The Italian magazine Panorama published an intriguing interview with Vladimir Restoin-Roitfeld in which he candidly discusses his family, his life in New York, and his relationship with art. Grazie mille to Francesca Berti for her translation of the interview from Italian to English for all of us to enjoy.

Vladimir Roitfeld — Discovering new talent never goes out of fashion
Discover Vladimir Restoin Roitfeld, 28 years old, son of Carine Roitfeld, former editor-in-chief of Vogue Paris

He never laughs, even at the request of the photographer, but then he betrays a certain insecurity when he asks: “Did you expect a bigger office?” The office in question is that of Vladimir Restoin Roitfeld, 28 years old, son of Carine Roitfeld, former editor-in-chief of Vogue Paris and queen bee of fashion, and of the creative Christian Restoin. An apartment, yes, but on the Upper East Side of New York, the city in which he has lived for four years to discover artistic talents and promote them.

In his English there is no trace of the accent of his mother tongue, French. He attended the University of Southern California in Los Angeles, where he studied film and worked for two years as an assistant producer. “But I was disappointed by that world when I understood that everything was moving just for money.” Vladimir and the Italian socialite and stylist Giovanna Battaglia as a couple represent the new generation of frequently photographed offspring (their first kiss, in 2009, made the rounds of fashion blogs around the world). Vladimir drinks American coffee without sugar in a paper cup sitting at a glass desk on which he has only a Mac laptop, a box of Kleenex, and some art magazines. When he speaks he keeps his fingers crossed, as if there he would find the concentration. And the image of being a bit cold that he wants to portray of himself is betrayed by a spontaneous kindness.

The best tip that has been given to you by your family?
Every day I hear my father on the telephone and he repeats to me as a mantra: you have to work hard to succeed.

You were born already lucky.
My father says this also: with the right friendships you may have a free pass to arrive first, but if you make a mistake you will never have a second opportunity.

Why did you choose art and not fashion?
If you grow up in a environment, in the end you know it so well that you can have two reactions: keep on living in it or take other paths. I chose the second way.

Do you get on well with your mother?
Today, yes, but it has not always been so. I was a bit rebellious, then I understood that it is important to listen to those who have more experience. Maybe we have the same character, so I speak more with my father.

The choice that changed your life?
Coming to live in New York. Here things happen that don’t happen elsewhere. In Europe, art is for an elite that does not take seriously the young art dealer, no matter the effort you make. Here, if you put it into play, you can make it. And, believe me, my family is not involved.

What do you like most about your job?
The relationship of confidence with the artist. If I believe in the project, I give my all for him. Money is the last thing.

An idealist…
No, believe me, I am practical. In London, if you enter a gallery and you have little money, they do not consider you. And they are wrong. I want to bring art to more possible houses, also to those of young people with less money but that appreciate it. If I cared only about money, I would choose other ways. But, well, you don’t know how beautiful it is to come back home at night.

Translation from Italian to English by Francesca Berti

Vladimir Restoin-Roitfeld photograph © 2012 Arnoldo Mondadori Editore Spa. All Rights Reserved.

The house of Dior has released the first of their new advertising images as styled by Carine Roitfeld starring Mila Kunis in her second campaign for the company. The glamorous black-and-white ads promote the Miss Dior Autumn 2012 handbag collection and were photographed by Mario Sorrenti in Los Angeles at the locations of his choice. With her chic black ensemble, her bouffant hair, and her Miss Dior bag at her side, Kunis definitely has the aura of a Hollywood starlet circa 1950s with a hint of the eternally chic Jacqueline Bouvier Kennedy Onassis for good measure. The attentive throng of paparazzi adds to the ambience of the images.

Kunis had this to say about her decision to front the campaign: "I've always been tentative about the idea, but this was an easy decision. Why not be a part of a fashion house that I look up to? The truth about Dior is that it makes you feel special and I would never want to be a part of a brand that didn't make me feel good... I'm honestly just learning about fashion... In my daily life, I don't wear the most feminine pieces. But I love to feel feminine when I'm on the red carpet. I find that Dior is an incredibly grounded house. I always thought what Dior does is so sophisticated, feminine and beautiful... They made me feel incredibly comfortable. I can't say it was the hardest thing to do." Dior plans to release more material from the campaign next week including a short film and behind-the-scenes footage.

Miss Dior advertising campaign images © 2012 Christian Dior. All Rights Reserved.

Tom Ford advertising images © 2012 Tom Ford. All Rights Reserved.

In September 1991, Carine Roitfeld styled her daughter, Julia, for a photograph that accompanied an article in French Glamour about Equipment, the label created by Carine's partner, Christian "Sisley" Restoin. Julia is pictured in the arms of model Claudia Huidobro and both wear the simple and elegant silk shirts for which Equipment is renowned. Carine is even credited as the photographer of the image of Julia, making the article a true family affair. I have translated the text from French to English. One bizarre note: the article does not include their surnames, neither "Roitfeld" nor "Restoin" is mentioned...

Equipment : la chemise en soi

Nouvelle boutique et une ligne enfants pour la chemise déjà mythique, pièce basique d'Equipment et de l'équipement de la femme (et de l'homme) moderne.

La chemise en soie lavée Equipment est ce qu'il est convenu d'appeler sur le marché mode un best-seller. Sisley, le créateur et le fondateur de la marque, introduit, le premier en France, il y a trois ans, cette soie d'un genre nouveau venue de Hong-Kong, née d'un procédé de lavage et d'usure en machine au sable : le ‹‹sand and wash››. 250 000 chemises se sont vendues par an, tous styles (ils sont peu) confondus. Car, précisément, le style de Sisley, c'est, surtout, de ne pas se disperser dans le stylisme. Parti d'une chemise de base en 1977 — une reprise d'une chemise de fripe américaine qu'il trouve parfaite — il fabrique et redéfinit la chemise idéale dans l'ampleur. Ni trop longue ni trop courte, basique dans la coupe, chic dans le détail, boutons nacre premier choix, boutonnière, double boutonnage pour le réglage du poignet, pied de col, piqûre anglaise. L'idée de Sisley est de suivre les courants collections tout en discrétion : on conserve le fond, la forme, qui est le point de repère d'Equipment, on crée un point de ralliement (boutique rue Etienne-Marcel en 1986, quelques relais phares à Londres, chez Joseph, et Bloomingdale's à New York, agrémentés de quelques franchises bien choisies). Le principe inhérent d'Equipment : remettre dans les mentalités la chemise quasi unique et unisexe, mais démultipliée en 25 couleurs, renouvelées chaque saison (autant pour les imprimés), maintenue à un prix fixe (990 F).

