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Fashion, Subculture

Punk, or a Facsimile of

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- From Vogue Russia, October 2013

Punk has become very glossy, hasn’t it?  It’s been appropriated and bastardised and distorted and machine-gunned and laquered beyond all comprehension.  And yet…

I rather like this editorial.  It pulls together as-yet unmined aspects of punk (like how feminine it could be – in an intrusive, slightly threatening way) and is still incredibly high-end and glossy, albeit with a slightly slimy edge.  It might be the massive Mint Aero that I’ve just eaten, but I feel a little queasy looking at it.

It reminds me a little of this don’t-care photo of two punks on the Kings Road, as shot by Steve Johnston.

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Johnston also talks to Nick Knight of Showstudio about shooting these particular punks (with a camera, I assume).


If that floats your boat, Showstudio have much more up online as part of their Punk: Photography Exhibition.

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Art, Fashion, Photography

A Pop, Op and a Jump – Lacey for Vogue Nippon

British Photographer Lacey was an assistant to Tim Walker – and it really shows. Her inventive use of props (by design pair Craig and Karl) and collaboration with make-up artist Andrew Gallimore have made the pages of Vogue Nippon even more mind-bending this month. Styled by Beth Fenton, it’s part Pop, a little Op and a big, glam wheelbarrow of weird brilliance.

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Fashion, Inspiration, Photography, The Reading List

The Reading List – Vogue: The Editor’s Eye

I went for breakfast with a good friend of mine last Sunday.  She’s a writer at a (really great) magazine and together we talked about the merits of freebies – non-editorial speak for ‘products for review’.

I was talking about getting a PDF of a book for review.  This is new.  I’ve never been given a PDF to review before, so one has to refine what it is about a book that makes it special.  You’re more focused on the contents, not on the weight and heft or how tactile the experience can be.  She said, Oh yeah, sometimes I’ll go into the beauty desk, see the YSL and think, ‘Tch, where’s the Tom Ford?’

There was a slight pause, then she said to me, “We really are snobby a**holes, aren’t we?”.

And we really are.  It was a humbling moment.

While the feel factor of a coffee table book is the thing that keeps the publishing industry alive, it’s the contents that are really important.  It’s what’s inside the file (or the lipstick tube) that counts.  I can’t believe how lucky I have been this year in regard to getting books for review.  I’ve loved reading everything and am incredibly grateful to the PRs who deem my sphere of work important enough to read their books.

So, with that earnest anecdote aside, this is a review of Vogue: The Editor’s Eye, which, onscreen, looks like this:

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…but in bookshops, looks a little like this.

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Before reading the book, I took a trip to my local Eason’s to get a look at the book proper.  I found it (rather disingenuously in the ‘Health’ section), wrapped in cellophane, a tome not to be desecrated with my grubby hands.  It is huge.  Monumentally so.  It is the kind of huge that could easily cover an entire coffee table.  It has the kind of weight that potentially says ‘I Am a Very Important Book’.

The Editor’s Eye charts not only the careers of Vogue’s best fashion editors, but also plots an overarching route through the magazine’s general images, from the mid twentieth century to present day.  How did the world’s most popular fashion magazine go from this…

January 1, 1950.  Whiling away an afternoon, in dresses from the Costume Institute of the Metropolitan Museum of Art.   © Irving Penn/Condé Nast Archive

January 1, 1950. Whiling away an afternoon, in dresses from the Costume Institute of the Metropolitan Museum of Art. © Irving Penn/Condé Nast Archive

..to this?

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November 1988. The novel combination of a Christian Lacroix couture jacket with jeans, worn by Michaela Bercu on the cover of Anna Wintour’s first issue of Vogue. © Peter Lindbergh

How did it go through these changes so seamlessly? The truth is that these changes weren’t so seamless, but the fact that Vogue went through seismic shifts, multiple firings and the odd acrimonious dispute is one that the book cheerfully ignores. It’s not a tell-all; rather it is a show-all.  The focus is rightfully on the specific editors’ careers and not focused on what the editor-in-chief was (or wasn’t) doing at the time.

As an introduction to the various fashion editors who captured the zeitgeist and made American Vogue the magazine panopticon of style that it is today, it is seamless.  Each editor is introduced with an essay and a selection of photographs from Vogue’s archives.  I especially enjoyed the essay on Babs Simpson who, at 99 years old and still telling anecdotes about how she accidentally told Carmel Snow to ‘F**k off’, is the woman who transformed models from static pedestal-dwellers to real (albeit ridiculously good-looking) women engaging with the real world.

