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01-08-2011
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01-08-2011
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02-08-2011
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Love Magazine #6
The Art of Seduction
Photograpy Alasdair McLellan
Fashion Editor Katie Grand
Model Natalia Vodianova


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02-08-2011
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Part 3 of "Strangelove"


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05-08-2011
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Pop Fall/Winter 08.09
"Disturbia"
Model: Amber Valletta
Photographer: Sebastian Faena
Stylist: Katie Grand




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01-09-2011
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Vogue Italia Sept2011 "Archival Mix Match"
Photographer: SÝlve SundsbÝ
Fashion Editor: Katie Grand
Model: Daphne Groeneveld




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04-09-2011
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Quote:
Mackey also has to put up with Grand's ever-encroaching wardrobe, about which she feels 'very guilty'. A week before we meet, her assistant left, handing her a floorplan of their house so that Grand would be able to locate all her clothes.

Her bedroom and the entire second floor are taken up with an alphabetised archive, including 'a few' couture suits and coats from the 1950s and 1960s, shoes, bags, many pairs of jeans and 'a quite good collection' of army surplus and 'stuff from when I started shopping. I started buying Prada when I worked for them but I mean huge quantities.' A museum has requested to view parts of the archive, so at some point Mackey might be able to hang up his trousers.

It is the last week of July and we are in Love 's quiet offices in London. The rain is beating a torrent outside but the floor underneath Grand's desk is in full bloom with two huge bouquets of flowers. Grand is just back from a financial meeting with Condť Nast, the publisher of the magazine. 'We were very close to the bone with the budget on this issue and I just thought it better to tell people right before they go on holiday,' she says with a smile.

The publishers might have been expecting worse. At 432 pages the autumn/winter 2011 magazine is a humdinger. A paean to 'discipline, obsession & desire', it has, with typical Love perversity, come out twice: first in August with a set of covers featuring teenage actresses; and again this month (in time for the new round of fashion weeks) with a whole new set of supermodel cover stars - including Lara Stone and Kristen McMenamy - wearing nothing on their faces except moisturiser and their own tears. 'Kristen was like, "Oh God, really? I'm 47,"' says Grand. 'But, well, they're all quite good-looking women, aren't they?'

Other glossy editors might reel in horror at the idea of a make-up-free cover star, but controversy has almost become a covenant at Love . 'People say we do things for attention. But I didn't want a big story for this cover,' she explains. 'I just don't think you can have Beth Ditto naked or Kate Moss snogging a tranny in every issue.'

In photographs of her at fashion shows or at parties, Grand toys with an iconoclastic look, dressing in directional straight-off-the-catwalk pieces, fluorescent knitwear by Giles, or oversized bows planted amid untidy brown curls, her gappy teeth dissecting a cheeky grin.

Today, in ankle boots by Junya Watanabe, a navy dress (and socks) by Comme des GarÁons and a blue buttoned-up Marc Jacobs shirt, with her hair scraped back in a ponytail, she is headgirl neat. It's a look reminiscent of Prada's current collection but it also nicely reinforces her description of herself as a swot.

'Properly a swot,' she adds in case I don't believe her, but of course I do. She is a former Blue Peter badge-winner, after all, and you don't get courted by swanky publishing companies or hired by the likes of Miuccia Prada, Giorgio Armani and Gucci simply by rocking your wacky headgear in the right places.

Apart from a big pink plastic bobble keeping her hair back, a collection of girly rings are her only accessories. 'Nanny-gran's engagement, great-granny's engagement ring,' she says pointing to the stones on her right hand. 'Nanny-gran died last year but I asked for her jewellery when I was seven so I'd waited a long time…'

Confident, considered in her answers, Grand is also matey and more than ready to laugh at herself or exaggerate her Brummie accent for comic effect. Although her magazine is a forum for, among other things, intellectualising fashion, there's no pretentiousness about Grand. When I ask her how the season begins for her and Jacobs, expecting some extravagant response, she says laconically, 'Well, Marc and I will sort of BBM each other… He'll say, "What are you thinking?" And I'll say, "Dunno. But I quite like white..."'

Grand was born in Leeds and grew up in Birmingham, raised by her father after her mother left. It was he who bought her the magazines that opened up a whole new world of style to her. She wanted to be a fashion editor from the off. 'Your Diana Vreelands, your Polly Mellens, your Grace Coddingtons, I was aware of all of them.'

