Vogue Italia March 2018 : Remington Williams by Steven Meisel

[zacatecas570]

I love the editorials by Vanderperre and I&V, the one by I&V could have been for next month and any of the pics would do an amazing april cover.

 

[szonline]

"TRUE COLORS"



Photographer: Dan Jackson
Stylist: Alex White
Hair: Ward
Make-up: Peter Phillips
Models: Lily Nova, Kiki Willems, Lexi Boling, Maryel Sousa, Silke van Daal, Aida Blue, Carissa Pinkstone, Cara Taylor, Line Kjaergaard, Charlee Fraser



vogue.it

 

[GivenchyHomme]

They can’t be serious with “Mean Streets”. Apparently April fools came early this year.

 

[dodencebt]

Willy finally decides to expand his style and his idea is to rip-off Jeff Bark? Okay....

That one seriously looks like a Jeff Bark editorial commissioned by Sofia Coppola to promote The Beguiled.

 

[Deleted member 130879]

They can’t be serious with “Mean Streets”. Apparently April fools came early this year.

And it's not the photographers fault, this is his style. I love it but not for VI.

Love Dan Jackson. Would have given an amazing cover.

 

[333101]

She's had more than her fair share of VI covers but I think the first shot of Lexi in the Daniel Jackson editorial would have made an amazing cover. The rest of the content is pretty poor.

 

[Fiercification]

"THE NINE DAUGHTERS"

So proud of Pharrell for his first styling job for VI !!

Dan Jackson's editorial is quite nice thanks to the return of the classic Peter Phillips make-up looks (V with Will Davidson was a decade ago, wow!), and Adut looks amazing in her SL portrait. That's all.

 

[zoom]

Give Dan Jackson a cover! So good, he's killing it.

 

[thunderstorm]

Thank you for all the editorials, szonline!

Here's "The Nine Daughters" in a better quality.



Art + Commerce

 

[kasper!]

Haven't bought VI for years, what happend to couture supplyment?

 

[YohjiAddict]

Overral this one was a good issue, after such misses this one had names, substance and some life to it. Dan Jackson's editorial looks like something out of i-D ca.2001 and I'm not mad about it.

 

[ivano]

^^ I think that Couture Supplement is over. The cover and the main ed shows HC pieces; it's the first time since the late 80's/early 90's.

 

[vogue28]

This is a prime example, for me, of just how alive print can be! I must admit that I wasn't all too overwhelmed with the cover when I first saw it online, thought it lacked Meisel's usual pizzazz and the editorial seemed flat and lifeless. The casting didn't impress me either. Yet after having bought a copy last week, I am impressed after taking off the shrink-wrap today and leafing through the issue. The large format also does wonders for Miesel's cover story (the larger format might finally be growing on me).

I think the shot of Remington Williams wearing the yellow hooded (Valentino?) look would've been the cover, if it were up to me. The burst of colour would've elevated this monochromatic and arguably plain-looking cover, as opposed to the shot of Remington we got. Not complaining, though...

#LongLivePrint

 

[ivano]

The Story of Two Covers
By Emanuele Farneti

A world-famous girl pictured by a young photographer in the kitchen, at the first light of dawn without make-up and wearing slippers. And another hardly known girl immortalised in a Giorgio Armani haute couture dress, in the bright light of a studio by the greatest fashion photographer of all time.

The distance that separates this issue’s cover, featuring the American model Remington Williams, from last month’s cover, dedicated to Gisele Bündchen, says a lot about the spirit of the new Vogue Italia. For some magazines, the quiet repetition of a formula is the key to their pact of confidence with their readers. But thanks to its solid tradition, Vogue Italia can afford a great luxury in the publishing world: to appear on newsstands with a totally different story each month, sometimes even opposing what came before, without losing its identity in the process. Always different, always Vogue. At heart, I think the task of a print magazine in the digital age is not to give readers what they already know or expect (a search engine or algorithm will suffice for that), but to offer them the emotion of surprise and the unexpected. It’s a bit like seeing old photos emerging from a drawer (p. 185), patching together clippings from a journey (p. 174), or producing a symphony from objects collected here and there (p. 178).

It’s rather like describing the future by starting from the past. This happens several times in the issue you are about to read.

It starts with Carla Sozzani’s recollections of Azzedine Alaïa, the story of a lifelong friendship, a boundless talent, and the threads sometimes woven together by the memory.

It concludes with the article by the Pulitzer Prize-winner Michael Cunningham dedicated to Alexander McQueen, and to an unexpected love story that blossomed in the halls of a museum one afternoon a few years ago.

In the middle, we’ve made space for a far from incidental return: the reappearance of couture on the pages Vogue Italia, with the photos of Steven Meisel who hasn’t shot “Alta Moda” in ten years. In fact, at a time when digital marketing beguiles us into thinking we’re all different, when it actually wants us all the same, haute couture is the distant yet vital symbol that proves all things are not equal. Some objects and situations are objectively unique, and worth wishing and waiting for. (As an interesting paradox – 50 years on from ’68 and after various spells of see-now-buy-now fashion – we once desired everything right away, but one wonders if we might end up wanting only the things of value, and waiting as long as necessary.)

Lastly, three outstanding Italian maisons delve into their past. Their histories are buzzing with energy and, one might say, even sentiment, as Angelo Flaccavento explains on p. 394. Indeed, some defend tradition for fear of change, while others use tradition to make sense of the future, establishing an emotional connection with people who were around at the time, and paradoxically even more so with those who are too young to have been there, but who know what they missed. 

Vogue Italia, March 2018, n.811, pag. 36

 

[aracic]

Vogue Italia, March 2018



Wonder

Photographer: Steven Meisel
Styling: Joe McKenna
Hair Styling: Guido Palau
Make-up: Pat McGrath
Models: Julia Nobis, Rachel Marx, Remington Williams


Vogue Italia

 

[ivano]

Almost five years later, and after posting all the main editorials for VI, this last cover story feels like full circle. Reminds me of to the very first story with Cordulla, which is also a studio shoot, so it was a wink to the beginning, and of course it wasn't planned like that. Wish Franca and Steven ended their long time VI collaboration with such a high note. A close friend of Franca, which I love, told me about the March 2017 cover story, which was the last shot she approved. It was two days before she passed away. It had most a January cover vibe than March, but also it was the end of Meisel's contract with VI. I don't consider the Gaga editorial as his final work for they because it's 100% reprint. The final note is on this thread and no one here suspected at that moment. Imagine if after Franca's last issue CN hired Edward a not Farneti. That would have been a better end. Still, I like a lot this Wonder editorial because is simple, so modest. Also Remington had the luck to be the final Meisel girl to cover VI, and I'm not mad at all. She's so beautiful and remains one of my favorite models today.