159 posts tagged "Kate Moss"
Visionaire’s latest book, Issue 63: FOREVER, comes out on May 11. And this year, the project has been underwritten by G-Shock—the watchmaker known for its durable timepieces. What’s the tie-in, you might ask? Visionaire’s avant-garde edition is rendered entirely in metal, and features images by artists and fashion designers that have been either hammered or laser-etched into 9 x 12 inch plates. Thus, both the timepieces and the tome are, in essence, everlasting.
“The word indestructible is the catalyst—if G-Shock does the indestructible watch, we want to do the indestructible publication. It was a nice, tight concept,” said Cecilia Dean, Visionaire’s cofounder and editor in chief. G-Shock, who’s celebrating its thirtieth anniversary and a recent store opening in Soho, liked the pitch and came on board to sponsor the inevitably “expensive” production
The idea for an all-metal issue was spawned during Dean’s time spent with Givenchy’s Riccardo Tisci, while working on Visionaire’s Issue 60: RELIGION. “In religious iconography, there’s all this incredible metalwork, the metal on the altars, gold painting—it’s just so beautiful and rich,” said Dean, adding, “I have to say, it’s so funny, everything goes back to Riccardo—a big inspiration was also the Jay-Z and Kanye West album cover he designed,” referring to 2011′s Watch the Throne.
FOREVER features everyone from a nymph-like Kate Moss, shot by Mario Testino, to a Karl Lagerfeld-lensed in-the-buff Baptiste Giabiconi, to a suggestive Lady Gaga snapped by Inez & Vinoodh, to Linda Evangelista ringed in light by Maurizio Cattelan and Pierpaolo Ferrari. “It’s Linda as a saint, basically,” said Dean.
To commemorate the coupling, G-Shock will open a mini-retrospective of Visionaire’s past (above) in its downtown outpost tomorrow. The exhibition runs through the end of May.
While many of her contemporaries have lightened up on the modeling game, or taken to hosting reality TV, Kate Moss is snagging headlines left and right. For starters, she’s in a slew of Spring campaigns (Versace, Givenchy, Stuart Weitzman, and Rag & Bone come to mind). She made waves with her recent covers for Love magazine (she appeared nearly nude in a bathtub), and W‘s March issue (conversely, she was styled like a white lace-clad madonna), and closed out Paris fashion week with a surprise strut down Vuitton’s sultry Fall '13 catwalk. And today, the model sent the Twittersphere abuzz after she read a passage of Fifty Shades of Grey on pal Nick Grimshaw’s UK radio show. (It was all in the name of charity, apparently.) We’re always wary of ubiquity, but somehow, Moss makes it work for her.
Fashion saves the best for last, and Paris is usually where the magic happens—both in terms of creative collections and memorable modeling moments. This season, the city definitely delivered. Case in point: Kate Moss closing Louis Vuitton on the final day of shows. She’s done it before, and she’ll probably do it again, but a Moss runway appearance is always major. The rest of the Vuitton cast didn’t disappoint, either. Edita Vilkeviciute, Eliza Cummings, Georgia May Jagger, Isabeli Fontana, Jessica Hart, and Maryna Linchuk were a few of the other familiar faces on Jacobs’ catwalk. Earlier in the week, Riccardo Tisci brought in some of his favorite ladies, including Natalia Vodianova, Mariacarla Boscono, and Erin Wasson, to parade his electrifying lineup for Givenchy. Fall ’13′s freshman class of models also ended the month with a bang. Forget New York, London, and Milan. For newcomers looking to make an impression (read: land ad campaigns), Paris is the one city that really counts. Many of the girls we’ve had our eye on since the beginning kept the momentum going in France. Sam Rollinson finished out with sixty-two shows; Sasha Luss (lower left) ended with fifty-seven; Chiharu Okunugi totaled fifty-four; and Katya Riabinkina (upper left) did forty-seven. Amanda Murphy, who bookended Prada, turned it up a notch this week, too, walking nine top-tier shows, including Dries Van Noten, Lanvin, Dior, Stella McCartney, and Chanel. Meanwhile, we’ve also got our eye on Elise Smidt (upper right), who opened Chloé and Sacai and turned up at Valentino, Vuitton, and Miu Miu; and Elisabeth Erm (lower right), who started out relatively slow in New York but made all the right moves toward the end (Balenciaga, Chanel, Dior, Givenchy, Giambattista Valli, and Valentino). Keep an eye out for these faces in the coming months’ editorials. We have a feeling they’ll appear on more than a few pages.
After twenty years in the jewelry biz, TenThousandThings’ David Rees and Ron Anderson have a lot to be thankful for. The pair got their big break in 1993, when Kate Moss donned their signature cross pearl earrings in her now-iconic Calvin Klein ads. (Not a bad start, eh?) Since, the designers have racked up a seriously star-studded clientele that includes Julianne Moore, Cyndi Lauper, Christy Turlington, and Susan Sarandon. And they’re using their twentieth anniversary to show their patrons some gratitude.
Over the past two years, Rees and Anderson have worked on a multifaceted project they call Love & Adorn, for which they crafted a collection of one-of-a-kind precious and semiprecious wares inspired by their favorite customers. Inez & Vinoodh photographed sixteen of TTT’s clients, such as Freja Beha Erichsen, Kristen Stewart, Olivier Theyskens, and ballerina Heather Watts, wearing the anniversary range, which is up for auction on CharityBuzz.com through February 27. One hundred percent of the proceeds from each piece will be donated to the wearer’s charity of choice (the True Colors Fund, Doctors Without Borders, and Every Mother Counts among them). “The people who have supported us throughout the years are very important to us. Our way of celebrating our twentieth was to honor their patronage by supporting something they really care about,” said Rees. As for how Inez & Vinoodh got on board, Rees admits it was all Ms. Moore’s idea. “Julianne was the first person I spoke to who absolutely wanted to be involved, and when I asked her who she wanted to be photographed by, she said, ‘Inez & Vinoodh!’ I just thought, Oh God, how am I going to get them?” Lo and behold, Rees’ friend Lisa Immordino Vreeland introduced them at a dinner party. “They said yes in a second, because they’re cool and incredibly generous.” Continue Reading “TenThousandThings Pays It Forward” »
What determines the feminine ideal? Mannequin—Le corps de la mode (“Model: The Body of Fashion”), the latest of Paris’ Musée Galliera’s off-site exhibitions, aims to find an answer. The show, which runs from February 16 through May 19, examines why trends like wasp waists, swan necks, or 5′ 11″ frames (à la Karlie Kloss) have driven women’s aesthetic aspirations since the first models replaced store mannequins in late-nineteenth-century Paris.
Curator Sylvie Lécallier sifted through fashion magazine illustrations, photographs, and videos to chart the jump from one fashionable body type to the next: the twenties knock-kneed flappers, the sixties childlike Courrèges girls “sans hips, waists, or breasts,” the eighties power women who were captured in Helmut Newton’s “Big Nudes,” and beyond. The show includes photos of the earliest It girls, like a series of Nelly Martyl, a star of Paris’ Opéra Comique in the 1910s. She was one of the first stars to be featured as a model in the era’s top fashion magazines. Also on display are iconic images like Corinne Day’s 1990 shot of a topless Kate Moss, Juergen Teller’s 1996 photo of a nude Kristen McMenamy (she has “Versace” painted on her chest inside a red heart), dark surreal works by Guy Bourdin, and more. Continue Reading “Fashion’s Figures: Then And Now” »