The selections of images for each editor is entirely appropriate, bringing together a vital thread or theme that runs through each editor’s work (Grace Coddington – romantic, Tonne Goodman – the healthy body, Carlyne Cerf de Dudzeele – the beginnings of high-low and street style).  Layouts are sparse – one collage per editor, then pages of one-photo spreads.  It is high-impact and very effectively done. We also get to see pictures of the editor’s themselves, their homes, their childhoods and can learn about their personal lives and motivations through each essay.

The essays are not of the same exacting quality.  While most are excellent, Michael Roberts’ essay on Coddington is rather fawning (‘best stylist in the world’ gets bandied around more than once) and reveals little about the enigmatic Grace that we don’t already know. Hilton Als’ profile of Camilla Nickerson starts as charming but evolves into a slightly heavy-handed dissection of photography and the female gaze.  On the other hand, de Dudzeele leaps out of the page with sheer personality and brio, while Phyllis Posnick’s story gives hope to aspiring stylists without suitably colourful origin myths.

The story of Vogue is reaching its zenith.  Through this book, casual fans of the magazine’s editorial team can now look at others who may have been overlooked due to time, trends or circumstance.  An excellent buy for Voguettes, wannabe stylists or those who just love beautiful fashion photography.

Vogue: The Editor’s Eye is published by Abrams and is out now.

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Fashion, Inspiration, The Reading List

Diet Coke Fashion Friday: Fashion Books Aren’t Just For Christmas (Part II)

Remember this?

“If you can’t think of the best gift that has yet to be given, let me suggest a book.  Books are great.  Unlike electronics, they don’t crash or freeze, they are incredibly tactile and the feeling of looking at a picture on a page is far superior to looking at one on a screen (it’s the glossiness, I think).

I’ve got some fashion book choices for the various people in your life.  Well, the people in your life who like fashion.  For everyone else, I’d suggest a book token.”

No? That’s grand – that was part one of my Christmas gift guide – now on with part two…

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1.  For the Voguette, the woman who wants to be Nuclear Wintour, or Alexandra Schulman, or Franca Sozzani, and has the Mt. Everest of Vogues to prove it, I’d suggest you get a copy of Vogue: The Editor’s Eye – a full review of which will be coming on Monday.  Focusing on the role of the fashion editor through the latter half of the twentieth century to the present day, there are some really nice spreads that throw light (rightfully) on women like Babs Simpson, Polly Mellen and Tonne Goodman.  You might not know who they are, but the Voguette definitely will.

Honourable mention - In Vogue: An Illustrated History of the World’s Most Famous Fashion Magazine

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2.  For the (platonic) man friend who’s looking to up his game sartorially, there are two things.  First, give him a round of applause/packet of crisps for getting into personal style in a country where, except for a few inclusive pockets, it’s not incredibly popular to do so. Second, give him a copy of Style and The Man by Alan Flusser.  It’s all about suits and tailoring, so there’s nothing too avant-garde and there’s absolutely zilch that Flusser doesn’t know about knots, cuffs and how to get a good three piece made without compromise.

Honourable mention – Icons of Mens Style

3. For the street-style savvy friend who can’t get enough of The Sart (I was going to title this one the ‘street style slut’ before I realised how insulting that was), the newest book by the aforementioned Sartorialist is a great bet.  I wasn’t a big fan of the first book, but The Sartorialist: Closer really showcases just how damn GOOD Scott Schuman has got at capturing the personality quirks as well as the outfits of his subjects.

Honourable mention - The Sartorialist (eh, if it’s not broke don’t fix it).

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Fashion, Photography

Edith Wharton in Vogue

These pictures are a few months old (and therefore ancient in fashion/internet terms) but I still want to share this Annie Leibovitz spread for American Vogue.  Styled by Grace Coddington, Natalia Vodianova is novelist Edith Wharton on her Massachusetts estate, The Mount.  Flanking her is novelist Jeffrey Eugenides as Henry James, Boardwalk Empire actor Jack Huston as her mercurial lover William Morton Fullerton and an interesting cast of supporting characters including Elijah Wood as her chauffeur (!) and James Corden as Teddy Roosevelt (!?!).

The editorial is rather static and dreamy and Old World-ish, and there are cameos from American men of letters like Pulitzer Prize winner Junot Diaz (no women, unfortunately).  It’s also accompanied by a rather lovely piece by Colm Toibin, which you can read here.  I suppose the only bone to pick is that Wharton was supposed to be about 45 at this time, while Vodianova is… not.  Kristen McMenamy might have made a better Wharton or, as one of the original commenters suggested, perhaps a female novelist would have been best.

