Photo 1
手放在中間 有動作持續的感覺
Hand is in motion that makes the views conceive the on-going story.
Photo 2
和服 東方元素 女性物化 (沒有臉) 東方等同女性
作為西方白人(americanized 80s)的玩物
Kimono is oriental/exotic factor. Model has no face no identity. Asian female that represents Asia is played by western (Americanized, dressed like 80’s) white man. kimono butterfly nailed on the wall
Photo3
女性化上鬍子 與男性穿女性衣服 兩種詮釋
女性: 縱使可以買高貴物品 仍被家庭束縛 寧為男性
男性: 就算要向女性一樣在家 但也希望成為女性 因為有很多高貴東西可買
Two interpretations: woman with beard / man dressed like woman
Female: even if she can shop luxury items, she is still bounded by family; so she wants to be a man.
Male: even if he has to stay at home, he still wants to be a woman because he can buy many expensive things.
Possible interpretation: woman tells man, you can keep me at home, if you buy me stuff. The beard is a reminder for man.
She enlarged the audience by increasing the sales of vogue (121,226 in 2005 and now around 151,346 magazines sold)
She makes the difference
She takes risks--she allowed them to be more bold and free in their communication (she is willing to do the dirty work)
She is inspirational
She is creative
She is influential
She is visionary
She is pioneering
She enlarged the visibility of luxury fashion houses troughout scandals, buzz, word of mouth..
1. She brought fresh air into dull fashion press -- Fashion magazine was no longer a catalog. She knows that we need three things from a French editor of a French magazine: the shock of the new (i find the 3 things from the article is a bit not clear, in my words i would say she brings the new approach of presenting a photograph, the new position on limitation and the new attitude to see luxury fashion. I can think of these 3 points, the more the better!) ; the articulation of the previously unsayable ; and a high degree of transgression from photographers and stylists. She brought them all together in a genius mix. And the resulting visual image was the true strength of her work.
2. She changed the way of communication. - From Push to Pull or interaction i.e.She make fashion noticed by masses - She brought a coherent vision of modern femininity, sexual transgression and,even bad taste that caught the sight of masses and even made them want to see more about her expression of fashion. she gets people to talk about her work, the idea behind the image and the products too...she re-positions luxury in a way that no one has done it before, she finds a balance between being elegance and rebelious.
3. She raised the height of Fashion- She make Fashion no longer being shallow anymore but with connotation.---Her photos are not just beautiful or shocking but having a story behind them.
In the end, she wins the respect from everyone in luxury industry by changing the communication for fashion.
"Carine, and her vision of French Vogue, embodies all that the world likes to think of as Parisian style: a sense of chic that's impeccable and sometimes idiosyncratic and which forever lives on a moonlit street as seen through the lens of Helmut Newton."--Anna Wintour Karl Lagerfeld once said that if you close your eyes and imagine the ideal French woman, it would be Carine Roitfeld. She is a fashion visionary and a muse. Since the start of her career in the early 1990s, through her collaborations with the legendary photographer Mario Testino, Roitfeld has been credited with launching Tom Ford's career at Gucci, as well as turning French Vogue into one of the industry's most worshipped magazines.
This elegant volume is a visual history of Roitfeld's fearless career. A daring instigator, she is known for pushing the limits with her subversive styling ideas. Featuring a selection of 250 magazine tear sheets and covers from pivotal editorial shoots and advertising campaigns, as well as intimate visual ephemera, this book gives an inside view into Roitfeld's creative thought process and sensibility. A must-have for those interested in cutting-edge fashion and femininity, this book will empower women to follow Roitfeld's lead and take risks with their personal style.
