Archive for ‘Karlie Kloss’

April 25, 2011

Alexander the Great

Credit: Vogue.com

Coco Rocha, Caroline Trentini, Stella Tennant, Karlie Kloss, Karen Elson, and Raquel Zimmerman by Steven Meisel for Vogue US May 2011

Oh Lee McQueen…you are still very dearly missed.  The industry is still dealing with the loss of the creative genius.  Although, Sarah Burton is very nicely carrying on in his stead.  In Vogue‘s May issue, Meisel profiles pieces from the Costume Institute’s tribute to Alexander McQueen’s legacy, aptly titled “Savage Beauty.”  And what a savage beauty Lee’s work was.  His work has intrigued me, awed me, confused me, provoked me, and above all, moved me.  Even when I disliked what I saw, I could not deny his incredible design technique.  I still recall that 1999 opening where Shalom Harlow was on a turntable, wearing a white dress, and being paint splattered by two robots.  It was creepy yet thrilling, fantastical and provocative; I was riveted by the performance.  Now that he is gone, his legacy is in his work left behind.  And in the people he influenced.  Sarah Burton is fantastic technician because his tutelage, and she carries on that technique and vision today.

Meisel has stayed true in this editorial.  I love how he has propped this set; it’s quirky and perhaps a little out-of-sorts which suits the mad genius of McQueen.  Moreover, the pieces Grace Coddington chose, on top of being beautifully wrought, each has a story.  They are striking, weird, magical, and romantic at times.  I love it.  Check the Vogue article for  the fully story [although the site coding is a little hard to read so I’ve posted it here as well].  Here’s what Sarah Burton has to say about each [in order]:

  • Widows of Culloden, Fall 2006: “The collection was about the 1745 massacre of the Scottish Jacobites by the English, which Lee felt so passionately about because of his Scottish family heritage, which his mother had researched. The women were the widows of the slaughtered army. This dress was actually based on my wedding dress—I got married two years earlier. We had to figure out how to make lace work in the round with those ruffles because Lee hated gathering. So we cut out all of the flowers from the lace and reappliquéd it on tulle to make our own fabric. This is the collection most people remember as the one with Kate Moss in a hologram. Oh, my God, it was so beautiful. He loved that show.”
  • Voss, Spring 2001:  “So much of this show was about the collective madness of the world. It was presented in a two-way mirrored glass box in London, and the girls had bandaged heads, acting like inmates of a mental asylum. Lee wanted the top of this dress to be made from surgical slides used for hospital specimens, which we found in a medical-supply shop on Wigmore Street. Then we hand-painted them red, drilled holes in each one, and sewed them on so they looked like paillettes. We hand-painted white ostrich feathers and dip-dyed each one to layer in the skirt.”
  • Number 13, Spring 1999: “This was from the amazing show in London where Shalom Harlow stood on a turntable and was spray-painted by robots. This particular look was made from wood to form the shape of a fan: It was all about the craftsmanship. The wooden wings were in this show, too, and the prosthetic legs he had carved for Aimee Mullins, who walked in the show. That was so moving. There were so many ideas in there. Each of his shows was like ten of anyone else’s.”
  • Sarabande, Spring 2007: “The collection was based on Handel’s ‘Sarabande’ in the film Barry Lyndon. It was held in the round at the Cirque d’Hiver Bouglione in Paris, with classical musicians playing onstage under a giant chandelier. This dress had fresh flowers on it. We put them on just before she went out, and they started to fall off one by one as she walked. I remember people saying Lee timed it. We had a laugh about that. It was an accident!”
  • It’s Only a Game, Spring 2005: “All the girls were dressed as chess pieces, and the show was choreographed as a chess game. It was about the chessboard of fashion. Lee did have foresight and a sense of humor! This is one of the two horse pieces. He made it by commissioning Steve Powell, a hospital prosthetics expert, to make the body. And the horsetails were from the same suppliers who make the plumes for the queen’s Royal Horse Guards.”
  • Voss, Spring 2001: “This is a straitjacket, a kimono with the sleeves strapped around the back, embroidered with raised birds and flowers, and the flowers on the hat were real. I saved all the showpieces from every collection because I’m an obsessive, obsessive hoarder. Sometimes Lee would look at them again, just to remember what he’d done with something. It was his dictionary he was building, really.”