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Art, Fashion

Hallowe’en Appropriate: Salvador Dali for Vogue Paris

Happy Hallowe’en everyone! I hope you’ll be having a spectacularly spooky evening, or at the very least having one that involves eating all the trick or treaters sweeties (I’m on my third funsize box of Smarties).

While not strictly frightening, this 1971 edition of Vogue Paris, edited by Surrealist supremo Salvador Dali, is just jarring enough to give you proper chills…





Vintage Vogue scans via Youthquakers, which is so fantastic I can hardly bear it.

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Fashion, Photography, The Reading List

The Reading List; The ‘Vogue On…’ Designer Series

The Vogue On… Designer series has been debuted this month by the good folks at Quadrille Publishing with a bumper crop of revered designers. Alexander McQueen, Christian Dior, Elsa Schiaparelli and Coco Chanel (of course) have been given the Vogue treatment in four not-quite-pocket-sized, accessibly slim volumes.

It’s hard not to notice the proliferation of Vogue-themed books that are starting to dominate this winter’s output of fashion books. We have this series to contend with, the release of Vogue: The Editor’s Eye with Abrams, Grace: A Life by Vogue’s popular creatice director Grace Coddington with Harper Collins and the updated version of In Vogue: A History with Rizzoli. Vogue literally has a book in every good publishing house.

Quadrille are a publishing house better known for their beautifully presented cookery books – all of which are rich, aspirational snapshots of a distinctly culinary lifestyle. They are also the publishers of one of my favourite fashion books, Celia Birtwell, which is a very sweet, visually appealing travel through a life not totally untouched by scandal – a scandal that is almost totally ignored (and with good reason – the book isn’t a biography). It’s with that in mind that I read the Vogue On… series. I have no expectations of hearing about Coco Chanel’s anti-Semitism, McQueen’s demons or the cultural implications of Dior forcing corsets on a generation of women who were finally beginning to liberate themselves. It’s all about the clothes – the designer’s lives are told through their body of work.

The books are beautifully presented, with half slipcovers revealing full-scale covers of fashion plates and portraits of the designers previously seen in Vogue. Almost every illustration and photograph came originally from the magazine. The writers of each book are also Vogue alumni, with varying results.

Coco Chanel

It’s incredibly hard to say something new about Coco Chanel that hasn’t already been said before – unless it’s to praise or denounce her. This book chooses to do the former. While Chanel’s activities as an Axis spy are up for debate and might have no place in this book, the omission of her attempt to wrest power from her Jewish partners, the Wertheiemers, through exploitation of anti-semitic laws is far too wrapped up in her legacy and her work not to be dealt with. Chanel was an incredibly complicated person, as women put under intense scrutiny usually reveal themselves to be. There is an imbalance between dark and light here, so the Chanel we read about is a little lopsided; a frivolous aesthete instead of a ruthless businesswoman. Illustration-wise, there is much that we haven’t seen from Vogue’s archives and this book is worth buying on pictures alone – sketches by Beaton and Berard, dresses from the Twenties, reams of colourful costume jewellery and some salient but not overused snippets of wisdom from the woman herself.

Alexander McQueen

I gave this book to my mother (who is, admittedly, not a huge McQueen fan) to flick through and she had the bulk of the book finished in twenty minutes. “It’s very accessible, isn’t it?’ she said to me on handing it back. And it is accessible; an accessibility that (joyfully) directly contravenes the drama and violence of McQueen’s work. Written by Chloe Fox, Vogue on Alexander McQueen is a easy, pleasant, well paced read. The photographs are a great mix of the social, catwalk and editorial and build up a great picture of one man’s singular working life. McQueen fans aren’t going to encounter anything that they haven’t seen before, but this is a great place to start – a lovely addition to any bookshelf.

Elsa Schiaparelli

My incredibly biased favourite in terms of photographs and illustrations, Vogue on Schiaparelli is chock-a-block full of beautiful, masterly fashion plates from the golden age of art at Vogue. Schiaparelli’s Surrealist leanings were tailor-made for full-colour, semi-abstract drawings and the book is full of them. Schiaparelli herself was a bit of an elusive figure, often left in the shadow of her couture nemesis Chanel. While we follow her life and work the enigmatic Schiaparelli who emerges from the pages of this book is strangely bloodless and monotone in contrast with the vibrancy of her work.  What does emerge from the work, though, is a picture of a woman only now starting to get her due.  Again, well worth buying for the photos and illustrations alone.

