versustito
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Share with us... Your Best & Worst Collections of Haute Couture S/S 2025
versustito
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Amber Valetta in Anthony Vaccarello AW15 ad Campaign by Inez And Vinoodh
facebook.com/pages/ANTHONY-VACCARELLO
facebook.com/pages/ANTHONY-VACCARELLO
versustito
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It's not about advertising. I want it to show people the vision of my collection,” said Anthony Vaccarello of his new Fall campaign, debuting exclusively here. Starring Amber Valletta dressed in a suede bomber jacket, star-print blouse, and high-waist, skintight jeans, this vision of Vaccarello’s femme fatale is quite different from the cut-to-there minidresses from his Fall 2015 show. That’s not to say it isn’t sexy. Even if she’s more covered up than a typical Vaccarello vixen, Valletta is as smoldering as ever, showing a dressed-down, more casual side to the brand.
Below, the designer talks about his inspirations for the Inez & Vinoodh-lensed image; his aspiration; and what his boss at Versus, Donatella Versace, really thinks about his namesake line.
After two seasons of ads starring Anja Rubik in micro miniskirts, why did you want to change direction and feature Amber Valletta in a more tomboyish outfit?
I really wanted to show the other version of the collection, something more evident, more conventional. It’s the idea of my girl: At night she will wear maybe my big eyelet star dress, but during the day I want her to be soft, boyish, and strong. I didn’t want to show big showpieces in the campaign. I really wanted to focus on Amber Valletta and the clothes.
Is it still sexy to you?
I think it’s sexy in another way. It’s still sexy for me because it’s another vision of the brand; it’s a part that will always be in the collection, that kind of boyish attitude. With Amber, we wanted to tell the same things but in a different way—just to catch the purity of Amber because I was so happy to work with her, and I didn’t want to change her. She came to the studio like that and I wanted to have her in the campaign as she was in real life.
How did you choose the pieces she’s wearing: the shirt, trousers, and jacket?
She can have the power with the trousers and the bomber jacket and very close shirt, but you can see in her attitude that she has the power. That’s what I want to say with this campaign.
Was choosing those items a conscious decision to be more commercial or appeal to a customer who maybe doesn’t want short skirts?
I didn’t want to do it in terms of commercial or something like that. I don’t know if the girl who likes my brand will buy the trousers or the jacket because I know that they’re always attracted to dresses or skirts or something more particular of my style, but I really have that desire to dress—not more girls—but with more pieces. To have more coats, more jackets, is something I really, really want to do. I don’t want to be just skirts and dresses, to just be the designer that makes the white dress for Anja; I want to be able to do more than that.
How did you come cast Amber?
It was always a dream [of mine] to work with her because she was in my memory from the ’90s and all the things she did then. Before the shoot, we talked with Inez & Vinoodh about who we wanted to shoot for the campaign, and I said her name by accident, and it just happened she said yes and my wish came true.
Do you see your work at Versus and your own brand being complimentary or different in any way?
I didn’t want to separate it because what I do for Versus is very me. In a way, when I’m working for myself, it’s true that I want it to be maybe more Parisian…for myself, it’s more in the details and more in the laboratory, and for Versus, it’s more about playing with codes and the history that they have. In a way, I think they are the same girl; she plays with both brands.
I know your woman is always about power and strength—who are some of the women you consider muses who inspire your designs?
I’m always designing for my friends. I’m very lucky to dress them, like Lou Doillon, Charlotte Gainsbourg, Anja, and now Amber Valletta. I always think, when I’m designing a collection, of that girl whom I know, if she would wear it, how she would wear it. I have no necessary desire to dress someone whom I don’t know. I have to meet that person to be able to design something for her.
Do you ever get feedback from them about the collections?
They always try to push me. Charlotte is about a short skirt; Lou is more about Jackets. Anja is more about trousers. They always tell me what they like.
What about Donatella Versace—does she say anything about your work at your brand?
Donatella, she’s amazing, she loves everything! [laughs]. I’d say she’s more like family, in a way. You know, your mother doesn’t really give you feedback, she always likes what you do. But I know that when she really doesn’t like it, she will tell me, but now she’s like, “Wow, it’s amazing.” She’s super-sweet.