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December 13, 2010

Tall Order

[I just love the way she tilts her right foot in the 2nd shot]

Credit: Fashion Gone Rogue

Karlie Kloss by Paul Wetherell for Vogue UK January 2011

Quite honestly I didn’t expect to like this editorial as much as I do.  Karlie Kloss truly is the It Model du Jour.   She may only be 18, but she’s dominated ever since she burst onto the scene 3 (almost 4) years ago.  In any case, this is a gorgeous editorial for its clean lines, blessed simplicity, and classic silhouettes.  And the added dose of Karlie charm of course.  But it was really the wide leg trousers (and what Karlie did with them) that got me.  The trousers already have beautiful tailored lines, but Karlie enhances them with her positioning and innovative playfulness.  It could be the ballet training (ballet is about having the perfect line after all), but Karlie always has this nice movement throughout her editorials that can be clearly seen in the print as well.

Moreover, I love the easiness of this editorial.  The setting is well chosen with that lovely weathered hardwood floor, and the steam-lined styling just flows effortlessly.  Hardly buttoned-up like some would imagine.   The lines are clean yet not stark with blocks of color to offset the neutral palette.  This is hardly quiet minimalist.  And this is precisely the reason why we return to this styling and silhouette time and time again.  But really, I love how the quality of the craftsmanship is clearly shown.  The clothes are brilliantly structured and masterfully designed.  Just…stunning.

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December 5, 2010

Pas de Deux

Credit: Fashion Gone Rogue

Karlie Kloss by Dusan Reljin for Vogue Germany December 2008

In light of the recent release of Black Swan into theaters, it felt apt to finally post one of my favorite editorials of all time.  That, and I just obtained a decent copy of it.  Karlie’s rather dark pas de deux with herself certainly falls right in with the premise of Black Swan.  And that wicked death stare!  She dominates all over the runway with that patented death stare, and she is fiercely intense in this editorial.  Of course there is also that Rodarte piece to contend with (incidentally Rodarte had costumed Black Swan as well).  I love the badass styling that transforms this into an avant garde ballet.  This editorial is perfectly deconstructed while delivering enough structure to make it cohesive.  And it gives Karlie a chance to display that spectacular classical training.

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December 4, 2010

Coco Dancer

Credit: Fashion Gone Rogue

Karlie Kloss by David Sims for Vogue Paris March 2009

Karlie Kloss has certainly been a force to reckon with in recent years.  Girl has some serious clout, especially with that dance resume.  She displays some of it here with playful leaps and going “en pointe” in combats no less.  She has some great gams which she displays with a certain coquettish flair.  But dancing aside, I really enjoy her interpretation of a young Gabrielle Chanel.  Karlie is definitely a bit more modern, but the sentiment is there.  She has this great energy that is easily conveyed beyond the page.  The equal mix of playfulness and glamour is certainly appreciated.  That’s actually what’s great about Karlie.  She can deliver avante garde and personality in equal measure.  There is a liberal dose of old school charm amidst Karlie’s youthful abandon that belies her age.  Fantastic as per usual.

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September 14, 2010

Russian Dolls

Credit: Smile

Karlie Kloss by Tim Walk for Vogue UK October 2010

This latest offering from Karlie Kloss is amazing.  I love her work and that signature smirk is positively legendary at this point, but I’m so used to her lovely romantic editorials.  I don’t know how to explain it exactly.  She does wonderful work and manages to transform the ordinary to the extraordinary.  And I love that about her.  I guess she just tends to do shoots that have more realism in them.  This is a fantastical avante garde editorial and I love it.  This haute couture glamour is what I miss most about publications nowadays.  They try to sell commercialism to a consumer that’s just looking for instant gratification and things they understand.  And it’s a pity.  But every once and a while you get something like this in a more commercial magazine (aka not Numéro, 25, 10, i-D, and various other fashion magazines).  So I applaud British Vogue for striving for more.  Thank you.

