No doubt Meisel is an institution. And this institution's been predictably uninspired, even blatantly lazy at this point in his career— down to the expected recycling of his past glories to a watered down version for current consumption. Which is a tad irritating for someone whose creative trajectory to high fashion was once so relentlessly, impressively, breathlessly daring— even with all the tributes to the past Great, for over 2 decades. HIs last solid output was his shoot with Linda for WSJ, where both her and Meisel showcased they still possess traces of that high fashion magic. But frankly, the shoot, down to the mood, was just recycled from his shoot with Madonna for her "Truth or Dare”. But none of his current efforts— as decent, even solid as a few may be, will possess the potency, the inspiration that the best of his past glories so effortlessly imprint on fashion imagery. …It’s not unfair to say that this shoot won’t be remembered by the next issue of this rag.
This shoot doesn't improve when you see it in its full layout: A couple of very solid selects, the rest filler. Once upon time, he would put in the effort to tell a complete story with Franca’s Vogue. Nowadays, his editorial shoots all feel incomplete, or quickly abandoned. Of course, back then he was likely given as many pages as needed to tell a story, unlike these frugal days.The last shot of her: close-cropped and looking up— complete with fried 60s-hair, is pure Hitchcock Tippi Hedren blonde bombshell. But the only captivating image that looks modern, is her in the Vuitton top with the feathers in her face, creating an alluring veil effect. Only two solid images. Unfortunate that this is as good as it will get. So I absolutely understand why
@blueorchid is a tad frustrated with such a weak effort getting a pass. Standards are so low these days. BTW
@blueorchid Annie’s never been the highest of fashion royalty— or even a fashion groupie, frankly. She’s never been a fashion force that influenced styling, casting and the daring mood of the moment, the way that Meisel had been with Franca’s Vogue and the campaigns he’s defined; She’s closer to a Hollywood cinematographer for celebs in red carpet styling than a fashion photographer whith an eye for new faces and new ideas. It’s why some are so loyal to Meisel and never Annie. People likely
feel like he’s one of us.
LANA DEL REY
Photography: Steven Meisel
Styling: Karl Templer
Hair: Guido Palau
Make-up: Pat McGrath
Model/Celebrity: Lana Del Rey
Credits courtesy of @Zorka
Vogue Italia November 2024
