Just because Disney's "Electric Holidays" collaboration with Barneys has come to an end doesn't mean the media company can't find fun new ways to shove its classic characters down your throat.
Okay, that was a mean opening, and one this altogether harmless ad for Disney's Dream Portraits campaign series doesn't really deserve. (I just really didn't like that Barneys collab.) Photographed by Annie Leibovitz (who really excels at these kinds of highly-produced, fantastical shoots and has previously photographed Rachel Weisz and Beyonce for this same series) and starring pop star Taylor Swift (seemingly a deity to every girl who's too old for Barbie, too young for Lady Gaga) in an epic interpretation of Rapunzel. I bet this campaign will do exactly what it's supposed to do: sell the Disney brand and promote the Disney Parks experience to children and their parents.
But some coverage of this campaign has not been able to lay off nasty little allusions to how Swift's highly publicized rollercoaster of a love life doesn't measure up to "Dreams Come True" Disney princess messaging of the ad. Us Weekly even opened with it: "Swift may not have found her happy ending yet, but she's living out her fairy-tale fantasies in another way…" If* Taylor's prince ever does come, he better sic his dragon on anyone that tries to talk about it.
*Saying "if" not because I'm being mean, but because I'm really not comfortable using metaphors about "princes" to describe someone's future romatic prospects. Will make exceptions in the case of anyone likely or hoping to marry a literal prince.
If you ever feel stuck in an infinite feedback loop of late 20th century "retro" fashion reference points, you aren't going back far enough.
Here's some of the work of Clementina Maude, Viscountess Hawarden, an amateur 1860s Kensington-based photographer who turned her
camera gelatin dry plate on her two daughters and their voluminous crinoline frocks.
Even though her ambition was broader than just showcasing the fashions of her day (she belonged to the Photographic Society of London and Lewis Carroll counted himself among her admirers), the romantic mood of the pictures, dramatic way she posed her models and her attention to the way fabric drapes and crinkles and moves makes this work as proto-fashion editorial as it gets. (Virginia Oldoini, Countess of Castiglione, was staging similar photographs with herself as the model around the same time in Italy.)
Anyway, enjoy the pictures. And thanks to tFS Forum user quinten for leading me to them. For more context and a really convincing argument for what makes Clementina Maude's work fashion photography, I really recommend this post by librarian Dave Walker at the Kensington Library.
Images via RBKC Library Blog
For what seemed like a good long portion of 2012 (as in, all of it), it felt like everywhere we looked, there was Lana del Rey. She graced magazine cover after magazine cover, and put out one epic music video (or music mini-film, if you will) after the other, making us love her, hate her, and at some points, love to hate her. If this Numéro Tokyo cover is any indication, that pattern will continue in 2013 (hooray!). Lana and her now-signature talons appear on the March 2013 cover in a photo by Mariano Vivanco, and of course, forum members had plenty of conflicting things to say about it.
“I love it! It’s like Snow White meets Lolita,” Rigida commented.
“I'm always happy to see Lana on a cover, and the concept and colors are good,” *ana* began, “but I hate the light pink lipstick, and yes, she looks lifeless, like she's been in that pose for hours waiting for the right click. Hopefully the editorial will do justice to the idea,” she concluded.
Urban Stylin posted, “Hate it… Looks like a movie poster for a D budget 1970s horror flick.”
Yes, there’s something almost formulaic to all of Lana del Rey’s photo shoot images, but I have to admit, I find that kind of reassuring. She’s found a signature look and a signature style that’s working for her, so why mess with it? I’m looking forward to another year of not-so-secretly (but probably reluctantly) loving this girl.
Charlotte Casiraghi’s good genes – she’s Monaco royalty and the granddaughter of Grace Kelly – surely had a lot to do with her inclusion in Gucci’s “Forever Now” ad campaigns. The “Forever Now” branch of Gucci’s business celebrates the brand’s rich history, highlighting classic Gucci motifs and reintroducing iconic pieces from the label’s archive.
In this third installment of Casiraghi’s “Forever Now” tenure, she was photographed by Mert Alas and Marcus Piggott. In one of the campaign’s portraits, Casiraghi is shown holding a silk scarf featuring Gucci’s Flora pattern, which was created in the 1960s and was also spotted on Princess Grace of Monaco, giving the usage of it in the campaign additional gravity as the print is literally transcending generations. The pattern was reintroduced to modern Gucci collections when Frida Giannini took the creative reins in 2005.
Forum members didn’t seem too impressed with Casiraghi’s current representation of the brand. “The first campaign was wonderful,” Thefrenchy noted. “Can’t say the same about this one as it is so incredibly dull.”
Street_a_Licious was also underwhelmed. “Pairing a Casiraghi with a Flora scarf? Innovative,” he quipped.
Maybe the Charlotte Casiraghi and Flora foulard combination seems obvious, but I still think she’s well-suited to the brand, and to this branch of the brand in particular. She is undoubtedly a stunning woman, and if someone’s going to sell Flora scarves for Gucci, it might as well be her.
It’s no secret that we love (nearly) everything Olivier Theyskens touches, so it’s also no surprise that we in the Fashion Spot forums are smitten with the latest ad campaign for Theyskens’ Theory. Wylie Hay appears in the moody campaign, which juxtaposes images of the model posing in a hallway with images of a somewhat turbulent grey sea enveloping a stone pathway. Willy Vanderperre photographed the campaign, which was styled by Olivier Rizzo, and art directed by Giovanni Bianco. Anthony Turner and Aaron de Mey did the hair and makeup respectively.
“This is awesome, I like everything about this!” Psylocke exclaimed.
Valentine27 posted: “Wow. Massive crush on this campaign. I absolutely love the perspectives in the pictures, and the parallel between the pier and the corridor. This is simply awesome. And the long blonde hair of the model really makes the effect even better. I will definitely put this ad in my top five favorites of S/S 2013.”
“This is absolutely fantastic,” mackos agreed. “The juxtaposition of the images is excellent. Also, the mood is really fascinating in these. Beautiful.”
Give us moody, beautiful and subdued over bright, super-sexy and over-the-top any day of the week. Seriously, please.
Both are wildly theatrical and artfully refined with a dash of the transcendental thrown in for good measure, but in a ManiaMania campaign you get one thing that you don’t get from the collection alone: a supernaturally gorgeous model.
This season it’s Patti Smith lookalike Jamie Bochert, who joins the ranks of Abbey Lee and Dree Hemmingway by fronting the cult jewellery label’s Autumn/Winter 2013 collection ‘Performance.’ The campaign was shot by Stacey Mark in the luxe surrounds of New York’s Waldorf Astoria Hotel, mixing up the bohemian vibes with expensive curtains and fine-woven carpet.
Quintessential ManiaMania pieces include oversized crystals pendant, protuberant rings and an excellent gold choker in brass, silver, smoky quartz and amazonite. The thing you most want from the campaign though, other than a room at the Waldorf Astoria and a champagne bubble bath, is probably the opulent Whiskey Go-Go headpiece that also featured somewhat less remarkably on the head of Kendall Jenner.
Pieces from the collection can be purchased from ManiaMania’s online store.