La soie lavée ayant terrassé quasiment la popeline et le coton, elle est appliquée au tee-shirt (manches courtes, manches longues) en jersey de soie, qui en devient fluide et moulant à la fois.

Dernière trouvaille et nouveau cheval de bataille d'Equipment : dans les archives des soyeux de Hong-Kong et de la province de Canton, Sisley trouve la faille, une soie à liséré plus le piqué de soie à l'aspect coton Lacoste. Partant du principe que ‹‹tout ce qui est en coton peut se faire en soie››, et que tout  ce qui se fait en grand peut se faire en petit (en pensant à ses enfants Julia et Vladimir), il lance pour la rentrée la chemise de 4 à 12 ans (350 F en coton, 550 F en soie). Il ouvre aussi une boutique Rive Gauche, au 203 du boulevard Saint-Germain. Même architecture (par David Chipperfield) et mêmes chemises, en 25 nouvelle couleurs. De quoi se pousser du col, non ?

Légende: Sisley, l'artisan d'Equipment, et Julia, sa fille, en chemise de soie lavée écrue format enfants, dans les bras de Claudia Huidobro.

Equipment: the shirt itself

New online shop and a children's shirt already legendary, the basic piece of Equipment and the equipment of the modern woman (and man).

The washed silk shirt by Equipment is the so-called bestseller in the fashion market. Sisley, the creator and founder of the brand, introduced it, the first in France, three years ago, this new kind of silk from Hong Kong, born of a process of washing and sanding by machine: the "sand and wash." 250,000 shirts are sold per year, all styles (they are few) combined. For, precisely, the style of Sisley is, above all, do not disperse with the styling. Starting from a basic shirt in 1977 — a reprisal of an old American shirt which he finds perfect — he manufactures and redefines the ideal shirt in his size. Neither too long nor too short, basic in cut, chic in detail, prime mother of pearl buttons, buttonholes, double buttons for adjusting the cuffs, the base of the collar, English stitching. The idea of Sisley is to follow the current collections with discretion: it retains the substance, the shape, which is the benchmark of Equipment, it establishes a focal point (a shop on rue Etienne-Marcel in 1986, a few relay flagships in London, with Joseph, and Bloomingdale's in New York, embellished with a few well chosen franchises). The inherent principle of Equipment: give the shirt an attitude which is virtually unique and unisexual, but multiplied by 25 colors, renewed each season (as much for the printed matter), kept at a fixed price (990 F). 

The washed silk nearly overwhelms the poplin and the cotton, it is applied to the t-shirt (short sleeve, long sleeve) in silk jersey, which becomes fluid and tight at the same time.

The latest discovery and new workhorse of Equipment: in the archives of silk of Hong Kong and of the province of Canton, Sisley found a vulnerability, a silk piping sharper than silk with the aspect of Lacoste cotton. With the premise that "everything that is done in cotton can be done in silk," and that everything that is made large can be made small (thinking of his children Julia and Vladimir), he launched for the reentry the shirt for four- to twelve-year-olds (350 F in cotton, 550 F in silk). He also opened a Left Bank boutique, at 203 boulevard Saint-Germain. The same architecture (by David Chipperfield) and the same shirts, in 25 new colors. Why not stick your neck out, right?

Caption: Sisley, the architect of Equipment, and Julia, his daughter, in an ecru washed silk shirt sized for children, in the arms of Claudia Huidobro.

French Glamour September 1991 with Julia Restoin-Roitfeld  © 1991 Condé Nast. All Rights Reserved.

Robert Konjic appears on the web site of his talent agency, Notice Ltd., and although you can see only one tiny foot, this is the first photographic evidence of Romy Konjic, the beautiful new daughter he shares with Julia Restoin-Roitfeld. Romy is now two months old and of course we are all anxiously awaiting our first real look at her; I am excited to see even her carriage and her diaper bag! 

Robert and Romy Konjic photograph courtesy of noticeltd.com

Carine Roitfeld has a treat for us that is sure to improve even the dreariest Monday: she has published the first full image from her new magazine, CR Fashion Book. The image features Juliet Ingleby as photographed by Sebastian Faena and styled by Carine herself. Bien sûr. Ingleby is pictured in sheer lavender with red heels and handbag marching through a cemetery flanked by three minions in black. Further excitement — Carine plans to launch her new magazine with a party during New York Fashion Week! Stay tuned for further details... CR Fashion Book is available on newsstands beginning 13 September; be sure to order your copy now to receive it even sooner.

CR Fashion Book image © 2012 Carine Roitfeld. All Rights Reserved.

I do not have much information, only a link to Ticketmaster, but it looks as if Carine Roitfeld will speak on Thursday, 25 October at 7 p.m. as part of the "Creative Leaders" series presented by the French Institute Alliance Française (FIAF). The event takes place at Florence Gould Hall at FIAF, located at 55 East 59th Street in New York.

Carine Roitfeld photograph © 2011 Getty Images. All Rights Reserved.

We are counting down the days until the publication of The Little Black Jacket: Chanel's Classic Revisited by Karl Lagerfeld and Carine Roitfeld and with only thirty days to go, there is no better time for an LBJ contest! If you love the style of Carine Roitfeld, now is the time to share your opinion and win a prize. Write an essay inspired by Carine to be eligible to win a copy of The Little Black Jacket upon publication as well as a black IWTBAR tee. The contest is limited to the first 100 respondents and ends 25 August 2012; please note that the IWTB team is ineligible to play. All submissions become property of IWTB and may be published at my discretion. Good luck to all!

Submit your essay here.

The Little Black Jacket: Chanel's Classic Revisited photograph courtesy of astairemagazine.com

Julia Restoin-Roitfeld and Robert Konjic photographs courtesy of contactmusic.com. All Rights Reserved.

Carine Roitfeld et al photographs courtesy of bfanyc.com. All Rights Reserved.

My darling readers, I have a treat for you... an article titled "The 'It' Girl" in which Hamish Bowles interviews Carine Roitfeld for the November 1996 issue of Vogue... enjoy!

Carine Roitfeld creates potent fashion images, but Hamish Bowles finds it's her own style that's most influential

With a look that combines hippie chic with the provocative edge of a Helmut Newton photograph, French stylist Carine Roitfeld has always stood out from the fashion crowd. But now the crowd is catching up with her sleek take on '70s revivalism. The mix of edgy French style (trouser suits with heels), bad-girl sexiness and ethnic elements (Jane Birkin caftans and Indian shirts) that Roitfeld has been wearing for years is suddenly rampant on this season's runways. What's more, with her smoky sloe eyes and ironed shag of bitter-chocolate hair, she's become a muse for Gucci designer Tom Ford.

