Carine is so shady. Even if she has said even during her Vogue years that she loved VS, she even attended a show I think, when Justin Timberlake performed.
But saying on paper that you want Emmanuelle’s job is shady Miss Roitfeld ahahah!
And I love how she only mention Emmanuelle as a great stylist while dismissing the others from her Vogue years.
I expected from her to mention Benjamin Bruno instead of Ib or Lotta. He was her assistant after all…
But it’s always fun to read her.
The Sofia feature is great too.
I think Karim’s story is ultimately my favorite. I’m unimpressed by Meisel. And while Claire(Joe)’s story is good, it’s a bit expected in terms of models, styling.
But overall a solid issue.
Even the French themselves seem to to ashamed of their highest of standards past.
Thank you for posting. I’m not sure I’ll buy the issue but it’s tempting for the Carine and Sofia features.
I don’t think we (or French) are ashamed of the highest of standards past. It’s just tiring.
When you live in a country where to dominant aesthetic has been the same for nearly 20 years, newness is just welcome.
The VP/ Franck Durand aesthetic is impossible to escape in France. I started my adulthood with that and I’m 40 and it’s still the same thing. A lot of French brands like Maje, Sandro and others only recently started to export that aesthetic in the world but they were already following that 20 years ago.
What made Vogue Paris by Carine great was that she combined perfectly the heritage of VP and the influence of ELLE France, which has always been the more influential culturally in France. The problem is that we haven’t moved on from this.
It was barely tolerable to endure that aesthetic when Emmanuelle took over because it was too much. Everybody in France’s cities was dressing like Isabel Marant and you look at the pages of the Bible and you see the same thing again.
And now, in the post-modern move, we have to see the same thing again and again. Seriously seeing the Westwood pirate boots that Emmanuelle used and abused in the pages of VP, presented with the same styling propositions…Is reductive.
And I think that diversity was important. It was important when I worked in fashion (and no one cared) and it’s important still.
Just seeing those same old propositions on a Arab girl change the perspective of that aesthetic for example. And even more with talents!
I think the problem today in France is that there are talents in Paris. There are French talents. But maybe it’s a complex, they go to find editors in the US or UK.
Vogue Paris at it peak was a gang a French girls working with international photographers. But the Art Directors were French. And those women were essentially different. Sometimes, they invited international editors but the core group was that gang of French girls.
I wish Vogue France was about that.
What MAS did with Meisel last year for Vogue France was fantastic. This Chanel story looks like a pastiche.
And the new generation of French stylist have that culture, that understanding of luxury. They all goes to Saint Barth, St Jean Cap Ferrat, eat at Le Voltaire and do the same thing. But they have a different upbringing and influences that could be interesting for Vogue….But instead, we have Alastair styling 2 stories.
I laughed again and you’re so right on both of these statements.