I wavered between featuring the shot above (cuz it’s amazing mais oui) and the Alexander McQueen piece, but ultimately that pose won me over.  Alexander McQueen was always willing to push the envelope and is much missed.  His epitome of glamour is something all other couture should strive for.  It makes sense that a couture piece would merit a concept like this.  It wouldn’t do it justice otherwise.

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August 18, 2010

Dior Fall 2010 Campaign

Credit: Smile

Karlie Kloss  by Steven Meisel for Dior Fall 2010 Campaign

As if I didn’t love the Dior Fall 2010 collection enough.  Fantastic.  Karlie’s a wonderful face for Dior.  Good choice John Galliano (although you did choose Taylor Momsen to be the face of your own line…)

August 18, 2010

Aquascutum Fall 2010 Campaign

Credit: Fashion Gone Rogue

Karlie Kloss by Willy Vanderperre for Aquascutum Fall 2010 Campaign

Willy always does such excellent work.  And of course Karlie’s gorgeous.  Aquascutum’s aesthetic totally suits her.  The boys around her are totally gorgeous.  Hello Matt Benstead, Jacob Coupe and Tristan Knights

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July 16, 2010

First Look

Credit: Fashion Gone Rogue

Karlie Kloss & Karmen Pedaru by Daniel Jackson for Vogue UK August 2010

Karlie truly shines in this editorial.  Not to mention the clothes are absolutely stunning.  I am once again reminded of the exquisite craftsmanship when I last saw these properly during fashion week.  While Karmen attempts to hold her own, my eyes are most definitely drawn to Karlie each and every time.  She displays plenty of personality and strength in this shoot.

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July 12, 2010

Secret Garden

Credit: Smile

Karlie Kloss by Peter Lindbergh for Vogue China August 2010

Oh Peter Lindbergh, you kill me every time.  In the best possible way.  Not only do your thoughts on creativity inspire and astound me, you make me fall in love with your work.   A dark editorial for summer was exactly what I needed to break the monotony of light airy beach shoots.  And those fishtail braid pigtails.  Utter perfection.  What ladylike layering.  Perfect for those occasional overcast days.

If you’d like the corresponding 2 page images connected, you can see them here as well.

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May 1, 2010

Spring Romance

Before I talk about Karlie and her amazingness, can I quick point out that 25 Magazine is excellent?  Anja Rubik and  Sasha Knezevic have impressed me so much with their publication.  It’s beautiful, well thought out, and much needed.  While publications like Vogue and Elle reign supreme in the commercial world, there is a need for beautiful and thought-provoking magazines on the fashion and the industry itself.  Interview, 10 Magazine, Numéro, and now 25 Magazine fulfills my need.  Each is unique and inspires me.  And 25 Magazines makes me believe that “slashing” isn’t always bad.  Anja Rubik and Sash Knezevic are both models/editors and probably numerous other things in the industry; however, they uphold a standard of excellence regardless of what it is.

Ok now onto the shoot.  I’ve been waiting for a proper scan of this for what feels like ages (reality: 3 months), ever since models.com posted a somewhat blurry preview of it.  One thing I love about Karlie is that she’s naturally progressing.  As she gets older, she does more avant garde and perhaps risqué shoots (case and point: Parallel Lines for Numéro).  But they are all tasteful.  I don’t understand why a lot of people are freaking out about it.  I can understand this sort of freak out: “OMG THIS IS AMAZING AIORUNAE4OIFNEOFINAEOFIN” or something along that vein.   This editorial is romantic and a little hazy.  Which greatly appeals to my aesthetic.  And there’s nothing wrong with being sensual.  If she is mature enough to handle it and the result is as fabulous as this one, then I’m all for it.

See Rest of Shoot