The NY Times Style Magazine September 2018 : Adesuwa Aighewi by Willy Vanderperre

[MissMagAddict]

 

[MissMagAddict]

The Shape of Things to Come

Photographs by Willy Vanderperre. Styled by Alastair McKimm. Models: Adesuwa Aighewi / The Society Model Management. Anok Yai / Next Management, Alyssa Traoré / IMG Models, Sora Choi / Wilhelmina Models. Hair by Holli Smith at Art Partner. Makeup by Lynsey Alexander at Streeters. Casting by Samuel Ellis Scheinman. Prodution: Prodn. Manicurist: Emi Kudo at Opus Beauty. Lighting technician: Romain Dubus. Digital tech: Henri Coutant. On-set retoucher: Stéphane Virlogeux. Photographer’s assistant: Jonathan Miskevich. Hair assistants: Chanel Croker and Mikey Lorenzano. Makeup assistants: Phoebe Brown and Pircilla Pae. Styling assistants: Maggie Holladay and Madison Matusich

For our latest cover story, Willy Vanderperre captured fall’s voluminous proportions as styled by Alastair McKimm: layer upon layer of jackets, sweaters and dresses — and a single Balenciaga coat meant to look like it’s six or seven separate and stacked pieces — punctuated by platform Comme des Garçons Nikes and Prada bucket hats. This new silhouette was worn by the models of the moment — Adesuwa Aighewi, Anok Yai, Alyssa Traoré and Sora Choi. “When I’m at the shows, I’m watching the faces as much as the outfits, and as soon as I saw our cover model, Adesuwa Aighewi, I knew I wanted her for this magazine,” writes Hanya Yanagihara in her letter from the editor. “The Nigerian-Chinese-Thai-American daughter of scientists, she is clearly black and clearly Asian, clearly beautiful and clearly and inimitably herself.”
source | nytimes

 

[MissMagAddict]

Letter from the Editor

T’s Fall Women’s Fashion Issue: An Education
Aug. 15, 2018 | by Hanya Yanagihara

When I came aboard as the editor of T a little over a year ago, I promised myself that I would never pretend I knew what I didn’t. Unfortunately, there was a great deal I didn’t know — more, even, than I’d realized. But one of the things I love most about working at a magazine is that they’re constructed so that your colleagues will all be expert in a subject or a field in which you’re ignorant. Mine collectively know more about, variously, art, literary theory, theater, music, design, architecture, gardening, film and food than I ever will, and their knowledge is my delight. A successful magazine is a collection of disparate personalities with disparate interests who are all trying to tell stories using the language in which they are most fluent. Sometimes that language is literally language. But sometimes that language is a vernacular not of words, but of images: It is photography, or illustration, or graphic design, or typography.

At T, that language often takes the form of fashion — specifically, fashion as a way of communicating not just something about who the wearer of it is, but also, and with increasing urgency, the kind of world we live in. Fifteen months after assuming this job, I am by no means any sort of expert on fashion, but thanks to the generosity and patience of my co-workers — especially our style directors, David Farber and Malina Joseph Gilchrist; our fashion features director, Alexa Brazilian; our creative director, Patrick Li; and our photography and video director, Nadia Vellam — I feel that I’ve come to appreciate it, to see it, in ways I had not before. Despite its reputation, fashion is a democratic art: We all engage with it in some way or another (even if engagement means disengagement, rebelling against what we interpret as its rules and conventions), and it remains the single most effective way of telegraphing who we are to the rest of the world. What we choose to wear is who we think we are, or who we think we would like to be.

I have always loved clothes. My mother is an excellent and inventive seamstress who, when we lived in New York, had a small, handmade children’s line that was sold at Bloomingdale’s. It was she who taught me to appreciate pattern and color, she who taught me the difference between georgette and habutai. But being a consumer of clothes and being a consumer of fashion isn’t necessarily the same thing — loving fashion means appreciating not just the appearance of clothes, but also appreciating what they represent, how they were made, what the designer was trying to say, how they might be alluding to the past. A magazine such as ours tries to answer these questions with images, or at least to encourage the reader to answer them for herself.

It’s exactly because fashion is a kind of storytelling that fashion shows remain such potent experiences. Up to eight times a year, millions of dollars are spent in New York, London, Milan and Paris to mount shows in which a designer sends that season’s collection down the runway before a live audience. Some shows are more memorable than others, but what always dazzles and moves is the fact of the spectacle itself, the knowledge that so much time and effort and money has been put into an experience that will be over in less than 20 minutes. And yet this excess, of labor, beauty and creativity, is the industry’s ongoing magic — indeed, the shows’ endurance is inextricable from their ephemerality. Although they may be documented, no image, moving or still, can quite replicate the experience of witnessing them live, which is akin to watching a flower sprout, bud, bloom and die, all in hyper-speed.

This intensity of sensations likely explains why the shows are so resonant for those of us fortunate enough to see them in person. The first show I saw in my new role, for example, was Valentino creative director Pierpaolo Piccioli’s 2018 resort collection, a sporty, feminine paradox of rip cords and lace, silk satin and nylon. Two months later, I saw his fall 2017 couture presentation, another paradox: Here were rustling swaths of silk whose formality was leavened by loose, almost louche necklines that gave the dresses an insouciant air; serious, sophisticated gowns in children’s shades of lizard green, bubble-gum pink and crayon blue. It didn’t take expertise for me to want to know something about this person who took joy so seriously, who so clearly understood that a woman’s desire to look beautiful was something to treat with respect, and I’m very happy we’re finally able to meet Piccioli via Megan O’Grady’s lovely portrait of him.

