CR Fashion Book Issue 7: Classic Eccentric

Gaga… oooo la la… For the seventh issue of her CR Fashion Book, clearly Carine Roitfeld is caught in a Gaga romance. Lady Gaga poses as a bride on the cover as photographed by Bruce Weber, the perfect tribute to the issue’s theme, Classic Eccentric. As for Carine’s thoughts on the issue, she shared her feelings about her choices for the theme and the cover: “The theme for the issue is classic/eccentric because I am interested in what happens when you mix the two. I am fascinated by people who represent both extremes at the same time… It is always better to be a little bit of both. Take me, for example: I love eccentric fashion, but in reality I am quite classic… Lady Gaga perfectly represents what I mean by the classic eccentric to me. She is completely Gaga, but she is also a lady. In her music and art, she is so creative, always pushing the envelope… And yet she is classically trained, as well. As we saw with the jazz music, she can be both the modern pop star and still play the classic songs, giving them a modern twist. That is always what I love.” CR Fashion Book Issue 7 will appear on newsstands 3 September and will be packaged with the premiere issue of CR Men’s Book.

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CR Fashion Book images courtesy of crfashionbook.com.

Rap Ode To Carine Roitfeld

Remember The Little Black Jacket Contest we sponsored way back when? One of the winning entries was a rap ode to Carine Roitfeld by Morgan Von Steen, and while  I had long hoped that she would have time to produce a video of her rap for the site, alas time does not permit. Her CR rap is too fabulous not to share with all of you and so with no further ado, I am pleased to present…

Rap Ode To Carine Roitfeld
By Morgan Von Steen

Carine Roitfeld is one bad bitch.
When it comes to creating beauty, she gets off without a hitch.

I miss her at French Vogue. Team Carine all the way.
But it's nice to have her in New York. That's all I have to say.

I've spent my summer internship here walking down the streets.
I've kept my eyes out. She's the one I'd like to meet.

I want my hands on a copy of CR at this moment.
It's going to be killer. It's Carine. You know it!

I'm already applying to be part of her team.
To work in her presence would be a serious dream.

When I saw her at the CFDA Awards, I could only bow down.
When we watched her walk the carpet, I swear no one could frown.

We waved furiously like morons, and she gave us a smile.
It's a story I will pass down, when I have a child.

She is incredible, and inspiring, and it's news to no one.
I've seen almost every image of the things she has done.

Those Chanel ads are always stuck on my mind.
I want pink eyebrows, cat ears, with a tail in behind.

From black leather, to an infusion of color,
I'll always be a fan of her styling. Call me Carine Lover.

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Carine Roitfeld photographs courtesy of Fashion Spot. Collage by Kellina de Boer.

Vogue Paris Translation: Editorial, August 2004

As we glance back to the August 2004 issue of Vogue Paris, here is my translation from French to English of the editorial written by Carine Roitfeld. How I adore her turn of phrase, so like her images, at once charming and provocative.

"Personne n'a à me dire ce que je dois porter", a coutume de dire Madonna. Sans vouloir offenser la "pop queen", en couverture de ce numéro et dont la série de concerts à Paris s'annonce d'emblée comme l'événement de la rentrée, c'est ce que nous avons décidé de faire ce mois-ci : ne pas vous laisser le choix et vous mettre en présence des total looks les plus marquants de l'automne-hiver. Un Vogue spécial mode donc, doublé d'un supplément défilés (ci-dessus, Dior par John Galliano), imaginé non pas comme une "bible de diktats", mais comme un décapsuleur d'envies. Envies de léopard, de noir fluide, d'une silhouette graphique et de voluptueuses audaces, entre modernité et tradition, symptôme d'une saison "Asie-mutée". La vitalité d'un rythme de lignes franches que l'on retrouve dans l'architecture japonaise, chez ses "fabuleux sorciers" (Shin Takamatsu, Takashi Yamagushi, Tokyo Ito...) dont le travail est un témoignage à l'air libre de la relation essentielle qui existe entre la légèreté et la modernité.

"Nobody has to tell me what to wear," Madonna often says. No offense to the "pop queen" — on the cover of this issue and whose series of concerts in Paris upon being announced were immediately the event of the season — that is exactly what we decided to do this month: give you no choice and put you in the presence of the most striking total looks of the fall-winter styles. A Vogue fashion special therefore, bundled with a supplement to the shows (above, Dior by John Galliano), imagined not as a "Bible of dictates," but as a wish list opener. Cravings for leopard, for fluid black, for a graphic silhouette and for sensuous audacity, between modernity and tradition, a symptom of the "Asia-mutated" season. The vitality of the rhythm of clean lines found in Japanese architecture, with its "fabulous sorcerers" (Shin Takamatsu, Takashi Yamaguchi, Tokyo Ito...) whose work is a testament in the open air to the essential relationship which exists between lightness and modernity.

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Vogue Paris editorial image © 2004 Condé Nast. All Rights Reserved.

