Vogue Paris March 2011: Audace Manifeste

Vogue Paris March 2011: Audace Manifeste
By Dara Block

March 2011 will forever be known as one of the saddest yet most innovative months in Vogue Paris history. In case you do not remember, that was Carine Roitfeld's last issue of Vogue Paris as editor-in-chief and, as expected, she did not disappoint. Each editorial is a vivacious blend of art, fashion, and fantasy, all done with that Carine Roitfeld sensibility we all know and love. With that stated, let's take an in-depth look inside the pages of one of my favorite layouts from her final issue entitled "Audace Manifeste."

First of all, let's just talk about that title, which simply translates in English as "Bold Manifesto," a very thought-provoking title to go with such mind-bending imagery. The editorial was photographed by Mikael Jansson and styled by Giovanna Battaglia. These photos are definitely eye-catching, what Mikael Jansson does best, and I love the way Giovanna Battaglia incorporates all that jewelry. The layering of necklaces, bracelets, and rings is all very reminiscent of the late Italian designer Elsa Schiaparelli. It's obvious that Giovanna was very much inspired by her remarkable sense of style and all that jeweled glitz is a beautiful reminder of her work. I so appreciate Giovanna Battaglia's modern take on Elsa Schiaparelli... it's classic, but very fashion forward.

The first photo from the layout is of supermodel Missy Rayder, looking very scary-chic, if I might add. I so love the way in which her face blends in with that mask of Salvador Dalí. It's obvious that Giovanna Battaglia wanted to combine avant-garde fashion and surrealism. There are so many interesting elements going on... the grey dipped hair and, of course, those hands with all that decadent jewelry. The red hands, in particular, pay homage to Dalí's biography entitled The Secret Life of Salvador Dalí where he mentions "the bestial women with red hands." This is a very obscure reference, but I love all the hidden significance behind the styling of this particular photograph! Who would ever think all that could be conveyed so brilliantly....

Next up is another image of Missy Rayder, this time in black and white. There is something kind of Cleopatra and Princess Leia about this look. Once again, we see such amazing styling with all that Bulgari jewelry. Missy Rayder has such an intense look on her face and I can't help but be drawn towards that third eye painted on her forehead. The overall look was very much inspired by Alejandro Jodorowsky's cult film The Holy Mountain which came out in 1973... love the strange connection between film and fashion... it's executed to perfection!

Following Missy Rayder comes a very distorted image of model Arizona Muse in a lavish Alexander McQueen feather dress. This is a very distinct homage to one of Salvador Dalí's most memorable paintings entitled La Persistencia de la Memoria. Just by looking at that warped clock in the background you can identify the inspiration. I also like how her McQueen dress practically melts away at the bottom of the photograph. Mikael Jansson did an excellent job at capturing that Salvador Dalí sensibility. If Dalí was alive today to see this photograph, I know he would highly approve... this is indeed the proper way to transform art into fashion!

I also love how the editorial features a non-distorted version of that McQueen dress. We really get to see all the gorgeous details of those feathers and of course all that extravagant jewelry. Let's also not forget that stunning crystal ball. If you look closely, you can see an eye staring right back at you... which I assume is that of Salvador Dalí! I so love that mysterious reference and how freakishly chic the styling is... Giovanna Battaglia totally went above and beyond fashion with this look!

The last two images of "Audace Manifeste" are all about the eyes… which was a continuous theme in Salvador Dalí's art. First we see Arizona Muse looking so darkly chic with those black eyes painted on her eyelids. This is actually a reference to Jean Cocteau's avant-garde 1930 film entitled The Blood of a Poet. I have noticed that Vogue Paris frequently loves to pay homage to film director Jean Cocteau... just look back at the December 2005 issue with Kate Moss and you can see what an influence he has been in the magazine. He truly was ahead of his time, and I love that Giovanna Battaglia was very much inspired by him for the styling of this particular image. There is even more visual stimulation going on with those red nails and lips... it's all so striking and I love that expression on her face. There is something very sinister but yet so breathtaking about this photograph.

