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Maripol (b. 1955)[1] is an artist, film producer, fashion designer and stylist. She has had an influence on the looks of influential artists such as Madonna and Grace Jones. As part of the 1980s New York downtown scene, she captured the likes of Jean-Michel Basquiat, Keith Haring, Andy Warhol, and Debbie Harry with her Polaroid camera. Maripol also produced films, most notably Downtown 81.

Key Information

Life and career

[edit]

Maripol was born in Rabat, Morocco.[2] She was a student of the École des Beaux-Arts in Nantes, France.[2] She was brought up in France, moving to New York City at the age of 19 in 1976 with her then-boyfriend Edo Bertoglio.[3] Within a year, she was working as a designer at Italian fashion label Fiorucci, where she would soon become art director.[4]

Maripol took her first Polaroid with an SX-70 camera in 1977. She photographed the characters frequenting Studio 54, including Andy Warhol, Steve Rubell, Bianca Jagger, Jerry Hall, and Grace Jones.[5] Her photographs of the Mudd Club have been exhibited at the Rizzoli and Earl McGrath galleries in Manhattan and published in V magazine.[6]

In 1979, Maripol met Jean-Michel Basquiat, then a graffiti artist under the pseudonym SAMO, and the two would soon become close acquaintances. She was the art director for Downtown 81, a film starring Basquiat and featuring Blondie lead singer Deborah Harry and with musical interludes by many New York No Wave bands. The film was directed by her then-partner Edo Bertoglio and written and produced by Glenn O'Brien. It was filmed in 1980-81 as New York Beat, but it wasn't released until 2000 as Downtown 81.[7] Executive producer Michael Zilkha enlisted Maripol to work on post-production of the film, which premiered at the Director's Fortnight in Cannes.[8]

Maripol met pop singer Madonna in 1982. She styled her looks for the albums Madonna (1983) and Like a Virgin (1984), including the music videos "Burning Up" (1983), "Like a Virgin" (1984), and "Dress You Up" (1985).[9] Madonna's trademark black rubber bracelets, jewellery and crucifixes became an iconic fashion trend of the 1980s.[10] Maripol also made a line of official Madonna jewelry and accessories for the 1985 Virgin Tour.[11] By the mid-80s, Maripol had achieved some success with her own shop, Maripolitan, in the NoHo area of New York.[3]

The deaths of Maripol's friends Warhol in 1987 and Basquiat in 1988 affected her profoundly. Maripol closed her shop Maripolitan and moved to Los Angeles, where she would marry, before returning to New York to raise her son, Lino.[3]

Maripol was the art director on music videos for Cher, D’Angelo, Elton John, and Luther Vandross. She also has art directed films by Marcus Nispel and Abel Ferrara.[11][3]

In 2010, she released the book Maripol: Little Red Riding Hood, a collection her photographs, sketchbooks and inspirational material.[12][13] She also published the book Maripola X, featuring 200 of her Polaroid photographs and 69 previously unpublished poems, written in both French and English.[14] That year, Maripol had a collection of jewelry and tee shirts in the Marc by Marc Jacobs stores, inspired by the jewelry she created in the 1980s.[15] She also released "Love Each other", her first record as singer with the French composer and producer Léonard Lasry [fr] which followed her collaboration with the French fashion label Each x Other.[16]

In 2013, Maripol directed The Message, a documentary about Keith Haring, for his retrospective at the Musée d'Art Moderne in Paris.[17]

Maripol has been published in various publications such as The New York Times Magazine, ELLE, i-D, WWD, InStyle, The Village Voice and Time Out New York.[11]

Exhibitions

[edit]

Maripol's photographs have been exhibited at the Rizzoli and Earl McGrath galleries in New York.[6] Her work has also been exhibited at P.S.1 Contemporary Art Center, the Robert Miller Gallery and Deitch Projects in New York, as well as at the Museé Maillol in Paris.[11]

Books

[edit]
  • Basquiat, Jean-Michel; O'Brien, Glen (2001). New York Beat: Jean-Michel Basquiat in Downtown 81. Petit Grand Publishing. ISBN 978-4-939102-22-6.
  • Maripolarama, powerHouse Books, November 2005 ISBN 978-1-57687-272-7
  • Maripol: Little Red Riding Hood, Damiani, September 2010 ISBN 978-88-6208-136-8

