Vogue Paris March 2011: Coeur A Corps Perdu

Vogue Paris March 2011: Coeur À Corps Perdu
By Kate Ringo Suzuki

With the passing of the throne at Vogue Paris, readers have witnessed a seismic rift in the presentation of Parisian chic. In one corner of the ring, we have Carine Roitfeld; in the opposite corner, Emmanuelle Alt. At the sound of the bell, let the knockdown commence...

Two years ago, we said adieu to Vogue Paris as we knew it with the last issue under the dominion of Carine Roitfeld, her March 2011 farewell featuring the lovely Saskia de Brauw on the cover. Within the plastic encasement which crackled when we ripped it off in anticipation and wonder, we saw Saskia appear in the editorial styled by Roitfeld entitled "Cœur à Corps Perdu," or in English, "Heart and Soul," along with blonde nymphet Daphne Groeneveld.

Against the backdrop of a lush and dreamy boudoir cast in soft romantic lighting, we peep at Saskia and Daphne while they play out an elegantly erotic fantasy. We have gone back in time to the free love of the 70s: they wear crocheted finery, straw hats, lace and silk lingerie, and strands of pearls that drape sensually over their nubile décolletage. The spread is a well done homage to the 1974 softcore erotic film entitled Emmanuelle. The film became so popular in France and later in America that it made soft porn chic if even for a moment in time. Have you seen it? The main character, Emmanuelle, is an eager and zealous student of lust: She is willing to be fucked by anyone in order to reach higher levels of pleasure with her lover, Mario.

View the trailer for Emmanuelle

Compare my thoughts on "Cœur à Corps Perdu" with my review of the editorial "Nouveau Genre" from the March 2013 issue of Vogue Paris.

More from Vogue Paris March 2011

Vogue Paris March 2011: Audace Manifeste
By Dara Block

Vogue Paris March 2011: Body Secrets
By Bernie Rothschild

Vogue Paris March 2011: Expression Figurative
By Jessica Eritou

Vogue Paris March 2011: La Fee Toxique
By Kellina de Boer

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.

Carine Roitfeld: The Animal Nursery

For her latest installment of "Carine On The Collections" for Harper's Bazaar, Carine Roitfeld created a wildly engaging editorial, "The Animal Nursery," with models Senait Gidey, Tilda Lindstam, Soo Joo Park, Irina Shayk, and Kate Upton posing as caretakers for tiger cubs, baby monkeys, and leopard cubs on safari. Of course the world's cutest veterinary nurses are dressed in garments from the Pre-Fall collections, accessorized smartly with shining stethoscopes, pert caps, and elbow-length surgical gloves. Notice the flasks and first aid kits, these women are prepared for any emergency in their enchanting animal nursery. Carine shared her excitement about the project with The Cut, "The shoot was a dream come true because I had never held a baby monkey and baby tigers before… Kate was so incredible, very cool. She was the most relaxed out of all the girls with the animals. You can tell she feels very connected to nature. I was very surprised how wholesome she is." Carine worked with creative director Stephen Gan and photographer Sebastian Faena to produce "The Animal Nursery."

 View a brief video of the creation of "Carine on the Collections: The Animal Nursery" on Harper's Bazaar

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"Carine Roitfeld on the Collections: The Animal Nursery" images © 2013 Hearst Communications, Inc. All Rights Reserved.

Vogue Paris March 2011: Expression Figurative

Vogue Paris March 2011: Expression Figurative
By Jessica Eritou

Styled by Melanie Ward, Anna de Rijk shines in the Vogue Paris editorial “Expression Figurative.” Each photo captures the essence of expressionism down to its key elements, some with a brave avant-garde and dramatic thematic work of a veil, while focusing on different elements of a feature on a women's face. Each dramatic element of the shot is simplified as one exaggerated element, while that facet is elevated and seen as fanatical.

Photographed by both Inez Van Lamsweerde and Vinoodh Matadin, de Rijk is first seen with a vintage Chanel veil, matched with pearls and a basic crew neck sweater. With the veil with appliquéd Chanel logos, this shot seems more suited for a campaign than a true fashion editorial. The mood is cold, and de Rijk seems distant to the viewer, but perhaps it is the reputation of exclusivity of Chanel they are trying to capture.

The second page features an ink-blotted rose, while the flower is broken down to its basic elements, it is featured so striking and vivid. The petals are very similar to the classic Chanel brooches you could wear. Perhaps an ode to those? The next shot continues the theme of the flower, including another veil, but this time the focus is on the sequined lips which is the main focal point in the shot. Again, the tone and mood is cold, and you are seen looking at the model, from the bottom up. She appears to be uninviting with a glazed over look to her. However, this shot does have a greater impact and receptive response than the first. This look is reminiscent of Hedi Slimane's new interpretation of Saint Laurent with slight gothic tones and punk rock aesthetic.