The layout ends with another image of Missy Rayder and some extra added eyes and brows. She almost even looks like Salvador Dalí in this photo. Perhaps the idea was for Missy Rayder to see life through Dalí's eyes. I guess that is up to the viewer to decide and, whatever the inspiration may be, I so love how her grey dipped curls somehow end up on that man's chest. I am not really sure why this man all of a sudden shows up in the end of the layout, but I can certainly see some male and female symbolism. The overall effect is all so surreal, and so frighteningly stylish, a perfect way to end such an oddly gorgeous editorial.

As we can see, "Audace Manifeste" totally takes art, fashion, and fantasy to a whole new level. I am totally creeped out yet so inspired by it all. Those hands, painted eyes, and dramatic jewelry are all styled to perfection. In addition, I can't help but also admire that Salvador Dalí and Elsa Schiaparelli influence and how Giovanna Battaglia was able to combine all that together into something so imaginative and cutting edge. It's always a treat to see a thought provoking and visually stimulating editorial, like this! Thank you Carine Roitfeld for leaving Vogue Paris on such a high note. This is really such a gem of a layout and "Audace Manifeste" will always remain a psycho-chic classic!

More from Vogue Paris March 2011

Vogue Paris March 2011: Body Secrets
By Bernie Rothschild

Vogue Paris March 2011: Coeur À Corps Perdu
By Kate Ringo Suzuki

Vogue Paris March 2011: Expression Figurative
By Jessica Eritou

Vogue Paris March 2011: La Fee Toxique
By Kellina de Boer

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.

Vogue Paris December 2005/January 2006: Kate Moss

I am excited to feature the latest Vogue Paris review by our stellar contributing editor Dara Block in which she looks at the December 2005/January 2006 issue for which Carine Roitfeld chose the iconic Kate Moss as guest editor. I hope you will enjoying browsing this special issue with Dara as your guide.

What is it about Kate Moss that keeps everyone so intrigued? She really is the ultimate supermodel. Or perhaps, better yet, an icon of our generation. No one is more elusive or harder to define. I think that is exactly why Carine Roitfeld and the Vogue Paris team chose her as the 2006 guest editor for the magazine. In this issue, Kate Moss uses her guest editing expertise in a series of couture based stories that label her as the scandaleuse beauté, or scandalous beauty. There are actually four different covers to this issue, all inspired by Jean Cocteau's 1946 film entitled La belle et la bête (Beauty and the Beast). Moss is photographed by Craig McDean wearing a series of looks including a Valentino couture gown, a Giorgio Armani Privé dress, a Dior Homme embellished jacket with skinny jeans, and finally a Chanel couture cape.... which happens to be the issue I own. While each cover features different outfits, all of the covers are shot in black and white and very much maintain the look of the film... it really is quite difficult to pick a favorite cover because they are all so unique and beautiful in their own ways.

The issue starts with an editor's note and photo from Carine Roitfeld... this is truly a quintessential Carine Roitfeld moment. Her hair looks very messy chic and I so love the way she shows her love of Kate Moss with that shirt. Notice the emblem on her chest? When I start to think about it, Kate and Carine share very similar style aesthetics. They are both such experts in the subtle art of undone glamour. I guess you could say they are both about setting trends and not following them.

As you turn the page, the magazine flashes back to Carine Roitfeld's first issue as editor-in-chief of Vogue Paris. We get to see that image of Kate Moss from February 2001 brilliantly photographed by Mario Testino and styled by Carine. I so love how Kate embodies Carine in this pic... no wonder this photo is so iconic. I will never forget this issue and I am so glad Vogue Paris took a moment to pay respect to such an influential issue.

Next comes a very clever part of the magazine entitled "Snapchic" which features paparazzi style shots of Kate Moss in some of her most cutting edge street looks. Vogue Paris winningly tries to emulate some of Kate's greatest outfits through Polaroid snapshots! Some of Kate's must haves in her wardrobe include a fur jacket, a leopard coat, flats, skinny jeans, high heels (preferably, Yves Saint Laurent or Alexander McQueen) and of course, let's not forget diamonds... Kate likes her bling from Dior.

