20 posts tagged "LOVE"
June’s widespread rumors are true—Kate Moss will cover the 60th anniversary issue of Playboy, and word on the street is that Mert & Marcus have already shot the feature. “It’s natural for us,” Hugh Hefner told the Los Angeles Times. “She’s a worldwide celebrity and iconic and crosses the boundaries from sexual imagery to upscale modeling.” Indeed, after seeing Moss’ sultry Spring Versace ads, that pinup-worthy spread in last November’s Vanity Fair (left,) and that saucy Spring Love cover of her swooning in a bathtub, we don’t think Playboy is too big of a stretch.
If the Fall ’13 campaigns and Spring ’14 runways have left you craving more surprise appearances from nineties supers (Christy Turlington starred in Fall ads for Calvin Klein Underwear, Jason Wu, and Prada; Naomi Campbell strutted her stuff down DVF’s Spring runway; Kate Moss was printed across Giles Deacon’s Spring dresses, etc.), look no further than Katie Grand’s latest Hogan short for your next fix. To showcase her Spring ’14 collaboration with the label (the third installment of the ongoing series), Grand asked Dan Jackson to direct a film featuring Linda Evangelista and Stephanie Seymour, as well as Joan Smalls, Sam Rollinson, Edie Campbell, Georgia May Jagger, Liu Wen, and more, dancing about in the new collection. As for the Spring range, it boasts soft leather jackets and accessories kissed with Grand’s signature Pop aesthetic. The lineup, which Grand describes as “slick, sexy, straight-to-the-point practicality,” includes stark white creepers, polka-dot pouches, slim stilettos, and duffel bags and iPhone cases embellished with the collaboration’s heart motif—a nod to Grand’s Love magazine. See it all in the flick’s exclusive debut, above.
It’s been five years since Katie Grand put a naked Beth Ditto on the first cover of Love magazine. “I had a lot to prove,” said the editor in chief of her early days at the publication. Now, after a slew of infamous stars (Kate Moss, Lea T, and Justin Bieber among them), Grand has selected a less likely face for her tenth issue—Minnie Mouse. “I wanted to do something that was sweet and charming, and Minnie was quite easy to understand,” she explained. Dubbed the Sweetie Issue, the Fall ’13 edition also features Mert & Marcus-lensed covers with Edie Campbell, Rosie Huntington-Whiteley, Chiharu Okunugi, and Cara Delevingne—each of whom don custom mouse ears by Gucci, Loewe, Marc by Marc Jacobs, Miu Miu, or Jake and Dinos Chapman for Louis Vuitton. Inside, Miuccia Prada makes her modeling debut, Tim Walker snaps a lion, Mert & Marcus pose for a smooch with everyone’s favorite rodent (below), and Marc Jacobs interviews Jessica Lange. Just before running into Jacobs’ Paris studio, Grand called Style.com to talk kitsch, her demanding persona, and Delevingne’s shoot, which the model did on no sleep and sans makeup.
You’ve had everyone from Beth Ditto to Kate Moss to Lea T on your cover. Which has been most significant for you?
From the minute I started talking to Condé Nast about working together, I knew that I wanted Beth on our first cover. I just didn’t really care about what anyone said. When Beth, who had never met Mert & Marcus, arrived at the Chateau Marmont, where we were photographing, she ran in completely naked and said, “I’m here!” And I was like, “Yeah, good for you. You are everything that I want you to be.” She was perfect for that project.
Cara Delevingne, who has become sort of a Love fixture, is on one of the Fall ’13 covers. What draws you to Cara, and what makes her such a sensation at the moment?
I think she is a really nice, very sweet girl. She will travel across the Atlantic to do anything for me. I love that for this shoot, she actually hadn’t been to bed. It was the day after her DKNY party, so I was a little nervous about having booked her. I just thought, Oh, my God, this poor thing, she’s got to have this massive party, and then she has to come to work for the cover. Usually you don’t see Cara for the first couple hours of a shoot because she has very cleverly hidden herself under a table to sleep somewhere. But this time, we managed to get her hair done, and then we immediately pulled her in front of the camera without makeup. She literally didn’t even have base on, she hasn’t been to bed, and, you know, that’s a thing that you can do when you’re 21. And it’s great. Continue Reading “Katie Grand Is Still in Love” »
In gritty 1980s London, John Galliano was wrapping up his studies at Central Saint Martins, Leigh Bowery was hosting pansexual club nights, and Nick Logan launched The Face. It was a time of unencumbered experimentation—sartorial and otherwise. And it was during this era that stylist Ray Petri—the man responsible for the anti-glam Buffalo movement—emerged on the scene. Petri (formerly Petrie) laid the bricks for the eclectic British fashion scene of today. His editorials, which set the tone in magazines such as Arena, i-D, and the above-mentioned The Face, pictured rough London teens in unexpected combinations of high fashion, tough workwear, athletic clothes, underwear, vintage, and beyond. He created not only a look but an ideology that was universally recognizable. And now, the iconoclast—who died of AIDS in 1989—is getting a magazine named after him.