References

[edit]
[edit]
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Maripol

View on Grokipedia
from Grokipedia
Maripol is a French-American , , fashion designer, stylist, and film producer best known for her pioneering use of Polaroid cameras to document the exuberant New York club and art scene, as well as her transformative styling contributions to icons like . Born Marie-Pierre in 1955 in , , to French parents, Maripol spent part of her early years in before returning to France, where she grew up in and studied fine arts at the École des Beaux-Arts in . She relocated to in 1976 at around age 20, quickly immersing herself in the downtown cultural milieu alongside figures like Edo Bertoglio. By 1977, she had joined the Italian fashion brand as a designer and soon advanced to , where she honed her eye for bold, accessible style; she later launched her own accessory line, Maripolitan, famous for rubber bracelets, crucifixes, and jumpsuits that epitomized the era's playful rebellion. Her photography career took off with her first Polaroids in 1977, producing spontaneous, one-take images that captured the raw energy of at venues like and , featuring intimate portraits of (whom she met in 1979), , , , , and . In film, Maripol served as producer and art director for Downtown 81 (filmed in 1980 and released in 2000), a seminal documentary showcasing Basquiat and the No Wave movement amid New York's graffiti and punk explosion. Her pivotal collaboration with Madonna began in 1983 at a nightclub, leading to styling the singer's breakthrough Like a Virgin album cover, music video, and first MTV Video Music Awards appearance in 1984, where Maripol's designs—incorporating lace, religious motifs, and streetwear—helped define Madonna's provocative persona. Maripol's influence extended to other artists like , , and , while her later works include directing the 2013 documentary The Message on and publishing photography books such as Maripolarama (2006). Her archives have been exhibited at prestigious venues including , the , and Fondation Cartier, and in 2025 she sold items from her collection through the Joopiter marketplace, cementing her legacy as a chronicler of cultural zeitgeists through accessible, vibrant visuals.

Early Life and Background

Birth and Upbringing in France

Maripol, born Marie-Paule to French parents in , , in 1955, spent her early childhood in due to her father's posting there as a military officer. Following her family's return to , Maripol grew up in . Maripol's initial education centered on the visual arts, culminating in studies at the École des Beaux-Arts in , where she honed her interests in design and photography before departing for New York in 1976. This training laid the groundwork for her future creative pursuits.

Arrival in New York and Initial Influences

Maripol arrived in in 1976 at the age of 20, fresh from her studies at the École des Beaux-Arts in , , where she had developed a foundation in classical art that informed her later experimental approach. Initially planning a brief three-month holiday with her boyfriend, the Italian filmmaker Edo Bertoglio, she was captivated by the city's dynamic energy and chose to remain indefinitely. This relocation bridged her European artistic roots with the burgeoning American underground, setting the stage for her immersion in a transformative cultural landscape. Upon settling in, Maripol supported herself through odd jobs, including modeling and preliminary styling gigs, while deeply engaging with the punk and underground scene that defined late-1970s . She frequented iconic venues such as and , where the raw, DIY ethos of emerging bands and performers shaped her aesthetic sensibilities and introduced her to the gritty glamour of downtown nightlife. These early forays into club culture allowed her to experiment with personal styling, blending her innate sense of with the scene's rebellious spirit, though she had yet to secure professional roles. Among her pivotal early influences were encounters with and the lingering aura of scene, which epitomized the fusion of art, celebrity, and commerce that resonated with her. associate Ronnie Cutrone dubbed her "the sexiest girl in New York," highlighting her rapid integration into this influential milieu. During this transitional phase, she adopted the professional nickname "Maripol." Concurrently, she pursued initial creative experiments through sketching the city's eclectic characters and amateur , often using a basic Polaroid camera before obtaining more advanced tools.

