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13-12-2006
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VogueUK July1999
Model: Liisa Winlker, Frankie Rayder.
Photographer: Mario Testino.



VogueUK Abr1998
Model: Angela Lindvall.
Photographer: Mario Testino.



VogueUK March1996
Model: Carolyn Murphy, Chandra North.
Photographer: Mario Testino.



VogueUK Oc1996
Model: Laura Ponte, Christina Kruse, Esther De Jong, Kyle Bax.
Photographer: Mario Testino.




VogueUK July2001
Model: Erin Wasson, Delfine Bafort.
Photographer: Mario Testino.



VogueUK Oct2004
Model: Elle McPerson.
Photographer: Mario Testino.



VogueUK March1995
Model: Linda Evangelista.
Photographer: Nick Knight.



Source: PC Arxhive ,thanks: MODA, BlueFunk ,FashionNow.

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13-12-2006
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^ Wow! Tribal Trance is a visual feast! Such sumptious colours :p
Thanks testinofan!

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13-12-2006
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VogueUK Sept1999
Model: Erin O'connor, Karen Elson, Jade Parfitt, Sunniva Stohrdal.
Photographer: Mario Testino.




VogueUK 1995
Model: Salom Harlow, Karen Mulder, Carla Bruni ( Backstage photos )
Photographer: Mario Testino.



VogueUK July1995
Model: Stella Tennant.
Photographer: Mario Testino.




VogueUK Sept2003
Model: Natalia Vodianova.
Photographer: Mario Testino.



VogueUK Sept1994
Model: Nadja Auermann.
Photographer: Mario Testino.



VogueUK Dec2005
Model: Gwyneth Paltrow.
Photographer: Regan Cameron.


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13-12-2006
  49
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Thanks testinofan
I love seeing all the editorials from the 90's!

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13-12-2006
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Quote:
Originally Posted by peppi
Thanks testinofan
I love seeing all the editorials from the 90's!
Of wellcome peppi and 1Karina1, soon more

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14-12-2006
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This is a piece from British Vogue in which 3 fashion editors were given a parka and a model to create their own distinctive looks.
See Lucinda and her look in the top right-hand corner...


source: scanned by me

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14-12-2006
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This thread is just amazing, I love seeing all the old eds that are so hard to find. Like Linda as a blonde!!love itThank so much

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27-12-2006
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Quote:
Originally Posted by peppi
Vogue uk
Through a glass darkly
Photographer: Paolo Roversi
Model: Natalia Vodianova
hfgl
Could anyone tell me which year & month that Vogue UK editorial (#43) is from? Thankyou

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27-12-2006
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Quote:
Originally Posted by tiffany
Could anyone tell me which year & month that Vogue UK editorial (#43) is from? Thankyou
is Oct2002

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28-12-2006
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Quote:
Originally Posted by testinofan
is Oct2002
Thankyou so much

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17-02-2007
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has she styled any shoots with more male models?

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21-03-2007
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so many fantastic editorials

her styling really stands out and doesn't really seem to "compete" with the photography...
the clothes are the focal point of the pictures and that's so important imo...

Reposting MissMagAddict's wonderful scans here
many thanks to her

UK Vogue April 1997
Hot Couture
Models Stella Tennant & Kirsty Hume
Styled by Lucinda Chambers
Photographed by Mario Testino





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27-06-2007
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one of my favourite stylist~~

it's good that vogue uk has such an talented stylist

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14-01-2008
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REPOST?




Quote:
Welcome to the Jumble

By IAIN R.WEBB
Published: August 28, 2005

'I love decoration,'' says Lucinda Chambers, the fashion director of British Vogue. ''I love decoration in the home, on me, on people that I see. I'm as happy decorating Christmas trees as I am a girl in front of me.''

Making my way through her family's rambling home in West London, it is difficult to disagree. There is little room here for minimalism or modernism. There is little room for anything, although I am sure Chambers would think otherwise.

Chambers's residence is a ''Willy Wonka'' wonderland of inspiration. Photos and paintings hang side by side by side, a higgledy-piggledy patchwork of memories on the walls, while cherished objets trouves litter every available surface. Florid clothes and fabrics make pretty piles, stacked on top of more of the same. Trinkets, treasures and bright baubles (leftovers from the Christmas tree?) dangle from the ceiling, shelves and nowhere in particular.