Vogue Paris August 2004: Madonna

Vogue Paris August 2004: Madonna
By Dara Block

It is not very common for Vogue Paris to feature a major celebrity on the cover so when the magazine decided to have Madonna on its August 2004 cover I definitely took notice. Leave it to Vogue Paris to make such a smart and intriguing cover image with one of the world's most renowned entertainers. I love that it is a close-up of Madonna with her hair covering her face, rather than an obvious shot of which, we are always used to seeing of The Material Girl. Plus, I love the way those words are written across the cover... it simply says exclusif Madonna dans les yeux, which beautifully translates as... through Madonna's eyes. So much mystery is conveyed and I appreciate that the words correspond so alluringly to the image. This cover truly has Carine Roitfeld incognito-chic written all over it, so with all that said let's take a detailed look inside this brilliant Madonna and Steven Klein collaboration.

The editorial is an intriguing behind-the-scenes look at Madonna's 2004 Re-Invention Tour. In case you do not remember, the Re-Invention Tour was her sixth concert tour to support her ninth studio album entitled American Life. Madonna was inspired to create the tour after taking part in an art installation called X-STaTIc PRO-Cess, directed by photographer Steven Klein. You can actually see many of the images featured in the April 2003 issue of W Magazine. Madonna is photographed in various reincarnations of her many spiritual practices... including a yogi prophet. Madonna truly takes her yoga practice to such an artistic level in this editorial... do check out these photos if you have never seen this W Magazine layout, very inspiring!

I actually saw her Re-Invention Tour back in 2004 and I loved how the concert was divided into five segments..... French Baroque Marie Antoinette Revival, Military Army, Circus Cabaret, and Acoustic and Scottish Tribal. The costumes were exquisitely designed by Arianne Phillips all based on the idea of re-invention and change. Madonna is well-known for her transformations so to see these looks all assembled together was quite the visual treat!

I think it is important to note that around this time the US was sending troops to Iraq and Afghanistan and Madonna made sure to get out a political message against George W. Bush. I don't think she wanted to anger her fans, but I think she was more about enlightening and educating her fans about revising our political system. It is clear that this concert was not just about performance, but also about making a social and political change.

Personally, one of my favorite parts of the show was the military segment. There was so much substance with noir military style that I cannot forget and still to this day I stand by her American Life album, even though critics hated it. This was just one of the sections of the show and I loved that we got to see all sides of Madonna.

Now, let's get back to the editorial! I think the opening image is quite epic and I love seeing Madonna in double symmetry. It looks like she is wearing a butterfly lace mask and I can't help but take notice of that look that she is giving to the camera. Once again, we see Madonna in full incognito chic mode, which is definitely the way I like seeing her..... mysteriously glam and ready to turn heads!

Next, we see Madonna dancing up a storm. This is what I love about her, she always knows how to put on a show. I appreciate this moment of her in full dance mode with that head set on. Very few woman can get away with a white tank top, a belt, and fishnet stockings, but I think this photo clearly shows why she is The Queen of Pop.

By far, this is my favorite image from the editorial. Again, we see Madonna in double symmetry, but this time there is a kaleidoscope effect added in. I love that relaxed expression on her face and how she almost looks like a fluttering butterfly. This is a very ethereal image and I like how calming it looks. This photo very much represents the spiritual side of Madonna... one of her best phases.

Following the Madonna butterfly image we get to see a rare moment of Madonna backstage with her son, Rocco. Madonna is wearing a Scottish kilt and I remember her wearing this ensemble in the last part of the show. Only Madonna could make a Scottish kilt look so chic and practical... really such amazing styling on this outfit. I also love all those extra bright colors blended in that background. Steven Klein certainly added a sci-fi element to this sentimental moment between Madonna and her son.

Next, we see a noir moment of Madonna singing on-stage with a guitar and all dressed up in a black bespoke Stella McCartney suit. I remember this portion of the show very well. Madonna spoke to the audience about promoting peace and helping others who are less fortunate, especially in countries like Africa. She also sang a version of John Lennon's "Imagine" to promote her thoughts on living in a world of peace. I liked seeing this side of Madonna.... it felt more real, maybe even a bit melancholy, but I applaud her for always speaking her mind about what she feels the world needs more of.

We next see Madonna in full diva pose. I love the way she looks here in that black bodysuit and the way her dancers are looking up at her. She is by the far the ultimate pop diva and she truly shows that in this photo. When I look at this image I automatically think strike a pose, vogue.... no wonder why she made this cover!

The final image of Madonna is a close up shot of her in full concentration mode during the middle of her concert tour. I love all the dynamic colors that Steven Klein added to this image and it really shows just how innovative Madonna really is. She manages to do it all... performer, artist, mother, thinker, and humanitarian. There is no stop to Madonna and as the years go on I find her more interesting. I love the way Vogue Paris chose to showcase her tour and all the thought and imagination that Madonna and her creative team put into this concert. Steven Klein also added an edgy and seductive mix to this editorial with his sharp eye. I was really happy that I got to see this show in real life and I think this particular issue of Vogue Paris very much enhances the concert experience.