Next, continuing the theme of veils, the shot features de Rijk with a veil over her eyes with the focus on the sequined eyes of gold and green, which conveniently goes with the large gold chain choker, paired with a strong bold lip. Less cold and serious, this look is carefully crafted, emphasizing the thematic colors of the gold and overall composition. This look is more playful than the rest, making an ode to Eyes Wide Shut. The shot is simple, but expressive enough, conveying the message. The message that is really shown could perhaps be indicating we are blinded by superficiality (shown with the expensive gold chain and matching eye-sequins), and what we see is indeed false.

De Rijk is seen next with a black veil covering her whole face, but this time, from the neck up. Her cheekbone is featured and her Aztec inspired makeup is painted on while the elements of her face are broken down into geometric shapes almost as if it were a Cubist painting of Picasso, emphasizing the theme of abstraction. She is seen with black feathers which frame her face and a high top bun so the viewer's eye immediately is drawn in to her strong facial features. This is one of the more powerful shots in this editorial since there are more elements and themes happening compared to the others. Why is the model entrapped in this circus type veil? Her stare remains cold to the viewer. Yet there is still a playful element we have seen now already in the work. De Rijk appears to be solemn and enervated, which might be questionable for this piece since it is called “Expression Figurative” and appears apathetic.

In the last shot, while there may not be a veil, de Rijk is wearing a leather newsboy cap which extracts the remains of the composition to focus on her one smoky eye as the main focal point in the shot. Her pale lips and yellow nails balance out the composition of the harsh and dramatic eye for an overall serious but nubile tone for the final piece in the editorial. This last shot does not coincide with the others and seems like it should not belong with the rest. Even though it is the same model, it has a different energy and a different mood compared to the rest.

More from Vogue Paris March 2011

Vogue Paris March 2011: Audace Manifeste
By Dara Block

Vogue Paris March 2011: Body Secrets
By Bernie Rothschild

Vogue Paris March 2011: Coeur À Corps Perdu
By Kate Ringo Suzuki

Vogue Paris March 2011: La Fee Toxique
By Kellina de Boer

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.

Vogue Paris March 2011: Body Secrets

Vogue Paris March 2011: Body Secrets
By Bernie Rothschild

For her farewell issue for Vogue Paris, the Victoria's Secret Angels got the Carine Roitfeld treatment. The editorial itself is named "Body Secrets" and shows the tacky versus the classy side of the models as shot by Inez Van Lamsweerde and Vinoodh Matadin. My guess is that it's Carine's way of saying, "This should be what real fashion models look like," curvy, stunning, and healthy. Carine Roitfeld herself is a regular in the audience at the Victoria's Secret fashion show. That season, the Victoria's Secret Angels, who are famous for their commercial work, had a remarkable high fashion crossover, they graced the covers and pages of high fashion magazines, appeared in high profile runway shows and ad campaigns, and so on. It's still has some impact on their careers until today. Though most of them started in the fashion industry, it's their commercial work for Victoria's Secret that gave them fame and fortune for appearing in television commercials that were shown in every American home. Some of the most well-known faces of this generation modeled for Victoria's Secret at a point in their career, a great example is Gisele Bündchen who became a household name. I myself am a big fan of the Victoria's Secret in the past during the time when it was Gisele, Karolina, Adriana, and Alessandra together with Heidi Klum who modeled for the brand. The show is fascinating and astonishing, but do women really wear something that grandiose in their boudoir? Or is it more of a lingerie couture? Though, the VS is all about lingerie and sexy body, it's still very feminine and has appeal for women (and men) that has made the brand a total success.

More from Vogue Paris March 2011

Vogue Paris March 2011: Audace Manifeste
By Dara Block

Vogue Paris March 2011: Coeur À Corps Perdu
By Kate Ringo Suzuki

Vogue Paris March 2011: Expression Figurative
By Jessica Eritou

Vogue Paris March 2011: La Fee Toxique
By Kellina de Boer

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.

Vogue Paris March 2011: Audace Manifeste

Vogue Paris March 2011: Audace Manifeste
By Dara Block

March 2011 will forever be known as one of the saddest yet most innovative months in Vogue Paris history. In case you do not remember, that was Carine Roitfeld's last issue of Vogue Paris as editor-in-chief and, as expected, she did not disappoint. Each editorial is a vivacious blend of art, fashion, and fantasy, all done with that Carine Roitfeld sensibility we all know and love. With that stated, let's take an in-depth look inside the pages of one of my favorite layouts from her final issue entitled "Audace Manifeste."

