Halle Berry is the cover model for not one, but two Interview magazine covers this November. Interview Russia went the uber-glam route with a black and white shot and glitzy gold metallic masthead, while Interview Germany went for a softer 70s glam look with Halle’s face more obviously haloed in an afro as she looks coyly over her shoulder into Sean and Seng’s camera. Both covers passed muster in the Fashion Spot forums, though an unexpected co-star (if we can call him that) on Interview Germany proved to be a strange distraction.
Of Halle’s fierce black and white shot, Urban Stylin wrote, “So stunning! Who would have guessed that a Russian magazine would have shot a black woman with a fro for a cover! I get a 70s vibe off it.”
Honeyisle posted, “Love it. Her face is legendary.”
“She looks stunning!” mikel exclaimed about the Interview Germany cover shot. “But I don't like the Popeye,” he added. I think we would be hard pressed to find someone who does like Popeye hanging out in the corner of the cover. What’s that all about?!
Phuel commented, “She looks very unlike herself and so much like the fabulous Veronica Webb, so I adore. That Popeye icon is just dumb and juvenile.”
So, Halle Berry can do no wrong when it comes to magazine covers, but let’s just leave Popeye out of it next time, okay?
Since today is all feministy and political, here's a good night kiss for you: Sarah Sophie Flicker, one of the founders of The Citizens Band, banded Alexa Chung, Lena Dunham, Tavi Gavinson, and a whole bunch of other young, culturally significant women together to lip sync video Lesley Gore's "You Don't Own Me" in support of Obama's re-election campaign. It's pretty cute.
Anna de Rijk graces the cover of Vogue Netherlands’ November Issue styled in a frilly white lace confection by Dolce & Gabbana and an eye-catching jeweled necklace. Joining Anna within the pages of the magazine are models Mirte Maas, Laura Kampman, and more. Having yet to reach a full year in publication, this magazine still seems to be finding its sea legs. Some forum members feel this cover is a step in the right direction while others find it to be more of a misstep.
“It looks off, like an old Vogue Paris mixed with the weirdness of Vogue Russia,” Bertrando3 posted. “I don't feel anything except blandness and awkward photo.”
In contrast, Urban Stylin wrote, “Love it! She looks like a glamorous vampire.”
“Really like this cover,” justaguy agreed. “She looks beautiful and they've done a really nice job with the styling. At first I thought the greens clashed, but they've grown on me and add to the cover's allure.”
As far as I can tell, Vogue Netherlands is still working things out. This isn’t the best cover we’ve seen this year, but it’s certainly not the worst. On the pass-fail scale, this cover gets a pass from me. Despite any shortcomings, there's something pretty and romantic about it. Plus, chances are they got some more dynamic images out of Anna for the editorial, so it could be worth another look.
Let's just get one thing out of the way: since Michelle Obama knows that her every satorial decision will be scrutinized more than an irritated pore in a magnifying mirror (particularly this late in the election cycle), she pretty surely did not accidentally wear the same dress twice.
Last night, at the third and final presidential debate, your first and best lady wore the same Thom Browne dress she wore at Barack Obama's Democratic National Convention speech in September.
If you think Mobama was suggesting that frugality is prudent (and could even be chic) during these trying financial times, get over yourself. Michelle Obama is just trying to rub it in that her Thom Brown grey lace overlay dress is really, really cute — even when it's marred by an ug-tastic glittery butterfly brooch — and she looks really, really good in it. No wonder the President likes her so much.
Art, especially contemporary art, is often meant to provoke and confuse, and Vogue Turkey did just that with the cover image they commissioned from Turkish artist Taner Ceylan for its November Art Issue. Ceylan previously suffered a cultural backlash for being one of the first Turkish artists to incorporate homoerotic imagery in his work, but his creations are held in high regard despite the controversy. Vogue Turkey collaborated with the artist to convey how surrealism continues to be a predominant theme in fashion.
Many forum members applauded Vogue Turkey for doing something so different with its art issue. “It doesn't look like Vogue, more like Numéro mixed with Dazed & Confused, but somehow I find the image really powerful and so creative,” Bertrando3 analyzed. “It's very weird and a lot for Vogue, but I don't know, I don't hate it.”
Chanelcouture09 commented, “A very daring cover to put out there, but there is something quite beautiful about the cover. I admire them more than anything for publishing this.”
Penny609 applauded Vogue Turkey from resisting the easy route of a tried and true prescribed formula. “I do actually like this cover very much. Besides (or beyond) the fact I quite like the visual, I like the choice,” he wrote. “How many so-called ‘art issues’ are released every year and are just a regular cover with what the editor thinks people will consider as ‘slightly artier’ than what's been done on their other covers? And how can you complain about something that actually looks different when most of the editions of Vogue have nothing else to propose than the same old soup, over and over again… I can agree that some might not like the visual as a matter of taste, I still can agree one can think it's too literal for an art issue, but, I can't get how someone can throw stones at Vogue Turkey for trying when so many magazines have just given up trying anything at all and hold on to old, worn out formulas that are totally unable to provoke any aesthetic excitement.”
Whether you love it or hate it, one thing’s for sure. You won’t be seeing any other Vogue covers quite like this one.
If fashion's like high school, Karl Lagerfeld's the creepy vice-principal: terrifying, inaccessible, everywhere.
This week, Karl the Kaiser will be in New York to shoot the Chanel Spring 2013 campaign and stink up the city with his noxious odor, a delicate blend of design genius and moral vacuity, with some Diet Coke undernotes. Ugh, keep that sh*t in Paris.
The designer's longtime muse, Stella Tennant, will star in the campaign alongside newcomer Ondria Hardin. Hardin is less a newcomer to the modeling world (she appeared in Prada's Fall 2011 print campaign, did an ultra-controversial walk down Marc Jacobs' Fall 2012 runway, and paraded all up and down the European catwalks this past season, making appearances at Chloe, Valentino, and Dolce & Gabbana) and more a newcomer to the planet Earth — Hardin is fifteen years old.
Her Marc Jacobs strut was a violation of the CFDA Health Intitiative, which attempts to improve working conditions for models and make the fashion industry marginally less terrible. Karl's like, Thanks but no thanks! It's not fashion unless you're exploiting someone. Nothing like spitting in the face of an honor code to feel like a big man.
There is so not a shortage of over-sixteen models, I can't even make a joke about it. In fact, have you seen women? There are many beautiful ones. The fact that designers can't even stick to a sixteen-and-over age guideline in the models they cast is plainly sick, and thinking about it makes me nauseous. Hardin is a lovely girl and takes great backstage photos and I'm sure she's very nice, but the one thing that truly seperates her from other teenage models is her tabooed age.
“She doesn’t look 15. She looks 18 or 19,” the designer told WWD.
Then why cast her at all? Lagerfeld wants to push back against even the most permissive age restrictions, because better working conditions for models would give young women in fashion more power. Maybe eventually even the power to say no to him.
And what's Karl if people aren't scared of him? Just an old guy with a ponytail.