Professional Career

Photography and Styling in the 1980s Downtown Scene

In the vibrant underbelly of New York, Maripol emerged as a pivotal Polaroid , chronicling the downtown art and music scene with an intimate lens that captured its raw energy. Arriving from in the late , she immersed herself in the creative ferment, using her SX-70 Polaroid camera—gifted by photographer Edo Bertoglio in 1977—to document iconic figures such as of Blondie, , , , and emerging who defined the era's nightlife. Her images often emerged from spontaneous encounters at legendary venues like the and Area, where she photographed partygoers, performers, and artists in unfiltered moments, preserving the scene's eclectic mix of punk, , and pop influences. Maripol's styling work further solidified her influence, particularly through her collaborations with emerging pop stars. She served as a key stylist for during the Like a Virgin era, providing custom accessories like rubber bracelets and crucifixes that became emblematic of the 1984 album cover and tour aesthetics. Drawing from street fashion and industrial punk elements, Maripol's designs emphasized provocative, accessible glamour, helping transition from underground performer to global icon while echoing the ethos of bold self-expression. Her contributions extended to album art and fashion shoots for movement artists, including candid portraits and styling for figures like of the Contortions, capturing the genre's experimental edge through gritty, immediate visuals. Central to Maripol's approach was her mastery of instant Polaroid techniques, which enabled spontaneous, intimate portraits that embodied a raw, sensual style reflective of the era's hedonistic freedom. The SX-70's quick development process allowed for unposed shots in lofts, clubs, and streets, often resulting in saturated colors and imperfect edges that she embraced as artistic merit—painting over or collaging "flawed" prints to enhance their diary-like quality. This method not only democratized in the pre-digital age but also fostered a sense of immediacy, turning fleeting nightlife vignettes into enduring emblems of New York creativity.

Film Production and Music Collaborations

Maripol served as and for the film , shot in winter 1980–1981 and directed by Edo Bertoglio with a screenplay by . The project, co-produced by Maripol alongside Michael Zilkha and O'Brien, captured the vibrant energy of New York's downtown art and music scene through a loose narrative centered on a young artist navigating the city. In this hands-on role, she facilitated the creative ecosystem by leveraging her connections to assemble a cast of emerging talents, including in a starring role inspired by his own life, as well as performers like and . Maripol's production responsibilities extended to practical logistics amid severe budget limitations of around $300,000, which necessitated improvisational solutions such as borrowing sculptures for key scenes and sourcing materials like curtains to create costumes on the fly. She secured authentic New York locations, including the then-abandoned Bowery area for pivotal sequences, and managed daily operations like waking Basquiat each morning after his late-night outings to ensure his availability during the arduous six-week shoot. As art director, she oversaw wardrobe for the entire cast, providing Basquiat with duplicate outfits to accommodate his tendency to retain clothing, thereby blending her styling expertise into the film's visual fabric. The production incorporated live performances by No Wave bands such as DNA, Tuxedomoon, The Plastics, and James Chance and the Contortions, recorded on location to reflect the raw, collaborative spirit of the era's underground music venues. Despite these efforts, encountered major obstacles that delayed its completion for nearly two decades. Financial constraints halted shortly after filming wrapped, with a abandoned due to insufficient funds and damaged audio elements. The project languished until 1999, when Maripol rediscovered lost footage, prompting a revival that involved upgrading the 16mm material to 35mm and dialogue—complicated further by Basquiat's in 1988. The finally premiered at the Film Festival's in 2000, where it garnered acclaim as an unfiltered time capsule of New York, preserving the improvisational camaraderie of its participants. Beyond the film, Maripol's music collaborations centered on supporting No Wave performances through styling and on-site photography, often documenting acts like DNA during club nights at venues such as the Mudd Club. She organized informal photo sessions to capture the immediacy of these events, using Polaroids to record musicians' preparations and post-performance moments tied to album releases and live sets in the downtown circuit. Her contributions extended to shaping music video aesthetics by infusing No Wave visuals with her signature mix of punk edge and fashion-forward elements, as seen in the raw, location-based energy of Downtown 81's musical sequences. These efforts underscored her role in bridging visual arts and music, fostering a shared creative space for the era's experimental talents.

