"After just reading Vogue, can I say I'm completely fed up with topless and generally half naked models in fashion magazines," writes Louise in response to the magazine's November issue. "It might have been arty 15 years ago, but it is extremely tired now, and very distracting. I buy fashion magazines to look at CLOTHES, styled and photographed in interesting ways, not to gawk at a teenage girls' nipples."It does appear that
Vogue Australia is turning a little risque when it comes to photoshoots of late (no
blackface, mind), having given us Catherine McNeil and Abbey Lee Kershaw's nipples in the September anniversary issue and two topless models (Egle Tvirbutaite and Pania Rose) and a chesty Catherine McNeil this issue. Usually the reserve of "edgier" indie titles like
Purple (also showcasing a clothes-free Abbey Lee, albeit in a more soft-porn way, right now) and
RUSSH, but a
mainstay in Carine Roitfeld's version of
Vogue, is the nudie shot to become a
Vogue Australia mainstay?
Patty Huntington of Frockwriter
wrote of
Vogue's Abbey Lee/Catherine McNeil shoot back in August: "You could count the number of times
Vogue Australia has published arty images of bare breasts on one hand. Most likely, several fingers. It's a beautiful editorial and one that
Vogue's critics, who accuse the mag of being staid, boring and useless, might well hope signals a gutsy new direction."
Now, I'm about as "arty" as a pack of Crayolas. When I hear "Michelangelo" the
Teenage Mutant Ninja Turtles theme song comes to mind. But I've always thought it quite odd that fashion magazines – who aim to sell us the pretty clothes on their pages (or, at least, the idea of us wearing the pretty clothes on their pages) – should feature models WITHOUT clothes. I'm also perplexed by the notion that nudity = edginess in 2009.
While the
Abbey/Catherine shoot (sans nipple rings) by Greg Kadel smacked a bit too much of Lolita-esque sexual fantasy for my prudish liking, the black-and-white studio shots of Pania in various states of denim undress (think Kate Moss for Calvin Klein) by Nicole Bentley are undoubtedly tasteful. They accompany a beauty story about the success and wholesome lifestyle habits of the model herself, so the shots seem fitting.
The other bare breasts this issue fall within the 'From Dusk 'Til Dawn' editorial shot by William Davidson. One picture sees the model obscuring her chest with her arms, while in another she crawls away from the camera wearing a Louis Vuitton skirt and boots... but no top. Catherine McNeil, who has mysteriously disappeared from the runways, appears in a series of shots wearing strands of pearls, a denim jacket and not much else. Her substantial breasts (in model terms) are amazing. So, is nude the new black?
Given their context, I'm really not offended by the nude or half-nude images. Because these are
undoubtedly designed for – and to be appreciated by – the female gaze, and not for men. Which is rather refreshing. Though the September issue Abbey Lee/Catherine McNeil shoot gained publicity for being quite provocative (references to Catherine's sexuality pervaded coverage), the results this issue – probably because the girls pose solo – are less offensive to my relatively conservative sensibility.
Catherine McNeil's breasts are quite the canvas for the pearls she wears, while Pania is a lithesome figure with the small, pert breasts common to most catwalk models. At least there's a little body shape diversity happening here, which is not happening elsewhere – mostly it's giant inflated boobs on lads' mags or itty-bitty boobies on the pages of indie mags with little to no in between (though real boobs do often make their way into
marie claire and
Glamour to illustrate body image stories and the like).
I'm not convinced that going nude is a necessary step for
Vogue Australia in its post-50th-anniversary incarnation. Like Louise, I still like my fashion models with clothes on; not to mention such images make it hard to read on the bus. But if you want to see arty-farty photography (which is apparently synonymous with the nude) without overtly sexual overtones,
Vogue appears to have hit the right note. Compared to the front-of-book Eva Mendes Calvin Klein ads which undermine this sentiment,
Vogue's bare breasts are almost bourgeois.
The good bits:- 'In Vogue' always serves as a satisfying entree each issue, with its organised scrapbook feel, breakout boxes and short stories. I enjoyed reading about Melbourne designer Stephanie Downey of Dress Up, though it would have been nice to see her allocated more page space (Alberta Ferretti gets a full page; Miuccia Prada and her brand developments are celebrated over 10 pages, but such is the
Vogue pecking order). I would still love to see
Vogue embrace our young designers.