"She's one of the most inspirational women I know," says Ford. "I love the way she puts things together unexpectedly. She usually wears one thing that throws the whole thing off. She's my ideal European woman."

While she embodies the subversive sophistication of Ford's Gucci woman, Roitfeld also works with him to translate this image into the advertising campaign. "Tom is a brilliant designer," says Roitfeld. "He doesn't need someone to style his show, but to push, so that it's the same girl in the show and in the campaigns. That's what makes Gucci strong."

It is this synchronicity between what appears on a designer's runway and the image for the campaigns that Roitfeld effects. By pointing the Missonis back to the work they were producing in the early '70s, Roitfeld not only revitalized the house but helped launch an international trend. Look-alike skinny knits cropped up all over this season's hippest runways on girls who looked a lot like Roitfeld herself. "It's not very professional," Roitfeld says with a laugh, "but I do project myself into my pictures; it's what I'd like to wear myself."

Roitfeld's fashion sense is pure but eclectic. "I would never wear a 'total look'; it's not me," she says. She prefers to mix occasional ethnic elements like her signature Indian men's shirts with pieces from designers as diverse as Gucci, Jean Colonna, Eric Bergère, Helmut Lang, Yves Saint Laurent and John Galliano. "I like sexy clothes, that's for sure. And because I don't have an 'obvious' face, I can push that, and it's never going to look tacky."

Roitfeld started her magazine career at 20 Ans and went on the French Elle, where she first met Mario Testino, the photographer with whom she now works almost exclusively (for French Vogue and the ad campaigns of Gucci, Missoni, and Rykiel). They went on to work together at the now defunct French Glamour, creating memorable fashion portfolios like one in which Christy Turlington was dressed as a punk ["Sacrée Christy"]. "I like to use fairly 'normal' clothes in my stories," says Roitfeld. "When we did Christy as a punk, I just used the chain of a Chanel bag around the neck like a dog leash but at the end of the day it's a Chanel bag!" Says Testino of her style, "It's like a mixture of chic with fashion. Carine is never fashion victim, and she is never bourgeois."

One influential 1994 story ["Néo-moderne"] cast Nadja Auermann as the embodiment of the new neo-bourgeois sleek chic — in the serenely contemporary setting of Roitfeld's own seventh-arrondissement apartment. Roitfeld and her husband, Sisley, the creator of the Equipment shirt line, worked with British architect David Chipperfield on the space, a lush belle époque apartment with views of the golden dome of the Invalides. The emphatically non-modernist shell was stripped to the bones, and uplighters were set in the parquet floors to highlight the original detailing. Spare units that appear to float in the apartment hide clothes and even photographs.

Roitfeld admits to having had very bohemian tastes before she met her husband, and the detritus of her early life — kilims from Morocco, furniture found in India — is now banished to her office, where the walls are smothered in her own photographs of her two children, Vladimir and Julia. "I changed a little bit, because Sisley was very Zen, strict and classic in his style. This apartment demands a different way of life, and I appreciate it," she adds. "I used to be very messy; you can't be messy in this apartment. And please, only white flowers!"

Carine Roitfeld photographs and editorials © 1993, 1994, 1996 Condé Nast. All Rights Reserved.

It is my pleasure to introduce the latest piece by our talented contributing editor Bernie Rothschild in which he examines the fascinating collection of corsets of Carine Roitfeld. Special thanks to Bernie for sharing his perspective with all of us and to Madeleine Gallay for our conversation that originally inspired this idea.

The Corsets of Carine Roitfeld
By Bernie Rothschild

Carine Roitfeld is hailed consistently as one of the best dressed women in the world and she has been the subject of street style fashion blogs for over a decade now. Every fashion-obsessed fan worships her as if she is the Virgin Mary, every fashion paparazzi portrays her as if she is the Queen of France, everyone profiles her fashion choices, but what distinguishes Carine's style from that of her front row and street style contemporaries? Besides the fact that she wears the dress before it even hits the runway of the fashion show... The legendary Liz Tilberis once quipped, "Fashion editors who look too good make models feel bad," but Carine proves the exception to the rule, she is as cool as the models in her editorials, and every bit as provocative, but somehow even more famous. After she left Vogue Paris some feared that she might vanish forever but she quieted her critics once again by becoming her own "brand," the spark of her star did not die, she is more popular than ever. One of the distinct touches that she often works into her outfit is the corset — Carine loves to wear corsets to accentuate her sexiness and particularly her slender waist.

Let's look deep into the art of corset dressing... The corset fashion has been around since the beginning of the 20th century, for a large part of the late Victorian period and the entire Edwardian era, adding appeal to the heavy, larger-than-life dresses of the women of that time; even some of the men chose to wear corsets to improve their physiques. The great example of this trend is the Empress Elisabeth of Austria, also known as the Empress Sisi; aside from being an Empress she was also the Queen of Hungary, Croatia, and Bohemia and one of the most beautiful women in Europe during her lifetime. The Empress Sisi has been known for her tiny and slender waist and for wearing her corset so tight to achieve it that she even came to a point where it affected her health negatively. The tightly laced corset of the empress was the main reason they could not save her life when she was assassinated by an anarchist.

In 1939, Horst P. Horst photographed the then scandalous Mainbocher corset for Vogue, the photo looks very mysterious, reminiscent of the beauty of a Greek sculpture. Later in the same decade, the equally controversial Wallis Simpson, also known as the Duchess of Windsor, wore a Mainbocher that accentuated her waist for her wedding to Edward VIII (who abdicated his position as the King of England to marry the women he loved) and the dress itself is regarded as one of the most copied and inspiring wedding gowns of all time.

Some see the corset in a different manner, but mostly this accessory has been associated with fetishism and sexual fantasy. Carine Roitfeld wears a corset or a waist accentuating dress as if it is a badge or a status symbol for having a perfect hourglass figure. Here are a few of her greatest corset styles that have made her the darling of the best dressed fashion crowd.

