Warhol and the beauties
February 6, 2011
Andy Warhol captou os anos 60 em centenas de filmes com socialites, modelos, travestis e marginais do underground nova-iorquino, a quem ele chamava de Superstars e que frequentavam as festas da Factory. Entre elas as glamurosas – embora nem sempre em conformidade com a definição de beleza holywoodiana – Nico, Edie Sedgwick, Viva, Ultra Violet, Candy Darling, “Baby” Jane Holzer e Ingrid Superstar.
As impressões em serigrafia do artista e suas musas foram homenageados pelo time de make up de Diane von Furstenberg no desfile de Primavera 2011 através do baton rosa choque.
VV adorou, e reproduz partes da matéria da Style.com.
Andy Warhol encapsulated the 60’s in hundreds of films with socialites, models, teenage ex-cons, transvestites, and street urchins, whom he called his Superstars and frequented the parties at the Factory. Among them the glamorous – even though not always in conformity with Hollywood’s definition of pretty – Nico, Edie Sedgwick, Viva, Ultra Violet, Candy Darling and Ingrid Superstar.
The makeup teams at Diane von Furstenberg’s Spring show paid homage to Warhol’s silk-screen prints and his movie muses, via electric pink lips.
VV loved it, and reproduce parts of the article from Style.com.
Christa Päffgen, a.k.a. Nico, appeared as herself in Federico Fellini’s La Dolce Vita and recorded music with Brian Jones.
The Pop artist put her in Chelsea Girls, The Closet, Sunset, and Imitation of Christ before introducing her to the Velvet Underground.
Transsexual Candy Darling (a.k.a. James Lawrence Slattery) met Warhol in 1967 and was swiftly cast in his film Flesh the following year.
Did gigs in drag shows at clubs like Max’s Kansas City.
Had three hit songs penned in her honor: the Rolling Stones’ “Citadel,” the Velvet Underground’s “Candy Says,” and Lou Reed’s “Walk on the Wild Side.
Jane Holzer sported a signature Bardot-style mane of thick blond hair parted on the side and plenty of liquid eyeliner.
She allegedly stayed away from the Factory because of all the drugs, but did appear in one of Warhol’s most substance-addled films, Ciao Manhattan, in 1972.
Viva, a.k.a. Janet Susan Mary Hoffman, appeared in five of Warhol’s late-sixties films, including The Nude Restaurant, Lonesome Cowboys, and Blue Movie.
She also landed a speaking role in John Schlesinger’s 1969 hit Midnight Cowboy.
Viva was on the phone with Warhol when he was shot by Valerie Solanas.
Ultra Violet, a.k.a. the French-born Isabelle Collin Dufresne, was a former studio assistant to Salvatore Dalí and associate of Marcel Duchamp and Pablo Picasso.
She is said to have walked into the Factory in 1965 in a pink Chanel suit and purchased a still-wet painting for $500.
Almost every detail about the woman known as Ingrid Superstar is sketchy, from her real name to the circumstances around which she arrived at the Factory.
According to poet and artist René Ricard, she was picked up at a bar on 42nd Street and given an “ugly Edie (Sedgwick)” makeover.
She would score film credits in Warhol’s Chelsea Girls and The Nude Restaurant before she went missing in the late eighties.