Later Design and Art Direction Work

In the 1990s, Maripol transitioned into broader art direction roles within the and industries, leveraging her earlier styling expertise to oversee visual concepts for high-profile projects. She served as for Cher's 1995 "," where she shaped the aesthetic to blend urban grit with performative elegance. This period marked her shift toward commercial versatility, including styling contributions that extended her influence into video production and editorial visuals, building on her foundations in New York. Entering the 2000s, Maripol focused on design collaborations that drew from her Polaroid archives, creating personal lines of jewelry and t-shirts inspired by her iconic imagery of 1980s icons. She partnered with to develop these accessories, infusing them with playful, nostalgic motifs from her photographic work. Additionally, she curated visual identities for exhibitions, such as the 2006 publication of Maripolarama, a comprehensive collection of her Polaroids that highlighted her archival role in documenting cultural moments. Following a period of international projects, Maripol returned to New York-based work in the post-2000 era, adapting her analog Polaroid style to contemporary contexts. She participated in events like the 2010 Art Fair, showcasing her photographs alongside emerging artists. Her approach evolved to include digital reproductions of vintage images, as seen in limited-edition prints, while maintaining involvement in art fairs that celebrated downtown history. In 2019, she captured a new generation of New York creatives at the Polaroid Pop-Up Lab, bridging her legacy with modern instant . Key milestones in the and underscored Maripol's enduring impact through exhibitions and commercial ventures. In 2013, she directed the documentary The Message for Keith Haring's Paris retrospective at the Musée d’Art Moderne, curating archival footage to explore his artistic evolution. The capsule collection with Each x Other revived 1980s New York aesthetics in pieces, while her 2015 solo exhibition at Contemporary Arts displayed over 200 Polaroids, drawing record attendance. Fashion houses like , Valentino, and commissioned her Polaroid documentation of their collections, adapting her signature style for high-end campaigns. In 2025, Maripol sold selections from her personal archive—including signed Polaroids and ephemera from the 1980s and —via Joopiter Marketplace's "Downtown Archive: '80s – '90s New York" sale, making rare items accessible to collectors.

Artistic Style and Contributions

Signature Use of Polaroids and Visual Themes

Maripol's preference for the camera stemmed from its immediacy, allowing for instant development that captured spontaneous moments without the delays of traditional film processing, as well as its low cost, making it ideal for frequent use in the dynamic environments of New York clubs and streets. This tool enabled her to document unposed, erotic, and androgynous scenes in urban settings, emphasizing raw intimacy over staged perfection. Her visual themes recurrently explored sensuality and , often blending vulnerability with defiance against the gritty backdrop of , where motifs such as lace, toys, and hybrid street fashion underscored playful yet provocative identities. These elements appeared in her one-take snapshots of downtown figures, evoking a sense of erotic ambiguity that challenged conventional gender norms, as exemplified in portraits like those of . Over the decades, Maripol's visual language evolved from the raw, handheld immediacy of her Polaroids to more refined integrations with digital techniques, incorporating elements from her extensive sketchbooks that layered personal drawings with photographic imagery. This progression allowed her to expand beyond limitations, blending analog tactility with contemporary editing for a hybrid aesthetic that retained her signature urban sensuality. Technically, Maripol distinguished her process through manipulations of Polaroids, such as direct drawing on the developing surfaces or additions, transforming the instant prints into mixed-media artifacts that amplified thematic depth and personal expression. These interventions, often applied to capture the tactile essence of New York's nightlife, underscored her innovative approach to as an extensible art form rather than a fixed medium.

Influence on Fashion and Pop Culture

Maripol's styling profoundly shaped Madonna's early image, introducing signature accessories like stacked black rubber bracelets, crucifixes, and a white that defined the "Like a Virgin" era and permeated MTV aesthetics. Her design for Madonna's 1984 MTV Video Music Awards performance—an all-white wedding gown paired with a tiered cake prop—bridged New York's downtown punk-fetish underground with mainstream pop, popularizing layered jewelry and provocative bridal motifs as global trends. This collaboration extended Maripol's influence to other icons, including , , and , embedding elements of club culture rebellion into broader fashion narratives. Maripol elevated Polaroid photography from a casual tool to a celebrated art form through her spontaneous, intimate captures of 1980s New York, inspiring photographers to embrace its immediacy for documenting raw cultural moments. Her distinctive one-take technique, often highlighting playful, toy-like accessories in vibrant compositions, influenced luxury brands' revival efforts, including Polaroid's modern campaigns and commissions from houses like , Valentino, and to document collections. Her archival Polaroids have enriched pop culture as essential records of New York's creative underbelly, appearing in documentaries such as —which featured and —and her own The Message on , preserving the era's graffiti, music, and nightlife intersections. Published in books like Maripolarama and Maripola X, these images continue to inform narratives of 1980s innovation, underscoring Maripol's role as a visual chronicler of the city's pulsating art scene. Maripol's legacy reverberates in and fashion, with parallels with photographers like , whose intimate, unfiltered portraits similarly chronicled marginalized communities in the 1980s New York scene. Fashion designers have referenced her toy-inspired motifs—such as colorful rubber pieces and dangling icons—in collections, sustaining her impact on playful, subversive aesthetics decades later. For instance, in March 2025, she collaborated with Khrisjoy on a capsule collection featuring her signature self-portrait Polaroid, and in July 2025, she sold treasures from her personal archive through Joopiter, underscoring her sustained influence.

