W Magazine April 2014 : Amanda Seyfried by Craig McDean

[kikifoz]

Love the cover and some of the editorial. Can't wait for the Tim Walker edit!

Tim Walker: Malaika Firth,Riley, Laura O'Grady, Natalie Westling, Nastya Sten, Esmerelda Seau-Reynolds, Ola Rudnicka, Jake Love, Sang, Mac.

Jamie Hawesworth: Marine Deleeuw, Harieth Kuusik, Ashleigh Good, Linn Arvidsson.

 

[FashionFreelance]

I'm going to refresh this page until the Walker ed comes out.

Anyone know if this is in newsstands yet?

 

[VogueDisciple93]

I'm going to refresh this page until the Walker ed comes out.

Anyone know if this is in newsstands yet?

It is here in NYC, the photo I (covertly) snapped was in a magazine shop.

 

[Greenway]

I must be the only person who isn't excited in the slightest for Walker's ed, it basically sounds like something you would find in LOVE styled by Katie Grand with that cast (Natalie, Esmerelda, Nastya) but maybe Edward and couture can make it interesting (hopefully no plastic penis' either because that was just weird).

 

[nudeunderwater]

Love the cover, but she looks pretty awkward in the editorial. But I can't wait to see the Tim Walker and Jamie Hawesworth edits!!

 

[XavierRaphael]

Oh my that's a good cast!

 

[Hyacinthus]

beautiful

 

[justaguy]

As much as I like Amanda's cover, with the exception of the 6th shot, her editorial just doesn't work here. She looks uncomfortable and the styling doesn't suit her.

 

[Flashbang]

"Next Attitude The Mix-Up," 10 pages
Photographer: Jamie Hawkesworth
Fashion Editor: Marie-Amélie Sauvé

mapltd.com

 

[chris za]

^ great ed

 

[navyvelvetbowtie]

I absolutely adore Hawkesworth's editorial, MAS styling is flawless as usual

 

[FashionFreelance]

Walker's editorial

Source: GlossyNewsstand.com

So far I'm partial to it. There are some great shots in here, but I don't think this represents his best work. Although I can't wait to see the whole editorial and be enchanted!

 

[anlabe32]

Looove Walker's ed! Can't wait to see more. Ola's shots

 

[Faith Akiyama]

^^That looks like only half the story if the whole thing is 16 pages...looking forward to the rest! Very promising.

 

[Nepenthes]

The first and last shot of Tim Walker's ed posted here are my favourites so far. This looks really promising as always. Can't wait for the full editorial!

 

[Cafe Bar]

Amanda

If I may chime in with regards to Ms. Amanda Seyfried being the cover person for W Magazine, I would like everyone who contributes to this forum simply have a critical read of what is being said. To take an extraordinary actress such as Ms. Seyfried is -- it is easy to imagine why she may or may not feel uncomfortable. Especially being in the position that she finds herself in presently, meaning of course, that modeling is not her gig. Moreover, I am resoundly positive that not every model, or especially an actress feels comfortable given the items she wears to be shot in. I absolutely LOVE Amanda! And when she hurts it drives me crazy; furthermore, please understand that although she has done many, many covers she doesn't look thrilled to me; yet again, maybe she is playing the part of some Supermodel!? Perhaps demure, innuendo, enigmatic, or possibly just being the selfless young CLASS ACT that she is.

 

[quiche]

If I may chime in with regards to Ms. Amanda Seyfried being the cover person for W Magazine, I would like everyone who contributes to this forum simply have a critical read of what is being said. To take an extraordinary actress such as Ms. Seyfried is -- it is easy to imagine why she may or may not feel uncomfortable. Especially being in the position that she finds herself in presently, meaning of course, that modeling is not her gig. Moreover, I am resoundly positive that not every model, or especially an actress feels comfortable given the items she wears to be shot in. I absolutely LOVE Amanda! And when she hurts it drives me crazy; furthermore, please understand that although she has done many, many covers she doesn't look thrilled to me; yet again, maybe she is playing the part of some Supermodel!? Perhaps demure, innuendo, enigmatic, or possibly just being the selfless young CLASS ACT that she is.

Im sure Amanda's publicist was on the shoot with her. And if Amanda or the publicist felt uncomfortable, they wouldn't have let that be known and the direction would have been changed. Amanda is a powerful figure in Hollywood, not a new actress who needs to do things which she doesn't feel comfortable doing. I think this is the best Amanda ever looked, it's a transformation that shows her beauty within a fashion concept. I think she looks comfortable (as well as beautiful) and is 'modeling' rather than being a celebrity. She almost resembles Gemma Ward in this spread.

 

[Flashbang]

Juan Carlos Obando

This up-and-coming designer is en route to fashion stardom.

• March 24, 2014 9:00 AM | by Karin Nelson
• Photography by Emma Summerton
  Styled by Patrick Mackie

In January, at W’s Golden Globes party, Juan Carlos Obando made a beeline across the room to say hello to Amy Adams. The actress had worn one of his dresses—a sexy polka-dot halter gown that her character in American Hustle would have adored—to a film festival, and Obando wanted to thank her for the A-list publicity. “She stood up and was like, ‘Thank you! I felt so comfortable and beautiful in that dress!’ ” recalls the Los Angeles designer.

