Showing posts with label steven meisel. Show all posts
Showing posts with label steven meisel. Show all posts

Thursday, 1 December 2011

The high Low

chic management
Twenty-two year-old Brisbane-ite Angus Low may prove extra popular on the international circuit, once any runway colleagues suffering from back pain twig that he doubles as a physio. Low graduated last year from the University of Queensland with a Bachelor of Physiotherapy Studies – and was awarded the Dean’s Commendation for academic excellence – and has been working full-time at a private Brisbane hospital. Modelling part-time for the past two years, prior to June 2011, the biggest name on his modelling CV was the Mercedes-Benz Brisbane Fashion Festival. Enter the Spring/Summer 2012 menswear season in Milan and Paris and Low can now add shows for Lanvin, Prada, Yves Saint Laurent, Costume National and Raf Simons. And we can add his name to a bulging Aussie male model pack that is headed up by Andrej Pejic, Tom Bull, Jordan Coulter, Jack Vanderhart and Jordan & Zac Stenmark. Although Low's SS12 show season transpired under the publicity radar back home, evidently he made quite an impression because two months ago, his Brisbane mother agency Dallys tells frockwriter, he shot Lanvin's SS12 menswear campaign in New York with Steven Meisel, two other male models - and a bunch of snakes. Then last month in Paris, he shot Lanvin’s SS12 eyewear campaign with Stéphane Gallois. Low has just given up his day job to pursue modelling full-time. 



Founded in 1950 by June Dally Watkins, Dallys Model Management claims to be the oldest model agency in the southern hemisphere. 

Dallys was the first agency to sign Catherine McNeil and Nicole Pollard, among many others and repped Miranda Kerr from the age of 13-18, before she moved to Sydney and signed with Chic Management (which also reps Low, McNeil and Pollard). 






all images: chic management

Monday, 31 October 2011

The fashion commute

steven meisel via vogue.it
In one of those amusing art-imitates-life scenarios, the ever-creative Vogue Italia released a preview of its November cover story overnight. A 26-page fashion editorial lensed, of course, by Steven Meisel, 'The A train' depicts supermodel Raquel Zimmermann commuting on the New York subway, whilst kitted out in various luxury brand finery and flanked by a cast of black-suited salarymen. Anyone familiar with Australia's annual Melbourne Cup Carnival will be reminded of very similar scenes on Melbourne's Flemington Racecourse Line at this time of year. At time of writing, the latter is in the process of delivering a hefty percentage of the 100,000 that are expected to attend today's Melbourne Cup - just with a much higher volume of women in hats. Whilst the traditional dress code for Derby Day is black and white (ignored on Saturday by, among others, Dita Von Teese), for the Melbourne Cup, the so-called 'race which stops a nation', it's more of a no-holds-barred fashion approach. 














all images: steven meisel via vogue.it

Tuesday, 28 June 2011

"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

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. 


Monday, 29 November 2010

Tom Ford recommends a head job with that boob job

tom ford for vogue paris via fashion_screen

In the much-hyped, Tom Ford-edited December 2010 edition of Vogue Paris, which is out tomorrow, Ford tackles the subject of cosmetic surgery with an eight page editorial called La Panthère ose (which translates as “the panther dares” - a play on the French version of the film title The Pink Panther). Starring the world’s most high profile plus size model Crystal Renn, the editorial was shot by Ford and styled by editor in chief Carine Roitfeld. Yes, cosmetic surgery makes an interesting editorial backdrop for any fashion magazine, considering that such magazines stand accused of only ever showcasing unrealistic – and frequently digitally enhanced – images of female “perfection” that prompt feelings of inadequacy in “normal” women and lead them to eating disorders and cosmetic surgery. But it is not the first time this has been done. The July 2005 edition of Vogue Italia featured an 80-page cover
story by Steven Meisel called Makeover Madness. Shot inside a medical equipment rental facility and a suite at the St Regis, the story depicted Linda Evangelista and eight other models before, "during" and after staged procedures (complete with fake blood). It's interesting to compare the two editorials. 

The 2005 story (here) depicts nose jobs, breast augmentations, liposuction and blepharoplasty or eyelid surgery, male doctors and female nurses. 

The 2010 version (above and below) depicts exactly the same procedures, minus liposuction - and two male attendants in the place of the doctors and nurses. 