While normally I don't like seeing celebrities on the cover of Vogue Paris I think we can make an exception for Madonna. It's quite lovely to see a Carine Roitfeld version of Madonna on the cover as well as a unique behind-the-scenes look of her Re-Invention Tour. Madonna will always be so far ahead of the game in terms of fashion and style, so it is no surprise why she made the cover of this unforgettable issue. Brava, CR for honoring Madonna in that Vogue Paris way we all know and love!

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Vogue Paris editorial images © 2004 Condé Nast. All Rights Reserved.

Carine Roitfeld: Sweet 16

In the new issue of V Magazine, Carine Roitfeld shares the promotional images from her "first and only modeling composites" which are featured here. Carine reflects on her modeling days which inspired her editorial "Carine's Sweet 16" for V, “The English photographer Tony Kent discovered me in the street in Paris when I was 16 and took me to Model Promotions, Elite Paris’s teenage division. After one season I went to London and signed with Bobton’s. These are my first and only modeling composites. On the far left I’m wearing a skirt that my mother made from souleiado, a very traditional French fabric used for napkins and table linens.” 

Especially noteworthy are Carine Roitfeld's measurements, listed in both French and English (and likely unchanged):

• Height 5'7½" (Hauteur 1.71)
• Bust 32¾" (Poitrine 83)
• Waist 23¾" (Taille 60)
• Hips 34¾" (Hanches 88)
• Shoes 4 (Chaussures 37)
• Hair Brown (Cheveux Bruns)
• Eyes Green (Yeux Verts)

As for the Disney theme of "Carine's Sweet 16," La Roitfeld confides, "I was obsessed with Mickey and Minnie Mouse… There was a shop on Rue de Canettes in the 6th called Western House that imported everything from America, and I found my Disney pieces there." In one shot, Carine has dressed the model, Dalianah Akerion, in her own tunic as well as using her own tights with polka dots throughout. Sebastian Faena photographed the images of the current collection featured in "Carine's Sweet 16."

I love Carine Roitfeld's reflections on her style and her inspiration behind each shot as told in the captions:

“Back then I would pluck my eyebrows a lot, which I now think is very démodé. But I was lucky because for many girls they never grow back. At the same moment, I was spending a lot of time in the Indian shops, where I discovered raspberry extract and wore it as a fragrance. It was also in those shops that I first found black kohl eyeliner, which I’ve worn ever since.”

“At this point I was listening to David Bowie nonstop. (I learned English listening to “Life On Mars?”) Hair was huge in the theater and it influenced me a lot. My mood was very hippie — I would wear a lot of long scarves and ankle boots in multipattern patchwork, which I bought in London. As a teenager back then you could shop in two places: the Paris flea market or in London. There was no fashion for teens and no High Street. I never aspired to wear big labels the way young people might today. I thought high fashion and fashion magazines were for old ladies and not me.”

“For a look like this I was inspired by Jean Bouquin, a big bohemian designer of the time. I would mix a vintage Romanian blouse with leather Tyrolean shorts. Both came from the flea market. The denim hat with stars came from Sisley, a label that’s still around today. I would be dressed like this when Emanuel de la Fressange, brother of Inès, would come around on his Solex motorcycle to take me to Castel, a popular nightclub. It was there that I met the other Sisley, my partner and the father of my two children.”

“I would wear this on the metro as a day look, which today would be impossible because you’d be chased down. I was very skinny, so I bought my tops at children’s stores for very cheap. In France no one knew what a lunch box was because no one took their lunch to work. Mine was from Walt Disney and I wore it everywhere because I was obsessed with Mickey and Minnie Mouse. There was a shop on Rue de Canettes in the 6th called Western House that imported everything from America, and I found my Disney pieces there.”

“I’ve always loved tights with polka dots and very feminine shoes. It’s funny because looking at this picture I realize my look really hasn’t changed so much. This is something I would very much wear even today.”

“My boots came from Carnaby Street and would have a little psychedelic detail, like a lightning bolt, which always reminded me of Ziggy Stardust. Coats for girls my age were never made in bright colors, so I would always wear navy blue or dark green. When I later worked at French ELLE I started wearing black, under the influence of three designers: Alaïa, Yohji Yamamoto, and Rei Kawakubo of Comme des Garçons.”

“Crossing my legs like this was my signature. My clothes were usually very small and very tight, and I would go to lycée looking like this. The school was co-ed, so there were no dress codes, which I found very liberating.”

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V Magazine editorial images styled by Carine Roitfeld © 2013 V Magazine, LLC. Carine Roitfeld in St. Tropez photo © 2007 by Carine Roitfeld. Other Carine Roitfeld photos © 2013 Condé Nast, Getty Images. All Rights Reserved.