Vogue Italia September 2020 by Mark Borthwick

[SophiaVB]

omg @ the editorials. these are all SO bad.

 

[MyConfashion]

So, according to an interview with one of the team members of DMCASTING, they were limited geographically. Turns out that here we have only people who were present physically in NYC. Why not actually do something within Europe at this point, including also Italian citizens (well, hello, it's still Vogue Italia) like activists, models, designers, artists, actresses etc...? I don't see here someone like Vittoria, Maria Grazia Chiuri, Mariacarla, Lea T, Matty Fall, Carla Bruni or Monica Bellucci. Though we see Emily R, Kaia, Cindy Crawford... I mean... There's nothing Italian about it, except the magazine itself with casting directors, Farneti and those weird Verderi layouts. And frankly speaking, all Vogue editions are kind of doing a bad job of portraying HOPE. Something that really makes sense was produced by Portuguese team. French? Please. Japan with that Murakami cartoon? No comments. British edition had an amazing cast and opportunity, but the execution... And why Hope as a theme? Hope for what? That advertisers will be back one day? I highly doubt it. Why not Life, Love, Dream, Freedom, History, Statement? There are so many beautiful words that make so much sense too. Why choose the most populistic and predictable one, and force all editions to unite? Why not call it United instead, and let all the editorial teams actually produce something for other editions? I would rather see that kind of experiment.
Look what was made during WWII. Those images by Lee Miller and Cecil Beaton are just amazing. And here, in 2020, we have all the technology, possibilities, photographers, models, postal services, local designers... And still. Boring. Annoying. Nonsense.
Those mainstream magazines are better actually think faster, and up their game, otherwise it won't be saved by Hope. Especially with those monochromatic dull and depressing clothing on 100 covers.

 

[Benn98]

I must say as a fan of his work for American Vogue and L'Uomo, I'm shocked at that screenshot because he doesn't come across like that at all. Not so much the fact that he sounds like your typical Twitter troll, but the vulgar language specifically, calling women the h-word when he's either working for women's magazine with a heavy female empowerment message or a progressive youth culture magazine. @Will Ross was this from someone's DM? Can't be from a timeline, surely!?!

Now I'm keen to find out what was said to rile him up like this, lol.

omg @ the editorials. these are all SO bad.

Well at least the advertisers are starting to catch onto Farneti's game. This may sound cruel but it's good that he's being hit where it hurts. If this continues Conde Nast will be forced to replace him.
Grace Mirabella ran an incredibly successful magazine but had o fold because she couldn't get enough advertisers. They're basically the backbone of any magazine.

 

[Blayne266]

I hope Farneti is on the outs. Would love to see Anna Dello Russo as EIC or someone that has the smallest interest in creating an actual fashion magazine & not a pretentious monthly art pamphlet.

 

[lookieloo]

My only question would be, why do all the models of color have shared editorials, but the single model editorials are all white women. Seems like a missed opportunity.

 

[MulletProof]

^^ ADR!.. that would be awful.. she's been surpassed by other fame-starved characters by a long long shot now but she's one of the originals. Right before instagram, circa 2009-2012, it was her grotesque "street style" and vulgarity what cemented the path for other people to be truly convinced that just dressing up, showing up and showing off was a legitimate career in fashion.. she greatly contributed to completely morph the sartorial eccentricity, creativity and the spectacle surrounding fashion shows conveyed by guests like Anna Piaggi or Isabella Blow, into this insufferable nouveau riche display of logos, 'influencers' and opulence that it is now. And don't get me started on her "work" for Vogue Japan. I admit she was okay as a stylist... 30 years ago, but there's so little of that now.

Interesting to see Carlos' response to criticism. I admittedly don't know much about him and haven't really been curious enough about his body of work but I assume he's proud to be unfiltered and outspoken... and anti-Trump and yet his behavior screams zeitgeist, typing away because ~1st amendment~ and my ego, my choice, same rhetoric, same lack of care to promote respect at least to himself and the position he's in.. because 'weak bored as* hoe' is certainly the kind of vocabulary he finds okay as criticism (constructive and destructive) and wants for himself. It's a shame.. I appreciated Franca's work but was not really a devoted fan and some issues made my eyes roll... yet even when criticising the content of her magazine, the way she (and her team of contributors) carried themselves inspired respect.. and as a result, whatever criticism or controversy they generated, it was probably worth reading.. it didn't make you feel like witnessing a quarrel at a gas station.

 

[Ed..]

The layout staff typing 1-100/100, Ctrl+C, Ctrl+V the Vogue Italia logo, "100 covers etc" be like...

gfycat

The only "hope" that matters to me is that only 1 cover will be printed so that we can save the trees for better use.

