When asked to define herself as an item of clothing, Carine Roitfeld replied, "A black slip dress because when you take off your clothes, it's beautiful to have this as the last piece." This is a woman that truly lives each moment with elegance, embracing her sensual side. Carine also notes, "Wearing a slip dress to bed is a French fantasy," and she accessorizes with her signature scent, Opium, for added impact.

Being irreverent, bien sûr, La Roitfeld does not reserve the black slip dress for the boudoir, she frequently wears it for interviews and photo shoots as well, "I discovered the slip dress which I think is one of the more French things because when you take off your clothes, even when to go into a shop to buy something, or you're going to Riccardo Tisci to try on a suit, it's like having protection. And you never know how you're going to finish your evening. So you have to be ready." Carine's favorite black slip dress is a version in silk created for her by Olatz in which she appears in the images seen here, shot by Mario Sorrenti in support of her M.A.C. Cosmetics campaign.

The designer of CR's bespoke slip dress is Olatz López Garmendia Schnabel, a Basque native that began producing her own line of fine linens, lingerie, and pajamas based on her personal needs. Olatz is known also for her work as an Elite model and her collaborations with her former husband, Julian Schnabel, on the films Basquiat, Before Night Falls, and The Diving Bell and the Butterfly. Visit The Selby to see more of the personal style of Olatz, creator of the slip dress that makes Carine Roitfeld feel "like a brunette version of Marilyn" as she drifts off to sleep every night.

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Carine Roitfeld photographs © 2012 M.A.C. Cosmetics. Olatz Schnabel photograph © 2014 Todd Selby.

When Carine Roitfeld left the helm at Vogue Paris, she was left with the predicament of being unable to collaborate with any Condé Nast affiliates, which meant that talents like Mario Testino, Craig McDean, and Patrick Demarchelier — to name a few — were ruled off a long list of longtime photographer friends. But as everyone knows, the words "Carine" and "predicament" are like oil and water, they simply do not mix. So tenacious Carine went out and did what she does best: search for new talent and make dreams come true. Her chosen one was none other than fellow Virgoan photographer Sebastian Faena, a rather seductive Argentinean, with a propensity for hiding behind his dark tresses and showing just a little more skin that is considered “politically correct” in his shoots. Reminiscent qualities of a certain someone, non?

Monsieur Faena hails from Buenos Aires and was already making a living as a photographer at the tender age of sixteen, but went on to study literature and music at Columbia University in New York. After two years at Columbia, Faena left to write and direct the film La Mujer Rota (The Broken Woman), which was eventually produced by Mario Testino himself. The film was claimed to be “a lush, visual masterpiece that harkens back to the golden days of Argentinian filmmaking.” With glimmering reviews as such, Mr. Faena could have continued on with filmmaking, but decided instead to return to his photography roots by premiering in the most prestigious V Magazine, thus establishing his name in the list of legendary fashion photographers. One need only look at the editorials he captured to realize that his remarkable talent is completely deserving of recognition.

In a V Magazine behind-the-scenes shoot with the immensely talented and theatrical Lady Gaga, Sebastian Faena describes his photographing philosophy by sharing, “In the end, when I take pictures, I’d rather create something myself with the person who’s in front of me, than taking a picture of what already exists — I’d rather transform these people into something they’re not.” I don’t think he meant “transform these people into something they’re not” by taking away their personality or in the literal sense, but as in a different character just for the sake of transporting them from reality to fantasy, and that’s the whole objective of a photo shoot.

Carine was already cronies with Sebastian Faena from their work together with V Magazine, but the friendship truly blossomed when she asked him to shoot for her first CR Fashion Book issue, “Obsession.” And obsession it became. Roitfeld and Faena continue to make the magic happen with their unapologetic images. You may remember “The Animal Nursery” in Harper's Bazaar which featured Kate Upton holding some ferocious animals, or the precious “Carine’s Sweet 16,” an homage to Carine’s young modeling days. These works mark the beginning of a beautiful friendship, and if you got chosen to be Carine Roitfeld’s main photographer, you know you’ve got it made.

