the cover looks better in person (spotted it today in the supermarket, but I’m still not crazy about that hairstyle) but the editorial is abysmal. it’s not just the styling but the shots themselves. I simply cannot believe Meisel shot that. was it a distance thing, again?
couple of good editorials but I still miss those editorials where the casting would give us the best girls of the season.
no Vogue is providing us with that anymore and I miss it dearly.
EE: You're the first man to be on the cover of British Vogue. And I remember for me it was a no brainer. I was like, who is it? Who sort of represents now... who is sort of loved by people of all ages. Somebody who was so first, and great at the idea of imagery and translating characters. And it was you.
TC: The way *you* responded to "Bones and All" and the way that the styling of the shoot was inspired by *THAT*.
Now, if you are not familiar with Timothée Chalamet's upcoming m̶o̶v̶i̶e̶ travesty "Bones and All", please read this carefully:
"I got the privilege to see Bones and All last night at the Venice film festival.
(...) Now, turning the corner page, the other wave of emotions are definitely some you don't experience on a daily basis. The movie handles a very delicate topic which is cannibalism from the deep subconscious and takes you through the hurdles the people with this condition go through.
It is very hard to feel sorry for the characters and their situation given most of the time you will feel *SHOCKED* and a bit or a lot grossed out by some of the gruesome scenes.
Once you relax and if you manage (which is not easy after the first cannibalism episode 14 min. in), you can actually start focus more on the physiological side of the movie and less on the cannibal attacks.
Overall, if you manage to not care about some really disturbing scenes the movie can be a interesting piece of work exploring this condition.
Definitely don't take your gramma or mom to see this movie and I recommend perhaps leaving the popcorn on the floor."
EE: You're the first man to be on the cover of British Vogue. And I remember for me it was a no brainer. I was like, who is it? Who sort of represents now... who is sort of loved by people of all ages. Somebody who was so first, and great at the idea of imagery and translating characters. And it was you.
TC: The way *you* responded to "Bones and All" and the way that the styling of the shoot was inspired by *THAT*.
Now, if you are not familiar with Timothée Chalamet's upcoming m̶o̶v̶i̶e̶ travesty "Bones and All", please read this carefully:
"I got the privilege to see Bones and All last night at the Venice film festival.
(...) Now, turning the corner page, the other wave of emotions are definitely some you don't experience on a daily basis. The movie handles a very delicate topic which is cannibalism from the deep subconscious and takes you through the hurdles the people with this condition go through.
It is very hard to feel sorry for the characters and their situation given most of the time you will feel *SHOCKED* and a bit or a lot grossed out by some of the gruesome scenes.
Once you relax and if you manage (which is not easy after the first cannibalism episode 14 min. in), you can actually start focus more on the physiological side of the movie and less on the cannibal attacks.
Overall, if you manage to not care about some really disturbing scenes the movie can be a interesting piece of work exploring this condition.
Definitely don't take your gramma or mom to see this movie and I recommend perhaps leaving the popcorn on the floor."
Thank you my dear @Xone for the comment, but the *WHOLE* story surrounding UK Vogue October cover-story to me isn't remotely interesting - it's only scary and disgusting AF!!!
Mark Rylance, one the main characters, talking about the "movie" said:
"Yeah, it's a really curious genre. It's a road movie, but it's also like a Bonnie and Clyde romance. And they happen to be eating people. So it's got a very thoughtful aspect to it about things that we inherit from our parents. A little bit like Call Me By Your Name, in terms of discovering you are gay, something you didn't know about yourself. How do you deal with that? Thankfully, in the West it's easier now than, say, if you discovered that in Afghanistan or somewhere where it would be a death sentence."
There have been plenty of cover stories where I've had something to say, because at least I felt engaged enough to have thoughts about it.
If a cover story is supposed to sell the issue or set the tone for the contents, I wouldn't ever have much to say about a GQ cover, so in terms of relevance to me, this one would be no different.
I loved the September issue, but this month, there's little to nothing for me here. Moving on.