Futuristic Glamour

Carine attends a party at the 2007 Cannes Film Festival wearing Dolce & Gabbana. She is one of the only famous faces that is not an actress who participates yearly in this extravagant festival. With the presence of Carine and the movie stars, Cannes is becoming the unofficial fashion capital of the south (besides the glam and glitz of the film stars, it is the parties that keep people coming to Cannes). Here she invokes the ever futuristic glamour-metallic trend that’s becomes the new black and she almost looks like a sexy heroine of some sci-fi film meets the work of Steven Klein and Nick Knight. The red shoes of course give life to the outfit.

Dominatrix

This Tom Ford for Gucci Spring 2001 corset is so Carine Roitfeld: dark, risqué, provocative — all characteristics that have become synonymous with her style — and it fits her so perfectly that she looks like one of the portraits of Helmut Newton whom she admires greatly. It is very sadomasochistic and dominatrix. This outfit has inspired her photos and also pays tribute to the erotic porno chic of which she and Newton are the biggest champions.

Era of Elegance

Carine wore this Dior dress by John Galliano to the amfAR benefit in 2006. The Dior corseted nude gown is the complete opposite of her typical dark, risqué fashion but she still gives it her trademark sex appeal. She looks like a Gibson Girl meets the tight laced corset style of Empress Sisi and her style embodies the glamour and elegance of the past century. Carine looks like a goddess and she balances it by mismatching the look with her signature poker straight hair, she really can do wrong when it comes to dressing herself.

Simply Irresistible

Carine Roitfeld selected this Balenciaga dress and corset belt for New York Fashion Week in Spring 2008. Her style here does not look intimidating and avant-garde. She just look very simple, relaxed and casual, but she can still grab everyone’s attention. This is the most accessible style she ever wore but she still maintains her risqué allure. Is this not a 54 year old woman wearing a scarf as a dress? Does it get more risqué than that? Though this is the simplest style I have ever seen her wear she still manages to turn heads, that's for sure.

Plain Statement

Despite the grey shirt and pencil skirt that seem so plain, formal, and appropriate to her age, Carine keeps it exciting by adding the Alaïa leather corset that makes her look like a dominatrix while staying true to her trademark sexiness. I think Carine is a great ambassador of Alaïa designs as well as an unofficial muse and inspiration to Mr. Alaïa himself. She also makes a statement with the corset that no matter how boring your outfit is you can always manage to add a touch that will make it look sexy. This outfit is excellent inspiration for those who work in an office setting, you can wear either killer shoes or a corset belt to accentuate your style à la Roitfeld.

Carine Roitfeld corset photos via Condé Nast, Getty Images, Fashion Spot, royalforums.com, worldofwonder.com.

An alternate title might have been "Carine Rottweiler Gets High On High-Heels"... In April 2001, Talk Magazine published a special issue that focused on Innovators and Navigators: 50 Risk Takers, Idea Makers, and Hell Raisers, with Carine Roitfeld obviously scoring high marks in all three categories. Carine gives a candid and charming interview in which she bums a cigarette from the interviewer and reveals that among her deepest desires she hopes to become a film star eventually. Just when I think I could not admire her more, a gem like this turns up… CR… chic, intelligente, drôle, parfaite… Merci mille fois to our visionary editor-at-large Dara Block for this wonderful look at the past.

Looking Back: Carine Roitfeld and Talk Magazine, April 2001
By Dara Block

As we all know, September marks the debut of Carine Roitfeld's most ambitious project yet: her very own fashion publication entitled CR that will most likely take style, creativity, and cutting-edge glamour to a whole new and exciting level. Carine Roitfeld eloquently stated her vision for CR in the latest issue of V and if you haven't seen the magazine yet, I highly suggest you pick up a copy before it leaves newsstands on August 30th... it is a total must have. Just in case you missed this part of the magazine, here is what she beautifully stated inside the pages:

We all love fashion. Fashion is what drives us. But lately it seems more and more difficult to express creativity in fashion — things are controlled, calculated, rarely spontaneous. Yet creativity is the root of fashion. Without it, fashion ceases to exist. What fashion needs is a new place for creative visions to unfold. Fashion beyond clothes. Fashion as a way of life. Never too serious, never dark or negative. Always full of humor, fantasy, joy, and beauty. Imagine a publication that pushes fashion forward, that celebrates the greatest creators in image-making while supporting a new guard of brilliant talent — as well as providing valuable insight into the world of fashion and beyond. This is my vision for CR, a new magazine about fashion and creativity.

Personally, I can totally understand her viewpoint and how she sees the current state of fashion! Her outlook is a bit harsh, truthful, but overall very optimistic! With all that in mind, I was recently looking through my magazine archives and stumbled upon an old issue of Talk Magazine. If you need to be refreshed, Talk Magazine was launched in 1999 by Tina Brown (former editor of The New Yorker, Vanity Fair, and Tatler) as a joint venture between Miramax and Hearst Publishing. The magazine generated a lot of buzz for its in-depth celebrity profiles and interviews. Sadly, the magazine never became a huge commercial success and was shut down in 2002. Despite the failure, Carine Roitfeld gave a very fascinating interview with the magazine back in April of 2001 for their special Innovators and Navigators issue. The interview was published right about the time she became the editor-in-chief of Vogue Paris. For some reason, I thought now seemed like a perfect time to share the conversation especially since she is currently taking on a new adventure in her life with CR. It is interesting to see the parallels from her outlook on fashion in 2001 and today in 2012! Let's take a closer look at this intriguing interview!

Customs officials mistake Carine Roitfeld for a junkie, but the new editor-in-chief of French Vogue is a woman of cutting-edge style.

Carine Roitfeld: Give me a quick puff of your cigarette.

Talk: You don't smoke.

Roitfeld: My father smokes, my husband smokes, and I always seem to be floating around in a cloud of cigarette smoke. Not that that bothers me, as I must say there's nothing sexier than the smell of tobacco on a man's fingers. Unfortunately smoking comes accompanied with a beautiful movement as addictive as the tobacco itself, which is why I need yours. At the end of the day it's all about movement, the way you carry yourself (Roitfeld keeps the cigarette).

Talk: Now that you're editor-in-chief of French Vogue, do they stop you at customs because they think you look like a junkie?

Roitfeld: I always get stopped at the airport, and it drives me mad. I don't know whether it's because I look like a junkie or whether it's because I look different from other people traveling. Everybody else is always in jeans and sneakers, and then there's me in high heels and a skirt. Perhaps they stop me because I am more chic than the rest of the passengers. But that's no reason to hassle me and rummage through my bags. I'm sure that while they're poking their noses into my bags drugs dealers are slipping past. It's my prerogative to travel in style, and I can't help it if I look like Iggy Pop and wear high heels. I don't smoke, I don't drink, and to my knowledge nobody has ever been arrested for being too chic, so I wish they'd lay off.

