Tuesday, 28 June 2011

Bella Barber gets her best blue steel on for KAREN



Here is a first look at yet another edgy cover from Marian Simms' now Bali-based Australasian fashion title KAREN - issue #12, Winter 2012 This time shot by Troyt Coburn, styled by Michael Azzollini and starring Kiwi expat Annabella 'Bella' Barber. Repped by Nova in Auckland and Priscilla's in Sydney, Barber is rapidly emerging as an indie cover queen. This is her second KAREN cover and she has previously appeared on the covers of Oyster in Australia and No in New Zealand. Not to mention a recent cadaverous cameo in Kanye West's controversial new Monster video clip. Here is the accompanying editorial called 'Steel'. (And just a reminder that some some RSS subscribers may have problems viewing this photo gallery. Best to view on the blog). 


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photography: troyt coburn
fashion editor: michael azzollini at DLM
makeup: angie barton at DLM
hair: diane gorgievski at the artist group

all images: supplied exclusively to frockwriter by KAREN magazine

"We need fashion to catch up to women of size" - Velvet d'Amour

steven meisel for vogue italia
Much has been written about this month’s Vogue Italia cover story of three plus sized models: Americans Tara Lynn and Candice Huffine and Australian Robyn Lawley. Frockwriter covered the story here. Above and below is the remainder of the accompanying fashion editorial. This edition has been hailed as a watershed moment in the body image debate by some, including Australian commentator Mia Freedman, the chair of Australia’s National Body Image Advisory Group, who noted: “Huzzah! An Australian size 14 is on the cover of Italian Vogue”. Others weren't quite so perky. “Topless plus size women equals empowerment?” asked womens’ advocate Melinda Tankard Reist. Some suggested the move was tokenistic. While others lamented the fact that the women had been photographed semi-nude in lingerie, which only served to reinforce, they noted, the sexualised cliché of larger women and porn. What says plus size icon Velvet d’Amour? 

Regular readers of my various blogs would know that Velvet is an American actor, model – and latterly, photographer - who lives in Paris. 

We first met after the Jean Paul Gaultier Spring/Summer 2007 show in Paris in October 2006, in which Velvet walked alongside Gemma Ward and other "straight"-sized models, generating headlines around the world. Gaultier's casting appeared to be a direct nod to fashion's latest skinny model debate, that had been sparked in August that year by the eating disorder-related death of Uruguayan model Luisel Ramos, which was swiftly followed by the deaths of two other South American models, including her sister Eliana. Velvet had previously walked for John Galliano. 

Here are the interviews I did with Velvet at smh.com.au and later at news.com.au. In the latter, which generated quite some heated (and at times abusive) commentary, Velvet talked about the flak she has copped from the plus size industry, which has always considered her far too big for its ranks. 

Here is her take on Vogue Italia's June issue, body diversity in high fashion imagery and the commonly-espoused theory that fashion's embrace of larger women encourages obesity:



First off, congrats to your Aussie sister Robyn for scoring some great work of late. She and the models featured are definite beauties!

There is certainly a lot of talk about the Italian Vogue shoot. Mainstream folk seem to take offence to the fact that the models included are even deemed PLUS, when they are more ‘average’ size women, and others discuss a sense of exploitation, a lack of actual ‘fashion’, and then the inevitable health debate, while many are quite simply thrilled by it.

The way I see it is, that we need fashion to catch up to women of size, in order to make a stunning FASHION orientated editorial. If you were to take the average Vogue Italia editorial, and attempt to dress these same models in the clothes, best of luck to the stylist to find their size.

