Archives for posts with tag: Vogue Italia

Lost in Details, Arizona Muse, Paolo Roversi, Vogue Italia, Mars 2012, Retro, Scrapbook, Prada

Arizona Muse rocks the retro 1950’s 1960’s look through the form of an eloquently elegant scrapbook in the March 2012 editorial of Vogue Italia. Titled “Lost In Details” it’s almost all Prada all the time and there is inspiration enough here to get lost in. Images taken through the crafty lense of Paolo Roversi are dynamically cut, cropped and collaged in ways that bring a beautiful extra dimension to what already exists in its original form. For a peek behind the genius:

Vogue Italia, March 2012 Couture Supplement, Christian Dior, Paolo Roversi, Vogue Italia, Valentino, Givenchy, Giambattista Valli, Chanel, Marie Piovesan, Jean Paul Gaultier, Atelier Versace, Armani Privé, Aspinal of London, A Lady In Spring

No one plays with shadow and light like Paolo Roersi. His crafty blend of scullduggery stirs the beautiful and the curious with haunting elegance for Vogue Italia’s March 2012 Couture Supplement titled “A Lady In Spring”. Shadowed by birds, insects and a variety of other flora, Marie Piovesan is cloaked in an array of spring 2012 couture collections: Valentino, Givenchy, Giambattista Valli, Chanel, Christian Dior, and Armani Privé to name a few. And it has rarely been more glamorous to be “masked” in eyewear, which makes the mystery all the more decadent.

Keepin’ it Surreal, Givenchy, Louis Vuitton, Viktor & Rolf, Prada, Dolce & Gabbana, Bottega Veneta, Steven Meisel, Elsa Schiaparelli, Tim Burton, Salvador Dalí, Laura Kampman, Vogue Italia, February 2012

In a surreal twist for spring, Steven Meisel recently tapped into the playground of Elsa Schiaparelli, Salvador Dalí, and possibly even Tim Burton with a dark, haunting beauty that is both ethereal and unyielding. Through the black and white, blurred, and cinematic narrative, he has crafted a tale unlike the usual editorial – something we might expect from this man who boldly blends fashion with cultural and political commentary. Thanks for Keepin’ it Surreal, Steven.

Wasted Luxury, Saskia de Brauw, Julia Saner, Milou, Steven Meisel,Vogue ItaliaSteven Meisel never wastes color. In fact he uses it ever-so-wisely as seen in “Wasted Luxury” for Vogue Italia. While he does have have a signature look, with each editorial and ad campaign, there are always dynamic twists present. The darkness here is lush and colors decadently seep out if it. It is true color luxury.

NEO-Romantic, Vogue Italia, Emma Summerton, Imogen Morris Clarke, Abbey-Lee Kershaw, Gemma Arterton, Rodarte, Chanel, Roberto Cavalli, Karl Lagerfeld, Alexander McQueen, Nina RicciEmma Summerton takes us on a delightful fashion romp in Vogue Italia‘s “NEO-romatic” with the likes of Rodarte, Chanel, Roberto Cavalli, Karl Lagerfeld, Alexander McQueen, and Nina Ricci (just to name a few). Her attention to detail and ability to showcase both wardrobe and accessories at at their best is what I find sets her work apart. The blue and gold color palette here is exquisite and the compositions are paired down to perfection. She has also achieved a masterful balance of pattern and texture. Emma is currently working on a book of unpublished self-portraits, which I eagerly await and her video work starring Gemma Arterton is terrific:

Steven Meisel, Vogue Italia, Vogue Patterns, Lara Stone, Meghan Collison, Kinga Rajzak, Maryna Linchuk, and Hanne-Gaby Odiele, Gustav Klimt, The KissThese images convey for me the pleasure of what swimming in a Klimt painting must be like. My eyes are always thrilled to meet Steven Meisel’s work, but this editorial called “Vogue Patterns” for Vogue Italia makes them vibrate with joy as they follow the ebbs and flows of fabric and color. Of course I don’t know if Klimt’s work was the inspiration here, but something tells me he would be envious, thrilled and seduced.

Chanel, Versace, Givenchy, Dior, Valentino, Armani Privé, Shadow Puppet, Angels and Demons, Paolo Roversi, The Great Illusion, Lara Stone, Fairy Tale, Vogue ItaliaShadow puppetry has rarely brushed shoulders with such glamorous company as Chanel, Versace, Givenchy, Dior, Valentino, Armani Privé. Paolo Roversi’s light and shadow play is enchanting as are whispered tones of color. In this series titled “The Great Illustion” for Vogue Italia, I feel like he hit upon great visions of Grimm’s Fairy Tales and maybe a few from Lewis Carroll and J.R.R. Tolkien. Even in this world of wolves, thorns and demons, I would happily inhabit it.

Sigmar Polke, Richard Burbridge, Vogue Italia, Great Exaggerations, SubversiveThe visual alchemy of Richard Burbridge is his ability to transform something beautiful into something subversively sublime. “Great Exaggerations” which appeared in Vogue Italia illustrates an unusual elegance with a haunting color palette and striking make-up and styling. Particularly noteworthy is the artful attention on the eyes. One of his inspirations is the artwork of Sigmar Polke, whose work is similarly subversive and combines imagery from contradictory or unexpected sources. Included here are a few examples of Polke’s work. Of course not all of Richard Burbridge’s work is dark, but here he has created a mysteriously beautiful luminosity that has me spellbound.

More of Richard’s fashion, portraiture, beauty, and still life photography can be found at:

Dree Hemingway, Hats, Millinery, Philip Treacy, Richard Burbridge, Vogue ItaliaShips, planets, castles, animals, insects and yes, crustaceans. There are few subjects (real or imagined) that Philip Treacy cannot transform into fabulous, wearable sculpture. He is not a man with a pragmatic mind, as much of his work boldly defies the laws of physics. In this editorial featuring Dree Hemingway photographed by the great Richard Burbridge for Vogue Italia Glitter, his penchant for vibrant colors and radical materials is a clear testament to his dazzling brilliance.

Stumbling upon the The Fairy Tales of the Brother’s Grimm reminded me of an editorial by one of my favorite color heros, Miles Aldridge, called “Like A Painting”. I share it after all these years (it surfaced in Vogue Italia, February 2005) not only for it’s ethereal, medieval theme, but also because of the way I see his storytelling. He explores archetypes in a spectacularly beautiful way, but also like fairy tales, there is often a subversive, slight menace to his work. It is this quality as well as the hyper color, acid toned hues that I find so memorable.

He talks about his thought process, archetypes and storytelling in video here:

“Imagination is a much more powerful truth, than truth itself.”