- Tim Blanks' paean to London fashion is a cut-out-and-keep piece of fashion journalism, with its historical context, pop culture references and astute analysis.
- Claire Brayford breaks down the couture collections over six pages, taking in Chanel, Givenchy, Christian Dior, Christian Lacroix, Jean
Paul Gaultier, Valentino and Armani Prive. The post-GFC fashion fantasy continues, though Brayford concludes her piece on Lacroix as such: "At the finale, everyone rose to their feet, but unless a fashion fairy godmother can be found, none of these pieces will ever be made."
- 'Bon Voyage' is a four-page, pic-heavy feature profiling the holiday habits of five glamorous women: fashion designer Laurence Pasquier, stylist Yasmin Sewell, Elle boutique buyer Natasha Marshall Donnelly, designer Sheree Commerford and Mulberry creative director Emma Hill. Oh, to live the lush life. Can't see myself disembarking circa Naples, Croatia or Saint-Tropez anytime soon, but a girl can dream.
- Zimmermann goes to the Big Apple (rather than Miami) to sell its new swim collection and
Vogue goes along for the ride. "Despite the shabby economy, the Sydney-based label's business grew 25 per cent last year," writes Felicity Loughrey. And the
goodie bags for buyers and journalists in attendance sound fabulous: "There's a slinky Zimmermann dress, sunscreen and a beach read, an Australian literary classic."
- Jessica Boyce writes 'For the love of money', which explores the role and management of money in relationships. I found this extremely timely given Husband and I - a good two years into marriage - are finally considering a joint bank account. It was with a child on the way that Boyce and her husband decided to consolidate, which resulted in the kind of spending disclosure that can drive couples apart. "The whole situation made me feel terribly powerless," she writes of her allowance. "I was working harder than ever, earning more than ever, but after years and years of independence I suddenly felt like a kid dependent on a censorious adult for pocket money." After considerable teething problems with this new area of relational honesty, and dealing with her husband's retrenchment, Boyce writes: "It took him losing his job for me to realise that whatever money comes into our household needs to be shared between us. By spending without respect for our mutual goals, I was short-changing myself as much as him." Ah. Lightbulb.
- 'Vogue Talks' is a treat this month, with detailed profiles of singers Lisa Mitchell, Kate Miller Heidke and Gin Wigmore opening the section over three pages. All wonderful and inspiring women. Instant lift! A few pages on, Kate Atkinson looks at the musical muses of designers. The section is rich with cultural news and reviews; always a pleasure to digest over afternoon tea. I'm likely to take a
Vogue recommendation all the way to the book store/movies/theatre.
- 'The pursuit of happiness', which asks seven women about their idea of contentment, is a reminder that even gorgeous, successful women have their down days and that happiness is relative to your ability to roll with the punches and look on the bright side. Of course, spending time with the family seems to trump morning meetings at the office in the 'what makes you happy?' stakes.
- I find articles such as 'Body language' to be quite helpful in the sense that they inform us about the lifestyle habits of real women rather than focusing on the latest fleeting diet/exercise trend. The women are always slim and gorgeous, but aspiration is in the
Vogue blood. Here, we learn about the daily diets, snacking secrets, exercise routines and beauty treatments of four women, including lovely GWAS sponsor
Abigail White of Abi and Joseph.
- Beauty editor Sigourney Cantelo gives us her amusing take on signing up for a 40-day yoga revolution. I like this bit: "Towards the end of the class we hold the half-pigeon pose...for at least 15 breaths. The aim is to open your hips and loosen tight glutes but it's absolute torture for desk-bound cubicle rats like me."
The not-so-good bits:- I am a fan of Cleo Glyde's writing, but 'Plug into life' seems sort of redundant and inapplicable. Yes, technology is impacting our health and lifestyles and happiness but unlike the women in the piece who choose to eschew it, some of us just have to deal. It seems a bit far-fetched to suggest that we all live like Glyde's friend who "when not doing breathing work therapy on Bondi Beach, spends a great part of her life unmoored in the wilderness or embracing primitive skills, re-learning ancestral knowledge like making fire, hunting by bow and arrow, and navigating by the sky." Glyde concedes this is terribly romantic, but I would have preferred to read about women who have found a healthy balance between technology and 'real life' rather than the extremities (like the ladies in 'Body Language').