You need to get her in one of your star dresses!
Yes! For sure.
http://www.style.com/trends/industry/2015/anthony-vaccarello-fall-2015-campaign
Below, the designer talks about his inspirations for the Inez & Vinoodh-lensed image; his aspiration; and what his boss at Versus, Donatella Versace, really thinks about his namesake line.
After two seasons of ads starring Anja Rubik in micro miniskirts, why did you want to change direction and feature Amber Valletta in a more tomboyish outfit?
I really wanted to show the other version of the collection, something more evident, more conventional. It’s the idea of my girl: At night she will wear maybe my big eyelet star dress, but during the day I want her to be soft, boyish, and strong. I didn’t want to show big showpieces in the campaign. I really wanted to focus on Amber Valletta and the clothes.
Is it still sexy to you?
I think it’s sexy in another way. It’s still sexy for me because it’s another vision of the brand; it’s a part that will always be in the collection, that kind of boyish attitude. With Amber, we wanted to tell the same things but in a different way—just to catch the purity of Amber because I was so happy to work with her, and I didn’t want to change her. She came to the studio like that and I wanted to have her in the campaign as she was in real life.
How did you choose the pieces she’s wearing: the shirt, trousers, and jacket?
She can have the power with the trousers and the bomber jacket and very close shirt, but you can see in her attitude that she has the power. That’s what I want to say with this campaign.
Was choosing those items a conscious decision to be more commercial or appeal to a customer who maybe doesn’t want short skirts?
I didn’t want to do it in terms of commercial or something like that. I don’t know if the girl who likes my brand will buy the trousers or the jacket because I know that they’re always attracted to dresses or skirts or something more particular of my style, but I really have that desire to dress—not more girls—but with more pieces. To have more coats, more jackets, is something I really, really want to do. I don’t want to be just skirts and dresses, to just be the designer that makes the white dress for Anja; I want to be able to do more than that.
How did you come cast Amber?
It was always a dream [of mine] to work with her because she was in my memory from the ’90s and all the things she did then. Before the shoot, we talked with Inez & Vinoodh about who we wanted to shoot for the campaign, and I said her name by accident, and it just happened she said yes and my wish came true.
Do you see your work at Versus and your own brand being complimentary or different in any way?
I didn’t want to separate it because what I do for Versus is very me. In a way, when I’m working for myself, it’s true that I want it to be maybe more Parisian…for myself, it’s more in the details and more in the laboratory, and for Versus, it’s more about playing with codes and the history that they have. In a way, I think they are the same girl; she plays with both brands.
I know your woman is always about power and strength—who are some of the women you consider muses who inspire your designs?
I’m always designing for my friends. I’m very lucky to dress them, like Lou Doillon, Charlotte Gainsbourg, Anja, and now Amber Valletta. I always think, when I’m designing a collection, of that girl whom I know, if she would wear it, how she would wear it. I have no necessary desire to dress someone whom I don’t know. I have to meet that person to be able to design something for her.
Do you ever get feedback from them about the collections?
They always try to push me. Charlotte is about a short skirt; Lou is more about Jackets. Anja is more about trousers. They always tell me what they like.
What about Donatella Versace—does she say anything about your work at your brand?
Donatella, she’s amazing, she loves everything! [laughs]. I’d say she’s more like family, in a way. You know, your mother doesn’t really give you feedback, she always likes what you do. But I know that when she really doesn’t like it, she will tell me, but now she’s like, “Wow, it’s amazing.” She’s super-sweet.
You need to get her in one of your star dresses!
Yes! For sure.
http://www.style.com/trends/industry/2015/anthony-vaccarello-fall-2015-campaign
versustito
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How Amber Valletta Is Setting a New Standard of Ethics in Fashion
Amber Valletta knows plenty of grim statistics when it comes to fashion. “One in six people work in textiles,” she explains over the phone, and as it happens, the beauty-obsessed fashion industry is not always pretty: “We are the second-dirtiest industry in the world, next to oil.” Valletta is well versed in the darker side of the clothing industry: Her role in fashion goes far beyond the glossy, nice-to-look-at parts that go along with being a veteran runway-staple or Vogue cover girl. Valletta is an avid environmentalist with an eye toward shaping up the industry, whether by touting the charms of the recent documentary The True Cost, which explores fashion’s impact on people and the environment, or through her e-commerce site, Master & Muse, which focuses on conscientious manufacturing.