“卡琳和她的法國時尚的眼光，體現了所有的世界喜歡想像的那樣巴黎風格：時尚這是無可挑剔的，有時特質並永遠生活在月光下街道通過赫爾穆特·牛頓的鏡頭所看到的感覺。” --Anna溫圖爾卡爾·拉格菲爾德曾經說過，如果你閉上眼睛，想像理想的法國女人，這將是卡琳·洛菲德。她是一個時尚有遠見和繆斯。由於她的職業生涯在90年代初開始，通過她的合作與傳奇攝影師Mario Testino的，洛菲德已計入推出湯姆·福特的職業生涯，在古馳，以及轉向法國Vogue成為業界最崇拜的雜誌之一。
這家優雅體積Roitfeld的無畏職業生涯的一個可視化歷史記錄。一個大膽的始作俑者，她是著名的推了她顛覆性的造型觀念的限制。擁有精選的關鍵社論芽和廣告活動，以及貼心的視覺蜉蝣250雜誌的樣張和封面，這本書給內部視圖到Roitfeld的創造性思維過程和感性。必須具備為有志於尖端時尚和女人味，這本書將賦予婦女權力跟隨Roitfeld的領先，並採取與他們的個人風格的風險。
Carine Roitfeld: 'Vogue was like a golden cage'
Roitfeld achieved notoriety as editor of French Vogue, where she was accused of promoting 'porno chic', anorexia and racism. Now she's launched a magazine of her own * * -------------------------------------------------
The Guardian, Friday 14 September 2012 20.15 BST
Rebirth … Carine Roitfeld. Photograph: Robert Wright/Redux/eyevine
Carine Roitfeld began wearing high heels in order to look Mario Testino in the eye. Long before she became editor of French Vogue, Roitfeld was a young stylist working with Testino, then a little-known photographer.
"Mario has a very strong idea of how a woman should look, how she should stand, how the photo should be," Roitfeld says. "But I have a lot of ideas as well. So I had to get him to listen to me. It was difficult. Well, you know Mario is very tall. So I realised I needed to be looking him in the eye when we were shooting." Before that, she had usually worn flat shoes – for a stylist, a fashion shoot is a long working day spent mostly standing – but she swapped them for high heels. "And it worked. He has good ideas, but I have good ideas too." The stilettos were a smart move. The early advertising campaigns the pair shot, for Tom Ford's Gucci, went on to define fashion's aesthetic for the best part of a decade.
Interesting that Roitfeld, a controversial figure whose erotica-tinted aesthetic has been criticised as fuelling the sexualisation of fashion imagery, should use a stiletto on a fashion shoot not for sex appeal, but to square up to a male ego. Underestimate her at your peril. At 57 years old and after three decades in fashion, 20 months clear of a decade-long tenure at French Vogue, she is a rock star of the fashion front row. At New York fashion week this week, the launch party for CR Fashion Book, the biannual magazine that marks Roitfeld's return to the editor's chair, was the invitation everyone wanted. On an evening that saw a tornado hit Queens, and Manhattan buffeted and drenched by wind and rain from the storm's coat-tails, every hot model in town showed up to the Frick Collection in black tie to pay homage to Roitfeld, who held court in bandage-tight, floor-length black Alaïa.
Our interview is originally scheduled for the day after the party, but Roitfeld's new baby granddaughter, three-month old Romy, turns out to be in town and at the party, Roitfeld asks if I mind moving our slot. ("I must see her, I am sure you understand, no?") Two days later, we meet at the Standard East, a fancy new downtown hotel that has loaned Roitfeld rooms on the 18th floor to use as offices. She is wearing her signature pencil skirt, today by Balenciaga, along with a fitted black sweater (Alaïa) and towering apple-green platform sandals (Balenciaga). In person, she is surprisingly sweet, much more approachable than her public image suggests, with richly Parisian-flecked English that is as expressive as it is grammatically flawed.
I ask how she enjoyed the party. "I thought it was a great party, all the very beautiful people were there. But I had so many people to talk to. And I think maybe I drank a lot. Every time I am in a picture, someone takes my vodka glass away, because you don't want to hold a drink in a photograph. And every time the glass comes back, it is full. So I don't know how many vodkas, you see." At most such launches in NYC, the host nurses a Pellegrino.
But then, nobody ever accused Roitfeld of being vanilla. Scandal is what she does. Her French Vogue was notorious for an aesthetic that was dubbed "porno chic": nudity, bondage, blood. Karen Elson was tied up with a curtain cord. Sometimes it seemed there were more pictures in hotel bedrooms than fashion studios, more nipples than dresses. She was accused of promoting anorexia by printing semi-nude photos of very thin models, and of racism when the blond Dutch model Lara Stone appeared in the magazine painted black. One of her final issues, guest edited by Tom Ford, featured a 10-year-old model in full makeup posing on a tiger skin. Shortly after that photo was published to a media furore, Roitfeld and Condé Nast went their separate ways.
