Nicole Kidman in Armani Prive for Harper’s Bazaar Australia, December 2013. Photograph by James White.
This recreation from Kate Moss’s 1992 Harper’s Bazaar cover has a more fairy-like twist on it and is updated for 2013. White has largely replaced red as a standout color for red carpets and winter style, and Kidman’s frothy dresses are dreamy and seasonally appropriate. The stylist has inserted enough differences to allow this cover to stand on its own, while still allowing for nostalgic tribute to Ms. Moss.
Marion Cotillard in Dior Resort 2014 for Dior Magazine. Photograph by Tim Walker.
This picture is so simplistic that it truly lends itself to the Dior aesthetic. The back of the dress is shown off in a natural way (none of the awkward turn poses that are prevalent in ads and red carpets now), and the white and black show off the two-toned vibrancy of the bag. Cotillard’s no-frills styling as she studies art gives the viewer an image of the comfortable but intelligent Dior woman, while the background draws a parallel between the bag itself and artwork.
Nicolas Ghesquière and Charlotte Gainsbourg in Balenciaga S/S 2012 for Harper’s Bazaar, May 2012. Photograph by Jean-Paul Goude.
This shoot is so lighthearted and fun, a play on the ‘Darth Vader’ visor hats Ghesquière designed for Balenciaga. The movement in the dress adds to the energy in the “fight” between the model and designer, muse and creator. Although they have destroyed the set, they bring the picture alive.
Louis Vuitton announced today that Nicolas Ghesquière will become the new creative director of the brand. This is after Marc Jacobs showed his last pieces for the brand in the S/S 2014 collection. Ghesquière previously designed for Balenciaga.
Jennifer Lawrence in Prabal Gurung F/W 2012, styled by Jacob K for W Magazine (‘Generation W’), October 2012. Photograph by Tim Walker.
This picture is not full of emotion, or color, or movement. Walker has merely created a wonderful photo that is able to stand on its own artistically with silence and solemnity. This shoot incorporates the different muses designers call upon when creating a feathered piece— the stars they hope will wear it (Lawrence), the glamorous wealth they wish to evoke (the centerpeice behind her), the effortless style they hope it conveys (the sparse setting), and of course the animal they take from physically and emotionally (the peacock). It captures the fantasy of feathers for the reader, even if he/she doesn’t know exactly how.
Daphne Guinness in Alexander McQueen, styled by Jessica Diehl for Vanity Fair (‘A Blast of the Best’), September 2013. Photograph by Mario Testino.
Mario Testino’s photos often look as if they were taken from a party of close friends, so it’s no wonder he was chosen for this Best Dressed spread. The ever unflappable and flawlessly styled heiress Daphne Guinness is in the spotlight, but it’s obvious that the party is in full swing around her (tattooed fire-breather, anyone?). Testino has smartly made Guinness stand alone to let her be the style superstar, while still allowing his personal style to come through in the picture.
After the decidedly mournful and reflective Louis Vuitton S/S 2014 presentation at Paris Fashion Week, Marc Jacobs has confirmed that this was his last collection designing for the brand. He has been the creative director at Louis Vuitton for 16 years, and dramatically revitalized the brand. LV has not announced any plans for a new head of the brand.
Model in Philip Treacy hat and Ralph Lauren, styled by Marcus Teo for W Magazine, July 2008. Photograph by David Slijper.
W Magazine is always very good about choosing spreads that utilize space and color well, and this is a textbook example of that. While the styling is a little unoriginal (entire outfit is Ralph Lauren, hat custom made for RL), Slijper has set up the shot wonderfully. The feather reaching into the empty space and the model’s pose puts the emphasis on the hat. The photo does its job of selling an accessory yet it also manages to look beautiful in the process.
On the more casual side of New York Fashion Week presentations was Robert Rodriquez, and the designer did not disappoint. An almost entirely black and white collection of varied styles was shown, all pieces streamlined and gorgeous. Most appealing was the marbled pattern that appeared on several, and the wearability of the entire collection. Robert Rodriquez took the light comfort that is the pervading trend recently, and proved that not all collections are created alike.
It is impossible to declare a “winner” of something as expansive and eclectic as New York Fashion Week. However, Ralph Lauren was by far one of my favorites. Classic clean lines and a departure from the overbearing NYFW trend of 90s androgyny created a standout collection that was welcome. Black and white mod designs started off the show, transitioning into bright colors and sweeping gowns. Lauren did it big, and the audience noticed. Photographs by Marcus Tondo.
Model in Yohji Yamanoto styled by Grace Coddington for Vogue, September 2000. Photograph by Arthur Elgort.
The color palate may be neutral but the layers and movement of the cloth make this photo anything but boring. This sort of dystopic fantasy leaves the reader wanting more, imagining the story behind the woman and boy. A good creative director (like Coddington) knows that a fierce model can add the right punch to take a spread to the next level.
Atlas the lion and Edie Campbell in Sand Films, styled by Katie Grand and Sandy Powell for LOVE Magazine (‘The Lion King’), Issue 10 September 2013. Photograph by Tim Walker.
Edie’s outfit, created by production company Sand Films, fits her perfectly for the part of circus performer royalty. Yet while the lion roams free, she is chained up and desolate on the floor. Walker has switched the roles, and the colors and body language fit wonderfully with the emotion.
Lee Alexander McQueen and Isabella Blow in Alexander McQueen, for Vanity Fair, March 1997. Photograph by David LaChapelle.
This portrait of McQueen and Blow (titled “Burning Down the House”) is a hilarious commentary on McQueen’s vision and potential even at age 27. Taking on the traditional English fashion world was a man ready to turn it on its head with his enormous talent and cheeky personality. Honor and restraint be damned, McQueen was ready to make his mark and Isabella Blow was there to cheer him on (and hold his dress if need be).
Marie-Lise Gres in front of the Paris Opera for Vogue, March 1963. Photograph by William Klein.
The model’s tweed outfit fits in well with the isolated public figure persona in the photograph, as does her demeanor. Here we can also see a different kind of photoshop than we are used to in fashion pictures— the faceless reporters offer a more artistic dimension than the usual “fix wrinkles and background”-type magazines currently employ.
Michaela Bercu in Christian Lacroix haute couture, styled by Carlyn Cerf de Dudzeele, for Vogue, November 1988. Photograph by Peter Lindbergh.
While I usually try to find pictures without the added text, this one cannot be separated from the Vogue November 1988 cover on which it appeared. Anna Wintour’s first issue as editor-in-chief of the American edition of the magazine, the pairing of lowcut jeans and couture jacket on the front changed fashion and fashion journalism forever. The street-style look to the photograph and the subtle color coordination between the jewels and the jean make this laid-back look a winner.