But now Valletta is going a step further, exploring ways to set trackable, measurable standards for clothing production in a new effort to tackle slave labor—an often hidden but rampant dilemma in the manufacturing process. More than 29 million people—including children—mostly hailing from third world countries, are currently being forced into labor, and many of them work to supply the raw materials that are the building blocks for much of the fashion industry (think cotton and rubber). “No one wants to wear clothes that were made from someone’s blood,” says Valletta. To bring awareness to slavery in supply chains, Valletta and Master & Muse teamed up with Made In A Free World—an organization-cum-movement whose website calls for “free markets, free people” and which uses software to check for what it calls “slavery footprints” for businesses and consumers who either unwittingly or intentionally use or create products crafted by forced labor. (One rubric on the organization’s site, Slavery Footprint, begins by asking “How Many Slaves Work For You?”.)
Valletta started using Made In A Free World after meeting with its founder, Justin Dillon, and watching footage of people being forced into slave labor. “I realized that we as a company could have the ability to look at our designers and look at their supply chain,” says Valletta, and the organization promotes a sort of due diligence for companies and consumers using friendly, attractive Web design and a seriously important message. “This is a business tool—we aren’t here to punish you, we are here to help you,” says the model turned activist, and since her first foray with the organization, Valletta has applied the software to labels that she sells on Master & Muse. She’s found that even labels who hold themselves to a responsible standard sometimes have discrepancies in their supply chains. “There was a shoe designer who was using rubber that could potentially be an issue,” Valletta recounts, and though she admits that it’s not always easy to replace a raw material, nor to convince companies to pay more for what they’re used to getting cheaply, “we had a really great conversation with them, and they were willing to go back to the supplier.”
Valletta admits that it’s an uphill battle, but she believes that by beginning the conversation, and educating the consumer, there is room for change. “It’s not all doom and gloom. I really do believe that we have the opportunity to do some great things instead of everyone feeling sorry for themselves like, ‘Oh, what we have done!’ ” says Valletta. “It’s also really exciting because we have the possibility of improving so many people’s lives as well as our own—and to look good while we are doing it. There is nothing wrong with fashion—it should be a beautiful expression of who we are.”
Amber Valletta knows plenty of grim statistics when it comes to fashion. “One in six people work in textiles,” she explains over the phone, and as it happens, the beauty-obsessed fashion industry is not always pretty: “We are the second-dirtiest industry in the world, next to oil.” Valletta is well versed in the darker side of the clothing industry: Her role in fashion goes far beyond the glossy, nice-to-look-at parts that go along with being a veteran runway-staple or Vogue cover girl. Valletta is an avid environmentalist with an eye toward shaping up the industry, whether by touting the charms of the recent documentary The True Cost, which explores fashion’s impact on people and the environment, or through her e-commerce site, Master & Muse, which focuses on conscientious manufacturing.
But now Valletta is going a step further, exploring ways to set trackable, measurable standards for clothing production in a new effort to tackle slave labor—an often hidden but rampant dilemma in the manufacturing process. More than 29 million people—including children—mostly hailing from third world countries, are currently being forced into labor, and many of them work to supply the raw materials that are the building blocks for much of the fashion industry (think cotton and rubber). “No one wants to wear clothes that were made from someone’s blood,” says Valletta. To bring awareness to slavery in supply chains, Valletta and Master & Muse teamed up with Made In A Free World—an organization-cum-movement whose website calls for “free markets, free people” and which uses software to check for what it calls “slavery footprints” for businesses and consumers who either unwittingly or intentionally use or create products crafted by forced labor. (One rubric on the organization’s site, Slavery Footprint, begins by asking “How Many Slaves Work For You?”.)