So when it was announced that Roitfeld was launching an independent magazine, with no prissy publishing house to worry about, the industry held its breath for the most outrageous magazine yet. As it turns out, the first issue of CR Fashion Book is a shock, but not in a way anyone predicted. Double-sided, the magazine has two covers. One shows Kate Upton, the voluptuous blond Sports Illustrated covergirl who resembles a young Monroe, holding a clutch of baby ducklings to her creamy bosom. The other shows a young girl wearing bunny ears, grinning from ear to ear while holding a plumply naked baby. Shot by Bruce Weber, the images radiate wholesomeness.
It is like a family picture, no? … the CR Fashion Book cover.
"No one is expecting this, huh?" Roitfeld smiles. "They expect me to have a very sexy girl on the cover, Kate Moss, or Lara Stone, legs, very sexy, lots of black around the eyes. But when I started to plan this magazine, I had just found out my daughter was pregnant. I started seeing babies everywhere, because I was thinking all the time about babies. I am so happy to be a grandmother, and it is amazing to be around a baby again. Babies are a mind-opener. They make you see the world in a whole new way. I had forgotten all this, because it is a long time since my children [she has a grown-up son, Vladimir, as well as her daughter] were small." Her favourite image in the magazine is the cover shot of the girl holding the baby. "The baby had just peed on her at that moment, and the girl was laughing, and her face was just so full of joy. It is like a family picture, no? Every family would love to have that picture on their chimney."
Inside, there are more dimply naked babies and puppies and more pregnant women, including a portrait of daughter Julia taken while pregnant with Romy. There is a model in Givenchy haute couture pushing a pram, and another in black-lace Gucci carrying a baby doll. There are more headshots, and fewer nude shots, than in Roitfeld's Vogue. The running theme is "Rebirth". There is still eroticism and provocation – Ford has written and photographed a "fairytale" about a Princess of New York ("when she was good, she was very, very good, but when she was bad, she was gorgeous"), which includes a woman lying motionless in a glass casket, wearing a damson Dior suit and getting a pedicure. But the overall mood is upbeat, celebratory, and revolves around family. "I wanted to do something different. When I did my book last year [Irreverent, a kind of visual autobiography], I was a little shocked because I did not realise I used so much blood, so many knives. The book was like going to a shrink. I am ready to do something new now. I have always had a different side to me, a very family side.
"I am a mum, and now I am a grandma, and I have been with the same man for ever (her partner is Christian Restoin)." What's more, she says, it's not just her who is obsessed with babies. "When I was young, no one got married. Now, all the young people, they want to get married, they want security. Now that my children's friends are getting married, I go to more weddings than I ever did when I was young."
What Roitfeld has, which makes her bankable even in the dicey world ofmagazines, is a point of view everyone wants to hear. It is worth noting that her magazine is biannual, like the catwalk show season, launched concurrently with the catwalk shows, and – in contrast to any other fashion magazine – does not take its cue from the mood of the current season's clothes. (This autumn's clothes are rather dark and gothic, a world away from ducklings and bunny ears.) The format places her as an opinion-former alongside the designers, looking ahead to future seasons, rather than in line with traditional magazines, selling clothes currently in store. Oh, and the next issue, she says, will be completely different. "You will be very surprised, I promise," she teases.
"Carine is a born performer, and magazines are her stage," says Stephen Gan, Roitfeld's business partner and longtime collaborator. Roitfeld and Gan, who is the editor-in-chief of V and creative director of Harper's Bazaar magazines, hatched the idea for CR Fashion Book in New York, early this year. The double-sided, wordless cover was conceived because the magazine, which sells for $15 (£9.99), "should be like a coffee-table book. When you get bored of one picture, you can turn it over," says Roitfeld. Features printed in other languages, such as Japanese (then translated on the following spread) are another innovation "because the printed languages look so beautiful, and because I think international readers will be happy to see something in their language".
Advertising is placed alphabetically, with Alexander McQueen at the front and Valentino at the back. Did she have trouble convincing the advertisers to go along with it? "No one had a problem with it!" says Roitfeld triumphantly. Certainly, the 340-page issue is fat, with 150 pages (outpacing the original plan for 100) sold at $40,000 per double-page spread. CR Fashion Book will also have a life online. The traditional front-of-book, newsy section will live only on the website, alongside pictures and diary entries posted by Roitfeld. "I am from the age of magazines," she says, "so the internet is terrifying to me. But I am learning."