Founded by Zadrian Smith—a London-based writer, stylist, and producer who’s worked with such publications as Tank, Love, GQ Style and British Vogue—PETRI(E) Inventory 65 (the stylist would have turned 65 this year—published annually, the numbers will bump up accordingly) seeks to breathe new life into Petri’s legacy. Aiming to channel the man’s uncompromising, unfiltered vision, PETRI(E)’s editorial array extends far beyond fashion. The debut issue offers an ode to Petri by British Vogue’s Francesca Burns, a photo essay by Saiful Huq Omi that lenses the hope and strife within Bangladesh megalopolis, Dhaka (above), and an essay by Valerie Steele on her upcoming exhibition, Queer History. “I think there’s a vulnerability and honesty to each piece that I hope readers will appreciate,” Smith told Style.com. Also included is an editorial titled “Melody of Caged Birds,” (above, right) which, featuring Meadham Kirchhoff’s designs, serves as a visual antidote to the suppression of raw creative impulse. “Don’t get me wrong,” said Smith, “I know fashion is a business, but there needs to be a greater balance of business and creativity. At this rate, fashion will bleed itself of organic artistry.”
PETRI(E) Inventory 65 launches on May 20, and is available for preorder here.
You can’t miss a Panos Yiapanis photograph. Since beginning his career in the late nineties—working alongside photographer Corinne Day—the 38-year-old stylist has honed a dark, gritty, raw-to-the-bone aesthetic that is distinctly his own. His particular vision has led to a longstanding creative relationship with Rick Owens, as well as countless spreads in such magazines as i-D, W, and Vogue Italia shot by the likes of Steven Meisel, Inez & Vinoodh, and Mert & Marcus. To add to his accomplishments, last week, Katie Grand tapped him to become Love‘s fashion director-at-large. Here, Yiapanis talks to Style.com about the new gig, the state of fashion, and staying true to his look.
Why did now feel like the right time to join a magazine?
I feel like I’ve come full circle in terms of what I do. I’ve kind of been nomadic, which is putting it nicely. I’ve been a gypsy, going from one magazine to another. I feel like I’m back to where I was aesthetically when I first started out in terms of what I want to say, so having this position now gives me a new way of conveying that message. When I first started out, a lot of what I did was very personal and I had evolved away from doing that. People would say, “Well, maybe that’s a little too creative for us,” so I started to clean up what I did, which didn ‘t work for me. I’m happier doing what I enjoy, so it felt right to go back to my messier aesthetic.
How do you balance art and commerciality?
I don’t think you have to. I always argue that the best results are when both of them are at their height. I always yap about the nineties, when brands were willing to put out campaigns that captured the spirit of the brand as opposed to the product. That seems to have gotten lost somewhere along the way. So I don’t think creativity and commercialism are mutually exclusive. I honestly think they’re best when they both collide. But that doesn’t seem to be a thought that’s shared widely right now.
Your aesthetic is usually described as dark and moody. Do you feel that’s accurate?
It’s funny because when the Love announcement was made, I saw this tweet that said, “Love just got darker.” And I don’t know if that’s necessarily true; maybe I just got a bit brighter. There is a darkness to what I do, but it’s never macabre or unpleasant and I always try to adapt to the situation. The clients I’ve worked with vary from pure brands like Calvin to flashy brands like Cavalli. And I enjoy that diversity. I enjoy sitting in a room full of embroidery and fur and gold trimmings one day, and then going into a different setting the following day where it’s all about stripping things away. Love is a very positive publication. So on the one hand, it kind of works to go against that and give it another voice, but at the same time, I’m not going in there to paint the walls black. Continue Reading “Back to the Dark Side: Panos Yiapanis on Love and His Creative Evolution” »