 

[Lola701]

I think wanna should stop giving guidelines to all the Vogue. Clearly, Edward was the only one understanding her vision because the whole Hope thing is obviously a mess here!

This issue is a whole bunch of nothing to be honest. It’s not just about the Hope thing. As a magazine, September issue, detached from all what’s going on culturally or in the world, this just does not make sense.
And yes, as someone else pointed out, there’s nothing Italian about it or that can help, push or highlight the energy of the Italian fashion industry.
Ok, 100 people dressed in Prada... cool!

*21, Via Borgonuovo is the only good thing about this issue!

^^ ADR!.. that would be awful.. she's been surpassed by other fame-starved characters by a long long shot now but she's one of the originals. Right before instagram, circa 2009-2012, it was her grotesque "street style" and vulgarity what cemented the path for other people to be truly convinced that just dressing up, showing up and showing off was a legitimate career in fashion.. she greatly contributed to completely morph the sartorial eccentricity, creativity and the spectacle surrounding fashion shows conveyed by guests like Anna Piaggi or Isabella Blow, into this insufferable nouveau riche display of logos, 'influencers' and opulence that it is now. And don't get me started on her "work" for Vogue Japan. I admit she was okay as a stylist... 30 years ago, but there's so little of that now.

If one person is capable to give an identity and a influence to VI today, it’s ADR.
Her work is questionable of course but she is still a good stylist, she has a vision, some standard when it comes to fashion and an international aura. And the way she reinvented herself proves how clever she was/is.

VI today is all about the prestige of the past but it’s a magazine that counts because of it glorious past. There’s no vision in what Farneti does. Not at all!

 

[vayacondios]

I must say as a fan of his work for American Vogue and L'Uomo, I'm shocked at that screenshot because he doesn't come across like that at all. Not so much the fact that he sounds like your typical Twitter troll, but the vulgar language specifically, calling women the h-word when he's either working for women's magazine with a heavy female empowerment message or a progressive youth culture magazine. @Will Ross was this from someone's DM? Can't be from a timeline, surely!?!

Now I'm keen to find out what was said to rile him up like this, lol.



Well at least the advertisers are starting to catch onto Farneti's game. This may sound cruel but it's good that he's being hit where it hurts. If this continues Conde Nast will be forced to replace him.
Grace Mirabella ran an incredibly successful magazine but had o fold because she couldn't get enough advertisers. They're basically the backbone of any magazine.

the user he sent the message to commented 'no' like 50 times on some of his recent posts...must've been a troll account because they had no followers/following none. gray sorrenti reposted the account and called them out for bullying Carlos...this was a few days ago

 

[Phuel]

VI today is all about the prestige of the past but it’s a magazine that counts because of it glorious past. There’s no vision in what Farneti does. Not at all!

I don’t get the impression this guy cares nor honours VI’s past. Perhaps not intentional, but he has absolutely discarded Franca’s delicate and exquisite 30+ worldbuilding years in less than a year since he took over. (Which would actually be a brave move if he possessed the brand of talent that Franca/Fabien/Liz/Patrick McCarthy had/has.)

But by the same token that I despise his direction, I’ll maintain that this 100 covers of 100 women works. All covershots look uniformly and singly objective in a sole aesthetic. Even as much as I find the stylist insufferable, there’s a crispness, a certain discipline in how all women are styled to a very specific mood and vibe. I’ll begrudgingly admit I like this. It’s not 100 different looks aimlessly tossed at the reader: this really is just one cover— of 100 women. It’s the first gimmick of his that I find works and it works rather nicely.

Weird, but as terrible editors as I find he and Edward are, they produced 2 of the strongest September covers...

(The covers actually are much fresher than Emmanuelle’s September issue if I’m being completely objective. Paris’ feels so stale, and even inexcusably lazy for a September cover. I get that her issue was likely produced at the height of the pandemic so the creative resources may have been severely limited. Still not an excuse as far as I’m concerned. With the cast and her pull, this really could have been such a superior issue. Malika’s shoot with its Andy Warhol/Bianca/Halston at Studio 54 vibe feels so played out— and it’s the only worthwhile story of the entire issue. And as beautiful and ice-cool as she looks, her looks are so repetitive: Almost all the shots are her glaring cooly, head tilted with hands on hips. Rinse and repeat. Maybe Mikael is to blame for this— or the sitting AD, or even Emmanuelle. And it’s like they know it’s so repetitive that there’s a spread with the identical shot…. WTF…)

 

[MulletProof]

she has a vision, some standard when it comes to fashion and an international aura. And the way she reinvented herself proves how clever she was/is.