- More research telling us to stay off the sugar, this time because you may pass your penchant for Paddle Pops (
Vogue editor Kirstie Clements is a fan, by the way – she tells us in her editor's letter) down to your children and grandchildren. Hence, more guilt with your next chocolate fix. Thankfully, it's not all bad news: "Those with a sweet tooth will be relieved to know that the occasional creme brulee won't have a huge effect, as our bodies have coping mechanisms to deal with high glucose."
Pretty pages:
- Elyse Taylor looks stunning on the cover, of course. Pass me a red lippie.
- Kirstie Clements writes that she wants "every single item" in this month's Vogue View spread. Me, too! Jessica Stam and Carmen Kass feature amongst an abundance of new-season bikinis, sunglasses, sandals, bags, hats and tops, setting the scene for summer shopping.
- Used to be that you were a pearl girl or a diamond girl.
Vogue encourages investment in a diverse jewellery portfolio. The Fairfax & Roberts white and rose gold brooch set with opal, pink sapphires and diamonds = $57,000. Safer than the stockmarket.
- Hong Kong-born Aussie model Rachel Rutt is gorgeous but looks about 14 years old next to Elyse Taylor in 'Blue Mood' (a fresh location editorial set against a backdrop of blue skies and ocean). Okay,
she's 17. But I like my
Vogue models to have a little age behind them. Props to
Vogue for championing the Aussie model this issue.
- 'Field of dreams' takes us back to the studio with ornate high-end ensembles shot by Dan Jackson.
- Take a walk through London hotel The Dorchester, which served as the location for the magazine's Cate Blanchett anniversary cover sitting.
Glossy stats: 250 pages; November 2009; $7.95
Glossy ads: IDORE d'ARMANI, Estee Lauder, Louis Vuitton, Prada Eyewear, Tiffany & Co., Elizabeth Arden, CK Jeans, Omega, Lancome
Blosses: Kirstie Clements; News Magazines
Website: www.vogue.com.auYours truly,
Girl With a Satchel
mainstay in Carine Roitfeld's version of Vogue, is the nudie shot to become a Vogue Australia mainstay?
Abbey/Catherine shoot (sans nipple rings) by Greg Kadel smacked a bit too much of Lolita-esque sexual fantasy for my prudish liking, the black-and-white studio shots of Pania in various states of denim undress (think Kate Moss for Calvin Klein) by Nicole Bentley are undoubtedly tasteful. They accompany a beauty story about the success and wholesome lifestyle habits of the model herself, so the shots seem fitting.
undoubtedly designed for – and to be appreciated by – the female gaze, and not for men. Which is rather refreshing. Though the September issue Abbey Lee/Catherine McNeil shoot gained publicity for being quite provocative (references to Catherine's sexuality pervaded coverage), the results this issue – probably because the girls pose solo – are less offensive to my relatively conservative sensibility.
Paul Gaultier, Valentino and Armani Prive. The post-GFC fashion fantasy continues, though Brayford concludes her piece on Lacroix as such: "At the finale, everyone rose to their feet, but unless a fashion fairy godmother can be found, none of these pieces will ever be made."
goodie bags for buyers and journalists in attendance sound fabulous: "There's a slinky Zimmermann dress, sunscreen and a beach read, an Australian literary classic."
she's 17. But I like my Vogue models to have a little age behind them. Props to Vogue for championing the Aussie model this issue.
A quick look at how the Aussie glossy books fared for the month of October...
The Australian Women's Weekly really pushed its advertising and advertorial limits to maximum capacity, with promotions for its Product of the Year awards scattered throughout the issue and a further 18 dedicated pages fleshing out the book. There were also 11 pages of 'Weeknights With the Weekly' advertorial and various other single page promotions. Given ACP's renewed focus on practising "good journalism", perhaps a higher editorial to advertorial ratio will soon come into effect?
Compare with the GWAS September Issue Glossy Snapshot.
Given that the equally cut-throat free-to-air TV networks invest considerable cash in orchestrating their rating's season promos, this showcasing of editorial talent may set a precedent for the glossy publishing world, which has really come out of its bubble thanks to interest piqued by The Devil Wears Prada, reality TV and The September Issue.
