Carine Roitfeld: Stylist

In 2007, Rizzoli published a fascinating book, Stylist: The Interpreters of Fashion, which collects the work of sixteen legendary image makers as selected by Style.com, and of course Carine Roitfeld made this exclusive list. Browsing the lavish volume is a fashion education unto itself, with influential stylists such as Polly Mellen, Grace Coddington, Edward Enninful, Carlyne Cerf de Dudzeele, and Karl Templer sharing memorable collaborations and sources of inspiration via interviews with Sarah Mower. Among the talented photographers that collaborated on these iconic images are Cecil Beaton, Richard Avedon, Steven Meisel, Annie Leibovitz, Mario Testino, Bruce Weber, Steven Klein, and Juergen Teller. Raul Martinez provided the creative direction for Stylist and Anna Wintour penned the foreword, in which she admits that as a fashion sittings editor she was never particularly good, although she certainly recognizes and champions editors that are particularly good. Which of her most memorable works did Carine Roitfeld choose to share in Stylist: The Interpreters of Fashion? I was hoping you would ask…

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

I love that Carine selected three images from her unforgettable editorial, "The Butcher," the work she considers her most compelling. Also notable, a print of the image above hangs in the home of art connoisseur Simon de Pury.

"Au Pérou, chez les Incas"
French Glamour, August 1993
Stylist: Carine Roitfeld
Model: Helena Christensen
Photographer: Mario Testino

This is one of the most famous of the Roitfeld/Testino collaborations for French Glamour, as well as personal: the location honors the photographer's Peruvian childhood and the model wore a Peruvian sweater belonging to the stylist's father. Trop mignon, non ?

"Néo-Moderne"
French Glamour, 1994
Stylist: Carine Roitfeld
Model: Nadja Auermann
Photographer: Mario Testino

This is the other most famous of the Roitfeld/Testino collaborations for French Glamour, again with a personal angle: the spread is shot in the néo-moderne apartment of Carine Roitfeld and Christian Restoin. Note also that the model lounges about wearing Gucci loafers, attracting the attention of Tom Ford and leading to one of the sexiest collaborations in fashion history.

Gucci by Tom Ford
Collection stills and ad campaign, 1995
Stylist: Carine Roitfeld
Photographer: Mario Testino

While Tom Ford is a talented designer and Mario Testino is an accomplished photographer, Carine Roitfeld must be credited with conducting the electricity that created the iconic Gucci look of 1995. As The New York Times observed at the time, "Imagine waking up one morning expecting Harriet Nelson to be making your breakfast and instead found Raquel Welch, circa 1968, beating the eggs."

"Corps & Lames"
Vogue Paris, February 2005
Stylist: Carine Roitfeld
Model: Gemma Ward
Photographer: Mario Testino

Gemma Ward is anything but innocent in "Corps & Lames," Carine's bizarrely beautiful homage to meat… and polka dots… and sheers… oh my…

Other material that Carine chose to share were images of herself as a young girl, with her family, with her Vogue Paris staff, and of her inspiration board, as well as the portrait below captured by Inez Van Lamsweerde and Vinoodh Matadin in March 2003 for V Magazine.

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Carine Roitfeld editorial images © 2007 Rizzoli. All Rights Reserved.

Carine Roitfeld: John Galliano

In 1994, John Galliano was named British Designer of the Year† and he went on to replace Hubert de Givenchy shortly afterwards. Of course Carine Roitfeld recognizes genius when she sees it and she styled the editorial "John Galliano" for the February 1994 issue of French Glamour to celebrate his most recent collection at the time. I applaud the juxtaposition of the pretty and the punk in the editorial which was photographed by Paolo Roversi. In Carine's words, "John Galliano: La Mode Comme un Roman — John Galliano, le plus style et le plus extrémiste des stylistes anglais, pirate les grands mythes de la mode avec une sophistication haute couture. Fidèlement adaptée du dernier défile, l'édifiante histoire de Thérésa, jeune aristocrate chassée de Russie par la révolution." or in English, "John Galliano: Fashion As a Romanesque — John Galliano, the highest and the most extreme style of the British designers, pirate of the great myths of fashion with an haute couture sophistication. Faithfully adapted from the last show, the edifying story of Teresa, a young aristocrat driven by the Russian revolution."