One could speculate that Vogue Paris deliberately omitted liposuction from this story because of the body image debate that has been raging since 2006, following the deaths of several models from eating disorder-related conditions. And it would defeat the purpose, surely, of having a plus-size model in the editorial? Unless that's a shadow on Renn's leg in image four, however, we would put money on her thigh having been airbrushed by the magazine. 

Renn has revealed that she wore a prosthetic mask in some pictures – presumably those showing her with grotesquely overinflated lips and acutely chiselled cheekbones. The kind of cheekbones frockwriter has spotted on more than one high profile twentysomething model.

There is one interesting addition to Ford’s cosmetic surgery story: sex.


In one shot, Renn's character appears to be on the receiving end of some oral pleasure from one model - with her left arm dangled around a second male model, who looks barely legal - while casually sipping Coke from a straw in one hand and channel surfing with the other.

Many will no doubt find Ford’s post-op cunnilingus proposition - which all looks very consensual, save for the fact that the patient requires assistance to walk and shower and would most likely be on heavy duty painkillers - funny. The score of women who claim to have been indecently assaulted by cosmetic/plastic surgeons while under sedation probably won't be amongst those laughing. Nor indeed, any date rape victims.


Another image in the series (second from the end) is ambiguous. Renn is lying in the lap of one model, who is holding an ice pack to her forehead, while the other leans over her suggestively. The latter is holding her waist with one hand, while "administering" Chanel No 5 - either orally or perhaps as a substitute for an Amyl Nitrate "popper", a hugely popular drug in the gay mens' scene.  
 
Ford aims to be controversial. After all, he is in the process of making his big comeback in women’s fashion. Besides, he has never shied from controversy, either with the advertising imagery for Gucci or more recently, through the advertising campaigns for his own brand, notably the mens’ fragrance campaign shot by mate Terry Richardson. The duo team up again in this issue of Vogue Paris in a western-themed editorial called (what else?) Pussy Western, starring Renn once again, opposite Abbey Lee Kershaw and Eniko Mihalik.
 

Interestingly, Ford's cosmetic surgery story coincides with the publication of The Daily Beast’s roundup of some of the new, far less invasive cosmetic surgery procedures that are currently being hailed by various US cosmetic and plastic surgeons as having "revolutionised" their practices.

They include skin resurfacing machines that some claim have eliminated the need for upper and lower eyelid surgery and fillers that have reportedly proven to be so effective they are replacing some nose jobs and the traditional facelift – with one plastic surgeon describing the latter as “an outdated insane operation”.






all images: tom ford for vogue paris via fashion_screen

Wednesday, 3 November 2010

In Vogue (and not much else): Andrej Pejic

vogue italia/z fashion blog via TFS
After his Vogue Paris debut in August, frockwriter hinted that upwardly mobile Australian model Andrej Pejic was due to appear in an equally prestigious international title. Well that title is Vogue Italia, for which Pejic (right, above) was shot by legendary lensman Steven Meisel alongside a stellar female cast - Freja Beha Erichsen, Iselin Steiro, Iris Strubegger and Alla Kostromichova - in addition to two other male models with long hair and feminine features, Michael Tintiuc and Tomek Szczukiecki. Called Venus in Furs, the provocative editorial, which was styled by Karl Templer, depicts 19 year-old Pejic and co rolling around on a bed in a kind of androgynous Bacchanalian orgy wearing fur, leather boots and gauntlets - and not much else. A shot of Erichsen and Steiro made the cover (below). Go to the Z Fashion Blog to see the complete set. Tomorrow's launch of November Vogue Italia comes three days after the arrival of the December issue of Vogue Turkey, which also features a Pejic editorial. For the latter, Pejic was shot by Matthew Brookes alongside lookalike Czech model Jana Knauerová, who is styled as a boyish girl to Pejic’s girlish boy, in a story called, you guessed it, Androjen

Compatriot Catherine McNeil made the cover of Vogue Paris in early 2007, a matter of months after venturing overseas. Miranda Kerr and Abbey Lee Kershaw, of course, both now at the top of the industry, have been no strangers to the Vogue masthead this year. 

But frockwriter can't think of any other time that a new Australian model has been so heavily showcased in multiple international editions of the world's best-known fashion magazine brand in such a short space of time. Can you?



  


















all images: steven meisel for vogue italia, scanned by z fashion blog