In Roitfeld's account, most of the scandal that has swirled around her career is a fuss about nothing. She flatly denies she was fired from Vogue – and indeed, the last time I interviewed her, when she had been editor for eight years, she said she thought 10 years would be about the right length of time in the job. On the subject of controversy, she says she is "against taboos", but that she never printed an image she wouldn't want her children to see. She doesn't use cigarettes in her photographs. She dismisses as "ridiculous" the allegation of racism, saying her French edition featured many more black models than most European or American Vogues. "For me, a model is never just a model. She is an actress. We are telling a story, and she is playing her part. I get on well with models and I like to treat them well." She rejects the moniker of "porno chic", preferring "erotic chic". The little girls in the Tom Ford shoot were not in any way exposed, she says: they wore T-shirts under their evening gowns. "But people will see what they want to see."
Nor will she acknowledge any rivalry with Anna Wintour, however much the fashion industry may stir. "Anna was my boss for a long time. I respect her. We worked fine together. She's tough, but she's honest. And when my kids moved to New York, she was one of the first people who invited them to dinner. As a mum, I don't forget that."
Leaving the cushioned world of Vogue was, she says, a shock. "Before, I had an assistant, a car, everything organised for me. Now I have to call taxis on the street. Vogue was like a golden cage. It is a beautiful life, but for me, it is better to have a change. I feel I am making a new family. It is a wonderful new energy."
Roitfeld is in a good mood. "I'm happy because I didn't know how it would be, to be at fashion shows, and not be the editor of Vogue. I did not know where they would sit me. You know what the fashion world can be like ... and now I am happy and surprised, because I know I have many friends." Zipping around New York in yellow taxis, she finds, is fine. She tells me that she has taken up ballet classes in recent