Talk: So you get high on high-heels?

Roitfeld: I started wearing them when I started working with Mario Testino, because he's very tall and I hate looking up at people. Let alone looking up to people. You walk differently in heels, you feel more womanly, you get used to the silhouette, and before you know it you can't come down a single inch. It's true you can't run in heels, but a woman should never run anyway — it's sometimes moving, but never chic.

Talk: Your sharp sense of style and unerring eye have earned you the nickname "Carine Rottweiler," Do you think being editor-in-chief is going to worsen matters?

Roitfeld: No, because I've learned how to smile for the cameras.

Talk: Do you smile when you see a dress you like on the catwalk?

Roitfeld: When I see a dress I like on the catwalk I don't smile. I'm too busy imagining what I'd look like wearing it.

Talk: How long does it take you to get dressed in the morning?

Roitfeld: How long does it take me to think of what I'm going to wear, or how long does it take me to actually get dressed? They're two different things. I spend about five minutes pondering such burning fashion questions while sipping my tea in the morning, and then another 10 minutes in my closet. It's quite quick. My clothes are very neatly arranged, and I tend to opt for the same pieces, the same style, the same Manolo Blahniks. I've got a style that I stick to, and I hate not looking like myself. But that rarely happens.

Talk: While most fashion editors cut and paste looks from the catwalk onto the pages of their magazines, you've always mixed and matched clothes from different designers.

Roitfeld: I think it's a very French trait to mix and match clothes rather than blindly follow the dictates of the catwalk. I'm sure that designers would rather see total looks in magazines, and magazines such as L'Officiel are more than happy to oblige, but I like to think that a fashion editor's job is more exciting than just picking outfits off the catwalk and slapping them onto the pages of a magazine.

Talk: Why did Joan Buck's editorship of French Vogue end?

Roitfeld: The stakes were high, and I think that Joan certainly succeeded in strengthening the magazine's sales. Condé Nast is not a business run by choirboys and Joan was at Vogue for a long time (from June 1994), which means the magazine was working commercially. Joan was a fiercely intelligent and gifted editor, but perhaps she had a more intellectual than visual sensitivity. I respect and admire her, and I hope she's not mad at me. But Vogue will now be very different. I'm not saying that it will be better, but it will certainly be more focused on fashion and photography. 

Talk: Are you hoping to reconnect with French Vogue's traditional role as a photographic showcase-as in the days when Horst, Man Ray, Guy Bourdin, and Helmut Newton shot for the magazine?

Roitfeld: The features need to be strong, because French women are far from stupid. But I think that visually the magazine could do with a sharper edge. I'm going to launch a charm offensive on people like Helmut Newton to get him to contribute to the magazine. I've changed the whole of the fashion desk, and we've been compiling a dream team of photographers. Newton is the top of the list. Mario Testino, Inez Van Lamsweerde, Terry Richardson, and Nathaniel Goldberg have already shot for our February issue, but I still have to try and chat up the likes of Craig McDean and David Sims before we have a strong stable of photographers. I think my new job is going to involve a great deal of flirting.

Talk: Why did you wear Azzedine Alaïa to the Oscars, and not Gucci?

Roitfeld: Because you don't want to end up looking like everybody else on Oscar night. Besides, I've known Azzedine for ages and didn't have to wait until his "comeback" to wear his dresses.

Talk: Smoky eyes, rock & roll hair, and high heels — you've always been Tom Ford's muse and the archetypal Gucci girl. How are you going to shed this image to become the Vogue woman? 

Roitfeld: Tom Ford didn't invent me, even though my work for Gucci did put me in the public eye. I looked like this long before I started working for Gucci, so why should I change for Vogue? Although Tom sees me as his female counterpart, I'm no more the Gucci girl than I am the Saint Laurent girl or the Vogue girl. I'm me — take it or leave it. My heart belongs to Daddy.

Talk: With Kate Moss on the cover, photographs by Mario Testino, a profile of Tom Ford, and the same black-and-white theme as Ford's Saint Laurent collection inside, doesn't your first issue of French Vogue look more like a Gucci or Saint Laurent catalog?

Roitfeld: No. Look carefully and you'll see that there's also some Dior. It's a coincidence if Kate Moss is both on our cover and in the Gucci ad campaign. Besides, she's wearing Balenciaga on the cover. Balenciaga was the show of the season, Kate Moss was the face of the season, Tom Ford is staging a huge Pop Art exhibition at the Pompidou Center and has just shown his first collection for Saint Laurent. I don't see why running key stories and strong fashion means that I've sold my soul.

Talk: Are you going to continue consulting for Saint Laurent and Gucci now that you're editor-in-chief of French Vogue? 

Roitfeld: I'll only officially be starting at French Vogue on April 2, after the prêt-à-porter shows that I'm still under contract to consult on. After that I'll be too tied up at Vogue to work for anybody else. I like new challenges, though, Maybe one day I'll become a film star. I'd love to become a film star.

Talk: French art house or Hollywood blockbuster?

Roitfeld: Hollywood, of course! It would have to be international, though. What do you think? A remake of The Night Porter with me instead of Charlotte Rampling? One of the reasons it wouldn't be a French film is because your country of origin is always the last to recognize your talent. The English were the first to run big articles on me — funnily enough, because we all know how much the Brits hate foreigners. Mind you, I was all the more flattered.

Talk: How did you feel after the press panned the Gucci show?

Roifeld: It wasn't constructive criticism; it was sheer nastiness. When you reach the top, people are eager to shoot you down.

Talk: Why do you think critics are out to get Ford?

Roitfeld: Because in the fashion business he comes across as the man who has it all, and people don't know him. I remember when he started at Gucci and he called Mario and me to work on his campaigns. Neither of us had heard of him. He didn't become a millionaire overnight, and his success didn't fall out of a tree. If he is where he is now it's through determination and hard work. Parisians seem to have this image of a Texan galloping into town with a Stetson to lasso their best horse: Saint Laurent. But Tom knew that the Saint Laurent steed was going to be hard to harness.

Talk: Do you feel prepared for such a high-profile position?

Roitfeld: I'm not used to hogging the limelight, and I don't particularly like giving interviews, but I'd rather see something I said in a magazine than something I didn't. I wasn't surprised when Condé Nast put me at the helm of French Vogue, for instance, because I'd already read all about it in the papers.

Talk: What editorial voice do you want to give the magazine?

