The way this was my first and only thought as I read the thread title
Memes aside, this one's solid. I doubt it's something I'll remember or look back to, but it's a good fashion cover with a lovely color palette for winter. Always superior to American Bazaar these days anyway...
My guess is that booking models for their covers, as opposed to celebrities, is far cheaper and much less of a headache during the strikes in Hollywood at least. Hearst, just like Condé Nast, seem hellbent on cutting costs. One thing I'm still unable to understand, however, is the stopping of printing unique covers for subscribers yet there always appears to be some 'special' non-event of a cover printed for the likes of the V&A.
Nevertheless, I like this. Indeed it's wonderful to see models back on the covers of mainstream fashion magazines and this feels so appropriate for a month like November. The colours are gorgeous, and Pooja Mor looks beautiful. The whole cover is just executed very well...
If you take a longer view, UK HB has patterns of certain issues going to actresses, with other months in the year going to a model, especially back when they were still publishing 12 issues a year. Having models on the cover - well-known or otherwise - is nothing new for this magazine. I suppose it also depends on whether you see someone like Iman, Cara D, Natasha V or Karen Elson as a model or more as a celebrity these days. And then you'll also get covers with Birgit Kos, Constance J and Luna Bijl.
No print subscription copy yet, but the digital version is showing 238 pages. There are a total of FIVE cover shots shown in the contents page, this cover shot and four other 'arty' ones, some of which are digital, and one is for a London art place.
The editorials include FREE FORM, an outdoors shoot at Yorkshire Sculpture Park, by Jem Mitchell, then Pooja's cover story, ATELIER OF DREAMS, shot by Boo George, then NEW ROMANTIC, shot by Erik Madigan Heck inside a country house.
Boo’s shoot with Pooja is straightup gorgeous. In another time, in another life, she’s the feminine ideal of what nations would launch a thousand ships to war for: Just pure presence and smoulder in some of the stronger imageries— mainly the B&W Peter Linderbergh-eque ones. The cover select is unfortunately the weaker, but understandably more commercial, of the solid shoot.
The other 2 stories are typically UK-Bazaar too saccharine and saturated, for my preference. Jem Mitchell’s “Free From” is what a middle-school group project of a fashion shoot at the park would resemble: Just posing alongside some public art. And once Erik Madigan Heck can’t rely on his surrea, kaleidoscopic floral and fauna landscapes, he doesn’t have much to offer. "New Romantic" is decent enough-- the kind of shoot that would work for a department store’s catalogues, but not quite elevated enough for images that's supposedly to be paid for.
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