years, and stands to show me the extra strips of fabric her dressmaker has inserted in her pencil skirt, because "still I am skinny, but now my bottom is more round. It's good, no? I don't want to do Botox, that kind of thing. But I think how you hold yourself is very important. Ballet is good, because it makes you stand up tall."
卡琳·洛菲德開始穿高跟鞋，為了尋找馬里奧·特斯蒂諾的眼睛。她成為法國Vogue的編輯很久以前，洛菲德是個年輕的設計師與Testino的工作，然後一個名不見經傳的攝影師。
“馬里奧有一個女人應該怎麼看，她應該怎麼受得了，照片應該是怎樣一個非常強烈的念頭，”洛菲德說。“但我有很多的想法也是如此。所以我不得不讓他聽我說，這是困難的。嗯，你知道馬里奧是非常高的。所以，我意識到我需要尋找他的眼睛，當我們拍攝。“ 在此之前，她曾平時所穿平底鞋-一個設計師，一個時尚的拍攝是花大多是站在一個漫長一天的工作-但她交換他們的高跟鞋。“和它的工作。他有很好的想法，但我有很好的想法了。”在高跟鞋是一個明智的舉動。早期的廣告活動的一球，為Tom Ford的古奇，接著定義時尚的審美了十年的最好的部分。
有趣的是，洛菲德，一個有爭議的人物，他的情色有色審美被批評為推動時尚形象的性別化，應該用細一拍時尚不是性感，而是要正視男性自我。低估她，後果自負。在57歲，經過三十年的時裝，20個月明確了十年之久的任職法國Vogue，她是一個搖滾明星時尚前排。在紐約時裝週這個星期，對於CR時裝書，一年兩次的雜誌，標誌著Roitfeld的回歸編輯的椅子上，推出該黨邀請大家想要的。在那看到了龍捲風襲擊皇后區和曼哈頓的衝擊，並通過風和雨遮雨的外衣尾巴普照的一個晚上，每一個熱銷機型在城裡出現了向弗里克收藏的黑色領帶來祭奠洛菲德，誰在開庭繃帶緊，樓長的黑色Alaia的。
原定在派對後的一天，我們的採訪，但Roitfeld的新的小孫女，3個月大羅密，原來是在城裡，在黨，洛菲德問我是否介意把我們的插槽。（“我要見她，我相信你明白了，不是嗎？”）兩天後，我們在標準東，看中了新的市區酒店已借給洛菲德房間在18樓的辦事處，以滿足使用。她穿著她標誌性的鉛筆裙，今天巴黎世家，以及一個裝有黑色毛衣（Alaia的）和高聳的蘋果綠色的厚底涼鞋（巴黎世家）。在人，她是出奇的甜，比她的公眾形象提出更加平易近人，具有豐富的巴黎斑點英語是作為表現，因為它是語法上的缺陷。
我問她怎麼喜歡這次聚會。“我認為這是一個偉大的黨，所有的非常漂亮的人在那裡，但我有這麼多的人聊天。我想也許我喝了很多，每次我在一個畫面，有人需要我的伏特加玻璃客場，因為你不想持有每玻璃回來的時間喝一杯的照片。而且，它是滿的。因此，我不知道有多少伏特加酒，你看。“ 在大多數這樣的發布會在紐約，主機護士佩萊格里諾。
但是，從來沒有人指責香草洛菲德。醜聞是她做什麼。她的法國Vogue是臭名昭著的被稱為“色情時尚”的審美：裸體，束縛，血。卡倫·埃爾森被捆綁了一個簾子線。有時它似乎有在酒店的客房比時尚工作室更多的圖片，比衣服更加的乳頭。她被指控通過打印的半裸體照片非常輕薄機型促進食慾減退，以及種族主義當金發碧眼的荷蘭模特勞拉斯通出現在雜誌上塗成黑色。她的一個最後的問題，客人由湯姆·福特編輯精選10歲的模特全妝冒充虎皮。不久後的照片被發布到媒體轟動，洛菲德和康泰納仕各奔東西。
所以，當它宣布洛菲德是推出一個獨立的雜誌，沒有拘謹的出版社擔心，這個行業屏息的最離譜的雜誌呢。事實證明，對CR時裝書的第一個問題是一個衝擊，但不是在某種程度上任何預測。雙面，該雜誌有兩個封面。一個顯示凱特·阿普頓，在妖嬈的金發體育畫報封面女郎誰類似於一個年輕的夢露，抱著嬰兒小鴨離合器她滑膩的懷裡。另一個顯示了年輕女孩穿著兔子的耳朵，從笑得合不攏嘴，同時舉行了plumply赤裸的嬰兒。由布魯斯·韋伯拍攝，影像輻射有益健康。
“沒有人期待這個，是吧？” 洛菲德微笑。“他們希望我有一個非常性感的女孩在封面上，凱特·莫斯，或的Lara Stone，腿，很性感，很多眼睛周圍黑色的。但是，當我開始計劃這本雜誌，我剛剛發現我的女兒懷孕了。我開始看到嬰兒無處不在，因為我想所有的時間約孩子。我很高興能成為祖母，這是驚人的是圍繞一個嬰兒了。嬰兒是一記大開眼界。他們讓你看世界一個全新的方式。我已經忘了這一切，因為它是因為我的孩子們很長一段時間[她有一個成年的兒子，弗拉基米爾，以及她的女兒]很小。“ 她最喜歡的形象在雜誌封面拍攝的女孩抱著寶寶。“寶寶剛上撒尿她在那一刻，女孩笑了，她的臉只是如此充滿了喜悅。它就像一張全家福，沒？家家很想有自己的煙囪的圖片。”
