Today we celebrate the anniversary of I Want To Be A Roitfeld, four amazing years with the Roitfeld family, Carine, Julia, and Vladimir, as well as their best-loveds. It has been a year filled with adventure and I love all of you for reading along, especially those of you that dare to comment, your words buoy me. I would like to thank all of the contributors to the site — the writers, the photographers, and the artists that share their incredible talents on these pages; in particular, my heartfelt thanks to my wonderful IWTBAR team for their awesome contributions and for being the source of constant inspiration: Kate Ringo Suzuki, Dara Block, Bernie Rothschild, Renee Hernandez, Jessica Eritou, and Montse Ocejo. Most special thanks to my perfect beau, Michael, je t'aime, with special recognition to Walter and Sweet Pea…

Merci mille fois for reading IWTBAR — you are the best.

xx
Kellina

Joyeux anniversaire, ma geai bleue.

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Roitfeld family photographs courtesy of Fashion Spot. Collage by Kellina de Boer.

Carine On The Collections: The Animal Nursery
By Kristin Sekora

During her decade as editor-in-chief of Vogue Paris, Carine Roitfeld didn’t so much report fashion as blow it out of a gun at the reader, flashing crotches and breasts and famously having a model deep-throat a squid while holding a side of beef between her legs. Where then is she to land on the much tamer shores of Harper’s Bazaar? Even the GLOBAL Harper’s Bazaar? This remains to be seen.

In “The Animal Nursery” in the May issue, Carine emerges not with anything deep down a model’s throat but with her tongue deeply in her cheek, and very good and cheeky it is. The editorial is a funny “Models Without Borders: ‘We’ve got to save these baby animals even though we’re wearing million dollar clothes and we’re famous!’"

It is not a coincidence that the models are Ethiopian, Swedish, Korean, Russian, and American, just like a real group of Médecins Sans Frontières. The 17-page spread, lushly photographed by Sebastian Faena and edited by Michaela Dosamantes, both of whom work with Carine on CR Fashion Book, takes place in an ersatz tropical locale where the five beauties, all wonderfully coifed and made-up and manicured, hold delightful baby tigers, monkeys, and one tiny, adorable ocelot. They sit in director’s chairs surrounded by white canvas tents with large red crosses on them. In one scene (and, as is always the case with Carine Roitfeld, it is a “scene,” not a photo), Soo Joo Park, in a face mask and a nurse’s cap with a “V” (for “Louis Vuitton”?) on it, looks down in worry as Senait Gidey, also in a face mask, marches with determination as if to say, “Make way, we must get this baby ocelot to surgery immediately or she will die!”

There are other telling details that make it all the more funny, like the “waders” that Kate, Senait, and Soo Joo wear, almost like hazmat suits, but if you follow the credits you will find they are fishing gear. Or the Birkenstocks, which are not exactly jungle wear. And the animals! They play with the stethoscopes, climb into the wagons, or cuddle together just like, well, just like baby monkeys!

Carine Roitfeld knows how to make drama out of fashion but we start to notice that our girl is playing a game with us here, too, maybe not as in-our-faces as with her Vogue Paris, but something is going on while we are enjoying the sport… The tiger is being held in the arms of a woman wearing a tiger-printed shirt and the baby monkeys are wearing tiger- and zebra-striped diapers! A model wears a giraffe-printed coat by Burberry and a python-printed blouse.

Carine is famous for the pro-fur editorial “Reality Show” that she styled herself for Vogue Paris in August 2008, but she certainly is not in favor of using baby tiger or ocelot fur, which is illegal. And she would not have had the backing of the various wildlife preserves where the editorial was shot if she were insensitive to endangered species. It appears that all the “fur” fashion here is faux. I think Carine Roitfeld may be playing with the PETA crowd again, a kind of subterranean message, a repeat “gotcha,” only this time showing them, “Look, I get to play with all the tiger fur I want!” But here she is in tandem with the groups that preserve endangered species.

The clothes are extraordinary, particularly one dress by Dolce & Gabbana, you could picture Carine in this, it is the epitome of the pair’s combination of femininity with an edge: tweed with figure-skimming lace down the front, accessorized of course by the exquisite baby ocelot. Another dream item is a tawny faux-fur blouson and skirt by Reed Krakoff, a designer whose work I just discovered and who I really love, worn by Irina Shayk, whose rubber boot is being attacked by a playful baby tiger. A further hit is a wonderful outfit from Givenchy by Riccardo Tisci, which looks like appliquéd lace and cotton. (Carine Roitfeld wore a Bambi Givenchy top with “Pop-Pois” net pants to the Met Gala.)

“The Animal Nursery” is a move on Carine’s part to bring her dramatic element to the Harper’s Bazaar fashion scene. As a first step it is refreshing and delightful but still tentative. It definitely made me want to buy Harper’s Bazaar. With such an iconic member of their editorial staff, I cannot resist. I await further work on the editorial front. And the day when Carine Roitfeld once again comes out guns blazing!