Valletta started using Made In A Free World after meeting with its founder, Justin Dillon, and watching footage of people being forced into slave labor. “I realized that we as a company could have the ability to look at our designers and look at their supply chain,” says Valletta, and the organization promotes a sort of due diligence for companies and consumers using friendly, attractive Web design and a seriously important message. “This is a business tool—we aren’t here to punish you, we are here to help you,” says the model turned activist, and since her first foray with the organization, Valletta has applied the software to labels that she sells on Master & Muse. She’s found that even labels who hold themselves to a responsible standard sometimes have discrepancies in their supply chains. “There was a shoe designer who was using rubber that could potentially be an issue,” Valletta recounts, and though she admits that it’s not always easy to replace a raw material, nor to convince companies to pay more for what they’re used to getting cheaply, “we had a really great conversation with them, and they were willing to go back to the supplier.”
Valletta admits that it’s an uphill battle, but she believes that by beginning the conversation, and educating the consumer, there is room for change. “It’s not all doom and gloom. I really do believe that we have the opportunity to do some great things instead of everyone feeling sorry for themselves like, ‘Oh, what we have done!’ ” says Valletta. “It’s also really exciting because we have the possibility of improving so many people’s lives as well as our own—and to look good while we are doing it. There is nothing wrong with fashion—it should be a beautiful expression of who we are.”
versustito
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The Face
Eleven women who define what’s beautiful now.
Amber Valletta
41, United States
“It’s essential to feel beautiful to oneself. Not in an egotistical way, but in a self-loving way. To look in the mirror and say, ‘you’re beautiful, I love who you are, because you are me.’ I know that sounds so esoteric and weird, but it’s true. I walk with me every day.”
http://www.nytimes.com/interactive/...-kebede-andreja-pejic-edie-campbell.html?_r=0
Eleven women who define what’s beautiful now.
Amber Valletta
41, United States
“It’s essential to feel beautiful to oneself. Not in an egotistical way, but in a self-loving way. To look in the mirror and say, ‘you’re beautiful, I love who you are, because you are me.’ I know that sounds so esoteric and weird, but it’s true. I walk with me every day.”
http://www.nytimes.com/interactive/...-kebede-andreja-pejic-edie-campbell.html?_r=0
versustito
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Amber Valletta Video:
http://www.nytimes.com/interactive/...-kebede-andreja-pejic-edie-campbell.html?_r=0
nytimes.com
http://www.nytimes.com/interactive/...-kebede-andreja-pejic-edie-campbell.html?_r=0
nytimes.com
D
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Guest
she has a new tv show called Blood and Oil considering how good she is at reinventing herself in pics, Hollywood was just a matter of time
abc.com
abc.com
lelaid
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Part of me is bummed at her still pursuing acting because I want her to model more (I'm selfish, I know) but then again, she's had no problem doing both. Good luck to her, I'll be tuning in (at first to see if I like it at least).
VogueGirl8910
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US Vogue March 2000
The Discreet Charm of the Bourgeoisie
Photographer: Steven Meisel
Models: Angela Lindvall, Shalom Harlow & Amber Valletta
Fashion Editor: Grace Coddington
Hair: Garren
Makeup: Pat McGrath
Scanned by kelles
The Discreet Charm of the Bourgeoisie
Photographer: Steven Meisel
Models: Angela Lindvall, Shalom Harlow & Amber Valletta
Fashion Editor: Grace Coddington
Hair: Garren
Makeup: Pat McGrath
Scanned by kelles
VogueGirl8910
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Cont...
Scanned by kelles
Scanned by kelles
VogueGirl8910
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UK Vogue August 1994
"Rocket Girl"
Model: Amber Valletta
Photographer: Mikael Jansson
Stylist: Kate Phelan
Hair: Mike Lundgren
Scanned by iluvjeisa
"Rocket Girl"
Model: Amber Valletta
Photographer: Mikael Jansson
Stylist: Kate Phelan
Hair: Mike Lundgren
Scanned by iluvjeisa
versustito
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SIMPLY THE BEST
PHOTOGRAPHY SEBASTIAN FAENA
STYLIST JULIA VON BOEHM
http://www.vmagazine.com/site/content/4733/simply-the-best#!/2
vmagazine
PHOTOGRAPHY SEBASTIAN FAENA
STYLIST JULIA VON BOEHM
http://www.vmagazine.com/site/content/4733/simply-the-best#!/2
vmagazine
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