裡面，有更多的dimply赤裸的嬰兒和小狗多的孕婦，包括女兒朱莉婭的肖像拍攝，同時孕育著羅密。有一個模型，紀梵希高級時裝推嬰兒車，另有黑色蕾絲古奇背著洋娃娃。還有更多的爆頭，和更少的裸體鏡頭，比Roitfeld的時尚。正在運行的主題是“重生”。還有色情和挑釁 - 福特撰寫並拍下了“童話”講述紐約的公主（“時，她是很好的，她非常，非常好，但是當她不好，她是華麗”），其中包括一個女人在一個玻璃棺材躺在地上一動不動，穿著西洋李子迪奧西裝，得到一個修腳。但整體情緒樂觀，慶祝，並圍繞著家庭。“我想做不同的事情。當我去年做我的書[不敬，一種視覺自傳]，我是有點震驚，因為我沒有意識到我用這麼多血，這麼多刀，這本書就像去以一縮。我願意做一些新的東西，現在，我一直有一個不同的側面對我來說，一個非常重視家庭的一面。
“我是一個媽媽，現在我奶奶，我一直用同一個男人永遠（她的搭檔是基督徒Restoin）。” 更重要的是，她說，這不只是她誰是痴迷的嬰兒。“當我年輕的時候，沒有一個人結婚了。現在，所有的年輕人，他們想結婚，他們想要的安全性。現在，我的孩子的朋友都結婚了，我去更多的婚禮比我做過的我年輕的時候“。
洛菲德什麼都有，這讓她甚至在冒險世界有利可圖的雜誌，是一個角度每個人都希望聽到的。值得注意的是，她的雜誌是一年兩次，就像時裝秀的季節，與時裝秀同時推出，以及-相對於其他時尚雜誌-不從當前季節的衣服的心情走了線索。（今年秋天的衣服是相當黑暗，哥特式，一個世界遠離鴨和兔子的耳朵。）的格式放在她的意見，前者旁邊的設計師，展望未來的賽季，而不是在傳統的雜誌線，目前賣衣服在商店。哦，接下來的問題，她說，將是完全不同的。“你會很驚訝，我答應了，”她挑逗。
“卡琳是一個天生的演員，和雜誌都是她的舞台，”斯蒂芬·甘，Roitfeld的貿易夥伴和長期合作者說。洛菲德和甘，誰是主編，首席V和芭莎雜誌創意總監，孵出的想法CR時尚書在紐約，在今年年初。雙面，無言蓋的構思，因為該雜誌，它的售價15美元（9.99英鎊），“應該像一個咖啡桌書籍。當你厭倦一張圖片，你可以把它結束了，”洛菲德說。印在其他語言，如日本（當時翻譯下列傳播）的特點是另一種創新“，因為印刷語言看起來很漂亮，因為我認為國際讀者會很樂意看到的東西在他們的語言”。
廣告是按字母順序擺放，與亞歷山大·麥昆在前面和Valentino在後面。難道她有麻煩說服廣告主與它一起去？“沒有人有問題吧！” 洛菲德得意洋洋地說。當然，340頁的問題是脂肪，具有150頁（超過了100個原計劃）的40,000美元雙頁蔓延出售。CR時尚書也將擁有一個在線生活。前書的傳統，報童的部分將只生活在網站上，旁邊的圖片，並張貼了洛菲德日記。“我是從雜誌的年齡，”她說，“所以互聯網是可怕的我。但是我學習。”
在Roitfeld的賬戶，大部分已經盤旋在她的職業生涯的醜聞是關於什麼大驚小怪的。她斷然否認她從時尚解僱 - 事實上，我最後一次採訪了她，當時她已經編輯了八年，她說她想10年將大約時間在工作中正確的長度。在爭論的主題，她說她是“反對忌口”，但她從來不印，她不希望自己的孩子看到的圖像。她沒有在她的照片用的香煙。她駁斥為種族主義“荒謬”的指控，說她的法文版比大多數歐洲或美國Vogues功能更多的黑人模特。“對我來說，一個模式是永遠只是一個模型，她是一個演員。我們都在講一個故事，她是打了她的一部分。我相處得很好的模型，我想好好對待他們。” 她拒絕了“色情時尚”的綽號，寧願“色情時尚”。在湯姆·福特拍攝了小女孩並沒有以任何方式接觸，她說：他們穿在他們的晚禮服T卹。“但是，人們會看到他們想看到的。”
她也不會承認與安娜溫圖爾的任何競爭，但很多時尚界可能挑起。“安娜是我的老闆很長一段時間，我尊重她。我們精細一起工作。她的強硬，但她說實話。當我的孩子搬到紐約，她是誰邀請他們吃飯的第一批人之一。作為一個媽媽，我不會忘記這一點。“
讓時尚的軟墊世界是，她說，一個震驚。“以前，我曾組織對我的助理，汽車，應有盡有。現在我得叫出租車在街道上。時尚就像一個金色的籠子裡。這是一個美好的生活，但對我來說，最好是有一個變化我覺得我想提出一個新的家庭。這是一個美妙的新能源。“
洛菲德是一個好心情。“我很高興，因為我不知道怎麼會，是在時裝秀，而不是時尚的編輯。我不知道他們會坐在我的。你知道時尚界可以是什麼樣子。 ......現在我很高興和驚訝，因為我知道我有很多朋友。“ 在黃色出租車在紐約荏苒，她發現，是好的。她告訴我，她已經採取了芭蕾舞班，近幾年，並隨時向我展示面料她的裁縫已經插在她的鉛筆裙的額外條，因為“我仍然很瘦，但現在我的屁股更圓。這是很好的，不是嗎？我不想做肉毒桿菌，那種事。但我認為你是如何要求自己是非常重要的。芭蕾是很好的，因為它讓你昂首挺胸。“
Carine Roitfeld Adds Harper’s Bazaar to Her Portfolio
By ERIC WILSON OCTOBER 11, 2012 11:24 AM October 11, 2012 11:24 am 3 Comments
Zacharie Scheurer/Associated PressCarine Roitfeld.
