Why is French Vogue so exciting? Merci, Fabien Baron & Carine Roitfeld!!!
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iconemod said:
I lived several years in Paris. Now I'm living in the south of France (good weather, horrible fashion styles
) I don't think it's relevant though. At least it shouldn't be relevant.
French Vogue should strive to target more than a certain type of Parisians ("Carine's friends" ) who think they're an elite or something.
To me Vogue should be more like an institution.
It should defines style and bon gout.
The key word should be classy not edgy because they suck at being edgy.
I'm often flipping through Vogue and thinking : boring, boring, boring...
The covers are generally lovely though but the eds ... once in a while they will come up with some really cool stuffs ( I still remember an eds with Erin and Julia
) but most of the time I'm yawning my head off. Sorry .Jadee said:I lived several years in Paris. Now I'm living in the south of France (good weather, horrible fashion styles
.
I know, la Cannoise, for example, too much colour.. rouveau niche.. new riches..
well, by meaning "edgy" , which eds are you having in mind?
the erotico-psycho with Gemma shot by Testino wearing YSL Rive Gauche???
iconemod said:
Oh gosh la cannoise, so tacky
When I mean edgy I don't have a particular ed in mind.
It's just a feeling that I have that they're trying to be arty when they should be classy. I also find that the eds often lack of irony and humour.
The erotico thing with Gemma wasn't edgy to me
On the contrary It was rather conservative , fausse provocation, cliché.
Edit : I like your avatar.Jane was so beautiful. It's a pity it's not bigger.
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metal-on-metal
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The Mario Sorrenti/Carolyn Murphy editorial in the April issue is a perfect example. Completely out of touch and completely boring. That whole issue is a huge snoozefest.iconemod said:
I am loving april french vogue
the April French Vogue is one of the best fashion mags Ive seen al year-
Editorials:
Carolyn Murphy Shot by Mario Sorrenti, Rating 6 of 10.
Raquel Z by Demarchelier, 7 of 10.
Carmen Kass Shot by Mikael Jonsson,
carm is on a tanning bed & is nude throughout the edit. this is one of ther hottest edits of 2005 & I hope Im not the only one who thinks that carm still has it. she is so beautiful & so overtly sexy here I am more impressed with her modelling than I have been for several years. rating 10 of 10.
the TV commercial for Prada’s perfume, starring Daria. rating 4 of 10. .
Erin Wasson Shot by Lamsweerde & Matadin, rating 3 of 10.
An unfamiliar brunette shows off a COUP DE CHAPEAU, ‘a 6 pg editorial that intends to show this season’s hats . Shot by Alasdair McClellan,
WHO IS THIS MODEL? shes incredibly hot! she looks like a cross betw rianne & poly!! what a body!! this is great edit!! its hot like a 70s french vogue! hot!! rating 9 of 10
This is one of the best fashion mags Ive seen all year. BUY IT!!
Carmen's edit is one of best of 2005 & her bikini bottom pic is one of sexiest photos of 2005!! BUY IT!! 2 Thumbs Up!!!
go to 'what magazines' section for my full review & thoughts.....
the April French Vogue is one of the best fashion mags Ive seen al year- Editorials:
Carolyn Murphy Shot by Mario Sorrenti, Rating 6 of 10.
Raquel Z by Demarchelier, 7 of 10.
Carmen Kass Shot by Mikael Jonsson,
carm is on a tanning bed & is nude throughout the edit. this is one of ther hottest edits of 2005 & I hope Im not the only one who thinks that carm still has it. she is so beautiful & so overtly sexy here I am more impressed with her modelling than I have been for several years. rating 10 of 10.
the TV commercial for Prada’s perfume, starring Daria. rating 4 of 10. .
Erin Wasson Shot by Lamsweerde & Matadin, rating 3 of 10.
An unfamiliar brunette shows off a COUP DE CHAPEAU, ‘a 6 pg editorial that intends to show this season’s hats . Shot by Alasdair McClellan,
WHO IS THIS MODEL? shes incredibly hot! she looks like a cross betw rianne & poly!! what a body!! this is great edit!! its hot like a 70s french vogue! hot!! rating 9 of 10
This is one of the best fashion mags Ive seen all year. BUY IT!!