Roitfeld: My own. I'm the archetypal Vogue reader. I enjoy shopping, I understand fashion, I go out, so I imagine I'd be bang on target in a readership survey. My prime concern is going to be, Do I want to go see that film? Do I want to go wear that dress? Am I interested? And I want people to be able to see the clothes clearly enough in the magazine to want to buy them. They must want to look like the girl on the cover. I'm not interested in wispy haired underage nymphets in diaphanous slips sitting morosely in the corner of a page with their backs to the camera. I want to project the image of a woman who's strong, healthy, confident. A real woman. 

Talk: How can you be a style icon and a mother of two?

Roitfeld: I wouldn't say I'm disciplined, because there' s something a little sad about disciplined people. But I'm pretty organized.

Talk: Why do you think Yves Saint Laurent showed up at Hedi Slimane's first show for Dior but not at Ford's show for YSL Rive Gauche?

Roitfeld: I think that Yves Saint Laurent, Pierre Bergé, and Catherine Deneuve were at Dior to encourage their former protégé. It's Parisian snobbery. I always find it sad when fashion is reduced to petty political questions of who's sitting in the front row and where. The battle between LVMH and Gucci is looking more and more like The Empire Strikes Back, and I'm fully aware that with my new position I'm going to be caught in the line of fire. It's hard treading on eggshells when you're wearing high heels.

As we can see from this clever and in-depth Talk Magazine interview... Carine Roitfeld was the same person in 2001 as she is still today in 2012! Roitfeld's knowledge of fashion, style, and glamour, as well as her sharp sense of humor has not changed at all throughout the years. She is always herself and has never conformed to anyone else's vision. I truly believe that her new publication CR will be filled with just as much as humor, fantasy, charm, and allure much like her glory days as editor-in-chief of Vogue Paris. She definitely defined an era and she is a total breath of fresh air that is much needed in the fashion and magazine world... can't wait to see what imagination and brilliance she has in store for her publication… the countdown is on!

Carine Roitfeld photographs © 2001 Condé Nast and Talk Magazine.

Our delightful editor-at-large Kate Ringo Suzuki has encouraging news for all of us: it is possible to share in Carine Roitfeld's secret to beauty and it is absolutely free! Please read on to learn for yourself how you, too, can have that Roitfeld je ne sais quoi in just three easy steps… I am confident you will enjoy the lesson. Thanks for breaking it down, Kate!

Roitfeld Beauty Secret: Confidence
By Kate Ringo Suzuki

Equipment shirt… Check.

Balenciaga pencil skirt… Check.

Alaïa heels… Check.

Kohl rimmed eyes… Check.

There you go, you have the signature Carine Roitfeld look. You're welcome.

Wait a minute, not so fast! If you truly desire to emulate the compelling allure of La Roitfeld, forgo a spending spree at Barneys, it is unnecessary. I am going to let you in on a little secret — the secret to grabbing up Carine Roitfeld style! And by the way, I know it is hard to believe but her beauty secret comes absolutely free of charge. It can be had by all!

Come closer and I’ll whisper it into your ear. Shhhhhh… Carine Roitfeld’s most potent beauty elixir is timeless, enduring, free (did I mention free?), and completely intoxicating to everyone in her presence. Her beauty secret is called: Confidence. Not sold in a Sephora near you, I can assure you of that.

Here is my big promise: Follow these guidelines and you can project confidence, too.

1. Carine Roitfeld understands that youthfulness is a state of being. She is not obsessed with looking young because she is too busy enjoying life. She has art de vivre down pat. Although she is a very busy woman, she never appears to be burned out. On the contrary, Ms. Roitfeld retains a sense of fun. You need only to watch any interview of her on YouTube to see it for yourself. She is sharp and witty, light and charming.
2. Carine Roitfeld always appears to be comfortable in her own skin. This is a woman who has no qualms about being photographed (fabulously) wearing nothing more than a black thong and white pumps. Ok, fine. It helps that she has a figure that many 25 year olds dream of having, but let us not overlook the power of Confident Body Language, otherwise known as C.B.L. Grab up any photo of Carine Roitfeld and you will see that her shoulders are relaxed, her chin is up, and her eyes pierce through like a tigress stalking its prey.
3. Carine Roitfeld has jolie laide (or in English, pretty ugly). She parades her quirky good looks with pride. Eyebrows remain ungroomed (all the more to dramatically frame her tigress gaze), and her face exhibits pleasing lines when she smiles (the anti-New York look). And no, despite numerous fashion writers’ claims, for the last time, no, she does not look like Iggy Pop, for crying out loud. She is much prettier than Iggy Pop. And much more refined. I am confident enough to say this.

Don’t forget the three magical ingredients to intoxicating confidence: Have some fun, remember your C.B.L., and parade your quirky good looks with pride!

Carine Roitfeld photographs © 2010 Alexandra De Lapierre and courtesy of alltheprettybirds.blogspot.com and Fashion Spot.

As we anxiously await the release of CR Fashion Book, I am passing the time by looking back at the body of work composed by Carine Roitfeld over the years. It is a delight to share with you an editorial from the February 1996 issue of Vogue Paris titled "Le Petit Prince est de Retour," in which Carine takes inspiration from Le Petit Prince (or in English, The Little Prince) written and illustrated by Antoine de Saint-Exupéry. Originally published in 1943, Le Petit Prince tells the story of a little prince who falls to Earth, befriends a fox, tames a rose, and discovers the meaning of life: "On ne voit bien qu'avec le cœur. L'essentiel est invisible pour les yeux." (or in English, "One sees clearly only with the heart. What is essential is invisible to the eye."). This profound story is the most widely read book ever published in the French language and one of the world's best sellers.

Carine Roitfeld pays tribute to the tender tale with her return of the Little Prince, styling model Carolyn Murphy in the same fashion as the young prince is typically dressed — a short-sleeved, collared shirt; billowing wide-legged pants; and his sartorial signature, the flowing scarf. I love the placement of the single red rose beside the model to set the scene in the opening shot, c'est magnifique. I enjoyed Carine's caption also: "La netteté d'un uniforme, l'aisance d'un polo, l'ironie de matières qui flirtent avec le quotidien le plus ordinaire. Un petit air d'hôtesse d l'air, c'est rassurant." or in English, "The sharpness of a uniform, the ease of a polo, the irony of materials that flirt with the most ordinary everyday. A slight air of an air hostess, it is reassuring." Now for the return of our little princess...

Vogue Paris editorial images © 1996 Condé Nast. All Rights Reserved.

