Victoria Beckham is celebrated from cover to cover in the February Issue of British Vogue. Her interview has been acknowledged as unusually raw from Mrs. Beckham and even touches on the fact that "maybe one day she would like another baby," but dismisses the chances as "quite slim," although the magazine went to print just five days before her new arrival was announced.
In her shoot she is in basic vests and knits, with no teased and pinned hair and very natural make up. With Victoria Beckham there seems to be an image and a reality, two completely different characters and this is commented on throughout. Naturally they talk about her designs and Lisa Armstrong is taken into her studio and creative space. She very honestly admits that she doesn't draw but experiments with trial and error. Although the interview paints a picture of a more real Victoria Beckham little details remind us that she is the mastermind of a PR victory, and although she is not getting her hair blow-dried every day, she has swapped to a hotel with underground parking, so the image is not allowed to slip too far!
One of my highlights of February's Vogue was the, albeit entirely un-fashion related, article about James Franco, promoting 127 Days. Vogue have celebrated a man that is not simply an actor but a student, director, author and artist. I am as big a fan of the celeb-culture guilty pleasures as the next girl, but there is something refreshing about James Franco, perhaps it’s the fact that a man can be that beautiful and have a head firmly placed on those shoulders!
Enough about Franco! 'More Dash Than Cash' focused on sleek, streamlined fashion in a spread that promotes cleaner lines in blazers, trench coats and leather (or pleather!) vests whilst maintaining crucial femininity in chiffon pleated skirts, espadrilles and frequent injections of colour.
Enough about Franco! 'More Dash Than Cash' focused on sleek, streamlined fashion in a spread that promotes cleaner lines in blazers, trench coats and leather (or pleather!) vests whilst maintaining crucial femininity in chiffon pleated skirts, espadrilles and frequent injections of colour.
Continuing on a theme of simplicity, a spread centred on "bags of practicality" follows. It is not difficult to imagine that there is an attitude of New Year minimalism being promoted throughout.
Freja Beha Erichsen models the spring collections, focusing on a combination of "pretty and utility" garments, while also "decorative minimal." The model, who seems to have the most adaptable and enviable haircut, is wearing the magazine's first pick from 16 designers, with the highlights being Miu Miu's floral leather jacket and Dior's Lambskin parka, over a tangerine silk dress. Leather, tassels and lace reoccur throughout the spread, whilst bold colours and muted shades seem to be fighting it out from photograph to photograph.
The next spread rejoices in the "Best of British," promoting the new season designs showcased at London Fashion Week. Graphic floral prints repeat throughout, with an unexpectedly prominent use of yellow. I suppose they are spring's colours after all!
Alexa Chung's portfolio of Christopher Kane is wonderful. She seems able to make him human while reminding herself and us that he is a hero of the fashion world worth celebrating. She engages with both his designs and day to day work life, that she describes as “void of pretention,” making him a far more likeable character in the often cold world of fashion. Alexa talks about her “total girl crush” on Tammy Cane, his elder sister and CEO and his rebirth to the use of neon, something she had previously credited to the Klaxons. The interview with the Man in Black, whose spring/summer 2011 collection was called “Princess Margaret on Acid,” ends with the two going to get Turkish pancakes in Dalston and him calling her a cab. Perfect!
This has been mighty long! Note to self: Next month EDIT!
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This has been mighty long! Note to self: Next month EDIT!
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