As to a sense of exploitation, or ‘soft porn’ feel, my sense is that our minds have been programmed via mainstream fashion to question FLESH. Fleshy, curvy women have been relegated to men’s magazines, whilst edgy editorial fashion in particular, has been inundating us with imagery glorifying adolescence (sometimes using models even as young as 13); the standard sample size forces the use of more skeletal models; and the opening of the Eastern bloc countries (where women are naturally quite delicately slender) caused an influx of lanky lovelies to grace the pages of our magazines and thus it’s really quite normal that the curves here are deemed as more risqué. We have been fed a steady diet of rail thin, white, tall, Youth for the most part. Thus instead of delving further into what Beauty means to us as individuals, the tendency is not to question authority. And VOGUE is certainly the pinnacle of authority when it comes to Fashion.

Yet were we to take what is the essence of the true meaning of FASHION in all likelihood it encompasses and revels in Change, in decadence, in obscurity versus ordinary, in risk-taking. While fashion beckons followers and innovation creates fashion, it’s those who deviate from accepted norms who create so much of our fashion from the get go. Fashion is innovative, tumultuous and it’s not meant to stagnate. Sameness is born of the dependence fashion magazines have on advertisers, who tend to be the very last people to take risk (due to the amount of money involved). It is this unlikely marriage of two opposing yet dependant components which has stagnated the blossoming of fashion, and in turn, its’ muses.

I have always been drawn to Steven Meisel’s photography and find these images equally stunning, though not particularly controversial in my opinion. I have stated on my own model portfolio (on the Model Mayhem website),
 


I'd say a good 99.999% of the artists interested in working with me wanna get me naked, not that I blame them, lol

It is quite the odd dichotomy that as a society, fat is viewed with derision, yet should one go out on a limb and include a genuinely voluptuous model, 9 times out of 10 they will do so by harkening back to the Renaissance. Rubens and the like, are seemingly our only reference point for a larger body.

Given I shoot as well, and certainly have photographed my fair share of nudes of all shapes and sizes, I understand the drive.

Were Herb Ritts to come back to life, I'd greet the boy starker’s.

I have posed nude for photographers like Daniele + Iango, Rancinan and in the film AVIDA, etc. thus I do not dismiss all tasteful nude propositions, but my main reason for modeling is in fact, as a political statement; that we need to diversify modern standards of beauty. If we continually marry the fat body with nude classics, then we are hardly creating a revolution. It's too easy in a sense, one gets a 'different' look and perhaps is praised for such, but if you really want to be revolutionary, then why not do a FASHION shoot with a bigger body versus pulling out the old Botticelli standard? 

As to the continuing Health debate, many a comment revolves around the message sent by using a woman of ‘size’, some stating the models are ‘obese’ and unhealthy, others fearful it will encourage people to be fat. The concept that fashion magazines are a reference guide of health to their viewers, seems only rarely pertinent on occasion, when we witness an exceptionally thin model, and inevitably whenever we possibly include a slightly curvy model. The reality that cultural pressures are one of the factors involved in eating disorders cannot be dismissed, though the notion that someone leafing through a magazine witnessing a plus size model has a sudden urge to down several thousand pizzas in the hopes of gaining a few pounds, is rather laughable at best. Were the inclusion of plus size models to spur viewers to gain weight, the inverse of that logic would mean (given the dearth of rail thin models in magazines), that the entire world would be emaciated, versus fat.

Time and again the issue of health is touted as a pertinent reason for the near total exclusion of fat women in modern media. Yet let’s have a look at who we utterly deify in popular culture, without questioning for a second their physical or mental health. Then ask yourself just how legitimate an argument it is to impose upon plus size models the responsibility of being the poster children for bonne santé, when we have no clue as to any model’s state of health when looking at her dancing through the pages of a magazine. Au contraire, we are well aware that a great number of popular actors, models, dancers, rock groups etc that inundate media have dabbled in drugs, drink,etc. And rather than scoff at them with derision and judgment, we fete them on a daily basis.

Avoiding fat people isn’t about health, it’s about Cool and un-cool.

My take on Cool is Diversity.