I do not know if it was Carine Roitfeld's choice to use Tom Brady for the cover of VMAN #27, the Fall 2012 issue, but I heartily applaud the decision. This fine specimen of manhood is also known as Mr. Gisele Bundchen for those of you that do not follow the New England Patriots, the football team that Brady quarterbacks. Carine referred to Monsieur Brady as "lovely" in her interview with Harper's Bazaar this week, she was pleased to be seated with him and Gisele at the most recent Met Ball. Mario Testino shot the fierce editorial in which Brady poses with a menacing Doberman Pinscher, masterful in tuxedos by Givenchy, Ermenegildo Zegna, Calvin Klein, and Ralph Lauren accented by a studded dog collar by Trixie + Peanut. As an added bonus, Brady was interviewed for the issue by Tom Ford. The Fall edition of VMAN can be found on select newsstands beginning 23 August.

Editorial photograph © 2012 VMAN, LLC. All Rights Reserved.

Carine Roitfeld compiled her top ten songs for "Fashion Mix," a feature created by Nick Knight's SHOWstudio to showcase the music preferred by various people in the fashion industry. Be sure to check out the musical selections by other fashion notables such as Cathy Horyn, Rick Owens, and Edward Enninful. I was interested to see that so many of Carine's favorite songs appear on film soundtracks and surprised that her karaoke standard, "You're So Vain" by Carly Simon, did not make her list…

"Forbidden Colours"
Ryuichi Sakamoto
Cinemage (1999)
"Forbidden Colours" is composed by Ryuichi Sakamoto and he plays the keyboard on the track; the lyrics are written by David Sylvian and he provides the vocals. A different version of the song was included on the soundtrack for the film Merry Christmas, Mr. Lawrence initially while this orchestral interpretation appeared on the album Cinemage which was released in 1999. The title of the song references the book Forbidden Colors by Yukio Mishima.

"Rain (I Want a Divorce)"
Ryuichi Sakamoto
The Last Emperor (1987)
The song "Rain (I Want a Divorce)" can be found on the soundtrack album for The Last Emperor which won the Academy Award for Best Original Score in 1987.

"Je suis venu te dire que je m'en vais"
Serge Gainsbourg
Vu de l'extérieur (1973)
"Je suis venu te dire que je m'en vais," or in English, "I came to tell you that I'm going," is one of the biggest hits from the album Vu de l'exterieur by Serge Gainsbourg. Released in 1973, Vu de l'extérieur (or in English, Exterior View) is widely considered to be one of Gainsbourg's best albums although if you listen closely, you may be surprised to learn that he is singing mostly about bodily functions and their associated noises.

"Dieu est un fumeur de gitane"
Serge Gainsbourg avec Catherine Deneuve
Initials SG (1980)
"Dieu est un fumeur de gitane" is a duet by Serge Gainsbourg and Catherine Deneuve that is collected on Initials SG, an album of his greatest hits. If you are not familiar with the work of Gainsbourg, Initials SG is a wonderful introduction.

"Your Song"
Elton John
Elton John (1970)
The ballad "Your Song," composed by Elton John, with lyrics by Bernie Taupin, was released on his eponymous album in 1970. Regarding his first pop hit John has stated, "I don't think I have written a love song as good since," although it took him only ten minutes to compose the music once Taupin had written the lyrics.

"My Way"
Sid Vicious
The Great Rock 'n' Roll Swindle (1980)
"My Way" is a song written in 1969 by Paul Anka based on the 1967 French song "Comme d'habitude" by Claude François and Jacques Revaux. The tune was made popular by Frank Sinatra but it is the cover of "My Way" by Sid Vicious that Carine prefers. As the bassist for the British punk rock band the Sex Pistols, Vicious naturally sped up the original arrangement and modified the lyrics to lend the song a punk edge. His rendition appeared on the soundtrack of the film The Great Rock 'n' Roll Swindle. I was interested to learn that Anka actually liked the Vicious version: "It was kind of curious, but I felt he was sincere about it."

"Life on Mars?"
David Bowie
Hunky Dory (1971)
In a fascinating connection to the song above, David Bowie wrote "Even a Fool Learns to Love" in 1968, setting his lyrics to the music of "Comme d'habitude" by Claude François and Jacques Revaux, the same tune that inspired "My Way." Although Bowie never released his original song, the success that Frank Sinatra had with Paul Anka's version inspired the young Bowie to write "Life on Mars?" to parody Sinatra's song. Bowie shares with us the conditions under which he wrote his glam rock anthem: "Workspace was a big empty room with a chaise longue; a bargain-price art nouveau screen ('William Morris,' so I told anyone who asked); a huge overflowing freestanding ashtray and a grand piano. Little else. I started working it out on the piano and had the whole lyric and melody finished by late afternoon."

"Each Man Kills the Thing He Loves"
Jeanne Moreau
Querelle (1982)
In 1982, Jeanne Moreau starred in the film Querelle in the role of Lysiane, the madame of a brothel and the subject of competition for two brothers. Adapted from the novel Querelle de Brest written by Jean Genet in 1947, this German film was the last for director Rainer Werner Fassbinder for sadly he died of a drug overdose before the film was released. Moreau sings two songs in the film and Carine's favorite, "Each Man Kills the Thing He Loves," takes its lyrics from the poem "The Ballad of Reading Gaol" by Oscar Wilde.

View Jeanne Moreau singing "Each Man Kills the Thing He Loves"

"La chanson d'Hélène"
Romy Schneider
Les choses de la vie (1970)
"La chanson d'Hélène" is a song performed by Romy Schneider in the 1970 film Les choses de la vie (or in English, The Things of Life). Directed by Claude Sautet, Les choses de la vie was among the films nominated for the Palme d'Or at the Cannes Film Festival. The lovely actress and singer inspires not only Carine… her daughter Julia named her baby Romy Nicole, in tribute to Schneider and to the baby's great grandmother, Nicola.

View Romy Schneider singing "La chanson d'Hélène"

"The Look of Love"
Willie Bobo
Talkin' Verve (1997)
Burt Bacharach originally composed "The Look of Love" as an instrumental but later decided to add lyrics, releasing it as a pop song in 1967 for the film Casino Royale. Dusty Springfield sang on the soundtrack recording as engineered by Phil Ramone. Carine's favorite version of "The Look of Love" is by Willie Bobo and appears on his album Talkin' Verve. In addition to making his own music, Bobo spent time in various jazz lineups with Cal Tjader, Tito Puente, George Shearing, and Mongo Santamaria and his ideas helped to revolutionize Latin music. I might have pegged Carine as a timbales aficionado…

Carine Roitfeld photograph courtesy of purple.fr. Album cover art courtesy of amazon.com.

