Roitfeld And Testino For The Face

In light of the exciting news about the latest collaboration between Carine Roitfeld and Mario Testino for V Magazine, I thought it would be fun to look at the influential work this fashion powerhouse created for The Face. One of the coolest magazines to come out of the UK, The Face was launched by Nick Logan in May 1980, and last published in May 2004. Legendary as an arbiter of taste in pop culture and particularly fashion, The Face was a natural stage for the vision of Roitfeld and Testino which was especially raw during this period — literally at times. The first cover, shown above, featured Jerry Dammers of The Specials as styled by Steve Bush, the founding art director. Other notable art directors for the groundbreaking publication were Neville Brody (1981–86) and Lee Swillingham (1993-1999). A few of the fashion photographers that were first published in The Face are Inez Van Lamsweerde, Craig McDean, Steven Klein, David LaChapelle, Glen Luchford, Norbert Schoerner, and Elaine Constantine.

“The Butcher”
The Face, 1997
Stylist: Carine Roitfeld
Model: Eva Herzigova
Photographer: Mario Testino

When asked which of her editorials was most compelling, Carine named "The Butcher" with Eva Herzigova for the humor: "I had a very good period where I was working at French Glamour and I was working for The Face. The 'butcher' shoot with Eva Herzigova and those sort of stories. They’re memorable stories, and you say why? Maybe because it’s not just about fashion. It’s because it’s a moment of the time." She elaborated in an interview with Self Service:

Ezra [Self Service]: Your early collaborations with Mario Testino were quite provocative in a certain way!
Carine: I think that in the beginning of my love duo with Mario, we did a few series that really disturbed people.
Ezra: Such as some of the stories you did with him in The Face?
Carine: Yes, for example, and I think that we had a lot of humor. We were talking about the problem of the moment, which was mad cow disease.
Ezra: And the other one on royalty.
Carine: I think you need humor, there is not a lot of it in photos, and it's very hard to put humor in photos.

And yet this amazing editrix continues to present that eclectic and unexpected sense of humor in so many of her classic editorials. I have added three more stories from The Face to the photo gallery, notice how the sharp chic of black and white pervades Carine's early work...

“Yves Gauche”
The Face, July 1996
The two films currently being made about the legendary Studio 54 nightclub are only the start of it. Hail the spirit of the original Bianca.
Stylist: Carine Roitfeld
Models: Astrid Munoz, Gregory, and Samuel
Photographer: Mario Testino

"Naughty Parisian Maid"
The Face, December 1997
When Madame's away, her clothes come out to play...
Stylist: Carine Roitfeld
Model: Ehrinn Cummings
Photographer: Mario Testino

"Never Mind The Bollocks... Life's A Beach"
The Face, May 2000
Stylist: Carine Roitfeld
Photographer: Mario Testino

The Face editorial images © 1996, 1997, 2000 The Face. All Rights Reserved.

Vogue Paris December 2003/January 2004: Catherine Deneuve

I am absolutely thrilled to share with you today's guest post — a dazzling review by Dara Block from Sisters in Black Frocks in which she analyzes the December 2003/January 2004 issue of Vogue Paris featuring Catherine Deneuve as guest editor. Carine Roitfeld excelled at selecting intriguing guest editors for her special December/January issues and Deneuve was her iconic first choice. The inspired issue captures an intimate glimpse of the French legend's life commencing with the seductive cover shot by Mario Testino and concluding with the charming likeness by Sempé. Dara's review makes me feel nearly as if I am looking at the issue myself, I hope you will enjoy her lively and thorough analysis as much as I do.

If I had to decide what I love most about the magazine Vogue Paris I would have to say the December/January guest editor issue. I bought my first copy in 2005, and from that year on it has become an annual tradition. If there was one issue I really regret not purchasing at the time of publication it would have to be the Catherine Deneuve issue from 2004. I remember looking through it, but for some reason I decided not to buy it... what a terrible mistake. Years later after searching on eBay, I was finally able to get my hands on it and what an issue it is! Now with Carine Roitfeld departing Vogue Paris I am really starting to appreciate the beauty of these special collector issues. Catherine Deneuve was actually the first guest editor for the magazine... I think Carine made a perfect choice!

The magazine is separated into five sections. The first, Deneuve à la mode, features images and analysis of iconic moments from her films such as Repulsion (1965), Belle de jour (1966), La chamade (1968), Le sauvage (1975), and The Hunger (1983), to name a few. These film stills clearly illustrate her impact on French cinema through her performances and her sense of style. She definitely knows how to act for the camera. If you are a fan of Deneuve's fashion on screen this section is for you.

The second section entitled Mon blond discusses Catherine Deneuve's iconic blonde hair color. Yes, her hair color. It seems that women continue to be inspired by her signature blonde locks. This part of the magazine even offers advice from hairstylists and professionals on how to achieve that perfect shade of blonde... just like Deneuve herself.

Part three, Deneuve: The Other Blonde of Cinema: A Portrait, is my favorite part of the issue. It features gorgeous photos of Deneuve taken by photographer Mario Testino and a collage of her favorite looks from various Vogue layouts throughout her career. She really is quite astonishing in front of the camera, as both a model and an actress she can take on any persona. I feel so proud to say that I actually own the Lanvin dress that Catherine Deneuve herself is wearing in this montage.