I don’t look to fashion magazines for advice on health, I look at them for fashion. We need to start looking beyond the simplistic and dig deeper. If you want to have a health debate, then let’s tackle mental health, which is the stimulus, more often than not, affecting s one’s physical health. If we start to include a major cross-section of our society within the revered pages of fashion magazines, fat women, emaciated women, women of colour, aging women, differently-abled women, small women, you name it - then we can turn the tide against the overwhelming sense so many women suffer from not being able to live up to this exceedingly stringent, highly unattainable beauty ethic we currently subscribe to.

- Velvet d'Amour 



 


all B/W images: steven meisel for vogue italia june 2011

Sunday, 26 June 2011

Wild orchid - Emma Balfour tones it up for David Lawrence Spring/Summer 2011/2012


David Lawrence evidently has a thing for women of a certain age. The 33 year-old Australian sportswear brand has chosen iconic fortysomething Australian model Emma Balfour as its campaign face for the second consecutive season. Herewith an exclusive preview of the Spring/Summer 2011/2012 advertising campaign shot by Australian fashion photographer Georges Antoni at one of the penthouses of Sydney bar/restaurant complex The Ivy. This is the second brand campaign orchestrated by new David Lawrence creative director Anthony Cuthbertson and his first full collection for the brand, which is owned by M Webster Holdings and has 101 stores across Australia and New Zealand. Cuthbertson brings considerable design experience to the job. The UK-born graduate of Leicester's De Montfort University and London’s Royal College of Art has spent a decade working as either creative director or designer at such well-known brands as Max Mara and Sportsmax, Moncler, Daks (creative director 2000-2006), Workers for Freedom, Burlington, Rene Lezard and Amanda Wakeley.

“The campaign itself and the collection both have a lot of jewel colours and I wanted to bring in a feeling of holiday in the evenings, taking these jewel colours but seeing them in the night” Cuthbertson told frockwriter. “Continuing where we were for Autumn/Winter, where there was still a lot of movement through the shots, we shot through orchid flowers and the mood was very much like she was in a hotel lobby and on her way out”.

As it emerges, it's not the first time that Cuthbertson and Balfour have worked together.

“When Emma launched her career, she modeled for me in London for my own label at London Fashion Week, about 15 years ago. From there I remembered her and when I started thinking about who should be the face of this great Australian brand, Emma Balfour was the person I decided on because I really wanted to use a real Australian women. So many people look at young girls but really, to be closer to our customer, we have to use a woman”.








all images: georges antoni. supplied exclusively to frockwriter by david lawrence

Tuesday, 14 June 2011

LOVE in the time of dysmorphia



Frockwriter thought it seemed a little odd that Britain's Love magazine removed last Tuesday's shot of Australasian model Catherine McNeil from its Twitter feed. Originally published on the Condé Nast-owned magazine's TwitPic account (a photo hosting service connected to Twitter), together with the caption "Catherine McNeil is back!", the Tweet was nowhere to be found on Thursday. Coincidentally, earlier that day, we had published the original - apparently unretouched - series of digital shots of McNeil that were taken by McNeil's New York agency, Ford Models - and which had been supplied to Love earlier in the week. But while the shot slipped off Love's Twitter feed, the image had already been reposted by several web forums and blogs, including frockwriter and remains cached on Google images. Oh, and Love also neglected to remove it from the magazine's separate TwitPic feed. What's problematic about this shot? Could it have anything to do with the fact that a quick comparison of the two images suggests some Photoshop magic has been worked on McNeil's left arm? The version published by Love is on the left, above, with the original on the right. 


screen cap of LOVE magazine's twitpic

supplied by ford models


So, who retouched the image?

Difficult to say at this stage, given that neither Love editor Katie Grand nor Ford Models have responded to our communications. 

Just a reminder that McNeil, one of Australia's most high profile models, has been having a bit of a break from the modelling business for the past 12 months. According to Ford, however, McNeil is fit and high fashion-ready, having been "working really hard to get herself together. She's really determined"

But apparently not sufficiently 'together' for Love's purposes. 