Following "Snapchic" comes a montage of photos about Kate's personal style. This section features clothing items by some of her favorite designers: John Galliano, the late Alexander McQueen, Christopher Bailey, and Vivienne Westwood. I love that Kate stays true to her British roots... she really is the ultimate London girl. It is very clear that these particular designers have influenced her style in many ways.






Next up, is "Le kit de Kate" — an editorial which features supermodel Mona Johannesson modeling the type of jewelry that Kate Moss likes to wear. The layout features actual photos of Kate in the corner wearing a similar style of jewelry, I love how the editorial links the connection between the two images. Such as this shot with Mona Johnanesson wearing a simple diamond necklace from Van Cleef and Arpels, another of Kate's favorites.

After Kate's jewelry comes "Extérieur Nuit" which features Mona Johannesson, yet again, in different makeup looks inspired by Kate Moss. The editorial is beautifully photographed by John Akehurst. Mona Johannesson looks so much like Kate Moss in that makeup, especially, her lips and her eyes. It is quite uncanny....

Before Kate's editorial comes a personal photo and thank you note written by Moss to Vogue Paris. The photo was actually taken after leaving rehab in Arizona... yes, Kate was having some personal problems with drugs around this time in her life, but she chose to serve as guest editor regardless. I love the way her hair is flying in the wind, and how her hand is placed on her sunglasses, and of course that shot of the Grand Canyon in the background. It's really the perfect preface to her fabulous editorial.

Finally, we come to her cover editorial entitled "Ultimate Kate," which was photographed by Craig McDean and styled by Carine Roitfeld. The look is very much inspired by La belle et la bête and features Kate looking so glamorous in black and white. The editorial also displays subtle handwriting written over the pics... so radiant yet mysterious at the same time.

After Kate's portfolio comes an article entitled "Million Dollar Baby," written by Sheryl Garratt, who was once editor-in-chief of The Face. Garratt looks back on Moss' life, her career, and her rise to fashion icon status. The article also features photography from people like Mario Testino and Corrine Day. Kate even shares some of her own personal pics in this section.

Next, we see a portfolio homage to Kate Moss, in which major photographers dedicate a photo and a quote about Moss and how she has inspired them. Some of the photographers include Terry Richardson, Bruce Weber, Inez Van Lamsweerde and Vinoodh Matadin, Peter Lindbergh, and Patrick Demarchelier, just to name a few of a very long list. On a side note, the magazine switched things up a little bit with this editorial. Normally we would see the guest editor talk about all the people that have inspired her but the magazine went in the opposite direction and asked the photographers to discuss in detail the impact that Kate Moss has had in the fashion world. That's what I love about Vogue Paris... always thinking differently!

After the homage comes a very unique editorial entitled "90" which was photographed by Mario Testino and styled Carine Roitfeld. The layout features some of Kate Moss' chicest runway looks from the 90s... she had so many unforgettable moments during that era like this tiny Chanel bikini from 1993. Carine Roitfeld really captured that "Kate essence" in this editorial... such a unique layout that reminds us of why we love Kate so much!

Overall, I must say that I was really pleased with seeing Kate Moss as guest editor... after all, she is the most controversial, fascinating, and everlasting model of our era. In many ways, she is like a human canvas in that every designer, fashion photographer, and artist all want to work with her! I think Vogue Paris really captured all sides of her personality in this issue... very rarely do we see supermodels who can be both ordinary, yet captivating at the same time... she personifies more than just fashion and her appeal is quite universal... how does she do it?

I think Carine Roitfeld summed it up best as to why we all love Kate Moss:

"She's my idol, everyone wants to be like her, you know? Even if you don't like a look on the catwalk, when you see it on her, you want it. She's magic because she has a way to transform things. She's not too slick, she seems clever, and she has the je ne sais quoi of Marilyn Monroe... and for us in France, even though she's English, she's the one."

Leave it to Carine Roitfeld to perfectly state why we all are so mesmerized by the one and only Kate Moss... I couldn't agree more!

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