A month after introducing her new CR Fashion Book magazine, Carine Roitfeld has added a title to her résumé. On Thursday, Hearst Magazines named Ms. Roitfeld to the newly created position of global fashion director for Harper’s Bazaar, a somewhat unusual role in that she will collaborate with editors from all 26 international editions of the magazine.
Ms. Roitfeld plans to continue producing CR, which is scheduled to be published twice annually by Fashion Media Group, the company behind Visionaire and V magazines. In a statement, Hearst noted that Ms. Roitfeld will collaborate on articles at Harper’s Bazaar with Stephen Gan, its creative director, who is also one of the founders of Visionaire. They will begin working with the March 2013 issues, possibly including covers.
While her involvement with Harper’s Bazaar could be viewed as a logical extension of her friendship with Mr. Gan, it will almost certainly further discussion of the perceived rivalry between Ms. Roitfeld and her former colleagues at Condé Nast, where she was the editor of French Vogue until December 2010. Of course, her appointment also raises questions about how her job will play out politically within the halls of Hearst, but that remains to be seen.
Duncan Edwards, the president and chief executive of Hearst Magazines International, said in a statement, “This collaboration marks the first time anything like this has been done, and we’re very excited about what Carine will bring to Bazaar editions around the world.”
In a phone interview, Mr. Edwards described Ms. Roitfeld’s role as similar to that of a syndicated columnist. She will create stories that represent her view on the looks of the season, which will be included simultaneously in the multiple editions of Bazaar, but presented as “independent and separate to the rest of the magazine,” he said.
Asked if Ms. Roitfeld’s hiring might have been seen internally as a challenge to Condé Nast, Mr. Edwards said, “This is all about Harper’s Bazaar, and has nothing to do with anything else.”
20 Q&As: Carine Roitfeld
In the new 20th Anniversary Issue of Dazed & Confused, Jefferson Hack speaks to the former Vogue Paris editor about risk-taking and taboo-shattering
Fashion Incoming
3 years ago * Text Jefferson Hack
Carine Roitfeld wears controversy as effortlessly as some women wear perfume. She entices it through her provocative work – imagery where Gucci logos are shaved into models’ pubic hair, where a plastic surgery operation becomes the stage and story for some taboo-shattering fashion theatre. Alongside the erotic discourse, the bondage, leather and spiked heels, there is her French sophistication and Russian descent, a mix that has marked Roitfeld’s vision since the beginning; a puff of hedonism, a whiff of seduction, with a nod to tradition and risk-taking. It’s an attitude that’s been labeled ‘porno chic’ and has made Roitfeld, who transformed Vogue Paris in the decade that she was editor-in-chief, into a contemporary fashion icon.
Throughout the 90s, her style was reflected in the seasonal runway looks for Tom Ford at Gucci, for whom she consulted in a unique relationship that did more than most to define the visual style of modern luxury globally. In this decade, she has been a fervent risk-taker with the editorial choices in Vogue Paris and a pioneer in championing new design talent. Now untied from editing Vogue, Roitfeld is a free spirit in the world of fashion, full of ideas and ambition to do new things – “I still have a non-conventional taste, but always in a respectful way, and try to keep my sense of humour as long as possible!” she tells me as we begin to talk about the launch of her evocative monograph, Irreverent.
Dazed & Confused: Why did you choose the title Irreverent for your book?
Carine Roitfeld: I love the way it sounds in both English and French. In French it has a slightly softer meaning, it’s more poetic – a disregard for the conventional point of view, without being negative.
DD: There are a lot of images of your family in the book. Why did you mix them with fashion?
Carine Roitfeld: My life is mixed with my work, so there’s no weekend, it’s everything mixed – fashion and life. I have a picture of my dad where he is wearing a Peruvian sweater and then we have Helena Christensen wearing the same sweater in a fashion shoot for French Glamour in Peru. Everything is mixed. I think this is charming. It’s something personal.
DD: What is your earliest fashion memory?
Carine Roitfeld: I think I was eight or nine years old. My mother was preparing to go out and she wanted me to help her put her eyeliner on. I remember very carefully putting on her designer eyeliner for her – it is such a strong memory. I also remember coming to London for the first time as a young model. I lived in Portobello Road and I found all these crazy looks – it made France seem so classical.
DD: How did you transform French Vogue when you took it over ten years ago?
