The new editor is credited as 'acting editor in chief' of this issue, meaning she's just basically standing in for Karin - no drastic editorial changes. So it's not really possible to judge her input here. She will probably make her formal debut (complete with new art direction, I hope) next month.
My Dutch is shaky, but from what I could gather, her editor's letter only touched on the theme and content of this sustainable issue. Maybe by the time the issue was closed she didn't know she got the job yet? Either way, as expected it's pretty much your standard Vogue Netherlands as we to know it. Nearly as much written content as there is fashion. And if you're not a TFSer or someone who's clued up with global Vogues, this would be a very strong and cohesive summer issue. You wouldn't know that Imaan's holiday story is actually a reprint from British Vogue, or that some of the shots in the front section are in fact reprints from Edie's June/July 2018 story for VP. But it fits perfectly with the flow of this issue so I suppose nobody will complain. In addition, there are also unpublished shots from Yasmin Wijnaldum's cover shoot last month which is supposed to pass as a swimsuit editorial. As I've said last before, that shoot was amateur hour to the max, as well as her 'modelling.'
Sylvia's cover story takes up 14 pages, and the editorial is really stunning yet understated in mood and styling. But the highlight for me is Paul Bellaart's peasant edit. It's pretty much based on
Lachlan Bailey's shoot with Ashley Graham for November VP, but x1000 times better. Even the model is almost as wholesome as Ashley which lends so much authenticity to the theme. But where Ashley added very little to that storyline other than her shape, this model (Marte Boneschankster) kept it simple yet sensual. It's one of those shoots where everything came together perfectly - fashion and hair styling, cast, set design and photography. After the British, the Dutch,
Australians and Annie Leibovitz, have this really romantic way of dealing with nature, especially the countryside. We see it often with Annemarieke van Drimmelen's work.
But overall I'm glad this is the end of the line for Karin's Vogue. I know it's a well-oiled and profitable machine and naturally, there are readers like
@Les_Sucettes who actually enjoy the magazine in this state, but I just hope this new EIC will renew the magazine in order for it to stand tall next to the rest.