It’s always been a dirty little secret of mine that I love British Vogue almost as much as its chicer Parisian counterpart. It’s a simple matter; I relish the total experience of a magazine, and while Paris equals French, it’s only a picture-book to me. Yet, the reason I remain such a devoted viewer of the Parisian edition is the photography. In few words, the magazine not only communicates trends, but dictates their inception.
Never before has a color been able to denote an entire season the way Green marks the look this Spring. Balmain re-appropriated fringe last year – lest we not forget the high-heeled ankle boots that solidified Christophe Decarnin’s position at the house – and Hermes and Yves Saint Laurent garments have joined those of the top-ranking Parisian designer in a plethora of editorial spreads, featuring models suited-up in surplus garb.
The mood is combative this Spring; trench coats are celebrated per usual this time of year, but paper-thin Rick Owens pieces are cast aside for cargo straps, invisible side pockets are replaced with exposed buttons, and Barbara Bui heads into foreign terrain with leather lingerie.
No French is necessary to salivate over the lascivious Joe Mckenna-styled Bruce Weber spread, featuring Brooke Shields, Elaine Irwin, and Candice Swanepoel as female bluecoats – the only blue, of course, being up-to-there denim cut-offs and down-to-there gingham flannels – starring in a faux TV show titled “Lady Cop”.
Turkish Vogue hit stands last week, and like each edition (Italian Vogue covers make us swoon) it will offer something unique to the publication landscape. British Vogue is gritty; February featured an article about abortion, and this month an article about elimination. American Vogue is refined and classic, not a page too many or out of order. Paris Vogue remains an inspiration.