Naomi discusses how Saint Laurent got her French Vogue cover / Dazed – Vanessa Hsieh

naomi campbell first french vogue cover 1988
Naomi Campbell on the cover of French Vogue, August 1988

Naomi Campbell has never been quiet about prejudice in the fashion industry. As the black supermodel of the 90s, she’s managed to carve out a successful career despite working in a predominantly white industry, with trailblazing achievements like being the first black model to cover French Vogue in 1988. But this iconic moment almost didn’t happen, she revisited in yesterday’s Hearst Master Class talk in New York, a series that has featured many other industry insiders.

“They won’t give me a cover,” the Super remembers crying to her friend, the late, great Yves Saint Laurent, at the time. “I saw the other girls asking for the cover and I said, ‘I want one too,’” – but the publication reportedly denied this, despite it being a logical move in Campbell’s career, having been contracted to big brands like YSL for three years already. Outraged, Laurent used his sway to help rectify the injustice: “He goes, ‘No, no, not even a question.’ Next I heard he was not going to put advertising (in the magazine).” It worked – “Next thing I was getting my cover.”

It’s a tale that she has told before, but one which still bears relevance. Talking about the moment now, Campbell brings to mind the make-do attitude she had to have in a time when – she once described to Teen Vogue – “girls with darker skin (had to) know how to make their own make-up,” and bring their own hair products. (It’s worth noting here that times haven’t changed that much – just last year fellow British model Leomie Anderson also called out her experience of this, twenty years later.) “People say, You’ve gone through racism. I wouldn’t say I’ve gone through racism. I would never accept it. And I would rise to the challenge to prove it and find another way to get around it and get what I wanted.”

And she still won’t accept the industry’s intolerance. “I do feel that Iman and I will not shut up until it gets to the point where it’s equal, balanced,” she also made a point of saying during the talk. “We really hope it’s not going to go backwards – I always try to be optimistic – but if it does, then they will hear us again.”

Source : Naomi discusses how Saint Laurent got her French Vogue cover

My Favorite Looks From the Louis Vuitton Resort 2018 Collection / John Michael Antonio

Bottega Veneta Resort 2018 / Vogue.com

Johnny's Warehouse

 
MILAN, MAY 22, 2017

 

After so many highly caffeinated, early weekend mornings watching Tomas Maier’s Milan Fashion Week collections for Bottega Veneta, the chance to

witness this Cruise collection shoot proved a satisfying contextual twist. The location lacked the luxuriousness of Bottega Veneta’s HQ—it was a studio

alongside some soccer pitches on the outskirts of the outskirts of town—but the consolation was fresh insight into Maier’s practice and enthusiasm. As

models including Binx Walton and Joan Smalls back-and-forthed between the racks and the set, Maier said: “So, the Cruise collection.” Then with a tilt

of his head and a narrowing of his eyes, he added: “What does that mean, Cruise, right? We should rename that collection, because I think the customer

behavior has completely changed. Nobody buys clothes for some time…

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Marchesa Notte Resort 2018 / Vogue.com

Marchesa Resort 2018 / Vogue.com

Johnny's Warehouse

Before there was Marchesa, there was Tony Duquette. An interiors legend who turned living rooms into whimsical dreamscapes, Duquette loved all things lavish and over-the-top and filled even the tiniest hinge of a door with drama. Aesthetically speaking, does this ring a bell? If you think in terms of fashion, Duquette and the Marchesa masterminds Georgina Chapman and Keren Craig are totally simpatico. A shared adoration for strong color, elaborate patterns, and wild embellishment brought them together (theoretically speaking, at least) for Marchesa’s Resort 2018 collection. Craig and Chapman took notes from Duquette’s interiors and film sets, using feathers, 3-D floral paillettes, and fringes to wink at his grand style.

Of course, there has always been bravado to a Marchesa confection, and this season, familiar silhouettes like cascading tiers of tulle…

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Brock Collection Resort 2018 / Vogue.com

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From the Vogue.com review by Emily Farra of the Resort 2018 Brock Collection :

New York, June 12, 2017

Since taking home the top prize in the CFDA/Vogue Fashion Fund last fall, Brock Collection has been in expansion mode. Resort included the brand’s first swimsuit, a ruffled one-piece you could wear under their best-selling Wright jeans, and they’re working on a solo shoe collection, too. Instead of diving headfirst into a bunch of new categories, though, Kristopher Brock and Laura Vassar paused to reflect on their signatures—a tip they picked up from their industry mentors. Resort was an exercise in what Brock does best: vintage-y florals, corset dresses and tops, and ruffles, always with a bit of rawness.

Fans of the label’s pretty, flowery dresses won’t be disappointed by the variety here, ranging from soft chiffon dresses in lemon and baby blue to taffeta frocks with rows of small…

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How Christian Dior rescued Paris from its postwar misery -James McAuley / The Washington Post

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70 years after his debut, an exhibition argues the designer’s “New Look” ushered in a new France. From writer James McAuley :

 It was known as the “New Look,” a new style for a new woman — but mostly for a new France.

On Feb. 12, 1947, less than two years after the bitter end of World War II, a largely unknown 42-year-old couturier debuted his first collection under his own name. In the past, Christian Dior had only ever known meager success, but on that day, in the perfumed salons of his studio on Paris’s Avenue Montaigne, he would make history.

The designs he presented in that inaugural show were significant in and of themselves: after years of war and occupation — when, to say the least, utility had supplanted beauty as the metric that mattered — here, enfin, were whimsical designs that celebrated decadence and…

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Roaring success: Dolce & Gabbana’s Alta Moda AW17 collection takes inspiration from Visconti’s film The Leopard / Lisa Armstrong – The Daily Telegraph

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Lisa Armstrong

At 5am last Saturday, approximately eight hours after Dolce & Gabbana’s women’s Alta Moda show had finished, the final clients filed out of the temporary changing cabins, having placed their orders.

The savvy and/or decisive had reserved their preferences via text or Whatsapp while their favourite looks were still progressing around the catwalk (there’s a discount for early birds).

Fit is not an issue, since this is made-to-measure. Besides, these are experienced shoppers who have usually ascended to the high altitudes of Alta Moda via Dolce & Gabbana’s ready-to-wear collections. They know which shapes work for them, and, explains Coco Brandolini, who works in the Alta Moda client department, “if they‘re coming for the first time, their assigned shoppers [who are employed by the company] will advise them”.

Out of a total of 116 looks just 12 remained by close of play…

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