Missy Rayder makes a welcome appearance on Vogue Ukraine’s November cover. The magazine continues to make its mark on the print industry after launching back in March 2013. This time, it features the American model wearing a leather and fur dress teamed with fishnet tights. Missy’s brunette locks are concealed by a black wig that was styled into a bouffant bob. Vogue Ukraine also enlisted fresh talent by tapping photographer Stockton Johnson to shoot the November cover story — his first major Vogue cover shoot.
IMAGE: DIGITAL EDITION OF VOGUE UKRAINE VIA TFS FORUMS
As usual, members of our forums were quick to post their diverse opinions, and we wouldn’t have it any other way! “Lovely to see her but hair ruins it for me,” wrote KateTheGreatest, not getting the thread off to a very good start.
“Love it, but the hair, just kills my buzz for this. But still so cool seeing Missy here!” replied justaguy, who echoed the same sentiment.
MON made a valid point by calling it a replica of British Vogue‘s November 2014 cover: “Taylor Swift Vogue UK?” He went on to add, “The composition is uncanny.”
Also referencing Taylor’s cover was Benn98, who commented, “God, squint and it looks like Helena Christensen! The wig feels unnecessary. The composition similarity to UK Vogue is indeed uncanny, but obviously incidental. This cover’s got more of a darker mood, and I like that.”
MyNameIs changed the mood of the thread completely: “I actually adore this cover. It’s so luxe and sophisticated but with an edge and sex appeal. I love the hair too. She looks like a femme fatale. Love the colors too.”
“It’s always a pleasure and a delight to see Missy on a Vogue cover,” raved mikel.
Whose side are you on? Are you a fan? Check out Missy’s cover story inside the thread and join the discussion here.
Whatever club David Beckham is in, you best believe we want to join. Scottish whiskey brand Haig better make room for a few more members because now that it’s tapped the professional soccer player turned professional handsome man, we’re going to be drinking a lot more whiskey.
David appears in the label’s latest campaign for its Haig Club offering and yes, he is looking his usual fine, motorcycle-riding self. He and his crew of well-dressed mates travel across the countryside to convene at a riverside castle, where they swill booze and look very snazzy posing for a picture with glasses in hand, naturally. David and his friends are dressed impeccably, though we are quite fond of that hunter green velvet jacket the ex-soccer player is sporting at the end of the spot. We want it for ourselves. Besides, we like David best when he’s not wearing a jacket…or a shirt.
Check out the video above and tell us if it doesn’t make you wish it was happy hour right now…and David was the bartender.
By now, we know Karl Lagerfeld has designed some great clothes for the house of Chanel. It’s why his collections boast some of the most coveted pieces season after season. As we know, Lagerfeld is so much more than a designer to Chanel — he’s an icon, a symbol, an artist. In addition to clothes, Lagerfeld has designed sculptures, paintings and installations for the label, adding a dose of cheek and whimsy to the storied brand. His work is as uniquely Chanel as the little black jacket and it is being immortalized in a book published by Steidl, titled Chanel Art.
The 160-page coffee table book features photography of several of Lagerfeld’s works for Chanel, including a robot he crafted out of an oversized No. 5 bottle, a gardenia wall-hanging sculpture rendered in tweed and a large marblesque sculpture of a perfume bottle, cut off to look as if it is emerging from the ground.
You can pick up a copy of the book now at Amazon for $28.52.
Mert Alas and Marcus Piggott have shot their fair share of Vogue Paris covers. The November 2014 cover marks the fourth time this year for the Turkish photographic duo (not to mention the numerous others pre-2014). Emmanuelle Alt proved members of our forums wrong by suddenly becoming unpredictable: Adriana Lima unexpectedly graces the magazine’s latest cover, having only been featured inside the French title twice before.
IMAGE: VOGUE.FR VIA TFS FORUMS
But even with a striking headpiece from Dolce & Gabbana, our forum members still had gripes about the cover. “I like it, other than the boring background!” shared lukechapman.