Carmen's edit is one of best of 2005 & her bikini bottom pic is one of sexiest photos of 2005!! BUY IT!! 2 Thumbs Up!!!
go to 'what magazines' section for my full review & thoughts.....
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metal-on-metal
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Sorry but that issue is totally off the mark. Inez and Alasdair turn in some of their poorest quality work so far this year. The Sorrenti shoot is contrived and Carolyn is so unsexy it hurts. Raquel by Demarchelier is ok for what it is: a studio shoot. The only good thing about it is the Carmen story by Jansson. That really is gorgeous.
Fr.
who's the girl in maclleelen? shes an important new discovery.
I disagree his edit is hot. that girl is rocking.
although some of the other stuff is of varying quality or even odd it all forms an interesting magazine.
those are some heavy hitters of photography & girls & overall that mag satisfies.
cmon us vogue or elle are the mags that bite.
french elle is colorful & hot.
who's the girl in maclleelen? shes an important new discovery.
I disagree his edit is hot. that girl is rocking.
although some of the other stuff is of varying quality or even odd it all forms an interesting magazine.
those are some heavy hitters of photography & girls & overall that mag satisfies.
cmon us vogue or elle are the mags that bite.
french elle is colorful & hot.
maybe it was a bit too incestuous, but who cares. Love the "fetish"effect on the orange or blue Chanel matelassé bag... Go, Chanel, go go...lady grey said:
Editorials:
Carolyn Murphy Shot by Mario Sorrenti, Rating 6 of 10.
.....
Raquel Z by Demarchelier, 7 of 10.
Well, Amanda Moore would have fit perfectly into those sporty-chic-masculine frocks.
Carmen Kass Shot by Mikael Jonsson,
Boring, boring... what do you get of looking at Carmen Kass's nipples???
lifeless...
the TV commercial for Prada’s perfume, starring Daria. rating 4 of 10. .
Mediocre, I am sooooo sick of Daria...
Erin Wasson Shot by Lamsweerde & Matadin, rating 3 of 10.
Yeah, I met her at the Parisian Metro, she's quite sexy even in her unwashed jeans and Valentino rich-woman-gets-nasty snickers... But I do not remember her name , heehe... Ride the Paris metro and you'll find her...Line 9lady grey said:
Oh yeah, my favourite page of this French Vogue is the one dedicated to Alison Mosshart of The Kills, lovely pic by chouchou Hedi Slimane...
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kimair
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i have to agree with metal re: the april issue. raquel z. doesn't do it for me and i thought amber would have been a better choice than carolyn. i had high hopes for erin with inez and vinoodh, but it was blah...not their best work.
i thought the march issue (with daria on the cover) was much stronger overall. the maria carla ed and the david sims piece with portraits of the models were both amazing.
i thought the march issue (with daria on the cover) was much stronger overall. the maria carla ed and the david sims piece with portraits of the models were both amazing.
well, I am french, and I do think that with the italian one, the parisian one is the more exciting ... I love carine roitfeld ans fabien baron, and I think that their editorials are good. Their articles are good too, but if you don't speak french, it is not realyy relevant ...
It is sure that it does not answer the expectations of average women (I do not mean it in a negative way), but it has a quality that the american vogue -which is for me no more than a glossiest marie claire or elle- lost long ago : it makes you dream.
And, lets not forget that it is Vogue Paris, not Vogue France, when we're not talking about Vogue Milan or Vogue New York ... The name tells all, Vogue Paris, in a way, does not care about being popular, it is parisian, or at least, it is meant for people who have enough money to buy what is featured in it ... and in an abnowious way, I think it is good, because when I open vogue, I don't want to see H&M or Gap ...
It is sure that it does not answer the expectations of average women (I do not mean it in a negative way), but it has a quality that the american vogue -which is for me no more than a glossiest marie claire or elle- lost long ago : it makes you dream.
And, lets not forget that it is Vogue Paris, not Vogue France, when we're not talking about Vogue Milan or Vogue New York ... The name tells all, Vogue Paris, in a way, does not care about being popular, it is parisian, or at least, it is meant for people who have enough money to buy what is featured in it ... and in an abnowious way, I think it is good, because when I open vogue, I don't want to see H&M or Gap ...
