CR Fashion Book: Hush Little Baby, Don’t You Cry
By Kate Ringo Suzuki

The first issue of CR Fashion Book is entitled REBIRTH. Carine Roitfeld is signaling that she herself is perhaps going through a rebirth in her own life. Or at the very least, that CR Fashion Book is her tender baby, and she is its loving, protective mother. As mothers we love, protect, and guide our babies, but they grow up to be whomever they are destined to become.

Her first editorial is entitled, “Hush Little Baby, Don’t You Cry: A Story About Second Chances and Active Imaginations.” Carine Roitfeld provides the visual imagery, beautifully photographed by Bruce Weber, to accompany a poem entitled “Doll Baptism” by Edwidge Danticat. In it, Carine teaches us about second chances, those points in life when we decide to embark on a new path. What is required is the pure mind of a child, or what in Zen thought is called “Beginner’s Mind,” as well as an active and positive imagination, and a kind of freedom from negative, so-called “realistic” thoughts and worries. In her tale, CR teaches us about openness to the idea that we can make our dreams come true.

The editorial opens with the first line of Danticat’s poem: “When I was a little girl in Haiti, whenever my friends and I would get a new doll (often a white one), we would always have a doll baptism.” 

A doll baptism is a purifying ritual. Here Carine Roitfeld activates our inner little girl: Little girls love playing dress up, they are sweet and innocent, they love their stuffed bears, they love ponies and ballerinas, and they read nursery stories. They love life. They have no worries. They have freedom. Model Kate Upton wears a Little Bo Peep outfit, courtesy of Leg Avenue. It’s funny that these Leg Avenue costumes are featured here so innocently. The reality is that these costumes are marketed to grown-up women looking to spice up their lackluster sex lives — mostly women having a mid-life crisis who are bored with their husbands and want a change. Sure her shoes are Manolo Blahnik, and if you look closely, her coat is by Chloé — that coat is resting at her back. Kate holds a baby pony while a gorgeous male model dons a bear costume. And sweet Audrey Harrelson, the girl model, wears a tutu by Capezio. All have blond hair, hinting at the innocence of childhood.

“We would gather all our friends together to introduce our new doll to our tribe.”

Kate Upton wears another innocent outfit from Leg Avenue. She lounges on a blanket in the grass surrounded by happy naked babies. She is not the mother, but is more like one of them, as happy and as innocent as they are. They make a happy tribe. So we see that changing one’s life takes innocence, a beginner’s mind, and cannot thrive in isolation. Dreams need a tribe of like minds, free and clear, to help them along. The other page is a black and white photo of young Audrey Harrelson wearing a ballerina costume and a tiara while petting a baby pony. We see that Audrey dreams of becoming a ballerina. While she is playacting now, she does not doubt her dreams.

“Then we would choose two of our most special friends to be the godfather and godmother.”

We need mentors. People who love us, watch over us, and see our potential. Kate wears a frothy marabou dress by Alexander McQueen, a vintage children’s apron in gingham embroidered with The Three Bears, and vintage angel wings. She wears a tiara by Oscar de la Renta and holds a baby pig. Carine is reminding us of our childhood memories and feelings by referencing stories such as "Goldilocks and the Three Bears" and "Three Little Pigs" as well as fairies and angels.

“Sometimes the godparents were other little boys and girls, but other times, we chose adults as godparents because they could afford the cola and cookies needed for the baptism reception”

Mentors and supporters of our dreams come in different forms. They can be a part of our tribe of free thinkers, friends of like mind, or they can be more experienced, and perhaps provide financial support. Kate Upton wears a Jil Sander coat over a Leg Avenue dress. She holds a baby lamb and a tutu. She is a grown woman but she has the innocence of a child. She holds the lamb close to her heart, like a child holds a stuffed toy. She holds her innocence close. She doesn’t want it marred.

“Sometimes we would want to keep our doll so close, we would assign no one — not even our beloved brother — to be the father.”

Dreams are delicate. Sometimes we must hold our dreams in our hearts and not share them because we must preserve them and the innocence of the thought, for fear that our dreams could be destroyed by well meaning naysayers.

“And we would say, if anyone asked, that the family pet or one of our stuffed animals was the father because they would not be competing with us for playtime with our doll.”

This is about how our dreams are special to us. We see Audrey Harrelson wearing a tutu and holding a real baby. The male model wears his bear costume and holds the baby pony. They look at one another and Audrey smiles. Audrey, but a child herself, holds a real baby close, as we do with new dreams. We hold our new dreams dear, but we are like children. We know we need more growth to handle them.

“For a while, it was almost as if our doll was alive... As alive as a flock of birds.”

A flock of birds finds its direction instinctively. They work as a group and it comes naturally. So do dreams come about.

“Or a litter of puppies, or a cloud of butterflies, or a real baby... And we imagined and we dreamed what it might be like to one day be mothers to mules or monkeys or unicorns or to real babies who would wail, and moan, and look like us.”

And so there we have it, Carine Roitfeld, the dreamer.

[Editor's note: View Hush Little Baby, Don't You Cry, a short film by Bruce Weber.]