After school she went to Central Saint Martins in London but dropped out in her second year to start the magazine Dazed & Confused with her then boyfriend, the photographer Rankin. 'You get to the point with education when you realise you could be doing this for real rather than pretending to do it,' she says. 'It's probably much worse now. You know, nine grand tuition fees?'

Dazed & Confused became one of the most authoritative style magazines of the 1990s and brought her to the attention of the big fashion houses. She moved on to The Face and in 1998 she and her great friend Giles Deacon made it to the big-time when they were asked to head up the Italian fashion house Bottega Veneta. 'We couldn't believe they were paying us to do it,' she says.

She has worked closely with designers ever since. Surprisingly, she says what she mostly offers them is 'sympathy'. 'There's a very big team of people and a lot of money being spent on getting those collections together. If you're working with a new client you can't just come in and rip it apart. As a stylist or a consultant you're just there to help. It's the designer who has to come out at the end of the catwalk and take responsibility.'

That responsibility is not a light one. 'Fashion is an art and it's the only art where you have to produce something to a schedule that isn't your schedule,' she says. 'Much as record companies would like Adele to put out another record next year, that's up to her.'

She points out that the workload of designers has doubled recently with the introduction of two extra collections - pre-fall and resort - between those of spring and autumn. 'That's a phenomenal amount of work even with the best teams in the world. You're still looking at everything and you're still involved in every part. You're still checking whether you like the heel on a shoe or should it be a platform? Those decisions come down to you. Also, it's not your money, so ultimately you're beholden to a company that needs to keep its profits up.'

The pressure this puts on designers is obvious, she says. 'I don't know John Galliano but when he started out it was all completely different. He probably didn't ever think he'd be dealing with handbags or jewellery. I mean, his college collection was a load of twigs in the hair; that was as far as it got.

'I'm not saying what happened was right,' she continues, referring to the alleged anti-Semitic remarks that saw Galliano fired from both Christian Dior and his own label. 'That obviously is a separate issue. I'm just saying it can't have been easy being him. It's taken Marc [Jacobs] quite a long time to… enjoy it, almost. He's got his head in a place where he can deal with the pressure and [knows] how to get through it. Lee [McQueen] obviously didn't, which is a great shame. You just end up thinking if things had been different maybe that wouldn't have happened.'

Consequently she says her job is to remind designers that what they do is 'supposed to be fun'. The night before a show you'll find her making sure shoes fit, handing Carmen Kass a glass of champagne when she comes in, playing the right song at 3am when everyone's flagging. 'They've all been working a lot harder than you have and this has gone on for months,' she says. 'I just come in and out. I have the nice bit.'
telegraph.co.uk

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06-09-2011
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Quote:
INDEPENDENT WOMEN: KATIE GRAND

The editor in chief of Love talks fall fashion, working with Marc Jacobs and a seven-in-the-morning champagne sipping Kate Moss.

The gap-toothed editor in chief of the English glossy Love, Grand has worked with and styled for the coolest brands and magazines of note ever since she studied at Londonís Central Saint Martins alongside the likes of Giles Deacon and Stella McCartney. Marc Jacobs counts on the Dazed & Confused and Pop alum to work her runway magic on Louis Vuitton season after season.


Harperís Bazaar: I think of Love as being very independent, but itís also Condť Nast. Do you ó or Condť Nast ó think of the magazine as an indie title?

Katie Grand: Just because of geography. We have a separate office; weíre in Clerkenwell. They think weíre miles away from them, but actually itís only a 20-minute walk. But that somehow ... itís quite metaphorical, really. I think of ourselves as being quite separate but also very much a part of, if you know what I mean. Iíve done a combination of independent magazines and then magazines with big companies for most of my life. Thereís not that much difference between when I worked on Dazed & Confused and now. Iíve put my Web site together, and itís everything Iíve ever worked on. I look at stuff I did in í95, í96, and itís pretty familiar ó quite shockingly so. You think youíve moved on quite a lot in your life, and then you look back at your work and think, Thatís amazing; Iíve done that for a long time.

HB: You consult for brands as well and style several shows, including Louis Vuitton. How do your outside projects feed into your magazine work?