Definetely. They make you dream , as you said too. It has got this je m'en fou (I don't give a damn) attitude that only Parisian fashion interpretes at its best.Huysmans said:
Me too, but I prefer Carine to Fabien, just a matter of looks.Huysmans said:
Huysmans said:
excuses for not liking Carine's style.. she's too neurotic really, too pretentious and too uptight.. i've seen her around and she's like come-on-girrrrl relax
she's like living in the 90s, i find her and Vogue Paris too passè and obsessed with sex sex sex ...
much prefer citizen K to Vogue Paris (and i hear that citizen K is been 'stealing' Vogue's possition in french mags charts)
she's like living in the 90s, i find her and Vogue Paris too passè and obsessed with sex sex sex ...
much prefer citizen K to Vogue Paris (and i hear that citizen K is been 'stealing' Vogue's possition in french mags charts)
metal-on-metal
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So true, Lena. I totally agree.Lena said:excuses for not liking Carine's style.. she's too neurotic really, too pretentious and too uptight.. i've seen her around and she's like come-on-girrrrl relax
she's like living in the 90s, i find her and Vogue Paris too passè and obsessed with sex sex sex ...
Lena said:excuses for not liking Carine's style.. she's too neurotic really, too pretentious and too uptight.. i've seen her around and she's like come-on-girrrrl relax
have u met her in person? neurotic?? hmm...tell us details!
...metal-on-metal
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Looks like even French Vogue is on the hunt for GAP's advertising dollars!Astrid21 said:
It only takes a glance at the cover of any recent Paris Vogue to see that something odd is afoot. There's the hair for a start. Veering between the lank and the bushy, it never quite achieves the luxuriant waves that are the norm. All around are quirky touches: idiosyncratic typefaces, hand-drawn motifs and even collage. This may not sound like much, but in the context of fashion magazines Paris Vogue is doing more than bucking a trend; it is attempting to shrug off a genre.
The magazine's current look is the result of an all-round editorial and design rethink. Early in 2001 Paris Vogue came into the hands of a fashion-led triumvirate - Carine Roitfeld (editor), Emmanuelle Alt (fashion editor) and Marie-Amélie Sauvé (fashion consultant) - who a few months later took steps to put M/M, fashion's favourite Paris-based design group, in charge of art direction. M/M instigated a gradual transformation, beginning with structural changes in October 2001 and ending with an all-new typographic system in April 2002. The guiding idea behind the revamp is the redefinition of luxury. This, argues M/M's Mathias Augustinyiak, is a transient quality, determined by the tastes of the moneyed classes. These days those in the money are the youths of the 1980s and 1990s, and with this in mind Paris Vogue takes art directorial elements of first- and second-generation style magazines and adapts them to a grown-up format. Displaying an appetite for the perverse that only fashion can muster, typographic and photographic mores that were once seen as anti-fashion have been reworked as the pillars of an establishment consumer magazine.
Alongside luxury, the other key concepts at Paris Vogue are Frenchness and fashion. There was a sense that both were lost during the previous regime, under American-born editor Joan Juliet Buck and Swiss art director Donald Schneider; current editor Roitfeld is keen to create a publication that relates to the culture and fashion industry of its home town. Burbling 'fashion, fashion, fashion, we love fashion!', she manages to give a style spin on the entire contents of the magazine (Matthew Barney by David Rimanelli in the October 2002 issue: 'really fashion'). Roitfeld's sensibility is generationally and nationally specific. Born of 1990s styling and benefiting from a very French lack of self-censorship, she enjoys taking things to 'the limit of being sick in a chic way'. Spooling elegant yet slightly distasteful tales over hundreds of glossy pages, the 'chic with sick' thread allows the deft co-opting of contemporary cultural life into an all-encompassing fashion story.
The relationship between M/M and Paris Vogue is unusual. Rather than working in-house at Condé Nast's fancy 8th arrondissement headquarters, M/M are employed as graphic consultants and continue to operate from their studio in the more boho 10th. Ten years ago this geographical and cultural distance would have been unbridgeable, but times have changed. Having worked for fashion designers including Yohji Yamamoto, Martine Sitbon and Balenciaga and with artists such as Pierre Huyghe, Philippe Parreno and Dominique Gonzalez-Foerster since the mid-1990s, M/M long since closed the gap between France's design, art and fashion industries. The magazine emerges from two addresses, but it speaks with a single voice. Its tone is most evident in the shopping section ('Irrésistibles') and society pages ('L'oeil de Vogue'). Creating a twist on a pair of magazine staples, Paris Vogue arranges eclectic selections of consumer goods and other artefacts (animal jaws, live snakes and the like) on neat white shelves in its opening pages and displays shots of subjects as unlikely as newsreaders and celebrity dogs at its very end.
