BRUCE PASK

BRUCE PASK

“I’ve lived in New York City’s East Village for almost 25 years.
My boyfriend, Joey [Pizzi], and I moved into this apartment in the the Art Deco-era AGELOFF TOWERS a little more than two years ago, but I’ve always loved the old building’s beautiful architecture. Joey and I hadn’t even talked about moving in together, but when we saw it, we loved the unit. It felt very adult.

A dear friend who’s an art director sort of laid out how we should hang the art displayed on this wall — composing it would’ve been beyond me. It’s an unbalanced representation of Joey and I, as most of it’s mine, but there are a couple pieces of his.

While we didn’t put it together to represent different facets of our lives, it covers an interesting timeline: from my days [styling] at GQ, then with Annie Leibovitz at VANITY FAIR, and onto [work I’ve done] for BERGDORF GOODMAN. I love that each one of the items mean something, and has a place in our personal history.”

“The photographer LARRY FINK took this picture of STANLEY TUCCI and me on set for GQ. I was fixing Stanley’s necktie when he shot the camera a look. Larry’s really brilliant at capturing irreverent moments.

“I purchased the DAVID ARMSTRONG photograph at auction when I was just entering the [fashion] business. David, who, like NAN GOLDIN, was part of the BOSTON SCHOOL of artists, took beautiful, soft focus photographs of trees and statues in cemeteries, as well as portraits that look kind of ghostly.

Long after I bought this, David and I actually worked together [when I was men’s fashion editor] at T, before he passed away in 2014.”

“My twin brother Scott [Pask] — who coincidentally lives upstairs — did this illustration of a set he designed. His drawings are amazing renderings of his sets, which have won him three TONY AWARDS. In 2010, Scott and I worked together on the Broadway revival of PROMISES, PROMISES; he did the sets and I designed the costumes. It’s [always] interesting when fashion and theater collide, because the two are ripe for collaboration. Costume design certainly informs my work, and it’s an aspect of fashion that I love.

“I collaborated with Annie Leibovitz quite extensively on her Vanity Fair work between 2000 and 2003. We did these rather elaborate, evocative shoots with a lot of celebrities that were quite memorable. This is from an English-themed cover story we did in London, with Hugh Grant and two women at tea.”

The photograph of ADRIEN BRODY is one of my favorite menswear images that I’ve helped create. I love that it’s tweedy and dressy, but really lived in and naturalistic. Annie really taught me how to make clothing look that way.”

“I worked with Annie on this photograph of the cast of FRIENDS, at the height [of the show’s popularity]. We had originally talked about shooting them in jeans and tee shirts, but she was inspired by the idea of a 1930s traveling circus troupe. Pulling that together was quite a feat, as we only had a short amount of time. I’m really proud of the final image. Annie gave me this print, as well as the ones of ADRIEN BRODY and HUGH GRANT, when we finished working together.”

“My dear friend Arnaud Pyvka took this photograph of me while we were on location. He caught me unaware, looking at the lagoon as his photo assistants were trying to rig some lighting.”

“Joey is a choreographer for theater and film, and, after shooting a movie some time ago in a small town in North Carolina, a crew member gave this to him. The painting is of a local celebrity from that area: a woman named Donna Merritt, who performs regularly at a piano bar in town.”

“This is by RYAN MCGINNESS whose work I was introduced to by ARIEL FOXMAN, when he was my editor at CARGO. I love how decorative and layered Ryan’s paintings are.”

“The drawing was given to me by the illustrator RICHARD HAINES, who I [often] collaborated with at T. About three years ago, Richard and I were at PITTI UOMO, in Florence, and unbeknownst to me he sketched me from afar — he takes his sketchbooks everywhere. I’m so grateful that artists like Richard and Donald Robertson have revived fashion illustration, because it was dormant for quite some time.

I love how the medium gives fashion an artisanal interpretation. It makes it a little more personal.”

“This photo of me and Joey was taken at a friend’s birthday party. To celebrate our fifth anniversary, I gave Joey a RICHARD HAINES illustration of another photo of us: the first one we took at an event as an official couple.”

CREDITS

Photography bySania Tharani

As told toMichelle Rizzi

Bruce Pask is the New York City-based men’s fashion director at Bergdorf Goodman.

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