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Sebastian Faena and Carine Roitfeld photos courtesy of instagram.com/sebastian_faena and models.com

Carine Roitfeld is renowned for her style, classic with a twist, and her beloved Elsa Peretti scorpion necklace suits her aesthetic perfectly. The elegant metallic scorpion collar pendant is crafted of articulated segments with the menacing claws encircling the neck and the tail poised on the chest in a dangerous flick, so Carine… Designed by Elsa Peretti for Tiffany & Co. in 1979, the curious necklace resulted from her obsession with the scorpions living near her home in Catalonia. The artist shares her inspiration: "While working in Sant Martí Vell, I came across a lot of scorpions. The animals are incredibly attractive, with fascinating mechanics. Strangely they are never around when I need to review something in my design. I have to confess that I had to sacrifice a few. I feel sorry."

Carine acquired this treasured piece years ago and stored it in her bank vault for safekeeping until recently when she retrieved it so she could wear it again. One reason she loves the scorpion is because it reminds her of her partner, Christian Restoin, as Scorpio is his astrological sign; I adore her sweet sentimentality. Carine refers to herself as a collector of the designer's work and also among the treasures in her jewelry box is the Elsa Peretti bottle pendant.

Carine met Elsa Peretti once and remembers her as an amazing woman with an amazing (albeit masculine) voice, she considers the jewelry designer a big talent and one of her big icons. Carine also thinks of Peretti as a muse for the first issue of CR Fashion Book, she styled the editorial "Elsa" in her likeness, casting Catherine McNeil as Peretti as shot by Kacper Kasprzyk in a New York apartment that formerly belonged to Halston. I wonder if McNeil is wearing Carine's own Elsa Peretti scorpion pendant for the editorial… Tiffany & Co. continues to produce the scorpion necklace but in a slightly different variation, it now hangs on a 15.5" inch chain and is cast in either gold or sterling silver. Be sure to view "Scorpion Queen" on CR Fashion Book in which Carine Roitfeld discusses Elsa Peretti and her scorpion pendant.

Elsa Peretti scorpion collar pendant photo courtesy of Tiffany & Co. Carine Roitfeld photos courtesy of Fashion Spot. "Elsa" editorial image by Kacper Kasprzyk for CR Fashion Book.

Carine Roitfeld has an eye for the classic in modern design and even the stools in her kitchen nook are a fine example of her aesthetic. The timeless and innovative stool that Carine prefers is the vision of Finnish architect and designer Alvar Aalto, one of the most influential artists in Scandinavian modernism. Designed in the early 1930s, the Stool 60 is an icon in modern furniture, a simple stackable piece constructed of solid natural birch and coated with a thin veneer to accent the beauty of the wood grain. Carine has selected a black laminate finish for the seats of her stools; other color choices are birch, red, and grey. The Alvar Aalto Stool 60 is also part of the permanent collection of The Museum of Modern Art in New York City.

Alvar Aalto Stool photos courtesy of alvaraalto.fi. Carine Roitfeld and Christian "Sisley" Restoin apartment photo © 1998 Hearst Communications Inc. All Rights Reserved.

Piscine Pontoise is one of the best-loved pools in Paris and Carine Roitfeld counts herself among its admirers. Famous as a distinctive backdrop as well as a cozy retreat, the picturesque pool lends its ambiance to a memorable sporty-chic editorial for the second issue of CR Fashion Book, “Dive Right In.” Carine describes the inspired setting: "The shoot was done at the Piscine Pontoise, which is one of the most exceptional swimming pools in Paris. I first found out about it from Hedi Slimane years ago. It's great because it is open late at night and they play classical music while you swim."

Located on rue de Pontoise in the Latin Quarter of Paris, the stunning Art Deco landmark was designed by Lucien Pollet and built in 1931. The wrought irons ribs and the opaque glass of the ceiling mesh in a dramatic canopy overhead and mosaics decorate the lobby, giving the pool its unique character. The pool itself is in the basin style and measures 33 meters by 15 meters, divided into six lanes. Surrounding the pool on two levels are 160 private changing rooms and the luxury is enhanced by a personal attendant to open the room for you. Note that in all public pools in Paris, proper swimming costumes are de rigueur: bathing caps or bonnets du bain for everyone and Speedo-style briefs for men. Be sure to bring towels and proper footwear.

