"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.au
Yours truly,
Girl With a Satchel