Such is a common refrain among Obando’s devotees—an ever expanding bevy of sophisticated women, like the fashion consultant Katherine Ross and the actress Jessica Alba, who rely on him for silk blouses and pajama sets, slinky bias-cut dresses, and full peasant skirts. “People think of eveningwear as very ladies-who-lunch. My ladies have lunch—but in flowy clothes,” says Obando, a burly, ebullient man who, even bedridden with bronchitis (“In my 36 years, I’ve never been this sick—it’s like the avian flu”), is quick to crack a joke.

Inspired in large part by the vibrant, sensual women he grew up around in his hometown of Barranquilla, Colombia, Obando’s “own-the-night basics,” as he describes them, fill a niche. If you’re looking for a tailored work suit, you should shop elsewhere. “We don’t do A to B,” he acknowledges. “I take care of you at B—or, rather, C.” And yet his clothes have a remarkably broad appeal. So much so that J. Crew has enlisted him to create a capsule collection of gypsy-inspired cocktail looks and a pair of strappy sandals, out in June. And demand for his own label, which also includes industrial, masculine-looking jewelry (“Technically, it shouldn’t work with delicate clothes, but it does!” he notes), continues to grow: Barneys New York now carries the brand in all its stores. Not bad for a guy who until relatively recently knew nothing about fashion. “When I was 19, and a friend was obsessing over his new white Versace jeans, I didn’t even know what Versace was,” Obando quips.

At that point, graphic design was his thing. “I wanted to be like the person who made the Coca-Cola logo,” he explains. But then in 2002, while at the advertising firm Saatchi & Saatchi, he found himself working on car commercials that called for fabulous clothing. Many in his position would have hired a stylist; Obando instead went to Sears and purchased a sewing machine and some McCall’s patterns. “You can learn a lot from reading instructions!” he says. To supplement his self-education, he would pull apart vintage Azzedine Alaïa and Gucci garments to analyze their construction. After a few years of quietly honing his craft, he hesitantly made his debut at L.A.’s spring 2006 Fashion Week, with the swishy jewel-toned gowns that would become his hallmark.

And although Obando gave up his advertising gig in 2010, he has retained the power to persuade. His latest New York Fashion Week runway show—held in February in a flower-adorned 19th-century mansion on Fifth Avenue—was an enchanting affair. “This is the moment in my career when everything is coming together,” he says. “In a very polished way.”

• Hair by Sascha Breuer at starworksartists.com; makeup by Mélanie Inglessis for Dior at the Magnet Agency. Models: Andie Arthur and Emily Senko at IMG Models; Naty Chabanenko at Women Management. Digital technician: Carl Novick; photography assistants: Edward Singleton, Bryan Tormey, Douglas Markland; production: Alicia Zumback at 3 Star Productions.

wmagazine.com

 

[Flashbang]

Marco de Vincenzo

This up-and-coming designer is en route to fashion stardom.

• March 24, 2014 9:00 AM | by Andrea Lee
• Photography by Emma Summerton
  Styled by Giovanna Battaglia

He has one of those mercurial Italian faces: sometimes mischievous as a faun, sometimes solemn as a bust of Cicero. Indeed, the rising Sicilian fashion star Marco de Vincenzo is becoming known as a master of fusion and illusion, bypassing the familiar extravagance of Southern Italian designers—sexy baroque, folklore, gladiator—to enter uncharted territory that just might make him the thinking woman’s Sicilian.

De Vincenzo’s clothes, which blend classic silhouettes with a mind–blowing assortment of high-tech materials, are both futuristic and ladylike (think Judy Jetson goes to finishing school). His spring 2014 collection won raves for the subversive luxury of its pared-down dresses and suits, which combine metallic leather, digital ikat prints, trompe l’oeil prismatic effects, and lacquered athletic fabrics. In February, LVMH invested in the brand.

“I like to make people look twice,” says de Vincenzo on a January afternoon in Milan, during the shoot for this story. He is flanked by W Contributing Fashion Editor Giovanna Battaglia, a close friend and the stylist for his shows. De Vincenzo jokes quietly with her and supervises the proceedings with the sort of relaxed air of experience that comes from a demanding day job as head accessories designer at Fendi. “I owe a lot to Fendi, which has been my school,” says the soft-spoken 35-year-old. “I devote my days to them, and at night I work on my clothes.”

Growing up in Messina, de Vincenzo was obsessed with drawing and design. He would study family photographs, fascinated by the transformational power of clothes; at 18 he left Sicily for Rome’s prestigious Istituto Europeo di Design. After graduating, he started working on handbags at Fendi, where he forged a close relationship with Silvia Venturini Fendi.

Still, he fantasized about making clothes, and in 2009 he presented a small haute couture collection in Paris. It was an auspicious debut: His body-skimming suits and dresses with meticulously crafted pleats and metallic finishes caught the attention of the Italian Vogue editor Franca Sozzani, who awarded him first place in her magazine’s famous competition for newcomers, Who Is On Next?