Among the illustrious moments in the history of Piscine Pontoise: Juliette Binoche seeking tranquility in the hallowed waters in the film Blue by Krzysztof Kieslowski, Jacques Cousteau testing his first scuba suit before heading for deeper waters, Issey Miyake showing his men’s collection on a catwalk spanning the pool, and Johnny Weissmuller perfecting his trademark Tarzan yell against the Art Deco tiles. Take in a late night swim under the stars at Piscine Pontoise and perhaps the sexy woman winking at you from under her bathing cap in the next lane will be Carine Roitfeld…

Piscine Pontoise photos © Franck Bohbot and L’Internaute Magazine/Agathe Azzis and courtesy of crfashionbook.com, justacote.com, metrofrance.com, flickr.com.

Do you want to smell like a Roitfeld? According to an interview with Do It In Paris, Carine Roitfeld favors two scents to enhance her seductive aura: Yves Saint Laurent Opium Body Moisturizer and Serge Lutens Fleurs d’Oranger. Formulated by Christopher Sheldrake in 1995, Fleurs d’Oranger is a complex fragrance, unobtrusive and delicate yet heady and decadent, beautiful but demanding, purely feminine, utterly irresistible. The notes center on white flowers with hints of citrus and spice: orange blossom, jasmine, tuberose, and white rose over a warm base of musk, hibiscus, cumin, cedarwood, nutmeg, and neroli. Serge Lutens himself describes Fleurs d’Oranger as the smell of happiness, that certainly sounds like the essence of Carine…

Carine Roitfeld photograph courtesy of Fashion Spot. Serge Lutens Fleurs d’Oranger image  © 2012 Serge Lutens.

“Maybe one day I'll become a film star. I'd love to become a film star... What do you think? A remake of The Night Porter with me instead of Charlotte Rampling?”

— Carine Roitfeld to Talk Magazine, April 2001

I came across the above quote recently and had to laugh. How very Carine — not for her the sophomoric Fifty Shades of Grey! If she were to do a film, she would naturally gravitate towards what is arguably the most controversial S&M narrative ever made.

The Night Porter, directed in 1974 by the Italian Liliana Cavani, stars Dirk Bogarde as Maxmilian Theo Aldorfer, a former Nazi SS officer, and Charlotte Rampling as Lucia Atherton, a survivor of his concentration camp. Flashbacks show Max tormenting Lucia, but also acting as her protector. The two are reunited 13 years after World War II, in a Vienna hotel where Max is now a night porter. There they fall back into their sadomasochistic relationship and all hell breaks loose.

It is a deeply disturbing film. The first time I sat down to watch it years ago, I couldn’t make it all the way through. But I decided to give it another try, taking a more detached view and trying to analyze what, aside from the obvious attraction of the taboo, would appeal to a woman as intelligent as Carine Roitfeld.

What struck me the most about The Night Porter this time around was the symbolic use of light and dark in the film. Max is both literally and figuratively a dark character. He has a slick, shadowy handsomeness, beneath which roils deep perversity. He works at night for a reason. He needs the cover of darkness for the sick ministrations he performs to the hotel guests — with needles, pills, or flesh. It turns out that the twisted things he does in the unlit rooms provide an outlet for the cruelty that he was able to give full reign to in his former life as an SS officer.

Enter Lucia, a conventional bourgeois housewife, dressed in blacks, greys, and slate blues, her hair tidily pinned up with nary a strand out of place. A flashback shows the contrast between her present-day appearance and her previous association with Max. We are shown Lucia as Max first saw her: one in a line of prisoners being checked into his camp, she stands nude, her bobbed hair bound by a ribbon, clothed only in white bobby socks and black Mary Janes. Max singles her out from all the other inmates and trains a camera on her, flooding her with light from its blub. The light makes her a brilliant, over-exposed white. This vision highlights the symbolism of her name: Lucia, a pun on “light” and St. Lucy, the patron saint of the blind.

Thus Max’s statement that he works at night because he has a sense of shame in the light has a double meaning. He feels shame for what he has done, but can’t overcome his compulsion to continually repeat the past — his hotels “guests” replacing his concentration camp victims. But he means it metaphorically as well in relation to Lucia, “the light one,” whom he deeply loves, albeit in a deeply twisted way.

Lucia’s association with light continues once she is reunited with Max. From that point on, she is never in dark clothing again. She initially struggles against him in a flowing, icy-white nightgown. Later she revels as a willing captive in his apartment dressed in a thick, cream-colored fisherman’s sweater over filmy white lingerie shorts. And her hair is never up again, but released... the flowing, tousled, sexy mess of the renegade. By the time Lucia states, “Max is more than just the past,” we have guessed this already from her transformation.