I find the shows moving for another reason as well: It’s here that the industry announces not just to itself, but to everyone watching, what it thinks an arresting woman looks like now. The runway has for too long been either timid or fickle in expanding this definition, and guilty of treating non-white models as either disposable or as trends. But Asian, black, Middle Eastern and Latina women aren’t gimmicks, and finally, their presence is becoming less a stunt and more a matter of fact. When I’m at the shows, I’m watching the faces as much as the outfits, and as soon as I saw our cover model, Adesuwa Aighewi, I knew I wanted her for this magazine. The Nigerian-Chinese-Thai-American daughter of scientists, she is clearly black and clearly Asian, clearly beautiful and clearly and inimitably herself. What more could fashion, or its admirers, hope for than this? A woman who belongs to several places at once; a woman who is entirely her own. That is the dream of belonging, because it is also the dream of self.
source | nytimes

 

[Les_Sucettes]

Totally insipid. ID wants it’s editorial back.

 

[ghostfeed]

Totally insipid. ID wants it’s editorial back.

Alastair is the through-line here.

 

[lewak]

Totally insipid. ID wants it’s editorial back.

Obvs beyond belief

Willy / Alastair. Fashion industry grates

 

[reesewu]

She looks like a deer in the headlight. I can't believe someone whose beauty is as captivating as Adesuwa's could capture such misstep. And the styling? I could almost tolerate this hideous Prada collection with the way several magazines styled some of the pieces lately (namely UK Bazaar's "Wild Is the Wind" editorial with Jacquelyn Jablonski, that Fran Summers editorial in British Vogue's September Issue, and US Vogue's August Issue with Saoirse Ronan). The key is to not take Miuccia's gratuitous layering too literally and the way NYT Style did here is exactly just that.

 

[aracic]

Hideous. Hideous. A dozen times hideous. What's wrong with the fashion industry and this goddamn disgusting styling where they just throw on all the ugly coats they find and gag all over it?! What's with the super annoying Prada clothes (those goddamn hats for old fishing men) and the dreadful models? I just want this awful era to finally end and NEVER come back!!

 

[tigerrouge]

In the future, when the media gets around to recycling things from this moment in time, I wonder what themes will define the feel of things.

 

[MissMagAddict]

A Contemplative State

Photographs by Harley Weir. Styled by Suzanne Koller. Model: Sohyun Jung / One Management. Hair by Holli Smith at Art Partner. Makeup by Lauren Parsons at Art Partner. Set Design by Sylvain Cabouat at Walter Schupfer Management. Casting by Samuel Ellis Scheinman. Production: Brachfeld. Photographer’s Assistants: Gwen Trannoy, Clément Dauvent and Martin Baebler. Hair Assistant: Michiko Yoshida. Makeup Assistant: Hannah Wilson. Stylist’s Assistants: Ray Tetauira and Charlotte Thommeret.
source | nytimes

 

[MissMagAddict]

In Fashion: Fall’s
Nightgown-Like Dresses,
in the Light of Day

Model: Lili Sumner at Next Models. Production: Noir Productions Ltd. Local Producer: Mariano De La Torre. Hair: Ramsell Martinez at Lowe & Co using R+Co. Makeup: Sandy Ganzer at Gorward Artists using Chanel. Casting: Ben Grimes at Webber Represents. Retouching: Studio RM. Photographer’s assistant: Alec Lesser. Stylist’s assistant: Luca Galasso
source | nytimes

 

[MissMagAddict]

Fall’s Best Open-Toed Heels,
Modeled by Men

Models: Rayner Reyes, Sebastian Abarbanell / Sidra Bell Dance New York, Sam Lipp. Manicurist: Rieko Okusa using Chanel Le Vernis. Grooming: Anna Kurihara. Retouching: Anonymous Retouch. Photographer’s assistants: Karl Leitz, Caleb Andriella and Yuhsing Lin. Fashion assistant: Kamila Gosiewska
source | nytimes

 

[Perickles]

Great job by Willy Vanderperre! I love the compositions, the balance of colors, the exposition, the perspective, and angles. He nailed it. Awesome typographic work.

 

[MissMagAddict]

Nostalgic Scarf Prints Come Back Into View

Set design: Mila Taylor-Young at D+V Management. Model: Dipti Sharma / Elite NYC. Hair: Chi Wong using Oribe at Management+Artists. Makeup: Susie Sobol at Julian Watson Agency. Casting: Julia Lange. Photographer’s assistants: Ithai Schori and Jordan Strong. Stylist’s assistants: Gage Daughdrill and Rayner Reyes
source | nytimes

 

[amby]

Dipti Sharma's editorial is just wow!!

 

[Plax]

T Magazine Fall Women's Fashion 2018
A Dress is Like a Passaporto,no?
Photogrpaher: Johnny Duport
Styling: Suzanne Koller
Hair: Gary Gill
Make Up: Naomi Yoshida


T Magazine

 

[dodencebt]

^ Looks like they just got what was available after the Valentino show and called it a day.

 

[Perickles]

I'm getting this. I love it.

 

[GivenchyAddict]

MAS no longer working at T ?