Exhibitions and Public Recognition

Solo Exhibitions

Maripol's solo exhibitions serve as intimate retrospectives of her personal archive, predominantly featuring her signature Polaroid photographs that capture the raw energy of New York nightlife, fashion, and cultural icons. These presentations emphasize her curatorial vision in juxtaposing candid portraits with sketches and , allowing viewers to explore the intersections of photography, styling, and from her vantage point as a downtown insider. Often held in galleries attuned to contemporary and historical , the shows highlight thematic threads like identity, sensuality, and , drawing audiences interested in the era's pop legacy. Her first solo exhibition took place in 1996 at Candace Dwan Gallery in . This debut showcase introduced Maripol's early Polaroid work to a broader audience, focusing on the eccentric and vibrant personalities she encountered in the city's underground scene, establishing her reputation as a visual of urban cool. In 2004, during the FotoFest biennial in , Maripol mounted "My " as a solo exhibition at Deborah Colton Gallery. The installation centered on large-format black-and-white Polaroid portraits drawn from her personal contacts book, portraying s, musicians, and collaborators like and in unposed, intimate settings that underscored her role in fostering creative networks. The curatorial focus on these "" images evoked a sense of personal diary, receiving praise for reviving the immediacy of amid digital shifts. Maripol revisited Deborah Colton Gallery in 2009 for "," a solo show running from August 22 to September 12 that debuted selections from her eponymous book. The exhibition featured color Polaroids, hand-drawn sketches, and mixed-media pieces exploring fairy-tale motifs intertwined with downtown grit, including stylized portraits and self-referential imagery that played with themes of innocence and provocation. Critics noted its whimsical yet edgy reception, positioning Maripol as a bridge between and pop sensibility, with the installation's compact layout enhancing the narrative intimacy of her archive. A subsequent solo presentation, "Riding the Hoods with Maripol," occupied Clic Gallery in New York from May 17 to June 19, 2011. This exhibition delved into her nightlife documentation through over 50 Polaroids, showcasing spontaneous captures of figures like , , and amid club scenes and studio sessions. The curatorial emphasis on "riding the hoods"—a nod to navigating New York's cultural undercurrents—created an immersive wall of images that mimicked the chaos of the era, earning acclaim for its authentic revival of hedonism and influencing discussions on instant photography's artistic validity. These solo endeavors collectively affirm Maripol's contributions, with their focused installations fostering a deeper appreciation for her archive's role in preserving ephemeral moments of .

Group Exhibitions and Awards

Maripol's photographs and related works have been prominently featured in group exhibitions that underscore her role in documenting the New York art and music scenes, often alongside contemporaries like and . These collective shows have positioned her contributions within broader narratives of , , and rock photography, integrating her instant imagery into institutional contexts. A seminal inclusion occurred in the 1981 exhibition New York/New Wave at MoMA P.S.1 in New York, where an entire room showcased her Polaroid portraits, highlighting the raw energy of the downtown . In the 2000s, her work appeared in Born in the Streets: Graffiti at in (2009), which explored street art's influence on contemporary visual culture. Similarly, Who Shot Rock & Roll: A Photographic History, 1955 to the Present at the (2010) featured her images as part of a survey of photography's evolution. International venues have further amplified her presence in group contexts during the 2010s. For instance, : The Political Line at the Musée d'Art Moderne de la Ville de (2013) included her Polaroids alongside Haring's works, emphasizing shared themes of and pop . Her photographs also appeared in : Now's the Time at the (2015), contextualizing her documentation of Basquiat within his global legacy. Additional group shows, such as Backstage Pass: Rock & Roll at the Portland Museum of Art (2009) and Bande à Part across multiple international venues (2005), reinforced her stylistic impact on fashion and . Later inclusions encompass Spring / Summer 2015 at Dundee Contemporary Arts in (2015), alongside artists Clare Stephenson and Zoe Williams, and the International Photo Festival Incadaqués in (2018). In 2022, her work featured in the dual exhibition Andy Warhol x Maripol at Hotel Bel-Air in . In terms of awards and recognitions, Maripol's film production —which she co-produced and which incorporated her visual aesthetic—was selected for the at the , marking a key validation of her interdisciplinary contributions to capturing New York's underground vitality.