Farneti ticks the same boxes. His 'vision' is clear as day, identifiable by a consistent lack of leadership, incompetence and financial desperation that is visible throughout his work. "Some" standard too and certainly an international aura (is this a nicer term for 'well-connected'?). And he's certainly able to reinvent something (I'm not sure I know what he looks like so at least he hasn't yet reached the sad state of having to reinvent his appearance or become a caricature in order to be remembered). Then again, reinventing anything in fashion is often synonymous of profit, strengthening, weakening or destroying depending on who you ask. Anything but creating/inventing..

I continue to think that the current state of fashion is 50/50.. partly the result of the people in the same seat for too long, and partly the expectations of consumers and enthusiasts.. if we settle for 'some standard', that's what we'll continue to get... what we see here, or the breadcrumbs represented by ADL, who was 'a long-time employee' at best while fashion was at its most creative but now emerges as a one-eyed among the blind. As much as social media has made sure criticism towards anything (politics, pop culture, etc) is seen as ~hater~ and "not uplifting each other!", I think we all have the commitment to know some history, do some research and not lower standards just because times are bad.

One of my [fashion-related] pet peeves is speculating on potential names for magazines/houses.. but I guess this talk on ADL belongs in that category so, I would say the magazine could benefit from someone who hasn't been on CN's payroll for decades, maybe even outside of fashion (but clearly familiar).. I don't know.. if it was up to me I would track down Matthias Vriens and see where it takes them, it can't be this bad..

 

[Lola701]

Weird, but as terrible editors as I find he and Edward are, they produced 2 of the strongest September covers...

Weirdly, I kinda agree with you... Why kinda? Because I add Vogue Us on the mix (totally personal opinion btw). I think that for September 2020, those 3 covers (103 to be exact) have a long-lasting impact.
I’m not trying to judge on the visual result but I think in terms of concept, September 2020 is paintings of black women on US Vogue, Activists on UK Vogue and 100 women on VI.

It’s sad for Emmanuelle but Malika is just a black model having a solo cover on VP. It’s not special enough even if it’s major for VP and for the model in question.

But I think overall Vogue US and Vogue Paris have the best issue because those are the issue I’ll enjoy going back to. I wonder if the fact that I buy magazines (in a physical way) and does not consume only via digital impact my vision on the subject.

100 women and solo portraits of women dressed in black, grey and navy blue Prada is maybe impactful on social media but what a hell to imagine going through that with a « real magazine »!

 

[Benn98]

Right before instagram, circa 2009-2012, it was her grotesque "street style" and vulgarity what cemented the path for other people to be truly convinced that just dressing up, showing up and showing off was a legitimate career in fashion..

And don't get me started on her "work" for Vogue Japan. I admit she was okay as a stylist... 30 years ago, but there's so little of that now.

LOL! I remember that 'fashion victim era', and actually, she outed herself as a 'stylist' because her so-called 'work' was (is!) a direct copy of her streetstyle. Which in itself is basically an endless stream of head-to-toe runway looks from mostly Italian designers with little to none of her own personality added to it. Like a walking mannequin.
That's why it's so rare to see a cohesive, themed editorial in Vogue Japan. Because the reality is that, if given the opportunity, she would see nothing wrong with wearing any of these looks just as we see them here to a runway show. Same applies to Mobolaji Dawodu at US GQ.
I think it's very lazy verging on scammy for a fashion stylist to style edits based on their personal street style. It's not about you, it's about using fashion looks to tell a story,

 

[gazebo]

Vogue Italia September 2020

*3D

Digital Artist: Jason Ebeyer
Stylist: Danny Reed

Why is the CGI model white and skinny???

 

[avonlea002]

Why is the CGI model white and skinny???

She doesnt have to eat. I am jealous

 

[MulletProof]

I think it's very lazy verging on scammy for a fashion stylist to style edits based on their personal street style. It's not about you, it's about using fashion looks to tell a story,

That's the right word. Remember the Vogue Nippon days with Joanne Blades? seems like a lifetime ago before the most overexposed, pageant-looking, one-dimensional models, the orange tans, the cheaply dyed blond manes, the corniest, frilliest debutante gowns and her untouched runway looks "styling" took over.. and the pages of the now renamed Vogue Japan began to function as the 'valid, professional purposes' for borrowing and taking the godawful stuff she likes out for a ride maybe even before the shoot.

I think the work of a stylist is bound to often cross that blurry line because it's taste and that's inherently personal, you see this in Panos Yiapanis's work, Tiina Laakkonen's.. it's just unpleasant when it's too tribute-y.. when they've amassed enough influence to even make sure the model is a better/younger-looking version of themselves, dressed just like them. That and always throwing items from a designer you consult for, in an editorial for a magazine.. .. things end in fashion so bitterly because most people seem truly incapable of explaining what conflict of interest means... if you can't explain it, you probably don't understand, and that's a lot of trouble sooner or later.