Clearly someone retouched the photo. If indeed it was Love, then of course by no stretch of the imagination would this be the only fashion magazine in the world to have manipulated an image to make a model or celebrity look thinner than she/he is in real life. It's the kind of endemic practice that has become a key focus of such charters and groups as Australia's National Advisory Group on Body Image, whose voluntary industry code of practice recommends the disclosure of all digital retouching. 

Meanwhile, Katie Grand's peers are dedicating more and more space to special body image-focussed editions. 

The June edition of Vogue Italia stars three plus-sized models and separately, Vogue Italia editor Franza Sozzani has launched a petition to combat pro-anorexia websites that encourage young women to be competitive about their body shape. The magazine claims to be attempting to promote healthy beauty standards and to help impress upon young women that being skinny does not equal being perfect.

Thursday, 9 June 2011

"Catherine McNeil is iconic for her generation" - Doll Wright

ford models

Well at least one mystery has been solved regarding Catherine McNeil - one of Australia's best-known modelling exports who has been on a bit of a self-imposed career hiatus for much of the past year and who, as it now emerges, also boasts New Zealand citizenship and travels on a Kiwi passport. The photo of McNeil that was Tweeted two days ago by Britain's Love magazine, together with the caption "Catherine McNeil is back!", was not part of any upcoming photoshoot for the magazine, but one of a handful of new digital shots of McNeil that have just been taken by McNeil's new New York management, Ford Models (curiously, the shot appears to have now been removed by Love). Here are the rest, supplied by Ford, which contacted us overnight for a little damage control, presumably not terribly happy with Timo Weiland's unfortunate Twitter shot of McNeil that we published yesterday. But while Love has yet to book her, newly-minted Ford Models agent Doll Wright tells frockwriter that McNeil has just shot 25 pages with a major photographer for a major international fashion title. 

Wright declined to comment on the Weiland shot, in which McNeil is holding a beer bottle and her NZ passport, with a cigarette dangling from her lips. Wright was also unable to clarify whether McNeil is actually an Australian citizen or merely has permanent residency here.

But Wright did stress that McNeil has been "working really hard to get herself together. She's really determined. You can see what she looks like".


“She hasn’t shot Love or worked with [editor] Katie Grand yet" added Wright. "But we’re thrilled because obviously it shows that the support is still there. At the end of the day, the industry, at the level that’s she’s at and the calibre of people she has worked with, they respect her. Catherine McNeil is iconic for her generation. As a model, she will always be remembered for that and people at the top level of this business appreciate and respect the hard work that she’s put in for them. She’s worked her ass off for this business, she’s travelled the world non stop. On the back of Gemma Ward she helped put us on the map and maybe she had a moment where she wanted to take some time out.

"Life is a rollercoaster and these girls go through so much, they’re worked to the bone. Some burn out or fade out and are never heard of again. Or they do have some fire in their belly and they come back bigger and better than ever before. And in the case of Catherine McNeil, that’s what it’s going to be”. 

McNeil and Australian-born Wright are not Ford Models' only new antipodian additions. 

Wright joined Ford a week ago after recently resigning from New York rival Elite Model Management. And she has taken a swag of Elite’s Australian highprofilers with her to Ford: Julia Nobis, Lauren Brown, Bambi Northwood-Blyth, Ruby-Jean Wilson and Emma Balfour, in addition to Canadian Kate King and American Hannah Holman.