KG: There is something that is an amazing education when you spend three weeks solid every season with someone like Marc Jacobs or Miuccia Prada or any of the great people Iíve worked with. To be involved so closely in the design process is a huge luxury. I think it teaches you so much about clothes and industry and commerce and fabrics; itís just not something that you would ever learn sitting behind a desk. Itís a huge experience and an aid to working on a magazine. It doesnít really matter who youíre working with. Just to spend three weeks thinking so intensely about silhouette or a skirt length or a heel proportion or a head proportion compared with a skirt proportion. When you work on a magazine, you donít have the luxury to do that.

HB: In terms of shows, did you have any favorites of the fall season?

KG: I loved Rick Owens; I thought that was really fantastic. I wish Iíd been there. I loved Vuitton; I wish Iíd been in the audience and had been to bed the night before. I thought Prada was really beautiful and gorgeous, and itís really great now that itís in the stores and you can buy it. Thatís quite exciting. I loved Meadham Kirchhoff; I thought that was fantastic. I wish Iíd seen that.

HB: Iím sensing a theme.
KG: I obsessively look at everything on style.com.

HB: Any favorite moments?

KG: Itís hard because generally my favorite moments are ones that have happened backstage. Carmen [Kass] and Kate Moss drinking champagne at seven oíclock in the morning before Vuitton was a moment. It was so surreal. It was like going back to the í90s.

HB: People now obsess about what editors are wearing. Does that affect the way you present yourself at shows?

KG: I tend not to think about it so much. I mean, you kind of know that itís not a Sunday in the park, is it? Youíre definitely more on show than if you are just trotting around East London. I still donít wear makeup. I tend to put a pair of heels on if I know thereís a photographer around, but other than that, Iím pretty low maintenance. If Iím making an effort, Iíll put on a bit of Azzedine [AlaÔa] because you donít have to do much. You put the dress on and [it] does all the work for you.

HB: Who is fashionís most independent woman?

KG: I would say it would have to have been Issie [the late Isabella Blow]. Issie didnít work in commerce. She didnít dress to have her photograph taken. And I donít think you can say that of many people. I donít think you can say that of anyone whoís working in fashion at the moment. Everyone is really aware of what theyíre doing with their careers and of how they look. And I think Issie didnít really care about it either, which I think is true independence.
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07-09-2011
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23-09-2011
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VOGUE JAPAN NOVEMBER 2011

Movement And Shape

Nyasha Matonhodze by SÝlve SundsbÝ
Styled by Katie Grand



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04-10-2011
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Quote:
Originally Posted by tarsha View Post
VOGUE JAPAN NOVEMBER 2011
Full ed
Movement and Shape
Photographer: Solve Sundsbo
Stylist: Katie Grand
Model: Nyasha Matonhodze
Hair: Samantha Hillerby
Make-Up: Miranda Joyce





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12-10-2011
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Love #4 Fall/Winter 10.11
"Baby It's You"
Models & Stars: Lara Stone, Ana Beatriz Barros, Rosie Huntington-Whiteley, Alessandra Ambrosio, Eliza Cummings, Sienna Miller, Anne Vyalitsyna, Ashley Smith, Alexa Chung, Noemie Lenoir, Devon Aoki, Barbara Palvin, Emily Didonato, Cameron Russell, Carmen Kass, Julie Ordon, Claudia Mason, Tori Praver, Magdalena Frackowiak, Kirsty Hume, Ilvie Wittek
Photographer: Angelo Pennetta
Stylists: Katie Grand, Victoria Young & Sally Lyndley
Hair: Paul Hanlon, Shon, James Pecis, Esther Langham, Samantha Hillerby & Chin Wong
Makeup: Miranda Joyce, Lucia Pica, Sally Branka, Osvaldo Salvatierra & Ayami Nishimura
Manicurist: Sophy Robson



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Vogue Russia September 2010
"For Work"
Models: Ana Beatriz Barros, Alessandra Ambrosio, Noťmie Lenoir, Abbey Clancy & Claudia Mason
Photographer: Willy Vanderperre
Stylist: Katie Grand
Hair: Didler Malige
Makeup: Charlotte Tilbury
Manicurist: Mike Pocock




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Vogue Russia May 2010
"Love Match"
Models: Alessandra Ambrosio, Simon Neesman & Oksar Tranum
Photographer: Alasdair McLellan
Stylist: Katie Grand
Hair: Luke Hersheson
Makeup: Miranda Joyce



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