The foundation of Paris Vogue's redesign is a new typographic system. Using Gerard Unger's Paradox for body copy and the 18th-century Fleischmann for stand-firsts, M/M adopted a rough-edged schoolbook typeface for headlines (a face they named Gulliver after the subject of the book) and employ one of their own existing designs (now called Carine) to title fashion spreads. This last face is a metaphor for the entire Paris Vogue enterprise. Right now Carine looks quirky, but M/M hope through its continued use to establish it as firmly in the reader's eye as the exaggerated Bodoni of Vogue's international logo. As for photography, it is much more business as usual. Roitfeld is working with a team of photographers starring Inez Van Lamsweerde and Vinoodh Matadin. Traditionally there has been a lag between fashion's adventurous photography and its conservative graphics. M/M are attempting to close the distance by creating a typography that complements contemporary images.
The most surprising thing about the current Paris Vogue is the apparent will to create a future, rather than return to a lost past. Strange as it may seem for an enterprise ostensibly driven by the here and now, fashion publishing is riven with nostalgia, and where Roitfeld and M/M have attempted to make something quite new, most recent redesigns have been driven by the desire to scrabble back to a mid-20th-century golden age. The most celebrated redesign in fashion memory is Fabien Baron's reworking of Harper's Bazaar in 1992 under the magazine's editor, Liz Tilberis. Using a newly drawn version of the Didot typeface employed to great effect by art director Alexey Brodovitch in the 1940s and 1950s, Baron proclaimed an 'Era of Elegance' that was an unmistakable throwback to the postwar 'New Look'. Baron's redesign was nearly caught short by the arrival of catwalk grunge (Marc Jacobs' 1992 collection for Perry Ellis), but, as it turned out, a little tussle between typographic container and fashion imagery was not a cause for concern and the magazine kept its format until Tilberis' premature death in 1999. Even more backward-looking was the ill-fated relaunch of the British magazine Nova in 2000. Editor Deborah Bee described her publication as a 'magazine reincarnate', and staff were said to be using a coffee-table compilation of 1960s and 1970s originals as a style guide.
As much as either of these magazines, all international Vogues are repositories for nostalgia. (Perhaps it has something to do with the magazine's logo, the thin and fat strokes of which echo the wasp waists and wide skirts of 1950s fashion.) This serves to make the recent events in Paris all the more astonishing. Critics of M/M's design argue that it lacks the gravitas of its predecessors, and even fans suggest that its handmade quality harks back to the illustrated Vogue of the 1930s. It seems that no one is able to view the magazine in an entirely contemporary light. M/M will have to loosen these ties to the past before their Carine typeface can become the 21st century's Bodoni.
http://www.frieze.com/column_single.asp?c=106
The magazine's current look is the result of an all-round editorial and design rethink. Early in 2001 Paris Vogue came into the hands of a fashion-led triumvirate - Carine Roitfeld (editor), Emmanuelle Alt (fashion editor) and Marie-Amélie Sauvé (fashion consultant) - who a few months later took steps to put M/M, fashion's favourite Paris-based design group, in charge of art direction. M/M instigated a gradual transformation, beginning with structural changes in October 2001 and ending with an all-new typographic system in April 2002. The guiding idea behind the revamp is the redefinition of luxury. This, argues M/M's Mathias Augustinyiak, is a transient quality, determined by the tastes of the moneyed classes. These days those in the money are the youths of the 1980s and 1990s, and with this in mind Paris Vogue takes art directorial elements of first- and second-generation style magazines and adapts them to a grown-up format. Displaying an appetite for the perverse that only fashion can muster, typographic and photographic mores that were once seen as anti-fashion have been reworked as the pillars of an establishment consumer magazine.