Christian Dior

We all know about the label, but delve into your fashion knowledge and you may find that you know close to nothing about the man – not surprising considering that Dior’s career at his eponymous house would last only a decade.  I there’s one word that sums up this volume, it’s ‘elegant’ – all clean lines, arched brows, long swan-like necks, the quizzical expressions of Lisa Fonssagrieves and the perfectly composed black and white photographs of Avedon.  The story of Dior’s career is dealt with in a breezy, pacy style in an easy read.  Accessibility, again, is the watchword.

The Vogue On… Designers series is published by Quadrille and is out now.

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Fashion, Inspiration, Photography

I Would Like to Dress Like This

It would make a grey day marginally more interesting.

My chest might get a bit chilly though.

P.S – This is what an Irish August is like – I had a serious ‘Hmm, should I?’ moment when I came across one of my winter scarves today.  I’m going to put both the scarf and this look on the maybe pile and hope for a brighter tomorrow.

Pic of Sybil Buck from ‘Acid Wit’, Vogue UK April 1994.  Shot by Albert Watson, styled by Kate Phelan.

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Art, Fashion, Photography, The Reading List

The Wizard of Oz is In Vogue

Following on from yesterday’s review of Everything Oz, I thought I’d post this photoshoot from the Christmas issue of American Vogue from 2005. The December issues of Vogue are always very special – there’s always a fairytale/pantomime/dreamscape shoot with a cast of unusual suspects. This time it’s Keira Knightley and a roster of American contemporary artists; the puckish Jeff Koons as a winged monkey, Tim Currin as the Tin Man, Chuck Close as Oz, the Great and Powerful, Jasper Johns as the Cowardly Lion and Kara Walker as Glinda, the Good Witch – amongst others.

Shot by Annie Liebovitz, styled by Grace Coddington.

 

 

 

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Fashion, Photography, The Reading List

The Reading List: Deborah Turbeville, The Fashion Pictures

Deborah Turbeville is an enigmatic woman who doesn’t fit well within the typical jobbing fashion photographer mould.  Her photographs are heavy in their sombreness, atmospherically frayed and aged and often following a narrative that only Turbeville, as a consummate storyteller, understands.

In this impressively cultivated Rizzoli book lies the very best of Turbeville’s fashion photography, edited by the woman herself.  All words are hers, except for a glowing foreward by Vogue Italia editrix Franca Sozzani, who describes Turbeville as a ‘poet of photography’ (and rightly so).  You’d be forgiven for not having heard of Turbeville, but to ignore her would be foolish.  Although her particular brand of sinister anxiety and brooding may have fallen out of fashion, the quality and originality of her work means that she just hasn’t been appreciated properly – although this may change with the release of this book and the recent work she executed for the Valentino campaigns.

Turbeville is at heart a deconstructivist storyteller – she is constantly disseminating images or provoking said dissemination in others.  Her works are “little open-ended stories that led you on but yet were incomplete, a bit like silent films… Thus I began a pattern I would follow all my life… a sort of work in progress”.  It’s Turbeville’s ‘work-in-progress’ ethic that lets her work evolve into something totally unexpected and alien from it’s original starting point.

Hers are snapshots without explanation – they are open-ended in the eye of the beholder.  For Turbeville, atmosphere dictates the picture.  Photographs seem almost DIY, but still refined.  They are scratched, worn or burned, but all the more beautiful for that.  Her bathhouse series is still as disturbing today as it was when it first appeared.  Ostensibly a swimwear shoot in an early 20th century bathhouse, the photographs have an air of foreboding despite its total lack of obscenity.  The impact is in what it doesn’t say. Is her Woman in the Woods series about World War 2 collaborators?  The models are lined up in woodlands or against bales of hay as if for a firing squad, passively miserable faces on each one.  Turbeville remains enigmatic on the subject.

The book covers highlights from Turbeville’s career from 1970 to the present, all varied, all beautiful, but all products of a broken, post-apocalyptic world. The haute couture is a reflection of a world gone by, the woman all waiting for some hallowed time to come again – all to no avail.  Her photos of Russian ballet dancers are what I imagine a Degas painting would look like if it was a photograph – wistful, beautiful, elegant, snatches of a moment.  Turbeville’s scrapbook style, photographs piled in on one another organically, sometimes scratched or blurred almost beyond recognition, go well with the handwritten titles and typewriter fonts.  It’s like a luxurious, hardback zine, the product of one utterly original and painfully personal vision.

At the end, Turbeville lets us in and tells us a story of tragedy and intrigue.  And on the very last page, she shuts the door on us again.

Deborah Turbeville: The Fashion Pictures is published by Rizzoli and is out now.

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