Publications and Legacy

Published Books

Maripol's published books primarily consist of photographic collections centered on her Polaroid work from the 1980s New York scene, often accompanied by personal essays, sketches, and thematic elements that reflect her artistic process. Her first major monograph, Maripolarama, was released in 2005 by powerHouse Books, featuring a curated selection of Polaroids captured during the vibrant club culture of 1980s downtown New York, including portraits of figures like , , and . The volume includes an introduction by , a recollection by , and an afterward by , providing contextual essays on Maripol's spontaneous photographic approach and its role in documenting the era's creative energy. In 2010, Damiani published Maripol: Little Red Riding Hood, a comprehensive overview of her career that incorporates sketchbooks, photographs, and assorted inspirational materials spanning her , styling, and endeavors. This book draws on her personal archives to illustrate the evolution of her visual language, blending autobiographical elements with imagery from her collaborations in and . Maripola X, a limited-edition release from Le Livre Art Publishing in 2014, focuses on 200 curated Polaroids from her , each annotated thematically to highlight motifs of , identity, and urban . The tome also integrates 69 original poems that explore the creative impulses behind her imagery, positioning it as both an artistic and literary artifact. It was launched at BookMarc in New York on February 7, 2014. Earlier in her career, Maripol contributed to Mes Polas, 1977-90, a 1990 Japanese monograph published by Kyoto Shoin as part of the Art Random series, which compiled her Polaroid portraits from the late 1970s through the 1980s, emphasizing her early documentation of New York's emerging art and music communities. Beyond these authored works, she has provided photographic contributions to collaborative volumes on 1980s New York, such as New York Beat: Jean-Michel Basquiat in Downtown 81, where her images capture the raw energy of the downtown scene. Her photographs have also appeared in magazine publications including The New York Times Magazine, ELLE, i-D, and Time Out New York, extending her visual documentation into editorial formats.

Ongoing Impact and Collections

Maripol's Polaroid photographs and related works have entered permanent collections, underscoring her lasting significance in documenting New York culture. For instance, her piece Eyes Are the Reflection of Your Soul is part of the Mundi Collection, acquired in 2013 as part of the "United States: Organix" catalog, which highlights contemporary global artistic production. Her images have also been featured in major institutional holdings through exhibitions that have elevated their archival value, such as displays at the and MoMA P.S.1, where selections from her portfolio were integrated into broader surveys of downtown art scenes. In 2025, Maripol participated in the sale of personal artifacts through Joopiter Marketplace, titled Downtown Archive: '80s – '90s New York, which included rare Polaroids of figures like , , and , alongside memorabilia such as a 78-snapshot "Blonde" artwork and a 1983 invitation from . This event, announced in July 2025, preserved and disseminated elements of her archive to collectors, ensuring wider access to from the era's vibrant nightlife and art worlds. Later that year, in March 2025, she collaborated with fashion brand Khrisjoy on a capsule collection inspired by her artistic vision. In September 2025, she attended a Valentino Beauty event at , and in October 2025, she was featured in Dior's "The " series. On November 3, 2025, she contributed to a limited-edition print sale fundraiser organized by performance artist Millie Brown to support women and children in Gaza through The Zaynab Project. Maripol's visual aesthetic continues to resonate in contemporary media and fashion, influencing revivals of styling through her bold, instant-capture approach to portraiture and design. Recent fashion houses, including , Valentino, and , have commissioned her to document collections using Polaroid, bridging her historical work with modern luxury narratives. Her contributions to documentaries like Crack Is Whack (1986), a film on , and Downtown 81 (1981), featuring Basquiat, are frequently cited in 2020s explorations of New York City's underground scene, such as retrospective analyses in outlets like . This enduring reference highlights her role in shaping pop culture , with younger artists drawing on her raw, unfiltered depictions of celebrity and .

References

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  49. https://www.dazeddigital.com/art-photography/article/69009/1/print-sale-limited-gaza-zaynab-nick-knight-vinca-petersen-maripol
  50. https://www.eugenericonneaus.com/women-shoes/maripol
  51. https://www.scotsman.com/arts-and-culture/maripol-still-in-fashion-after-more-than-20-years-1507676
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