Carine Roitfeld: I didn’t transform it. I took it back to what it was in the 70s and 80s, when it was really exciting, glamorous and took risks, and when it had the best photographers – people like Helmut Newton and Guy Bourdin. Now, those images – once so controversial – are in art museums around the world. They had the best writers at French Vogue – Françoise Sagan, Jean Cocteau – and I wanted to bring that back, too. We worked with incredible artists as well – we did incredible things with Cindy Sherman and and Wong Kar Wei that I love.
DD: And you built a home for the best fashion photographers in the world…
Carine Roitfeld: Yes, but it wasn’t easy. I had a long relationship with Mario [Testino] but many photographers did not want to shoot for French Vogue at that time. They all waited to see what it would do, as it was not considered a magazine to be seen in. It took at least two or three years to convince them, but then all of the ones I wanted to work with came – Steven Klein, Craig McDean, Inez and Vinhoodh, Mario Sorrenti, David Sims, Terry Richardson, Bruce Weber…
DD: Why did they produce such interesting work with you, what is your trick?
Carine Roitfeld: I think I just gave them a lot of freedom,and I know how to push photographers. I have a way of working with them. I guess it’s a lot like sex – sometimes you have a bad lover and sometimes you have a good lover. I am a good lover of photographers. Yes, I think you could say that.
DD: Is it your love of risk-taking that inspired you to invite Kate to guest-edit the issue?
Carine Roitfeld: We decided to invite Kate Moss as the editor-in-chief of French Voguebecause I think she is a dream, and I really like her – she has a great sense of fashion. When I proposed it to her, she was very happy. We did a shoot based on the Cocteau film La Belle et la Bête and after the shoot she had to go into rehab. Everyone jumped on me saying ‘Oh, Carine, you need to stop the issue because you’re going to lose advertisers, – they’ll never follow you if you promote Kate!’
DD: Because of all the negative publicity?
Carine Roitfeld: Yes, but it’s bullshit. I would never have stopped it. We finished the issue without her and put four covers of her on the front, it was amazingly beautiful and sold very well. Three months later Kate got back all the advertising she lost, so I was totally right to follow my idea. Kate is exactly the type of girl we love at French Vogue – she’s beautiful, and not politically correct.
DD: Do you think that fashion, now that it’s got so commercial, has become more politically correct?
Carine Roitfeld: Of course. It would be impossible to do what we were doing 20 years ago now – totally impossible. Fashion is like a piece of art, fashion is a dream – it needs freedom because fashion without freedom is not fashion. If I’m doing something in fashion, I will try to respect the “laws” of the business but I will try to keep my integrity and my respect for the designers and for my readers.
DD: Do you think fashion is led by the designers now or by the corporations behind them?
Carine Roitfeld: I think more and more it’s the big groups controlling things. It’s changed a lot over the years. There is still a lot of young creativity around, but as the editor-in-chief of French Vogue I had to go to shows and see everything and some became very commercial. But a great show arrives and you forget anything ‘annoying’ and it keeps you excited about fashion. Now, I can see what I want. I am very excited to be able to work more with young designers and support them.
DD: Are we going to see you on the front row next season or are you going to be putting a collection down the runway for the front row to see?
Carine Roitfeld: (Laughs) I am working on some ideas but it won’t be next season – a lot of people like my style, so I am in talks about doing a line. I am looking at launching a cosmetics line, too – there is a brand that loves my look and wants me to put my name to a line, so my name could become a brand.. I am also putting a dream team together to make a magazine. It’s an ambition of mine to make a really iconic magazine that’s fresh and exciting.
DD: Will it be a French magazine?
Carine Roitfeld: No, there is no value in it being in French, it needs to be international and in English. It will be something less frequent than a monthly to make it more iconic, more collectable. I want to make something really beautiful, chic, different… I have to find a new way, so I am dreaming about it and working it out.
DD: You’ve been labelled Porno Chic – is it a label you’re proud of?
Carine Roitfeld: In Porno Chic, there is the word chic! And I like that, but I would prefer Erotica Chic. It’s a bit like being a singer, you get given a title by the public – I didn’t choose this title, it was chosen for me.
JEFFERSON HACK is co-founder and group editorial director of DAZED & CONFUSED.
CARINE ROITFELD: IRREVERENT is published by Rizzoli/Photography Roitfeld Personal Photo
Dazed & Confused's October issue, 'Come Together: 20th Anniversary Special', is out now. ClickHERE to check out the other, already published, Q&As celebrating the issue
