I really like it! Seeing one of my all time favorite models is always a nice, it's also how you do a cover with model with a legacy like Erin. Not like the the boring slop cover Alek got in V Poland (it still offends me to this day).
I don't know but it looks for me like the average of late 90s darker shoots in Vogue Italia done by numbers, but these times it's better than most thing out there. I don't like the styling on cover and the lingerie-harness thing is boring (it was done to death), same for only two shots from editorial - rest is fine. Make-up and hair is good.
Her face is lit in a very unflattering way, it ruins the image for me. Had they done it right, it would be a great cover. I would also make her look into the camera. The ed makes no sense. Random images with zero story.
I'll take it. The cover layout is a masterclass in visuals: from casting Erin who looks unrecognizable but in every good way since that’s how the best of yesteryears’ models never looked the same from editorial to editorial; to the composition of graphic design and color-palette; to a coverline that’s actually fitting for the noir vibe; and even Dilara’s design works. Unfortunate that they were wise to have selected the strongest shot for the cover, because save for the one in classic Balmain all-white dress, the rest of the selects aren’t very good— even rather dated with its Steven Klein bondage and lace aesthetic. Vogue Adria seems to be the only Vogue nowadays to not only understand the assignment, but possess the creative and technical talent to produce it successfully.
(@Avonlea --would absolutely work wonders had she just glanced up to look at the camera.)
We spoke with Olivier Theyskens about the dress he reinterpreted for Erin O’Connor in the December issue of Vogue Adria, as well as about fashion and memory.
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