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

Vogue Paris April 2001: Pose Combat
By Renee Hernandez

If there is one style that has wielded incredible influence, I would have to say it is the combat chic look. Its claim to fashion fame came from the babes of the 1960s like Loretta Swit as Major Margaret "Hot Lips" Houlihan in M*A*S*H and Jane Fonda photographed in US army surplus clothing. Then in the 80s Michael Jackson took it over-the-top with his custom made, bedecked military jackets. From utilitarian to glam, it’s a style that is constantly evolving.

Somewhere in the midst of that spectrum is the editorial "Pose Combat" from April 2001 Vogue Paris. It is everything combat chic. Stylist Anastasia Barbieri gives us all the classics: camouflage colors, cargo and parachute pants, aviator glasses, and all-in-one flying suits. Her styling shows how to feminize the combat look by using sleek sexy pumps, snug-fitting tanks, gold military dog tags, and leather corsets. Models Erin Wasson and Eleonora Bosé rock short, slicked back hair with nothing more than smudged black eyeliner for a pure sexy-cool look. I don’t really want to imagine photographer Terry Richardson behind the scenes directing this photo shoot but I do love the simple yet aggressive quality to these images.

More from Vogue Paris April 2001

Vogue Paris April 2001: Bande A Part
By Jessica Eritou

Vogue Paris April 2001: Berlin
By Dara Block

Vogue Paris April 2001: Tentation Rebelle
By Kellina de Boer

Vogue Paris April 2001 Translation: Initiales B.C.
By Kellina de Boer

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Vogue Paris editorial images © 2001 Condé Nast. All Rights Reserved.

I am thrilled to announce the newest member of the team here at I Want To Be A Roitfeld… Montse Ocejo, contributing editor! Montse is a loyal reader of IWTBAR and her enthusiasm for the Roitfeld family, especially Julia, is contagious. I am delighted that she will now be sharing her thoughts with all of us through these pages. Please take a moment to join me in warmly welcoming Montse!

Montse Ocejo
Contributing Editor

Hello, my name is Montse, I live in Mexico, I am an art therapist and longtime reader of this lovely blog so I am very excited and grateful to contribute. When I grew up I learnt to play the piano and my teacher introduced me to French music and film, my favorite film is A Man and a Woman by Claude Lelouch and my favorite composer is Francis Lai.

One of my biggest passions is photography, I love taking pictures of my friends and my family. I collect vintage photos, antiques, clothes, hats, and toys, I like going to bazaars looking for new things for my collection.

My biggest treasure is a Tiffany & Co's heart, a gift from my father, and my favorite piece of clothing is a vintage Chanel blouse. My fashion icons are Julia Restoin-Roitfeld and Françoise Hardy. Right now I can't stop listening to Lana del Rey and I have a degree in Psychology.

Thank you so much and I hope you like my posts. Thanks to the lovely Kellina.

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Montse Ocejo photograph © 2013 Montse Ocejo. All Rights Reserved.

When I heard the theme for the 2013 Met Gala, I was excited — how would "Punk: Chaos to Couture" play out on the red carpet? Of course Carine Roitfeld did not disappoint, she simply amped up her natural irreverence with a total look by Givenchy from the Autumn/Winter 2014 collection. What do you think of Carine's punk attire for this year's Met Gala? Which are your favorite looks from the red carpet?

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Carine Roitfeld photographs © 2013 Condé Nast, Getty Images

Special thanks to Montse Ocejo, longtime reader of IWTBAR and passionate fan of Julia Restoin-Roitfeld, for her lovely review of JRR's appearance in the May 2013 issue of Harper's Bazaar En Español, "Lo Mejor Del Estilo." ¡Muchas gracias, Montse!

Julia Restoin-Roitfeld: Lo Mejor Del Estilo
By Montse Ocejo

The first time I saw a photo of Julia Restoin-Roitfeld, I don’t remember thinking about the dress or the shoes, the first things I noticed about her were her very deep green eyes and the confidence she radiates, she has this Scorpio aura about her, very sexy and mysterious. 

In this issue Julia glows with her own light, always true to her style; at the age of 32 and now a mother, she is sexier than ever. Being a mother doesn’t stop you from being a woman is her message. “It is a space for women who want to maintain their femininity and sensuality,” says JRR about her new site, Romy and the Bunnies, a site in which she is very deeply involved. She is in a new stage of life and she is loving every minute of it.

Dressed in the clothing of some of her favorite designers, Julia says that luxury is not something that costs a lot but something that makes you feel special inside and out, and it is all about style. She also shares that she finds inspiration in vintage photos and movies. In this issue the vintage 60s makeup and hairstyle remind us of the style of Brigitte Bardot, one of Julia's favorite style icons.