all images: supplied to frockwriter by ford models

Catherine McNeil is a Kiwi

timo weiland's twitter

Catherine McNeil is one of Australia's best-known modelling exports. The winner of the 2003 Girlfriend Model Search, at age 14, McNeil debuted on models.com's prestigious Top 50 Women list at number 26 in early 2007, the year her international career was springboarded via covers of both Vogue Paris and the American V Magazine. But who knew McNeil also had New Zealand citizenship? Apparently not even some in her Australian mother agency, Chic Management, until frockwriter's phone call this afternoon enquiring about an image of McNeil that was just taken by New York-based designer Timo Weiland and published on Twitter. In the rather unflattering shot, a cigarette dangling from her lips, McNeil is holding what looks to be a bottle of Corona beer in one hand and a New Zealand passport in the other. The Brisbane suburb of Coopers Plains is clearly stated as her place of birth, which would give McNeil automatic Australian citizenship by birthright - although that said, due to changes to Australia's citizenship legislation in 1986, only if one parent was an Australian citizen or had permanent residency. According to Chic Management, McNeil's maternal grandmother is a Kiwi and McNeil's mother spent many years living in New Zealand. We await further information.  

But what of McNeil's modelling career?

We know she recently defected from Chic's New York affiliate Next Management to Ford (and sources claim she recently attempted to move back).

Yesterday British magazine Love Tweeted a much prettier image of McNeil (below), with the caption "Catherine McNeil is back!" - suggesting that perhaps McNeil may be about to be featured in an upcoming edition of the magazine. 
 
If Catherine McNeil is "back", then for the moment that is apparently news to some in the industry, notably models.com. Although by July last year, McNeil had risen to the world number 12 spot on MDC's Top 50 Women list, in the interim she has progressively slipped further down the rankings, only to be totally wiped off the list altogether in recent weeks. 


love magazine's twitter

 
Australian model-turned-actor-and blogger Tanja Gacic recently asked me if models are "fair game"

Gacic mentioned that she had first heard about frockwriter via the controversy arising over several posts which discussed the antics of several Australian models in their down time, out and about in nightclubs and at parties.

I assumed she was talking about posts such as this and this.

My response to Gacic: models are public figures. It is their choice to pursue high profile careers. This blog covers fashion news. Not all of it is going to be good. To quote a cliché, we don't make the news, just report it.

If you are a model and you going to allow yourself to be photographed off duty and you know that these images are destined for the public domain, then it's worth bearing in mind that they are likely to be scrutinised. And it's probably not a bad idea to think about your image. Because the prestige brands that you are hoping will pay you big bucks to be their ambassadors take theirs pretty seriously. 

Thursday, 2 June 2011

Robyn Lawley covers Vogue Italia

steven meisel for vogue italia via bella model management

When Australian Robyn Lawley recently landed the cover of ELLE France's 'curvy' issue, frockwriter mentioned that she had just been shot for the June edition of another, even more prestigious European title by one of the biggest names in fashion photography. They don't come much bigger than Vogue Italia and Steven Meisel. Congratulations to Lawley, who appears on the June 2011 cover of Vogue Italia (above, far right) with two other plus-sized models, Tara Lynn and Candice Huffine. Lawley, an Australian size 14, is also prominently featured inside the issue, in the remainder of the Meisel-lensed cover story (see another shot, below), but also in an only-girl editorial shot by Pierpaulo Ferrari (see further down for three behind-the-scenes images from that shoot, taken by Lawley). Lawley has more high fashion gigs on the horizon, having just shot with Max Doyle back home in Australia.  

steven meisel for vogue italia via bella model management

“It [the Vogue cover] just makes the last nine years of my life all worth it" says Lawley's mother agent Chelsea Bonner, the director of plus-size specialist agency Bella Model Management. "I could drop dead right now and I’d be so happy. I don’t know how I'm ever going to top it. It’s just a complete validation of what I've been trying to say for the last nine years: that curves and high fashion do work. And given the same opportunities as any other model gets, the result is just as beautiful, just as amazing, just as glamorous. To be given that sort of opportunity and for Robyn to blow it out of the water like she has, it’s proof that it can be done and it should on on a regular basis". 

Regarding Lawley's legs akimbo pose on the Vogue cover, according to Bonner, Meisel asked Lawley to sit (words to the effect), "How you would sit if you were a really powerful person".  