Thank you my dear @Xone for the comment, but the *WHOLE* story surrounding UK Vogue October cover-story to me isn't remotely interesting - it's only scary and disgusting AF!!!
Mark Rylance, one the main characters, talking about the "movie" said:
"Yeah, it's a really curious genre. It's a road movie, but it's also like a Bonnie and Clyde romance. And they happen to be eating people. So it's got a very thoughtful aspect to it about things that we inherit from our parents. A little bit like Call Me By Your Name, in terms of discovering you are gay, something you didn't know about yourself. How do you deal with that? Thankfully, in the West it's easier now than, say, if you discovered that in Afghanistan or somewhere where it would be a death sentence."
Most of the contents are mediocre. Did the people working for the magazine decide to take annual leave unanimously for weeks and produce the contents under a one-day deadline after finishing the spectacular September Issue or something?
What nonsense.
Armie Hammer was canceled by Hollywood for this alleged fantasy, but Chalamet gets a Vogue cover.
I know it's a movie role (pretend vers reality), but the optics are f*cked up?
I'm sure they'll all go to the awards season commenting about how 'brave' they all were to take on such a controversial issue while they turned their backs on a friend and colleague.
And listening to Edward's fawning is nauseating.
^^^ Edward has slyly mastered the importance of performative sympathy: You don’t even have to be remotely sincere. You just have to say all the right things to the mob— whether that’s with on-trend political soundbites, or fawning over your Hollywood stars. And say it on SM, otherwise it doesn’t matter. He knows how to generate maximum impact to the masses while doing the least of creative work. It’s almost admirable— at least in how he has positioned himself and his Vogue as the leader in the fashion era. And this is the era of mediocrity— from Edward, to Paloma, to Kim Jones.
Armie should have found a film role that played out whatever fantasy he may have wished to have indulged in personally. Then he would have been praised for his “bravery” of portrayal. Like real-life Zoolander Timmy here.
^^^ Edward has slyly mastered the importance of performative sympathy: You don’t even have to be remotely sincere. You just have to say all the right things to the mob— whether that’s with on-trend political soundbites, or fawning over your Hollywood stars. And say it on SM, otherwise it doesn’t matter. He knows how to generate maximum impact to the masses while doing the least of creative work. It’s almost admirable— at least in how he has positioned himself and his Vogue as the leader in the fashion era. And this is the era of mediocrity— from Edward, to Paloma, to Kim Jones.
Armie should have found a film role that played out whatever fantasy he may have wished to have indulged in personally. Then he would have been praised for his “bravery” of portrayal. Like real-life Zoolander Timmy here.
Well… it has disappeared from the shelves here in the North East of England. It’s priced at £2 this month, however, so that may be a factor in copies flying off the shelves.
Clearing the cupboards, I'm reading through some issues that I can't see myself keeping around, but want to savour for one last time...
Reading the editor's letter for this issue, part of it said:
"Sex and fashion these days is no longer about va-va-voom dressing, it's about expression and personal ease. It's about politics and playfulness. It's about dressing to make yourself feel good."
That sounds more like a manifesto for dressing to make yourself depressed. So glamour is now absent from Vogue because... it's never about self-expression, playfulness or making yourself feel (and look) good?
If this is the permanent philosophy of Vogue (and by extension, all its many reprints), then we're in for a dreary 2023.
I am going to start imagining myself as the editor of a magazine entitled Va-Va-Voom.
^^^ Edward has slyly mastered the importance of performative sympathy: You don’t even have to be remotely sincere. You just have to say all the right things to the mob— whether that’s with on-trend political soundbites, or fawning over your Hollywood stars. And say it on SM, otherwise it doesn’t matter. He knows how to generate maximum impact to the masses while doing the least of creative work. It’s almost admirable— at least in how he has positioned himself and his Vogue as the leader in the fashion era. And this is the era of mediocrity— from Edward, to Paloma, to Kim Jones.
Armie should have found a film role that played out whatever fantasy he may have wished to have indulged in personally. Then he would have been praised for his “bravery” of portrayal. Like real-life Zoolander Timmy here.
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