It seems like just yesterday we were chatting about covermounts, now this morning we've been given two examples to consider care of Notebook: (News Magazines) and Better Homes and Gardens (Pacific Magazines). Notebook: comes with a rather distracting plastic-wrapped Roc Retin-Ox Illuminateur product, while Better Homes comes with a 36-page Christmas Essentials recipe book.
When I was 8 years old, I wrote an 'About Me' essay. I lived in Blue Point, New York. I wanted to be a ballerina and my hero was Joan Collins. Even then I couldn't resist the outre glamour. Sequins before 10am was my kind of style protocol. Even still, I'm a firm adherent of the Collins 'you can never have too much fashion' theory. Hence the reason I'm waiting patiently for the mother of all makeover shows - Joan Collins Does Glamour - 9pm tonight on ITV1!
It's official. Dublin's got more style savvy than London! Ah well, not exactly but it makes a good headline, eh? But Dublin does have the most semi-finalists in Grazia Style Hunter Awards. Eight fashionistas from our fair city have been chosen to represent the capitol - including I Blog Fashion. Flattered - indeedy? What you didn't see was the slew of bags I had with me from styling that day. Hence the gloves - my hands were in tatters!! CLICK HERE to see more.
Mia Freedman shared an hilarious anecdote illustrating the crazy heights covermounting had risen to during her tenure as editor of Cosmopolitan.
eco-friendly mentality pervading the glossies, which tells us to be more thoughtful shoppers in response to the rabid global consumer culture that brought about the GFC, over the past six months I've acquired more than a few bags (tote, beach, duffle, shopping), cosmetics purses, a notebook and pencil, mascara, lipgloss, nail polish, a mini hair straightener, a scarf, a t-shirt, chocolate, a pedometer and sticky notes, all thanks to the generosity of our mainstream women's magazines, including marie claire, Harper's BAZAAR, Madison, Cleo, InStyle, Dolly and Girlfriend.
the girl at school who has to buy her friends with gifts, so lacking in confidence is she of her ability to secure a loyal, authentic relationship by just being herself. To my knowledge, Vogue, RUSSH, Frankie and SHOP Til You Drop aren't in the habit of covermounting, yet their circulation figures are relatively healthy.
n the gamut from advertiser product sampling to worthy charity collaborations, sample mags, cheapie branded items from China, and in-house produced one-shot books, magazines and calendars. Over the years, I have enjoyed Vogue's bonus business style magazines and Harper's BAZAAR's L'Oreal Paris sponsored fashion supplements. I also adored Frankie's gift wrap book, containing paper designed by the magazine's arty collaborators, which felt like a real bonus and further extended the magazine's positioning as the quirky creative title du jour. Though these projects mean a lot of extra work for the editorial and design teams – if not the in-house creative services department charged with producing them within the magazine's style guidelines – it's these covermounts that have the ability to enhance a brand and create consumer loyalty – the kind of loyalty advertisers love.
with a mini 'Decorators' Secret Handbook', which has been lovingly compiled by staff in-house. The book taps into the magazine's little black book of design industry contacts and invites readers to share in the knowledge. The layouts are in keeping with the magazine's style, no sub-editing expense has been spared and there's something new to learn or discover on EVERY page. Freebies like this one, created in a spirit of generosity and excellence, leave you with a warm and fuzzy feeling about the magazine – and the covermount sponsor, Yellow Pages.
encourage a mag-stand browser to trial a title and return to it the next month because they enjoyed the content. But if magazines are to create the kind of genuine, meaningful relationships they pride themselves on (and sell themselves to advertisers and media buyers on), while staying true to the eco-friendly values they espouse, they need to allocate more time, effort and resources towards marketing themselves from the inside out, creating the kind of intimate, exciting, rewarding reading experiences that draw people to them every month, rather than cheapening themselves with pointless tip-ons. Covermounts need to become the icing-on-the-cake exception rather than the rule. But will mags be prepared to suffer overall circulation drops to correct the topsy-turvy tip-on craziness?
Hooking you up with what's happening on the glossy media beat...