As for the flak prompted by Bonner's comments on our last Lawley post in April - when Bonner said she has yet to meet a size 22 woman who is healthy -  she notes, "I thought it was interesting that I’m not allowed to have an opinion when Bella is completely my opinion. The whole business is my opinion of beauty and what works and doesn’t work and what the market wants. So if anyone should be allowed to have an opinion, it should be me. We did have a lot of controversy over that and even on our Facebook page. But we had doctors, nutritionists and psychologists writing in and every single one agreed with my statement". 

all three images: pierpaulo ferrari for vogue italia, BTS shot by robyn lawley


But the body image issue appears to be gathering momentum at the high fashion title. 
 
In February last year, Vogue Italia launched a plus-size-dedicated microsite called Vogue Curvy.

Then in March this year, editor Franza Sozzani launched a petition to combat pro-anorexia websites. 

In a letter to readers on the Vogue Italia website, Sozzani noted [her bold type emphasis]: 
"I did some research and found that there are countless pro-anorexia websites and blogs that not only support the disorder, but also urge young people to be competitive about their “body shape”.

 
Vogue Italia, the magazine par excellence that deals with and promotes aesthetics and beauty, has decided to make use of its authority and its readers on the web (over one million of contacts per month), to battle against anorexia and collect signatures with the final goal of shutting such sites down.

Fashion has been always blamed as one of the culprits of anorexia, and our commitment is the proof that fashion is ready to get on the frontline and struggle against the disorder."
   
Underneath Sozzani's letter, Associazione Bulimia Anoressia founder Fabiola de Clerq added:
"It is of paramount importance to explain teenage girls that being skinny does not equal being perfect and to promote beauty standards which start from and are all about being healthy".


Frockwriter couldn't help chuckling after reading these mission statements. 

Ninety-nine percent of the time, of course, Vogue Italia's models are whippet-thin, many struggling to keep their weight down to satisfy the draconian requirements of the industry's top casting directors, photographers, designers, stylists and magazine editors.

And any model who dares put on a few pounds can expect to be shown the door. 


Wednesday, 1 June 2011

Right said TED


What a joy TEDxSydney 2011 was on Saturday. It’s the closest this journo has ever been to the TED experience and I was lucky enough to be invited along for the second year. For anyone unfamiliar with TED, the acronym stands for “Technology, Entertainment and Design” and it’s a US think tank that has been organised by the non-profit Sapling Foundation since 1984, throwing the stage over to thinkers, educators, visionaries or anyone, really, with “ideas worth spreading” - and just 18 minutes in which to deliver same. Launched in 2009, TEDx is a program of local, independently-organised events designed to provide a “TED-like experience”. Sydney retail pioneer Remo Giuffré, who has been attending TED since 1993, is the TEDxSydney licensee. So who knocked our socks off on Saturday? Twenty-four inspiring speakers and performers, from inventor Saul Griffith to astronomer Bryan Gaensler, geneticist Richard Cotton, conductor and educator Richard Gill, Consciousness Philosopher David Chalmers, historian Grace Karskens, avian behaviourist Josh Cook and Daniel Johns, who delivered an emotional performance with filmmaker collaborator Josh Wakely. 

We heard, among many other things, that an Australian astronomer invented wifi and that modern telescopes have 268 megapixel cameras; that 1% of the population in the west risks developing an inherited disease; that little-known 18th century letters have revealed that women played a surprisingly big role in early Colonial Sydney; that we have outsourced many brain functions to our smartphones and that macaws like shortbread. 

Check the TEDxSydney website later this week for videos of all the talks, if you did not catch the livestreams and the main TED site for more TED info, including a complete archive of TED talks. 

As with TEDxSydney 2010, Saturday's attendees were encouraged to put pen to message cube in the tea and lunch breaks. No unsustainable polystyrene cubes this time around however. In their place - a score of recycled cardboard boxes and little paper "bricks". 

Here is a selection of TEDxSydney 2011 breakroom wisdom.


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