 

[Benn98]

That's the right word. Remember the Vogue Nippon days with Joanne Blades? seems like a lifetime ago before the most overexposed, pageant-looking, one-dimensional models, the orange tans, the cheaply dyed blond manes, the corniest, frilliest debutante gowns and her untouched runway looks "styling" took over.. and the pages of the now renamed Vogue Japan began to function as the 'valid, professional purposes' for borrowing and taking the godawful stuff she likes out for a ride maybe even before the shoot.

I think the work of a stylist is bound to often cross that blurry line because it's taste and that's inherently personal, you see this in Panos Yiapanis's work, Tiina Laakkonen's.. it's just unpleasant when it's too tribute-y.. when they've amassed enough influence to even make sure the model is a better/younger-looking version of themselves, dressed just like them. That and always throwing items from a designer you consult for, in an editorial for a magazine.. .. things end in fashion so bitterly because most people seem truly incapable of explaining what conflict of interest means... if you can't explain it, you probably don't understand, and that's a lot of trouble sooner or later.

What I found so funny was that many regarded her as a style icon back then, no jokes! I remember stumbling across a Tumblr comparing her street style next to runway looks, and it wasn't even posted in a mean/ironic way. It was more of an appreciation thread to compliment the fact that she's got access to the biggest and most desirable brands in fashion.

When the fashion system eventually decides to get rid of the full look policy which I doubt will happen anytime soon, I'm sure AdR will be one of the first casualties. She's clever enough to blind everyone with her 'so hot right now' model casting and Luigi & Iango but remove that and you'll see her work for what it is. Glorified lookbooks.

I know we are in the era of the star designer/stylist/photographer, but I'm one of those purists who despise the idea of a stylist using editorial pages to expand on their personal style as much as I despise a photographer appearing in his own editorials (yes, looking at you, Tyler Mitchell). My entry into fashion came at a time when stylists/photographers public image didnt overshadow their work. Because in theory it means you sat at a runway show and only picked the looks that you liked (and would wear) while everyone else pushed themselves to build (often strong, often weak) stories around key pieces from a collection. Carine or Tonne wouldn't be caught dead in 99% of the looks they've pushed.

This may sound hypocritical coming from someone who applauds Virginie Benarroch, but I actually like her themed work more than the autopilot oh so French jumper/denim edit she churns out for Miss Vogue. Plus I'm convinced Miss Vogue only exist as a personal shopper for Alt.

 

[WAVES]

*sigh*
I mean, there are a couple of decent covers but are they September Issue cover worthy? no. maybe for one of those filler months (no offence whatsoever because these months can offer amazing covers and content).

Farneti’s tenure is been full of hits and misses and this 100 covers overload is definitely a miss for me.
Once again you have a theme but then again don’t all Vogue editions have a ‘theme’? so, the task is pretty much the same as all the other previous ones... Emanuele Farneti pulled out well for that Charity/ Donation shtik (probably necessary, I won’t judge), for this years February edition: it was gloomy, dark, created awareness and it was fashion. Which kinda annoys me because it means he can produce good work. Even last month’s cover and editorial with Binx (and Collison) was very Vogue Italia (it did scream Meisel under Franca, tbf).

I used to long for the September issue of any Vogue really... it’s a fading feeling...

 

[MulletProof]

When the fashion system eventually decides to get rid of the full look policy which I doubt will happen anytime soon, I'm sure AdR will be one of the first casualties. She's clever enough to blind everyone with her 'so hot right now' model casting and Luigi & Iango but remove that and you'll see her work for what it is. Glorified lookbooks.

I know we are in the era of the star designer/stylist/photographer, but I'm one of those purists who despise the idea of a stylist using editorial pages to expand on their personal style as much as I despise a photographer appearing in his own editorials (yes, looking at you, Tyler Mitchell). My entry into fashion came at a time when stylists/photographers public image didnt overshadow their work. Because in theory it means you sat at a runway show and only picked the looks that you liked (and would wear) while everyone else pushed themselves to build (often strong, often weak) stories around key pieces from a collection. Carine or Tonne wouldn't be caught dead in 99% of the looks they've pushed.

Yeah, I don't think that's going to happen in our lifetime, easily. The magazines that were experimental in that department have been flushed or are struggling enough to disguise themselves as Teen Vogue (like i-D).. gone are the days when you could do something like this (cover it in dust, glitter, twist it, pile it up, all for the sake of quality imagery), even the public will bash you now for being 'pretentious' or pointless ('got LV but.. we can't tell?!') while the head-to-toe runway look is aspirational in addition to every CEO's wet dream.. their conglomerate's product FINALLY being respected and left as it is.

And same, years on, I still find it a bit off when it seems like someone is only working in order to land the opportunity of posing shirtless later.

 

[FashionMuseDior]

100 individuals covers is too much and seems like an overkill. I didn't even check them all out. Bella looks stunning.