Whip It director Drew Barrymore appear on the October cover of U.S. Marie Claire. There are lots of online references to the duo looking like a lesbian couple. I think they look cute. (Puke?). In the mag, Barrymore says of Page's body confidence filming the roller-derby flick: "She was in her frickin’ bra and with an open jacket and hot-pink shorts, skating around the rink with red lips and… and she was sexy as a mother…. a feral creature. It was great. And it’s so screwed up for girls to think, Oh because I don’t have that cookie-cutter model body, it must mean I don’t have the right body shape. And I love model bodies, but I just want women to embrace several body shapes. That’s the thing I love about derby. It’s really welcoming.” Hilary Swank appears on the November cover of the magazine, which is currently enjoying an aesthetic relationship with the colours yellow and blue (see below right).
reports Sally Jackson for The Australian, with managing director Ian Law suggesting aggressive tip-on tactics may have see their last days: "We are embarking on a new era at ACP Magazines," he told attendees at an ACP function. "Some magazine publishers, and I don't absolve ACP from this, have been at risk of taking the view that the cover and the glossy presentation of the book were the most important factors in determining a sale result. And if those two factors didn't deliver a result, then a tip-on or a cover mount ... would help deliver the sales figure we were chasing. I am saying that we need to raise the editorial standard ... Without a culture focusing on good content you won't have the readers or viewers you want, and without the readers and viewers you won't have sustainable profits." Rapturous applause!
most recent audit figures reflecting a sales rise. Artificial circulation enhancement of smart publishing practise? Back in June, ACP's women's lifestyle marketing director Matt Dominello told Mediaweek that teens were prepared to pay a premium for a high-quality covermount, justifying Dolly's fluctuating cover price: "We've had pyjamas and the iPod speakers at $7.95, and then with the hair-straightener now we're up to $9.95...if they can get a great magazine and a hair-straightener then that represents great value for money." For a comparative look at Dolly and competitor Girlfriend, see a recent GWAS guest review here.
Simpson on its November cover, with an interview, centrefold pullout and more pictures promised inside. Editorial director James Jellinek says Marge is "a stunning example of the cartoon form" (source). Jessica Rabbit is one thing, but Marge Simpson? This will have the family groups up in arms - and perhaps rightly so. It's a fine line between a bit of playful fun to stimulate publicity and objectifying a character who's come to represent a pillar of moral stability. In 2007, U.S. Harper's BAZAAR featured The Simpsons in a less "racy" fashion shoot.
morning at 6am (we are not on daylight savings time here). Here's how it goes: "Judy Bowler lowered her sizeable spread of bum on to a portable foldout stool and exhaled steam into the bitter cold. She should have warn something warmer. Already, she felt the icy fabric of the chair seeping through her tracksuit and spreading, like a wholly unpleasant rash, around her fleshy kidneys. She pulled her parka around her stout sausage roll of a frame a little tighter. Wriggled her electric blue Explorer socks experimentally inside her gumboots. Bloody Nora, it didn't matter what they were saying on the telly. It was cold." Want to sign up? It'll cost you $0.25 inc. GST to subscribe, plus $0.55 per message, plus any associated mobile internet costs (you have to access each installment online).
today's Australian, Sally Jackson reports on the need for media organisations to clarify their policies for online interaction after a Brisbane-based sub-editor lost his job for slagging off his paper in a personal blog. Coincidentally, Marieke Hardy used to publish a personal blog (she stopped last year), Reasons you will hate me, which landed her in some hot water a la Gawker's Jessica Coen (now of New York Magazine): "The worst things people have ever said about me are on the internet," she told The Age. "One said my great-aunt killed herself because I was so untalented. I actually gasped when I read that... When I started, I was angry and untamed. I became clever-er, I hope, about channelling the rage."
slick Delta Airways in-flight glossy is also available on newsstands and "would rival any general interest publication out there," says Irwin. "While it's impossible to be all things to all people, Sky takes a pretty good stab at it."
through to Vogue.com, presumably where fashion-conscious types can hook up with other fashion-conscious types. Matches made in glossy magazine heaven!
new film, but he can be seen on the 10th anniversary cover of GQ Australia. Robert Pattinson joins "the most influential men of recent times", including Tom Ford, talking exclusively to the magazine about how playing a teen vampire has made him one of the most desired men on the planet. The issue, also representing editor Nick Smith's one-year tenure in the hot seat, also features prominent designers talking about the state of Australian fashion, nominees for the GQ Men of the Year Awards and Mike Butler's investigative expose coming after being entrenched in bikie culture for two months.