The photos are by Michael Flores, he captures Roitfeld's very elegant nature, she is looking straight into the camera with her very powerful presence. It seems that she has been reborn stronger with the birth of her daughter, Julia is becoming a role model for the new generation of women.

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Julia Restoin-Roitfeld images © 2013 Hearst Communications, Inc. All Rights Reserved.

In honor of her first Mother's Day as an actual mother, Julia Restoin-Roitfeld partnered with Barneys New York to select an offering of the best gifts for both mommy and baby just in time for the special day, complete with a video of Julia in store with Simon Doonan. I find the bunny extremely desirable as well as the Norma Kamali wrap, nice work, Julia. Happy Mother's Day to mamans everywhere from IWTBAR!

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Julia Restoin-Roitfeld photograph © 2013 Barneys New York. All Rights Reserved.

The May 2013 issue of Harper's Bazaar En Español features Julia Restoin-Roitfeld on the cover and I love that the stylist, Nick Nelson, chose to punk up her look, she is fierce. The editorial is titled "Lo Mejor Del Estilo," or in English, "Best Style," as photographed by Michael Flores. The labels modeled by JRR include Saint Laurent, Miu Miu, and Valentino. What do you think, do you like this style for Julia?

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Julia Restoin-Roitfeld image © 2013 Hearst Communications, Inc. All Rights Reserved.

Vogue Paris April 2001: Bande A Part
By Jessica Eritou

Shot by Patrick Ibanez and modeled by Tasha Tilberg, “Bande A Part” explores what it means to balance an alternative aesthetic with an androgynous twist. Styled by Antje Winter, each shot is in simplified black-and-white which produces even more of a hard edge to the editorial. We are shown simple cuts and fabrics, but it enforces the edge of the materials and textures on Tilberg.

Despite this editorial being more than 12 years old, the looks presented are similar to those seen in department stores today. It seems as though this work is foreshadowing Emmanuelle Alt's succession as editor-in-chief of Vogue Paris after the departure of Carine Rotfield. The silhouettes and effortlessness very much resemble Alt's own style and appeal.

The first image conveys a strong introduction to the editorial since it shows Tilberg from a long shot. The skinny legged denim paired with a cropped leather piece and a pair of heels could be worn in today's time while at the same time there is still a retro edge to the work. Perhaps due to the vintage car as prop, or Tilberg's hair, this shot works brilliantly, as though she is a 1950s greaser.

Next is a close-up shot focusing on Tilberg's patent top while covered in metal chains. This is the only shot that stands out from the others, since it does not accompany the rest of the editorial. There is almost a futuristic vibe rather than that of an androgynous rebel.

The third shot focuses on the male-female contrast with a menswear inspired tuxedo jacket paired with an ultra-feminine blouse and the denim we saw far too much of in the late 90s. What makes this shot stand out are the popular trends shown, the aesthetic is still very raw and effortless.

Winter then poses Tilberg on an automotive backseat again, in skinny legged denim and another feminine ruffled blouse. The hard-edged lines of the backseat contrast with Tilberg's soft delicate features. What makes this shot great is the integration of all of the elements you would see typically with a male. This is seen in Tilberg's pose and her knife tied to the side of her leg with a handkerchief. Her flats are feminine with retro polka dots.

The next shot is something you would expect to see straight off the runway of Balenciaga. The look is very simple with a blouse and trousers, but it is the execution that makes this look unique. Pairing an off-white blouse underneath a black turtleneck is unexpected yet it works in a complementary manner. The delicately banded trousers are leather, which match the gender neutral bag strapped across Tilberg's chest. Is this an ode to another androgynous message? Did Winter have her wear it specifically in that manner instead of carrying it the typical way on her shoulder? This “Bande A Part” is shown here to illustrate how easily a piece can be turned into something more with just a simple placement.

Winter then creates an athletic-inspired shot, mixing a zipped sweater with leather piping, rich in texture, with a gathered jersey skirt. This shot is more playful than the rest.

Lastly we see Tilberg in a printed dress with a motorcycle jacket much like the current coveted Balmain ones we see in 2013. She's sitting on another automotive seat, but this time she is not facing the camera, posing in a slouchy, rude way. Winter incorporates more feminine details with the use of jewelry and belt details at the waist.

Overall, this editorial is timeless, or perhaps we are just used to the trends seen today in 2013. It could also be more relatable in today's time since it is shot in black-and-white so we cannot see the color palettes used, which could date the work. “Bande A Part” demonstrates the use of masculine and feminine in such a way it makes every piece just right.

More from Vogue Paris April 2001

Vogue Paris April 2001: Berlin
By Dara Block

Vogue Paris April 2001: Tentation Rebelle
By Kellina de Boer

Vogue Paris April 2001 Translation: Initiales B.C.
By Kellina de Boer

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Vogue Paris editorial images © 2001 Condé Nast. All Rights Reserved.

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Julia Restoin-Roitfeld photographs courtesy of purepeople.com, Getty Images.