Chambers told me once how she spent a weekend merrily sticking postage stamps onto a lampshade, and here it is among the melee in her country-cottage-cum-yard-sale kitchen. Upstairs, in one son's bedroom (she has three boys: Toby, 17; Theo, 12; and Twizzy, 7), she proudly shows me a standard lamp that she covered with pages torn from their comic books. It is this kind of insatiable, marvelously dotty creativity that has established Chambers as one in a small club of the most revered fashion stylists in the world. ''I think her style is truly creative,'' says Alexandra Shulman, the editor of British Vogue, explaining that Chambers doesn't just take an outfit from the catwalk and use it to make a fashion picture but ''takes it into another dimension and sometimes to a degree that is difficult, because if she could, everything would be especially made.'' Shulman adds with a smile, ''There wouldn't be a single thing that you could go into a shop and buy in her dream world.''

Chambers is aware of this: ''I suppose my favorite shoots, if I am honest, are the ones that are not particularly fashionable, because they are the ones that will last, and they are the ones that you can look at a year later and not sort of cringe and think, Were we really wearing that?''

Her approach to styling is, needless to say, sui generis. ''It's how I get dressed in the morning,'' Chambers says. ''I don't twiddle around with my clothes. You start with the necklace, and you build around a necklace, or you start with even something as random as a shoelace; you're just in love with that ribbon in a shoe, and you build everything around that. I'm very decisive. I don't take things off and put them back on, and if I do, I want to start again from scratch.''


The way Chambers chooses to dress -- even in the more sartorially tolerant realm of fashion -- is a bit odd. ''I think Lucinda's look is a kind of art form,'' Shulman says. Chambers acknowledges that her personal style, as unmade as the artist Tracey Emin's bed, is probably the antithesis of how people might imagine a fashion director to look.


''Shabby, disheveled, boho -- I know all those words. I know I don't look smart,'' she admits. ''I've tried. I just can't do it. I think it's a lot to do with hair. My hair never will behave itself, but also I never, ever want to look sexy. It sounds odd, but I never really want to be noticed. I've found a way of dressing that really suits me and my personality. I really like to be comfortable in my clothes. I don't like to look after my clothes. If I'm going to wear a dress that won't look good if it's creased, then I'd much prefer to wash it and make it creased so I don't have to worry about it for the rest of the day. I'm aware that I probably disappoint, but I suppose I'm just a bit too bloody-minded.''


The photographer Mario Testino has worked with Chambers for almost 25 years. ''The thing I adore about her is that it is never the outside with Lucinda; it is always the inside,'' he says. ''She definitely has that British thing of the unknown surprise. She likes layering. She likes flowers, roses. She likes color, and she likes a mix of things that don't necessarily go together: that constant search for what shouldn't work.''


In this regard, she is the quintessential British cocktail: two parts fantasy (in the tradition of Cecil Beaton), one part punk rocker.


When Testino and Shulman recall meeting her, they remember her as a bleached-blond punk in a tutu. Later she took to wearing a Dickensian top hat.


''She is so open toward everybody who interacts with her,'' says Consuelo Castiglioni, the designer of the Marni label. ''I see her as a fairy, and sometimes she really does magic.''


For the last nine years, Chambers has been moonlighting as a creative consultant at Marni -- a collaboration based on mutual admiration, family values and a simple love of clothes.


''It wasn't, 'Let's set out to do this label that's going to be incredibly fashionable.' It was so organic,'' Chambers says. ''I think it's possible not to be cold about fashion, to not set out to succeed in a very corporate way, but to grow something out of a passion and an excuse to wear clothes.'' Chambers says she has no specific title within the Marni organization.


''I suppose my role is to bring things in from the outside world, to suggest and have an eye -- designers can be quite isolated,'' she says.


Even so, she and Castiglioni rarely, if ever, disagree, whether it's about ''bringing up our children or designing a rug, and that's pretty amazing.''


She adds: ''I don't think people make it a fashion decision to buy Marni. I think it's a totally emotional decision because you fall in love with it.''


When I ask which of her Vogue fashion stories she loves most, not surprisingly it is a dreamy fantasy shot last year by Testino called ''Road to Marrakech.'' It features Daria Werbowy as a queen of the desert. In one picture she wears a print dress by Vivienne Westwood, an antique hooped crinoline skirt and petticoats, a feather cape by John Galliano for Dior (worn as a skirt), a Gaultier sweater and a Marni cape. The outfit is completed with two trilbies layered one on top of the other,


a head scarf, arms full of Plexiglas bangles, a pair of clogs, sunglasses, polka-dot tights and a floral-patterned umbrella, all tied up with string.


''I suppose it's the one that's most like my home.'' God bless it

NYTIMES

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20-07-2008
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TINKER TAILORING
UK Vogue October 1993
Model: Nadja Auermann
Hair: Julien d'Ys
Makeup: Linda Cantello
Stylist: Lucinda Chambers
Photographer: Paolo Roversi



nadja-auermann.com via Mojopin

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