, this success exists in a wider and sad reality: According to several employees who have shared their experiences in recent weeks, some magazines in Vanity Fair’s publisher Condé Nast are racist workplaces.
In June, the New York Times reported that Ms. Jones’s covers were internally criticized by a white female executive for not having “more people like us”. (Condé Nast refused to make an executive claim through a spokesperson.)
Dario Calmese Stunning photographer
Stunning photographs. Bravo, Dario Calmese. https://t.co/r3aeFu1nDL
— Steven Rowley (@mrstevenrowley) July 14, 2020
Mr. Calmese may not have realized that the magazine was the first Black photographer when he took office, and he spoke brightly about his interactions with the Vanity Fair staff. But he was not ashamed of the warmth of that moment in the media and fashion.
“I knew this was the moment to say anything,” he said in the interview the week before the cover was released. “I knew this was a moment like extra Black.”
There was a long-standing image in Mr. Calmese’s personal reference folder: “Scourged Back”, a portrait of an 1863 enslaved man with a crushing back. When Mr. Calmese met again a few days before shooting, he decided to reproduce.
“When you look at it, it’s scary and tough,” he said. However, Mr. Calmese also saw elements that could inform his upcoming portrait: “He pushes it further back into the camera. With his hands on his waist – you know this line by turning the profile down the arm and back. I was like this: I can recreate this. ”
Still, he didn’t want the re-creation to be the cover art. This was a summer thing and he thought the cap should have more shine and vitality.
But the result was so mobile that he could not ignore it. In it, Mrs. Davis sits with one hand on her hip, like the man in the portrait. Looks left. The light gently reflects the exposed back, the silhouette of his face, the corner of his lap.
“When you sit in the chair for a while, you start to understand the pictures you have in mind,” said Ms. Jones. “I felt right when I saw the job and the picture.”
The image for him represented the strength needed to tell your own story. For Mr. Calmese, this is about rewriting an old story.
“Not only around slavery, but also the white gaze on Black objects and turning it into elegance, beauty and power,” he said.
Ban Bir Banal Industry Standard
Despite being the latest in a short line of the very late debuts – joining Tyler Mitchell, the first photographer to cover Vogue’s cover in 2018, and Dana Scruggs, who took the cover of Rolling Stone in 2019 – Mr. Calmese is actually the photographer himself. does not see it.
“I think photography is a part of me, but I’m not,” he said. “This is a form of expression. It doesn’t fill me completely. ”
He also writes, curates, manages fashion shows, and hosts the “Black Imagination Institute” podcast, interviews with other Black creators and academics. An actor and a classically trained singer and dancer. He is extremely optimistic about everything and animatedly talks about finding beauty at a time when many people are so hard for various reasons.
Mr. Calmese, 38, started taking portraits of Black people in 2012 when he enrolled at the Visual Arts School in Manhattan. A few years ago, he planned to become a clinical psychologist while attending a small Jesuit college in Kansas, Kansas.
However, leaving Missouri where she grew up, she dropped out of grad school to move to New York and take a shot. When the idea of the engraving school resorted to him, he decided to do fashion photography at SVA.
There, Calmese began to photograph what he called “ordinary blacks with extraordinary lives.” The first was the vintage fashion collector Lana Turner, whom Mr. Calmese first met at the Abyssinian Baptist Church in Harlem, where he now lives.
While photographing the best wardrobe of Mrs. Turner and Pazar for five years, the church said, “Black people can live and survive in fashion and play a role they can’t do outside these walls. . ”
In 2013, Mr. Calmese met Kerby Jean-Raymond, the founder of the Pyer Moss label. He became the director of Mr. Jean-Raymond’s fashion shows, and later became the director. Last year, he directed the powerful Pyer Moss show at the Kings Theater in Brooklyn, which aimed to regain the role of Black musicians, especially Sister Rosetta Tharpe, in the history of American rock n roll.
Mrs. Davis’s portrait was not Mr. Calmese’s Black Women first reform attempt. A year ago, “What is America?” For the 2019 summer cover of Numéro Berlin. He answered the question. With the image of five Black women wearing different hairstyles inspired by models in 1970s Abanoz magazine.
“Black women have been holding this country together since the day it was founded,” he said. Still, it has been made “invisible”.
He started shooting for the Vanity Fair last year; his first subject was Billy Porter. In March, he was charged with photographer actress Catherine O’Hara. However, he said that the fire was suddenly canceled due to state restrictions at meetings. (Mrs. O’Hara was finally photographed with a drone.)
Later, in mid-June, Mr. Calmese called on Mrs. Davis to take pictures for the cover.
She wanted Mrs. Davis to look great because she said she deserved to look gorgeous. But he saw the task as a “banal industry standard” – an opportunity to reverse the magazine cover, and said. To instill through the same stream runway shows as Mr. Jean-Raymond.
“Changing the images that have been washed on us for hundreds of years is about telling us who we are, our position in the world and our value,” Calmese said.
You Will Create History ”
Mr. Calmese recalled that he had about nine days to prepare from the moment he started working. At that time, the cover still wrote. He imagined Mrs. Davis as Black Athena, who represents survival and justice, or Black Madonna, which represents the transformation of one’s inner darkness into light.
There were daily conference discussions with the magazine and at some point decided to write an article or a 500-word article.
“I read it to everyone in Zoom like 10 people,” Mr Calmese laughed at himself. “That’s how I work in everything.”
On the day of the photo shoot in California, everyone on the set wore a mask and signed a waiver and filled out questionnaires about potential coronavirus symptoms. There were two paramedics, including one at the door, warming up.
Elbow boops replaced double cheek kissing, and Ms. Davis was specific about not wearing clothes worn by others within the two days before shooting.
For the image that became the cover photo, Taffeta MaxMara wore a ditch suit so the buttons can be opened to reveal. Even the dark blue color of the garment feels symbolic; indigo fabric was used as currency in the slave trade.
Mr. Calmese wanted Ms. Davis’ hair to be natural; He had three stylist hairdressers of different sizes and chose the biggest one. Her makeup was not dramatic. The default value of mainstream American magazines did not want what it called “full shooting moment” by default. He wanted the photo to feel underexposed and gloomy for all the lifting energy.
“For me, this cover is my protest,” he said. “But look at me how bad you are with me, I’m angry and sorry.” It’s not a protest on the subject. Rather, this: “I will rewrite this narrative. I’ll just take his property. ”
It’s hard to see the cover as anything other than protest. Magazine covers are usually planned months ago, but in the first issue of Ms. Jones since Condé Nast’s accounts, she paired a Black photographer and a Black actress (and wage gap activist) inspired by slave images.
“My whole life was a protest,” Ms. Jones pronounced under the Vanity Fair logo. “We don’t have to continue the cultural hierarchies we inherit,” says the editor’s letter.
And the image came up with Annie Leibovitz’s criticism that Vogue’s choice of photographer for the new Simone Biles cover did not properly illuminate Black people.
Two days before the photo shoot, Mr. Calmese emailed his former Vogue editor friend André Leon Talley to ask for advice.
In a recently published memory, Mr. Talley, who chronicles the experience of not having Black contemporaries while navigating the highest fashion levels, responded with a pep talk. “I applaud you personally for the high art roles in our culture,” wrote Mr. Talley.
Twenty minutes later – Mr. Talley’s emails tend to fight