“Could do with a different background but it’s really striking,” agreed Nepenthes, who went on to say, “Adriana’s eyes are piercing! I’m sure it will look amazing on newsstands!”
“GORGEOUS close-up shot for the beauty issue!” raved miguelalmeida.
“Adriana is a welcome change to the usual VP cover subjects,” enthused khyrk, clearly motivated by Alt’s cover girl choice this month.
Discussion took a turn when most of our forum members couldn’t help but compare it to other publications. “It looks amateurish, cheap, and trying so hard it might as well be a cover of Vogue Russia!!!” disapproved Miss Dalloway.
Also suggesting the cover resembles Russian Vogue was Creative, who questioned, “Vogue Russia is that you? Ugly and what a terrible layout.”
HeatherAnne didn’t appear to be impressed, either: “This magazine has lost any sense of identity; I never know what I’m going to see when I click on their thread, it’s completely disjointed from month to month. I feel as if Alt is grasping at straws at this point.”
Are you over or underwhelmed? See inside the thread and share your own opinion here.
Residents of the West Village are peeved at Sarah Jessica Parker for shooting a series of promotional photos for her footwear range in front of 66 Perry St., the brownstone made famous on Sex and the City. The residents of the flat say that Parker held an unauthorized photoshoot in front of their house, lining up her new shoes on their steps. They’re annoyed because they already have to deal with tourists coming to see the building on a regular basis. They’ve even roped off the stairs leading up to the doorway to prevent foot traffic on Carrie Bradshaw’s hallowed staircase. A source tells Page Six, “SJP has ignored their requests for an explanation on how she could endorse the shoot, even though ‘no trespassing’ signs are posted. SJP used their house during the years of filming, and now won’t acknowledge that she and her company used the steps and facade, this time without permission, to promote her shoe line.”
It must be frustrating when your house is a cultural landmark, but it’s not like the owners didn’t know what they were getting into when they moved there. Thanks to Parker and the show, if they do get fed up and want to move, they’ll probably be able to sell the place at a significant profit since it is such a desirable address. That being said, a location fee — or at least permission — would have been a better course of action in this case.
Image: Marcio Madeira/News Pictures/WENN.com
Vivienne Westwood’s memoir, co-authored by Ian Kelly, has plenty of juicy bits about the designer’s life and work, but this latest story to come from the tome may be one of the juiciest. Author Paul Gorman says the designer and Kelly plagiarized up to 40 passages from his 2001 book, The Look: Adventures in Rock and Pop Fashion, for the new memoir. Gorman claims that his words were taken, sometimes verbatim, without crediting his original work, though he does say there are passages with proper attribution.
Gorman’s beef isn’t with Westwood, however. It’s with Kelly and the publisher. Quotes that came from his book have been attributed as Westwood’s own. The wording of one particular passage, he says, bears a strong resemblance to a line from the introduction to his book written by Malcolm McLaren 13 years ago. And indeed, the similarities are quite glaring. The Telegraph explains: “On page 10 of The Look, McLaren writes: ‘Sex translated in fashion becomes fetish, and fetishism is the very embodiment of youth.’ On page 161 of Vivienne Westwood a near-identical quote is attributed to Westwood by Ian Kelly, claims Gorman: ‘Sex, Vivienne tells me, translated into fashion becomes fetish. And fetishism — the exhilarating liminal space between life-affirming sex, and death is the very embodiment of youth’s assumption to mortality.'” Oops!
That’s a little too close for comfort. It seems that Gorman’s work inspired Kelly so much, he either didn’t realize he was lifting copy or he simply didn’t think anyone would notice. It’s also quite surprising that this would happen, especially since Kelly had Westwood, the ultimate primary source, helping him put the book together. If he needed a quote, we’re pretty sure it would have been no trouble at all for Westwood to provide one. She is, after all, the number one expert on her own life.