Oh Vogue, who thought a Hurricane Sandy-themed photo shoot with supermodels walking through Far Rockaway dressed in the likes of Rodarte and Marc Jacobs was a good idea?
“…we spent the night on a bridge, then went back in with the National Guard to work on patients.” On Iman: Narciso Rodriguez camisole and pencil skirt. On Kloss: Diane von Furstenberg dress. Hair: Julien d’Ys for Julien d’Ys. Makeup: Stéphane Marais.
I guess they were going for inappropriate & provocative but hit inappropriate & idiotic instead? Vogue did raise a bunch of money for storm relief, but still. They should leave the provocative stuff to Vogue Italia and Steven Meisel…they’re a lot better at it. (via @alexandrak)
After ten years, she’s stepping down as editor-in-chief.
“I had so much freedom to do everything I wanted. I think I did a good job.” But she added, “When everything is good, maybe I think it’s the time to do something else.” She expects to complete issues through March. She said she was not sure what she would do after that. “I have no plan at all,” she said.
I straight-up loved this movie. It’s a fascinating look at the creative process of a team with strong leadership operating at a very high level. The trailer is pretty misleading in this respect…the main story in the film has little to do with fashion and should be instantly recognizable to anyone who has ever worked with a bunch of people on a project. Others have made the comparison of Anna Wintour with Steve Jobs and it seems apt. At several points in the film, my thoughts drifted to Jobs and Apple; Wintour seems like the same sort of creative leader as Jobs.
The December 2009 issue of Vogue Italia has a spread of photos taken by Steven Meisel presented in the style of Twitpic.
That’s Viktoriya Sasonkina; also represented are Karlie Kloss, Naomi Campbell, Christy Turlington, and Gisele Bundchen.
I pulled out a couple of interesting-sounding documentaries from this preview of this year’s Sundance Film Festival. The first is Art & Copy, a documentary about advertising that seems well-timed on the heels of Mad Men.
Come to think of it, it’s amazing that nobody’s made a major documentary about the advertising business before. Are some phenomena just so powerful and ubiquitous we stop thinking about them? Now acclaimed doc-maker Doug Pray goes inside the ever-revolutionary world of post-’60s advertising, profiling such legendary figures as [Dan] Wieden (“Just do it”), Hal Riney (“It’s morning in America”) and Cliff Freeman (“Where’s the beef?”) and inquiring where the boundaries lie between art, salesmanship and brainwashing.
Somewhat related to that is The September Issue, which follows the creation of Vogue magazine’s September issue. You know, the one packed with hundreds of pages of advertising.
You-are-there documentarian R.J. Cutler (“The War Room,” etc.) takes us inside the creation of Vogue’s annual and enormous September issue, which possesses quasi-biblical status in the fashion world. Granted full access to editorial meetings, photo shoots and Fashion Week events by Vogue editor Anna Wintour, Cutler spent nine months at Vogue, documenting a monumental process that more closely resembles a political campaign or a sports team’s season than the publication of a single magazine.
And while not a documentary, there’s excitement and trepidation surrounding John Krasinski’s Brief Interviews with Hideous Men, a adaptation of a book by the same name by David Foster Wallace.
James Danziger notes that the issue of Vogue Italia following the acclaimed issue featuring only black models has zero black models in it.
How absolutely great, but now the August issue is out — themed around a faux funeral photo tribute to Yves Saint Laurent — and there’s apparently not one black model to be found. This is especially ironic given the fact that Yves Saint Laurent was one of the first major designers to regularly feature black models in his runway shows. You would have thought they could have found room to at least fit Naomi Campbell in somewhere. Wouldn’t she look chic in widow’s weeds? This kind of tokenism ultimately seems a step backwards to me.
For its July 2008 issue, Vogue Italia is featuring only black models and feature articles about black women in arts and entertainment.
Having worked at one time with nearly all the models he chose for the black issue — Iman, [Naomi] Campbell, Tyra Banks, Jourdan Dunn, [Liya] Kebede, [Alek] Wek, Pat Cleveland, Karen Alexander — [photographer Steven] Meisel had his own feelings. “I thought, it’s ridiculous, this discrimination,” said Mr. Meisel, speaking by phone from his home in Los Angeles. “It’s so crazy to live in such a narrow, narrow place. Age, weight, sexuality, race — every kind of prejudice.”
Here’s a slideshow of some of the images from the magazine. As I’ve said before, Vogue Italia is doing some interesting things with the editorial nature of the magazine’s photography (see State of Emergency and Super Mods Enter Rehab, both by Steven Meisel).
Only three men have ever graced the cover of American Vogue. LeBron James is on the cover this month with Gisele Bundchen…see if you can guess the other two before you click through.
Scott King: How I’d Sink American Vogue. His approach would include stories like “How To Dress Angry”, “635 Poor People Upside Down!”, and “Karl Lagerfeld Discusses Various Cancers”, as well as a 14-page advertisement-free issue.
Fun photo spread from the July 2007 issue of Vogue Italia called Super Mods Enter Rehab. I love all of the over-the-top no-underwear shots of models exiting cars.
Vogue is adding blogs to their site but editor Anna Wintour hates the word “blog” so much that she’s got her staff working on alternate language. Wintour’s a little late to the party…everyone I know has been hating that word since 1999. (via fashionologie)
State of Emergency photo shoot from the September 2006 issue of Vogue Italia. The editorial of these fashion photos exceeds that of much photography found in more conventional US news media. (via bb)