Nowadays, not only do models look the same (case in point, the Calvin Klein runway), but they dress the same, too. (I guess living in an apartment with about 18 other European clones will do that to you). Somehow, upon signing to an agency, even fresh‐off‐the‐boat ingenues miraculously adopt the unspoken code of Oxfords/ankle boots, skinny black jeans/leggings, rocker tee, and motorcycle jacket. At first, Shu Pei Qin seems to fit the mold, but even her quintessential all‐black ensembles are less generic, decidedly chicer, and much more refined than your average MOD getup. Qin isn't afraid of simplicity, but don't mistake that for boring. She'll punch up basics with a pair of bright or patterned jeans, substitute a structured tunic for a sweater dress, or use a crisp Oxford as a layering piece. A streamlined bag, fresh face, and no jewelry contribute to the minimalistic feel. She isn't afraid to take a risk, either: Who can overlook that daringly diaphanous dress, teamed perfectly with a draped leather jacket and leopard print clutch? In a world of red lipstick, fur coats, and leather leggings, Qin's approach is subtle, polished, and refreshingly unfussy.
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| Caroline Brasch Nielsen |
| Karmen Pedaru |
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| Anja Rubik |
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| Daria Strokous and Liu Wen |
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| Maryna Linchuk and Vlada Roslyakova |
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| Shu Pei Qin and Daria Strokous |
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| Shu Pei Qin |
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| Shu Pei Qin |
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| Jacquelyn Jablonski |
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| Joan Smalls |
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| Daphne Groeneveld |
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| Lindsey Wixson |
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| Sui He |
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| Caroline Brasch Nielsen |
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| Karlie Kloss |
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| Karlie Kloss |
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| Karlie Kloss |
We get that Jac Jagaciak broke onto the scene at 13 (though she didn't get really, really famous until three years later), but don't you think ten is a little too young to start a modeling career? Well, Thylane Blondeau set out to prove us wrong. If you've been on Tumblr recently, you'll notice that a certain precocious pre-preteen has been making the rounds of reblogging. There's even a few sites named after her, although one eponymous fanpage inexplicably featured thousands of Leighton Meester gifs.
We do have to admit she possesses a peculiar charm, and while fashion values youth, has it pushed the limits too far? While she is the very definition of Nabokov's nymphet, we can't forget that Lolita centers around the yearnings of a 30-something pedophile. And though we don't object to child modeling, Blondeau isn't being marketed according to those standards.
Remember that huge fuss when 14-year-old Jac revealed her (underage) underboob in Jalouse? Well, Blondeau posed completely topless four years before the Polish supermodel did. And while we understand that the whole wild-island-child look has its own charm, ten is simultaneously too old and too young to go sans-shirt.
We do have to admit she possesses a peculiar charm, and while fashion values youth, has it pushed the limits too far? While she is the very definition of Nabokov's nymphet, we can't forget that Lolita centers around the yearnings of a 30-something pedophile. And though we don't object to child modeling, Blondeau isn't being marketed according to those standards.
Remember that huge fuss when 14-year-old Jac revealed her (underage) underboob in Jalouse? Well, Blondeau posed completely topless four years before the Polish supermodel did. And while we understand that the whole wild-island-child look has its own charm, ten is simultaneously too old and too young to go sans-shirt.
Now this is really pushing it too far, to the point that it screams vulgar. Hello, third-world child prostitute?
What's going on here? This is weirdly sexual, especially considering that both subjects couldn't be more than 12 years of age.
You may be well aware by now that I'm an avid fan of Mert and Marcus, but this campaign wasn't up to their usual caliber. Not that anything was obviously missing - the colors blended well, the retouching was perfect (as always), but it lacked the punch that their previous masterpieces possessed. Perhaps there were too many elements for complete coherency, or perhaps the clothes simply weren't as photogenic as they were last year. Either way, there was something indefinably but very tangibly missing. So while this series is far from an eyesore (that crown would have to be given to the Juergen Teller campaigns), I won't be hunting down every last image to preserve for posterity.
Dear Jessica Hart,
You are gorgeous, but there are several things wrong with this cover.