I have a hodgepodge of items related to the Roitfelds that may interest you, so permit me to fire them at you in random order…

First the fantastic psychedelic chic of the lead photograph, captured by Olivier Zahm as the Roitfeld family dined at Omen in New York.

Note that The Little Black Jacket by Carine Roitfeld and Karl Lagerfeld publishes today — you have approximately five more hours in which to enter our essay contest for your chance to win a free copy of the book as well as a black IWTBAR tee.

An angelic image of Lara Stone is currently featured on CR Fashion Book, Carine gives wings to fashion yet again… Dare I say it is divine….

The date has changed for Carine Roitfeld's talk as part of the Creative Leaders program at the French Institute Alliance Française (FIAF) in New York. The event will take place on Monday, 5 November.

The Little Black Jacket photography exhibit will travel to the Saatchi Gallery in London, on display 12–29 October.

Los Angeles brand Co has released a short film titled Tependris Rising to accompany their new collection. Illustrated by Konstantin Kakanias, the short focuses on the imaginary designer Mrs. Tependris with real life fashion stars such as Carine Roitfeld seated front row. Tependris Rising is directed by The Pain.

“CBS Sunday Morning” will air a profile of Carine Roitfeld on 9 September.

Carine Roitfeld, Julia and Vladimir Restoin-Roitfeld photos courtesy of purple.fr and co-collections.com via youtube.com

Okay, so there is no catching up with the Roitfelds but I will continue to do my best... It is such an exciting week for Roitfeld fans with lots of glorious news. One of the highlights is the first glimpse of the entire 23-piece collection that M.A.C. and Carine Roitfeld have collaborated to create as well as a video from behind the scenes. Of course the focus of the collection is Carine's signature look, the smoky eye and the neutral lip, with a touch of whimsy in the star stencil for making stellar beauty marks. Most important to note is the limited availability of the collection: it releases online today and then at M.A.C. counters beginning 6 September but will be on sale only through 4 October — in other words, don't wait, order your favorites now for your chance to look like a Roitfeld. If, like me, you want it all, I have done the math for us... one of each item in the collection will set you back a mere $471.50....

Here is the entire list, visit M.A.C. for more details:

Carine Roitfeld Accessories 49 Lash $16

Carine Roitfeld Accessories Full Lash Curler $20

Carine Roitfeld Accessories Good Luck Star $18

Carine Roitfeld Accessories Tweezer/Slant $33

Carine Roitfeld Brow Set $16

Carine Roitfeld Eye Brows, Brunette $15

Carine Roitfeld Face and Body Foundation SPF 15 $27

Carine Roitfeld Fluidline Blacktrack $15

Carine Roitfeld Full Face Kit, Desert Camouflage $44

• Sahara Dust (satin)
• Cactus Thorn (frost)
• Desert (satin)
• Carbon (matte)
• Sand Storm (sheer)

Carine Roitfeld Full Face Kit, Jungle Camouflage $44

• Dew (pearl)
• Camo (satin)
• Bad Lieutenant (matte)
• Carbon (matte)
• Boot Camp Bronze (sheer)

Carine Roitfeld Kohl Power Eye Pencil $15

Carine Roitfeld Lipstick, Tropical Mist $16.50

Carine Roitfeld Mascara, Studio Fix Bold BlackLash $16

Carine Roitfeld Mascara, Zoom Fast BlackLash $16

Carine Roitfeld Medium Angled Shading Brush 275 $25

Carine Roitfeld Mineralize Concealer $20

Carine Roitfeld Nail Lacquer, Underfire Red $17.50

Carine Roitfeld Nail Lacquer, Undercover Nude $17.50

Carine Roitfeld Small Angle Brush 266 $20

Carine Roitfeld Square Foundation Brush 191 $33

Carine Roitfeld Studio Fix Fluid $27

Carine Roitfeld for M.A.C. images  © 2012 M.A.C. All Rights Reserved. Collage via starving.com.br

It is a distinct pleasure to announce the results of The Little Black Jacket contest... the essays in praise of Carine Roitfeld were so good that I decided to modify the prize structure and award three winners. I will be publishing various entries from the contest over the next few weeks beginning today with the winning essay, congratulations and thanks to all who entered!

First Prize
Sarra Salib
Prize: The Little Black Jacket and IWTBAR black tee

Second Prize
Morgan Von Steen
Prize: IWTBAR black tee

Third Prize
Jessica Eritou
Prize: IWTBAR mug

Carine Roitfeld: The One and Only
By Sarra Salib

Carine Roitfeld celebrated Vogue Paris’ 90th anniversary by writing “If one word were to sum up the elegance, the luxury, the audacity, the desire and the spirit, no doubt it would be Vogue.” I would like to take the opportunity to modify Carine’s breathtakingly beautiful happy anniversary note and dedicate it to The One and Only herself: If one name were to sum up the elegance, the irreverence, the audacity, the charm, and the spirit, no doubt it would be Carine Roitfeld. The first time I fell in love with Carine was through Style.com’s “Get the Look.” The look was her (in my opinion) iconic, casual, summer ensemble. Carine wore perfectly tailored, 70s cut white pants; olive colored Equipment silk shirt; the unobtrusive Salvador Dali crucifix necklace; nude, dangerously high sandals; honey hued straight screen of hair; kohl rimmed eyes; and one must not forget, Carine’s favorite accessory, the cell phone. Style.com’s description was accurate in that “It’s impossible to emulate the style of Paris Vogue’s Carine Roitfeld.” This was quintessential Carine. This was cool Carine. The outfit looks deceivingly simple to one’s eye, but when dissected down, there are myriad elements that make this ephemeral style belong to one person. Indeed, there is no point in belaboring futile efforts. Is it the way she conspicuously takes each step as if the concrete street is her own runway? Is it the way her hair falls on her face and masks her as a shield? Is it the way her haunting green eyes peer from behind and delve deep into the enchanted followers’ souls? Even the way she rolls her sleeves is permeated by aesthetic. An essay is an insufficient space to serenade Carine. I could go on elaborating and abstracting, and still fail to capture this woman’s genius and talent. A daughter, a sister, a mother, a lover, and a legendary stylist. She’s everything. Her genuine and sincere smile is enough reason to make you fall in love.

Carine Roitfeld photograph courtesy of Fashion Spot.