Archive for ‘Raquel Zimmermann’

April 25, 2011

Alexander the Great


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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February 6, 2011

Fred and Ginger

Credit: Fashion Gone Rogue

Raquel Zimmermann by Inez & Vinoodh for Vogue Nippon March 2011

While the industry seems to be a big fan of the Raquel/Inez & Vinoodh model/photographer combination, the work produced from it has been rather lackluster to me.  However, in this case, this Vogue Nippon editorial displays some excellent bright color with a heavy dose of fun.  Raquel makes great use of the lovely light fabrics, creating a flowing artistic vision.  And I love how the lines are created through that vibrant flow of fabric.  Of course, a dance-themed editorial will inevitably draw me in.  However, it was really choreographer Stephen Galloway that sells it for me.  He has such an effusive joy that I can’t help but enjoy this playful offering.

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November 14, 2010

Refined Rebel

Credit: Fashion Gone Rogue

Raquel Zimmermann by Nick Knight for Vogue UK November 2010

I do so loathe to topple my top post of Natalia in “Woman of the Year,” but c’est la vie.  Nothing lasts forever right?  I recently just picked up this issue actually (delivery of Vogue UK is a month or so delayed in the US).  And I must say, this is some spectacular eye makeup.  I may not be impressed by the posing or overall execution of this, but I cannot fault the styling or beauty.  They complement each other while depicting a glamorous punk that everyone’s so fascinated for spring 2011.  It’s interesting; Raquel almost seems like a subject in a portrait in the first initial shots.  Something about the texture in this I guess.  Or perhaps the look in her eye.  In fact, this entire editorial seems like something Nick Knight and Gaga would pair up to do: the eccentric styling, Venetian mask-like eye makeup, the bejeweled nails…I so love that Vogue UK always contains a “haute couture” piece in each issue as of late.  It’s a lot better than seeing a boring studio shoot every single time.

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August 12, 2010

Raquel Zimmermann by Mikael Jansson

Credit: Fashion Gone Rogue

Raquel Zimmermann by Mikael Jansson for Vogue Paris April 2006

Is it weird that I love the curve of her hip bones?  Cuz I do.  They’re just so pretty peeking out in this shoot.   Raquel is very pretty and relaxed in this.  Also, styling’s excellent.  Love the disheveled white clothes.  And the shot above is excellent.  Although it’s probably not wise to lose your pants in the desert… :P

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May 21, 2010

Two By the Sea

Raquel Zimmermann & Matthew Morrison by Mikael Jansson for Vogue US June 2010

Steamy shoot with Matthew Morrison of Glee fame.  I like the haziness of the photography; it adds a languidness to the mood, which it really highlights summer excellently.  Raquel looks amazing in the spring trends while Matthew Morrison makes for some excellent eye candy :)

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Credit: Fashion Gone Rogue

October 25, 2009


Although the background is highly distracting and she has a tendency to strike the same pose for this particular editorial, there’s something spectacular about it.  The crazy clothes, the lack of pants (oh how Lady Gaga-like), and the similarities Raquel has to Jessica Rabbit…I can’t help but like it.  And also, would you look at the legs on the girl?!?!?!  Simply stunning.  No wonder McQueen’s making her his new muse.
Credit: modelcouture