1. Didn't anyone ever tell you not to sit with your legs wide apart while wearing a dress?
2. Why is your hand awkwardly dangling near your crotch?
4. The flower bouquet shawl is not working.
5. Why is your name under your armpit?
6. The scarf-as-top does not photograph well from this angle.
7. And finally, this is the kind of dress that only looks good when posed like this:
From the hair to the lighting to the angles, Benny Horne's portrait of Samantha Gradoville for Exit is breathtaking. Despite the grungy realism of the settings, the artfully off-kilter image is as ethereal as it is seemingly spontaneous. In the first frame, the grimy apartment buildings, reflected in the chipped windows, are the perfect backdrop to the golden light reflected on her face and hands. In the second, the billowy silhouette of her dress juxtaposes flawlessly with the wooden framework, while the shadow of the metal bar balances the boldness of her expression with shadowy obscurity. The rest of the series was regrettably repetitive, which is why I refrained from including all of it (the rest can be found here). But although I usually prefer Mert and Marcus's hyper-definition, these two images stood out as a testament to the raw beauty of candid-style photography.
I know this is kind of old news, but since I'm not exactly a huge Taylor Swift fan, I haven't been eagerly awaiting the release dates of her music videos. Which is why I had no idea that male model Guntars Asmanis made a fitting, if surprising, appearance in Taylor Swift's "Back to December: vid. In case you haven't heard of him, he was ranked #38 on MDC in 2008 and has walked for Calvin Klein, Prada, Miu Miu, Missoni, Versace, Moschino, Fendi, Hermès, Louis Vuitton, YSL, Bottega Venetta, Thierry Mugler, and Chanel (for which he opened in 2007), among others. Apparently the country star handpicked him for the male lead, but never got to see him (which explains why the two never meet, much to the chagrin of traditional Taylor fans). They didn't much appreciate her choice, either. "Why is he pale, if the lyrics describe him as tan?" was an oft-bemoaned subject. I guess choosing a model who rocked skinny jeans, high cheekbones, and sleek motorcycle jackets didn't go over well with the conventional country music lover either. However, director Yoann Lemoine summed up what Taylor's preteen followers were unable to recognize: "I wanted a boy that was fragile and beautiful. I didn't want to go for a hunk or a perfect cheesy boy that would have killed the sincerity of the video." Perfectly said.
Zara's summery collection focused on minimalistic simplicity, updated with a modern silhouette. Sleekly tailored yet breezily effortless, the unfussy pieces promised to transition seamlessly from city to resort. Perfect for a summer getaway to Ibiza! With the Spartan lineup and clean palette, the focus was on the slightest details. Take, for example a beautifully deconstructed Oxford shirt. Zara's designers relaxed the businesslike staple with a Henley collar, rolled-up sleeves, and two oversized pockets. A gold metallic skirt was classy, not clubgoing, in an A-line silhouette. The unconventional pairing of these two pieces produced an unspeakably chic outfit perfect for day (with gold sandals) or night (with jewelry and heels). The rest of the collection was in the same vein - innovative enough to appease avant-garde fashionistas, without losing its appealing wearability. By some sartorial miracle, it managed to look more like a high-end designer's resort showing than a mass-market commercial chain catalog. Perhaps the brains behind cheaper, yet trendy labels are even more talented than the big-name brands; after all, they have to produce pieces that look like Gucci on the budget of Target. All the better for us consumers - if my budget holds out, I'll surely get my hands on some of this before it's gone.







See the rest of the collection at http://www.zara.com/webapp/wcs/stores/servlet/category/us/en/zara-S2011/87002/.

The first issue of Virgine takes an unconventional approach to editorial. Despite being a fashion publication, there's nary an item of clothing in sight (unless you count a couple of metallic bikinis). But even an original idea became a bit repetitive without varied poses or something other than a beige backdrop. There also seemed to be something of a disconnect between the props, gravitating from food items to animals to ... motorcycles? It would have been much more effective to stick with a common theme of urban household consumerism - candy, Tide, and Coke cans. Still, there was something to be said for pure innovation and hard work (seriously, how much time did it take to make that M&M dress?) And the interesting configurations of the quasi-garments (the Coca-Cola dress looked more like a Gaudà sculpture than an item of clothing) made up for the models' stiffness. If only they'd skipped the middle shots, it would have been a class A editorial. But for a fledgling publication, it was a promising start.













