The fourth part of the issue is entitled intimately Deneuve: The Star's Portfolio and collects the things that have inspired her throughout her life, ranging from mementos such as a letter written to her from photographer Bruce Weber, a photo taken of her by Richard Avedon, a cute drawing made by fashion designer and dear friend Yves Saint Laurent, to even the beauty products that she keeps in her bathroom (and refrigerator!) in Paris. It is very cool to discover these small details... that's what I love so much about Vogue Paris... it gets so personal and even a little quirky!

Following the look at her influences is a little bonus section with photos taken of Deneuve in 2003 by Mario Sorrenti. She looks so stunning in these photos with that natural green background. She proves that women can be beautiful at any age.

The final part of the issue is entitled Sempé: The Graphic Artist Moves Into Deneuve; His Neighbor. It is a stylish cartoon about Deneuve in his adorable style that you may recognize from covers of the New Yorker. Clearly she is comfortable making fun of herself and her iconic persona... I love that Catherine Deneuve doesn't take herself too seriously.

I would have to say that the Catherine Deneuve Vogue Paris issue is definitely one of the most intriguing special guest editor issues. It is on par with the issues created by Sofia Coppola and Charlotte Gainsbourg, two of my past favorite guest editors. This issue is more like a scrapbook of memories than a magazine. You get to flash back on Deneuve's career and see her influence on film and fashion today. There is something so personal and unique about this issue, it's almost as if you are having a conversation with Catherine Deneuve about her life and all the things that have inspired her artistically. Yes, this December/January issue has lots of style, but there is also something educational about it, too. I learned about the films she likes, the actors and the musicians she admires, and even more obscure details like her favorite nail polish brand or what she likes to keep in her refrigerator. For sure, I got to see a different side of Catherine Deneuve that I typically do not see in publications. I am quite proud to add this issue to my collection of inspirational Vogue Paris magazines. I guess if I could use one word to sum up this issue it would have to be — Deneuvely!

Vogue Paris editorial images © 2003 Condé Nast. All Rights Reserved.

Carine Roitfeld: Corps & Lames

I present with glee the witty words of editor-at-large, Kate Ringo Suzuki, in which she sharply dissects the dangerous beauty of Carine Roitfeld's legendary editorial, "Corps & Lames," originally published in the February 2005 issue of Vogue Paris.

Carine Roitfeld: Corps & Lames
By Kate Ringo Suzuki 

In 2005 Carine Roitfeld teamed up with legendary photographer Mario Testino to produce the now famous Vogue Paris editorial, "Corps & Lames" (which translates as "Body & Blades"), in which she cast the doll-faced Gemma Ward in a mischievious romp through fashion fantasy. I can just picture the two of them giggling, “Let’s piss off zee stupid Americans who watch Fox News!”

At first blush, Gemma is all childlike innocence with her doe eyes, polka dots, ruffled bloomers (a present from Granny?), and white tights. Slowly we come to realize that the tights are in fact thigh-highs and you can see right through the wisps of polka dot chiffon. Then it hits us: Gemma is a dirty little nymphet. The cheeky wench has removed one of her black dominatrix gloves as to better wield her golden scissors. We watch her cut her Barbie’s hair to match her own hairstyle. I guess Carine and Mario were just getting warmed up because I can think of much kinkier things my friends and I did with our Barbies, and it usually involved a Ken doll.

Where is Humbert Humbert? I think he flew the coop and had the nymphet committed. The scene is set on a cold, sterile stainless steel table in the clinical white madhouse bathroom. One minute she is murderously wielding her scissors at an innocent fish swimming in its bowl, the next minute she is cutting her own eyelashes while simultaneously strangling herself with her single dominatrix-gloved hand. Sista is a psycho — she can’t decide if she’s top or bottom.

The kink doesn’t stop here. Carine and Mario go all out. Gemma is their pretty pawn, whom they maninipulate as easily as a delicate puppet on strings. Sweet Gemma, donning a pure white apron front top juxtaposed with black pantyhose with a back seam, performs some kind of ritualistic surgery on a slab of meat. We watch her bending over that now familiar sterile stainless steel table in the clinical madhouse bathroom. I imagine Mario instructing Gemma, “Bend over… a little more… .a little more. Ahhh, yes! Beautiful!” Click. “Beautiful!! Beautiful!!” Click. Click.

Yes, beautiful! And brilliant.

Vogue Paris editorial images © 2005 Condé Nast. All Rights Reserved.

Julia Restoin-Roitfeld: Bombshell

The April issue of Nylon features a few gorgeous photographs of Julia Restoin-Roitfeld, she looks especially beautiful in the Pucci dress, the sexy elegance is most becoming. Nylon also Tweeted: "...NY's new glam club is @bedlamnyc. Really we saw @lancomeparis bombshell Julia Roitfeld dancing (like all of us) to Robyn!" So where are those photos...

Julia Restoin-Roitfeld photographs © 2011 Nylon Holding Inc. All Rights Reserved.

Julia Restoin-Roitfeld In Harper’s Bazaar Korea

Mademoiselle Restoin-Roitfeld appears in the April issue of Harper’s Bazaar Korea in an editorial titled "Julia's Brilliant Moment" and she looks quite the opposite of herself! Her hair is straight, her clothing is bright on bright, her eyeliner is dramatic — strange. Also strange is the use of the model's name to title the editorial. Aitken Jolly shot the photographs. I must say I rather like the strange new Julia...

Julia Restoin-Roitfeld photographs © 2011 Hearst Communications, Inc. All Rights Reserved.