Since then, de Vincenzo has shown a series of accomplished ready-to-wear collections in Milan. From season to season, his look has been anything but predictable, oscillating from geometric leathers to yeti-like furs to pixelated prints to sunny knits in serpentine patterns. At Fendi, he developed a passion for unusual materials, which he sources from small factories and artisanal workshops all over Italy, and when something strikes his fancy—whether it’s fur or athletic mesh—de Vincenzo goes to great lengths to make it unique, hand-painting 3-D effects, gilding and pleating leather, adding crystals. “After working for so many years on handbags, I wanted to feel free,” the designer declares. “I take the liberty of doing a kind of creative slalom.”

What gives cohesion to de Vincenzo’s style is his instinct for what is wearable and his spare, classic silhouettes. “I don’t have a muse, but I have beautiful friends who work in the fashion world, like Giovanna and Delfina [Delettrez, the jewelry designer and daughter of Silvia Venturini Fendi]. From the start, I’ve studied their real-life outfits,” de Vincenzo confesses. “I begin designing, and I ask them, ‘Would you wear this?’ But I also dream of transforming fabric. When I’m working alone, just with the material, I always ask myself, ‘Is it magic?’ ”

• Hair by Gabriele Trezzi at Close Up Milano; makeup by Mathias van Hooff at Julian Watson Agency. Models: Tanya Katysheva, Sibui, and Emilia Nawarecka at Next Management. Digital technician: Zoe Salt; photography assistant: Edward Singleton; fashion assistant: Carlotta Tabaroni; production: Neela Quagliola at Mascioni Associati.

wmagazine.com

 

[Flashbang]

Julien Dossena

This up-and-coming designer is en route to fashion stardom.

• March 24, 2014 9:00 AM | by Alice Rawsthorn
• Photography by Emma Summerton
  Styled by Elodie David Touboul

When Julien Dossena quit his job as a designer at Balenciaga in December 2012, after the departure of his boss, Nicolas Ghesquière, panic soon set in. “There was no point in staying on,” he admits. “But I’d worked there for four years, often 24/7, and it felt sad.”
Not that he felt that way for long. Just a few weeks later, the boyishly handsome 31-year-old was offered a consultancy at Paco Rabanne. The house’s owner, the Puig group, was struggling to revive Paco Rabanne’s allure as a futuristic label that had dazzled the fashion scene in the 1960s alongside Courrèges and Pierre Cardin. Having gone through two chief designers in as many years, CEO Marc Puig offered the creative director role to Dossena just eight months after he’d joined the company. Dossena’s first collection of glossy leather dresses, metal mesh tops, and silver jeans was widely praised when it was unveiled in Paris last autumn. “I’ve always loved Paco Rabanne for its rebelliousness and modernity,” Dossena enthuses. “I want the new collections to have the same aesthetic impact, but for the young women of now.”

It is worth remembering just how radical Paco Rabanne, now 80 and retired, was. He got his start in 1966 with the collection 12 Unwearable Dresses in Contemporary Materials, in which he used metal, plastic, rubber, and cardboard. He continued to experiment with paper, knitted-fur, and fiberglass clothes for, among others, the singer Françoise Hardy and the actress Brigitte Bardot. Well known for his spiritual beliefs, Rabanne fled Paris shortly before August 11, 1999, convinced that on that day the Russian space station Mir would fall on the city and obliterate it.

Dossena himself is partial to futuristic visions, albeit as a sci-fi enthusiast who enjoys J.G. Ballard’s novels rather than as a prophet of doom. He was born in Brittany, studied art history in Paris, and then fashion in Brussels. After graduating, in 2008, he was hired by Ghesquière, who is now his boyfriend. Participating in Balenciaga’s technical experiments was ideal preparation for Paco Rabanne, which shares a similar laboratorial culture: For his debut, Dossena worked with some of the original Paco Rabanne fabric suppliers, but he took advantage of the latest technologies. “Chain mail was Paco Rabanne’s signature,” observes Laure Heriard Dubreuil, who ordered the collection for her Miami store, the Webster. “But Julien designed the pieces to look lightweight and effortless.”

Rejuvenating the clothes is only the start for Dossena, who also runs Atto, a label he cofounded with two fellow Balenciaga alums. Like Ghesquière and other designers he admires—including Martin Margiela and Helmut Lang—he sees the collection as part of a wider vision. “If you begin with the clothes and add the bags, the logo, the boutiques, and everything else, then you can go like a cannonball!” he says. “What I love about sci-fi is that you get to invent a whole world, complete with landscape, architecture, and characters. Paco Rabanne did that with his women in metal dresses surrounded by metal walls and metal furniture. Now it’s up to me to build my own visual reality.”

• Hair by Marion Anée for Leonor Greyl at airportagency.com; makeup by Aude Gill at Studio 57. Models: Lena Hardt at DNA Model Management; Harleth Kuusik at the Society Management; Mijo Mihaljcic at IMG Models; Maja Salamon at Next Management. Digital technician: Nick Dehadray; photography assistants: Edward Singleton, Paul Jedwab; fashion assistant: Florie Vitse; production: Belinda Foord at Shiny Projects.

wmagazine.com