Alongside luxury, the other key concepts at Paris Vogue are Frenchness and fashion. There was a sense that both were lost during the previous regime, under American-born editor Joan Juliet Buck and Swiss art director Donald Schneider; current editor Roitfeld is keen to create a publication that relates to the culture and fashion industry of its home town. Burbling 'fashion, fashion, fashion, we love fashion!', she manages to give a style spin on the entire contents of the magazine (Matthew Barney by David Rimanelli in the October 2002 issue: 'really fashion'). Roitfeld's sensibility is generationally and nationally specific. Born of 1990s styling and benefiting from a very French lack of self-censorship, she enjoys taking things to 'the limit of being sick in a chic way'. Spooling elegant yet slightly distasteful tales over hundreds of glossy pages, the 'chic with sick' thread allows the deft co-opting of contemporary cultural life into an all-encompassing fashion story.
The relationship between M/M and Paris Vogue is unusual. Rather than working in-house at Condé Nast's fancy 8th arrondissement headquarters, M/M are employed as graphic consultants and continue to operate from their studio in the more boho 10th. Ten years ago this geographical and cultural distance would have been unbridgeable, but times have changed. Having worked for fashion designers including Yohji Yamamoto, Martine Sitbon and Balenciaga and with artists such as Pierre Huyghe, Philippe Parreno and Dominique Gonzalez-Foerster since the mid-1990s, M/M long since closed the gap between France's design, art and fashion industries. The magazine emerges from two addresses, but it speaks with a single voice. Its tone is most evident in the shopping section ('Irrésistibles') and society pages ('L'oeil de Vogue'). Creating a twist on a pair of magazine staples, Paris Vogue arranges eclectic selections of consumer goods and other artefacts (animal jaws, live snakes and the like) on neat white shelves in its opening pages and displays shots of subjects as unlikely as newsreaders and celebrity dogs at its very end.
The foundation of Paris Vogue's redesign is a new typographic system. Using Gerard Unger's Paradox for body copy and the 18th-century Fleischmann for stand-firsts, M/M adopted a rough-edged schoolbook typeface for headlines (a face they named Gulliver after the subject of the book) and employ one of their own existing designs (now called Carine) to title fashion spreads. This last face is a metaphor for the entire Paris Vogue enterprise. Right now Carine looks quirky, but M/M hope through its continued use to establish it as firmly in the reader's eye as the exaggerated Bodoni of Vogue's international logo. As for photography, it is much more business as usual. Roitfeld is working with a team of photographers starring Inez Van Lamsweerde and Vinoodh Matadin. Traditionally there has been a lag between fashion's adventurous photography and its conservative graphics. M/M are attempting to close the distance by creating a typography that complements contemporary images.
The most surprising thing about the current Paris Vogue is the apparent will to create a future, rather than return to a lost past. Strange as it may seem for an enterprise ostensibly driven by the here and now, fashion publishing is riven with nostalgia, and where Roitfeld and M/M have attempted to make something quite new, most recent redesigns have been driven by the desire to scrabble back to a mid-20th-century golden age. The most celebrated redesign in fashion memory is Fabien Baron's reworking of Harper's Bazaar in 1992 under the magazine's editor, Liz Tilberis. Using a newly drawn version of the Didot typeface employed to great effect by art director Alexey Brodovitch in the 1940s and 1950s, Baron proclaimed an 'Era of Elegance' that was an unmistakable throwback to the postwar 'New Look'. Baron's redesign was nearly caught short by the arrival of catwalk grunge (Marc Jacobs' 1992 collection for Perry Ellis), but, as it turned out, a little tussle between typographic container and fashion imagery was not a cause for concern and the magazine kept its format until Tilberis' premature death in 1999. Even more backward-looking was the ill-fated relaunch of the British magazine Nova in 2000. Editor Deborah Bee described her publication as a 'magazine reincarnate', and staff were said to be using a coffee-table compilation of 1960s and 1970s originals as a style guide.
As much as either of these magazines, all international Vogues are repositories for nostalgia. (Perhaps it has something to do with the magazine's logo, the thin and fat strokes of which echo the wasp waists and wide skirts of 1950s fashion.) This serves to make the recent events in Paris all the more astonishing. Critics of M/M's design argue that it lacks the gravitas of its predecessors, and even fans suggest that its handmade quality harks back to the illustrated Vogue of the 1930s. It seems that no one is able to view the magazine in an entirely contemporary light. M/M will have to loosen these ties to the past before their Carine typeface can become the 21st century's Bodoni.
http://www.frieze.com/column_single.asp?c=106