First of all, let's just talk about that title, which simply translates in English as "Bold Manifesto," a very thought-provoking title to go with such mind-bending imagery. The editorial was photographed by Mikael Jansson and styled by Giovanna Battaglia. These photos are definitely eye-catching, what Mikael Jansson does best, and I love the way Giovanna Battaglia incorporates all that jewelry. The layering of necklaces, bracelets, and rings is all very reminiscent of the late Italian designer Elsa Schiaparelli. It's obvious that Giovanna was very much inspired by her remarkable sense of style and all that jeweled glitz is a beautiful reminder of her work. I so appreciate Giovanna Battaglia's modern take on Elsa Schiaparelli... it's classic, but very fashion forward.

The first photo from the layout is of supermodel Missy Rayder, looking very scary-chic, if I might add. I so love the way in which her face blends in with that mask of Salvador Dalí. It's obvious that Giovanna Battaglia wanted to combine avant-garde fashion and surrealism. There are so many interesting elements going on... the grey dipped hair and, of course, those hands with all that decadent jewelry. The red hands, in particular, pay homage to Dalí's biography entitled The Secret Life of Salvador Dalí where he mentions "the bestial women with red hands." This is a very obscure reference, but I love all the hidden significance behind the styling of this particular photograph! Who would ever think all that could be conveyed so brilliantly....

Next up is another image of Missy Rayder, this time in black and white. There is something kind of Cleopatra and Princess Leia about this look. Once again, we see such amazing styling with all that Bulgari jewelry. Missy Rayder has such an intense look on her face and I can't help but be drawn towards that third eye painted on her forehead. The overall look was very much inspired by Alejandro Jodorowsky's cult film The Holy Mountain which came out in 1973... love the strange connection between film and fashion... it's executed to perfection!

Following Missy Rayder comes a very distorted image of model Arizona Muse in a lavish Alexander McQueen feather dress. This is a very distinct homage to one of Salvador Dalí's most memorable paintings entitled La Persistencia de la Memoria. Just by looking at that warped clock in the background you can identify the inspiration. I also like how her McQueen dress practically melts away at the bottom of the photograph. Mikael Jansson did an excellent job at capturing that Salvador Dalí sensibility. If Dalí was alive today to see this photograph, I know he would highly approve... this is indeed the proper way to transform art into fashion!

I also love how the editorial features a non-distorted version of that McQueen dress. We really get to see all the gorgeous details of those feathers and of course all that extravagant jewelry. Let's also not forget that stunning crystal ball. If you look closely, you can see an eye staring right back at you... which I assume is that of Salvador Dalí! I so love that mysterious reference and how freakishly chic the styling is... Giovanna Battaglia totally went above and beyond fashion with this look!

The last two images of "Audace Manifeste" are all about the eyes… which was a continuous theme in Salvador Dalí's art. First we see Arizona Muse looking so darkly chic with those black eyes painted on her eyelids. This is actually a reference to Jean Cocteau's avant-garde 1930 film entitled The Blood of a Poet. I have noticed that Vogue Paris frequently loves to pay homage to film director Jean Cocteau... just look back at the December 2005 issue with Kate Moss and you can see what an influence he has been in the magazine. He truly was ahead of his time, and I love that Giovanna Battaglia was very much inspired by him for the styling of this particular image. There is even more visual stimulation going on with those red nails and lips... it's all so striking and I love that expression on her face. There is something very sinister but yet so breathtaking about this photograph.

The layout ends with another image of Missy Rayder and some extra added eyes and brows. She almost even looks like Salvador Dalí in this photo. Perhaps the idea was for Missy Rayder to see life through Dalí's eyes. I guess that is up to the viewer to decide and, whatever the inspiration may be, I so love how her grey dipped curls somehow end up on that man's chest. I am not really sure why this man all of a sudden shows up in the end of the layout, but I can certainly see some male and female symbolism. The overall effect is all so surreal, and so frighteningly stylish, a perfect way to end such an oddly gorgeous editorial.

As we can see, "Audace Manifeste" totally takes art, fashion, and fantasy to a whole new level. I am totally creeped out yet so inspired by it all. Those hands, painted eyes, and dramatic jewelry are all styled to perfection. In addition, I can't help but also admire that Salvador Dalí and Elsa Schiaparelli influence and how Giovanna Battaglia was able to combine all that together into something so imaginative and cutting edge. It's always a treat to see a thought provoking and visually stimulating editorial, like this! Thank you Carine Roitfeld for leaving Vogue Paris on such a high note. This is really such a gem of a layout and "Audace Manifeste" will always remain a psycho-chic classic!

More from Vogue Paris March 2011

Vogue Paris March 2011: Body Secrets
By Bernie Rothschild

Vogue Paris March 2011: Coeur À Corps Perdu
By Kate Ringo Suzuki

Vogue Paris March 2011: Expression Figurative
By Jessica Eritou

Vogue Paris March 2011: La Fee Toxique
By Kellina de Boer

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.