†John Galliano also won British Designer of the Year in 1987 and 1995.

Also from 1994
"Néo-moderne" Glamour France
"Cocktail" Vogue Paris

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French Glamour February 1994 editorial © 1994 Condé Nast. All Rights Reserved.

Carine Roitfeld: In Peru

In August 1993, Carine Roitfeld collaborated with photographer Mario Testino and supermodel Helena Christensen to create one of her most famous editorials for French Glamour, "Au Pérou, chez les Incas," (or in English, "In Peru, home of the Incas"). The shoot pays tribute to the style of Martin Chambi who was renowned for his photographs documenting the provincial society of Peru at the turn of the 20th century. Interestingly, both Testino and Christensen have roots in Peru: Mario was born in the capital city of Lima and Helena's mother is of Peruvian descent.

In another familial connection, Christensen wore a sweater that belonged to Carine's father for one of the shots. As La Roitfeld explains, "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."

Also from 1993
"Gold Rush" Marie Claire
"Sacrée Christy" Glamour France

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French Glamour August 1993 editorial © 1993 Condé Nast. All Rights Reserved.

Carine Roitfeld: Make Love, Not War

For the November 1992 issue of French Glamour, Carine Roitfeld styled an editorial titled, "Faites l'amour pas la guerre," or in English, "Make love, not war." The spreads feature Helena Christensen and Kate Moss as well as other models that I am unable to identify, please let me know if you can help. Mario Testino shot the images in which our favorite stylist clearly displays her allegiance to military chic. I always love Carine's way with words and her opening line for the editorial is brilliant: "Imbattable sur le front de la mode :  le genre militaire. Version chic ou vraie fripe, l'uniforme a retourné sa veste : il est passé dans le camp du Flower Power." (or in English, "Unbeatable on the fashion front: the military type. A chic version true or thrifted, the uniform has turned his coat: he went into the camp of Flower Power.") My favorite detail is the inscription of "love" and "you" on the eyelids, trés chou.

Also from 1992
"Monaco" Glamour France

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French Glamour November 1992 editorial © 1992 Condé Nast. All Rights Reserved.

Julia Restoin-Roitfeld In 1991

In September 1991, Carine Roitfeld styled her daughter, Julia, for a photograph that accompanied an article in French Glamour about Equipment, the label created by Carine's partner, Christian "Sisley" Restoin. Julia is pictured in the arms of model Claudia Huidobro and both wear the simple and elegant silk shirts for which Equipment is renowned. Carine is even credited as the photographer of the image of Julia, making the article a true family affair. I have translated the text from French to English. One bizarre note: the article does not include their surnames, neither "Roitfeld" nor "Restoin" is mentioned...

Equipment : la chemise en soi

Nouvelle boutique et une ligne enfants pour la chemise déjà mythique, pièce basique d'Equipment et de l'équipement de la femme (et de l'homme) moderne.

La chemise en soie lavée Equipment est ce qu'il est convenu d'appeler sur le marché mode un best-seller. Sisley, le créateur et le fondateur de la marque, introduit, le premier en France, il y a trois ans, cette soie d'un genre nouveau venue de Hong-Kong, née d'un procédé de lavage et d'usure en machine au sable : le ‹‹sand and wash››. 250 000 chemises se sont vendues par an, tous styles (ils sont peu) confondus. Car, précisément, le style de Sisley, c'est, surtout, de ne pas se disperser dans le stylisme. Parti d'une chemise de base en 1977 — une reprise d'une chemise de fripe américaine qu'il trouve parfaite — il fabrique et redéfinit la chemise idéale dans l'ampleur. Ni trop longue ni trop courte, basique dans la coupe, chic dans le détail, boutons nacre premier choix, boutonnière, double boutonnage pour le réglage du poignet, pied de col, piqûre anglaise. L'idée de Sisley est de suivre les courants collections tout en discrétion : on conserve le fond, la forme, qui est le point de repère d'Equipment, on crée un point de ralliement (boutique rue Etienne-Marcel en 1986, quelques relais phares à Londres, chez Joseph, et Bloomingdale's à New York, agrémentés de quelques franchises bien choisies). Le principe inhérent d'Equipment : remettre dans les mentalités la chemise quasi unique et unisexe, mais démultipliée en 25 couleurs, renouvelées chaque saison (autant pour les imprimés), maintenue à un prix fixe (990 F).