One cannot speak of the visuals of The Night Porter without addressing the iconic scene in which Lucia sings a Dietrich standard to the Nazi officers. It is a scene Carine herself might have styled: in a large, barren, white-tiled room, a number of SS officers lounge in bored disinterest while Lucia sings to them with clear relish and intent to titillate. She is nude from the waist up, wearing a few choice accessories. An officer’s cap is pulled low over her brooding eyes. Above-the-elbow black leather gloves encase her willowy arms. Striped suspenders create a graphic of two stark lines framing her bare breasts. Finally, there is a set of men’s black pinstriped trousers, the front of which she intermittently grinds and massages throughout the song. The perversity of the scene reaches its zenith when Max, who has been watching her with a crazed gleam in his eye, rewards her at the end of her performance with the severed head of a fellow prisoner who had been bullying the other inmates. Later he proudly recounts the scene to a friend, exclaiming, “It was biblical!”

It is worth pausing to consider the importance of Max’s allusion to the story of Salome. Is he, in aligning himself with the ancient biblical tale, trying to exonerate himself? He describes what should have been a derogatory episode for Lucia as one that was instead a triumph for her; like Salome, she wields great power.

It is this idea of a woman who is captive but not a victim that brings Carine Roitfeld to mind the most. Carine has defended her taste for showing bondage in her photos: “I don’t want to portray women as victims of male desire, to make them sex objects or first-degree objects of desire... when I’ve shown a woman tied up like one of Araki’s models, she’s always chic and doesn’t look as if she’s suffering — and this makes her stronger I think.” (Irreverent, 210) In the burlesque scene, Rampling’s Lucia is definitely chic and certainly not suffering. This aura is repeated later, when she is bound in chains in Max’s apartment. There is nothing weak about her when she rebuffs her would-be rescuers with a calm but steely, “I’m here of my own free will.”

The role of dark and light is perhaps most poignant in the closing scene of the movie. Max and Lucia attempt an escape from the neo-Nazi cell that has surrounded Max’s apartment, determined to separate them. Holding hands they run, dressed in the costumes of the past they could not and would not let go: he in his SS uniform, and she in her white little-girl’s dress and knee socks. But their pursuers execute them, midway across a bridge, at dawn. The lighting of these final moments is amazing. I don’t think it’s any accident how literally the director illustrates the darkness being chased away by the light.

Twisted and sensational though it is, there’s no denying how artful The Night Porter is in dealing with themes of sexual transgression... Like so many photos styled by Carine Roitfeld.

The Night Porter stills © 2012 Criterion. Carine Roitfeld photo © 2011 V Magazine, LLC. S&M modification by Kellina de Boer.

Tom Pecheux, creative director for makeup’s most popular brand, Esteé Lauder, is the perfect example of how discovering your passion will lead toward your true greatness. This international superstar of makeup is known for his sophisticated take on Parisian glamour. His philosophy is that makeup should enhance natural beauty, not transform it.

Before the glamour, Pecheux grew up on a farm in Burgundy, France, with his heart set on becoming a pastry chef. In 1984 at 18 he made his way to Paris to make his baking dream a reality, however the universe would have a far greater plan for him. He discovered the alluring appeal of Paris’ nightlife and was immediately seduced by its blend of music, fashion, and underground culture. On most nights he could be found at Le Palace, the Parisian equivalent to Studio 54, and it was here that he met someone that would change his life forever — a makeup artist. Pecheux shares, "There was a little bell in my head and it went, ding, ding, ding. I didn't even know makeup artistry could be a job." Following his inner guide, he retired his toque, began playing with makeup, and registered for classes at Christian Chauveau l’École Technique Privée de Maquillage Artistique to train as a makeup artist.

Early on in his studies, Pecheux realized that in order to be successful you have to create your own opportunities. "I had no network in fashion. No one opened the door for me. I had to open it for myself," he remembers. So after his schooling he pushed himself to build a solid portfolio. His hard work paid off — he became an assistant to the legendary makeup artist Linda Cantello. Even with that success there were some moments of self-doubt. As Pecheux put it: "When I was 27, I thought, if I can't make it big by my thirties, I'm going to give up."