La soie lavée ayant terrassé quasiment la popeline et le coton, elle est appliquée au tee-shirt (manches courtes, manches longues) en jersey de soie, qui en devient fluide et moulant à la fois.

Dernière trouvaille et nouveau cheval de bataille d'Equipment : dans les archives des soyeux de Hong-Kong et de la province de Canton, Sisley trouve la faille, une soie à liséré plus le piqué de soie à l'aspect coton Lacoste. Partant du principe que ‹‹tout ce qui est en coton peut se faire en soie››, et que tout  ce qui se fait en grand peut se faire en petit (en pensant à ses enfants Julia et Vladimir), il lance pour la rentrée la chemise de 4 à 12 ans (350 F en coton, 550 F en soie). Il ouvre aussi une boutique Rive Gauche, au 203 du boulevard Saint-Germain. Même architecture (par David Chipperfield) et mêmes chemises, en 25 nouvelle couleurs. De quoi se pousser du col, non ?

Légende: Sisley, l'artisan d'Equipment, et Julia, sa fille, en chemise de soie lavée écrue format enfants, dans les bras de Claudia Huidobro.

Equipment: the shirt itself

New online shop and a children's shirt already legendary, the basic piece of Equipment and the equipment of the modern woman (and man).

The washed silk shirt by Equipment is the so-called bestseller in the fashion market. Sisley, the creator and founder of the brand, introduced it, the first in France, three years ago, this new kind of silk from Hong Kong, born of a process of washing and sanding by machine: the "sand and wash." 250,000 shirts are sold per year, all styles (they are few) combined. For, precisely, the style of Sisley is, above all, do not disperse with the styling. Starting from a basic shirt in 1977 — a reprisal of an old American shirt which he finds perfect — he manufactures and redefines the ideal shirt in his size. Neither too long nor too short, basic in cut, chic in detail, prime mother of pearl buttons, buttonholes, double buttons for adjusting the cuffs, the base of the collar, English stitching. The idea of Sisley is to follow the current collections with discretion: it retains the substance, the shape, which is the benchmark of Equipment, it establishes a focal point (a shop on rue Etienne-Marcel in 1986, a few relay flagships in London, with Joseph, and Bloomingdale's in New York, embellished with a few well chosen franchises). The inherent principle of Equipment: give the shirt an attitude which is virtually unique and unisexual, but multiplied by 25 colors, renewed each season (as much for the printed matter), kept at a fixed price (990 F). 

The washed silk nearly overwhelms the poplin and the cotton, it is applied to the t-shirt (short sleeve, long sleeve) in silk jersey, which becomes fluid and tight at the same time.

The latest discovery and new workhorse of Equipment: in the archives of silk of Hong Kong and of the province of Canton, Sisley found a vulnerability, a silk piping sharper than silk with the aspect of Lacoste cotton. With the premise that "everything that is done in cotton can be done in silk," and that everything that is made large can be made small (thinking of his children Julia and Vladimir), he launched for the reentry the shirt for four- to twelve-year-olds (350 F in cotton, 550 F in silk). He also opened a Left Bank boutique, at 203 boulevard Saint-Germain. The same architecture (by David Chipperfield) and the same shirts, in 25 new colors. Why not stick your neck out, right?

Caption: Sisley, the architect of Equipment, and Julia, his daughter, in an ecru washed silk shirt sized for children, in the arms of Claudia Huidobro.

French Glamour September 1991 with Julia Restoin-Roitfeld  © 1991 Condé Nast. All Rights Reserved.