The turning point came just in time when he hooked up with newcomers Carine Roitfeld and Mario Testino. The trio landed work on a Stella Tennant shoot for German Marie Claire with Pecheux responsible for makeup, Rotfield as the stylist, and Testino as the photographer. "It was a disaster!" he recalls. But the three learned quickly and went on to collaborate for years creating landmark advertising campaigns, their most famous collaboration being Tom Ford’s iconic campaign during his Gucci tenure. At the time Ford was a complete unknown but with the trio’s magic touch a once drab house became fashion’s sexiest statement maker.

Roitfeld and Pecheux share a unique and uncompromising dedication to following their vision. Without a doubt this is why they’ve remained such loyal and supportive friends. You can see Carine’s love for his creativity and special talent by looking at past issues of Vogue Paris — his imprint is all over the magazine.

The fashion and beauty industry also took notice of Pecheux’s French sensibilities. Fashion A-listers such as Prada, Yves Saint Laurent, Dolce & Gabbana, Versace, Burberry, Ralph Lauren, Givenchy, Balmain, Max Mara, and Jean Paul Gaultier have all been touched by his expertise. He has also created flawless looks for the finest photographers in the business, including Patrick Demarchelier, Craig McDean, Peter Lindbergh, Inez Van Lamsweerde, and Vinoodh Matadin. With a rock solid CV, the corporate offers started rolling in. He joined Shiseido as its creative director in 1999 and was responsible for transforming the brand into a modern beauty empire. First up was the creation of the brand’s makeup line Shiseido The Makeup. Pecheux’s selection of new colors, textures, and packaging made it an instant international success. A few years later in 2001 he devised a new approach to the traditional makeover, Shiseido’s Beauty Navigator, an online interactive simulator through which the user can virtually experiment with various products from the collection.

Today Pecheux is responsible for the artistic direction of Esteé Lauder bringing new energy, style, and a fashion edge to the 67 year old brand. In fact, Pecheux was guided to Esteé Lauder through a stellar recommendation from long-time friend Mario Testino who suggested that he was the ideal beauty influencer to rejuvenate the brand. Wanting to give the brand a catwalk edge, Pecheux used his backstage credentials to bring Esteé Lauder into the fashion world. Derek Lam’s Fall 2010 runway show marked EL’s first fashion week collaboration. “We're doing Derek Lam again for Spring, and we may do other shows, too," Pecheux revealed, "but we're never going to become a show machine. I want fashion to become part of Lauder's image, but it's too chic to be just fashion. Fashion doesn't last; it's in and out. Estée Lauder is much bigger than that."

Tom Pecheux continues to blaze his own path and set the standard for beauty. From pastry chef to world renowned makeup artist, his story is proof that the universe has a plan far greater than we do.

Carine Roitfeld and Tom Pecheux photos via Condé Nast, refinery29.com, keepitchic.com, telegraph.co.uk, and purple.fr.

Do you want to have sexy legs like Carine Roitfeld, regardless of your age? She recommends sheer seamed stockings by Fogal, "Something that makes me happy now is a pair of new tights — it's not so expensive, not like buying a Dolce & Gabbana dress or a Dior bag. This is nearer to yourself, nearer to your skin, something that makes you more sensuous, more voluptuous, more woman…" Fogal, a Swiss company, launched their second location on Madison Avenue in Manhattan recently and plans are in place for a SoHo expansion. As for Carine's favorite stocking by Fogal, she prefers the Catwalk Couture, en noir bien sûr, available in both thigh high and full hose options. Don't forget the daily ballet practice shaping Carine's legs underneath those chic stockings... you may not achieve the exact same look, but as she says, you will feel sexier and, dare I say, more like a Roitfeld....

Fogal image © 2012 Fogal. Carine Roitfeld photograph © 2011 LeFigaro.fr. All Rights Reserved.

Perhaps you noticed Carine Roitfeld's adorable clutch in hand during the most recent rounds of Fashion Week, an elegant minaudière designed by Riccardo Tisci for the Givenchy Fall/Winter 2011 collection. Created in black satin printed with purple pansies, the chic and sexy little clutch is just enough to hold your essentials because as Carine always says, less is more... Note that she is also enamored of the skirt from this collection, only Monsieur Tisci could find the fetish in the sissified pansy....

Givenchy image © 2011 Givenchy. Carine Roitfeld photographs courtesy of purple.fr, wireimage.com, Getty Images, and gq.ru. All Rights Reserved.