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Carine Roitfeld photograph courtesy of thewildmagazine.com. CR Fashion Book images courtesy of crfashionbook.com

After much anticipation, the first images created by Carine Roitfeld in her new role as Global Fashion Director for Harper's Bazaar have been released. For the March 2013 issue of Harper's Bazaar, Carine worked with photographer Kacper Kasprzyk and creative director Stephen Gan to devise a striking editorial titled "Carine on the Collections: Welcome to Spring." Starring models Saskia De Brauw, Ashleigh Good, Sui He, Yumi Lambert, Tilda Lindstam, Sam Rollinson, Stephanie Seymour, Joan Smalls, Lara Stone, and Stef Van Der Laan, Carine's spring palette is unsurprisingly stark, consisting largely of black and white pieces with a splash of neutral for contrast. Among the collections featured in "Welcome to Spring" are Azzedine Alaïa, Balenciaga, Céline, Chanel, Comme des Garçons, Dior, Dolce & Gabbana, Tom Ford, Givenchy, Gucci, Louis Vuitton, Max Mara, and Saint Laurent Paris.

View a brief video of the creation of "Carine on the Collections: Welcome to Spring" on Harper's Bazaar

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"Carine Roitfeld on the Collections: Welcome to Spring" images © 2013 Hearst Communications, Inc. All Rights Reserved.

Julia Restoin-Roitfeld, Agnieszka Ścibior, Victor Demarchelier

Viva! Moda selected Julia Restoin-Roitfeld as the cover model for their Winter issue and it is my pleasure to present this interview with Agnieszka Ścibior, editor-in-chief of Viva! Moda, in which she permits us to peek behind-the-scenes of the shoot with Julia and Victor Demarchelier. Very special thanks to Kamila Brudzyńska for taking the time to conduct and translate the interview and to Agnieszka Ścibior and Sara Marcysiak at Viva! Moda for arranging the opportunity. Dziękuję bardzo!

Z przyjemnością pragnę przedstawić wywiad z Agnieszką Ścibior, redaktor naczelną magazynu Viva! Moda, która ujawniła nam jak wyglądała praca podczas okładkowej sesji do Zimowego numeru z Julią Restoin-Roitfeld i Victorem Demarchelier. Specjalne podziękowania należą się Kamili Brudzyńskiej za czas poświęcony na przygotowanie i realizację wywiadu oraz Agnieszce Ścibior i Sarze Marcysiak z redakcji Viva! Moda za ich nieocenioną pomoc! Dziękuję bardzo!

IWTB Interview: Agnieszka Ścibior
By Kamila Brudzyńska

Jak powstał pomysł zaproszenia Julii Restoin-Roitfeld do współpracy?
Jest piękna, utalentowana i niewiarygodnie seksowna. Pomysł przyszedł mi do głowy bardzo dawno temu. Może nawet wtedy, kiedy zobaczyłam zdjęcia z kampanii perfum Black Orchid Toma Forda, ale wtedy jeszcze nie prowadziłam magazynu o modzie. Potem Julia wystąpiła w wielu reklamach i sesjach, a na ostatnie pół roku zniknęła. Pomyślałam, że to idealny moment, chciałam, żebyśmy to my zrobili jej pierwszą sesję po przerwie. Poza tym to odpowiednia osoba na okładkę magazynu Viva! Moda. Zwykle są na nich top modelki (Anja Rubik, Monika Jac Jagaciak, Karolina Kurkova), ale czasami gościmy takie osobowości, jak Karl Lagerfeld czy Alice Dellal. Alice sfotografowaliśmy w tym samym momencie, w którym Karl wybrał ją do kampanii torebek Chanel. Karolinę podczas pierwszego Fashion Weeku po jej powrocie. Dla Julii to też wyjątkowy moment, miała półroczną przerwę. Wszyscy byli ciekawi jak wygląda po urodzeniu dziecka.

Było to Pani pierwsze spotkanie z Julią?
Tak, to było nasze pierwsze spotkanie. Oczywiście widywałam Julię na pokazach, imprezach towarzyszących wydarzeniom mody, ale dopiero na sesji miałam przyjemność ją poznać i porozmawiać. W czasie sesji najbardziej zaskoczyło mnie to, że na zdjęciach jest podobna do swojej matki... Nie miałam w ogóle takiego celu, to podobieństwo wyszło nagle. Często je widywałam razem na pokazach, ale nigdy tego nie dostrzegłam. Dopiero teraz.

Ciężko ją było namówić, czy zgodziła się od razu?
Zrobiliśmy wcześniej sesje z Anją Rubik, Karoliną Kurkovą, Andriejem Pejicem, Alice Dellal a nawet Karlem Lagerfeldem i były to sesje bardzo dobrze komentowane na świecie. Zaczynamy mieć renomę magazynu, który robi dobre sesje z zagranicznymi ekipami. Jest łatwiej. Dla Julii to pierwsza sesja po urodzeniu dziecka, ale jak już się zdecydowała to bardzo szybko udało się nam dograć szczegóły: miejsce, fotografa, a nawet catering.

Jak wyglądał proces poszukiwania stylizacji? Skąd pomysł, inspiracja, w jaki sposób pokazać Julię?
Sesja Julii ukazała się w naszym zimowym wydaniu, które jest zwyczajowo dość wieczorowe. Chciałam pokazać, że jest piękna i to klasyczną urodą z lat 40 tych. Wszystkie ubrania podkreślają jej kobiecość i zmysłowość. W całej sesji nie ma spodni tylko sukienki i spódnice. Wszystkie podkreślają szczupłą talię Julii i jest mnóstwo jej ulubionej czerni.

Podobały jej się sukienki Gosi Baczyńskiej?
W magazynie Viva! Moda oprócz pokazywania najlepszej światowej mody, staram się promować polskich projektantów. Moją ambicją jest zawsze wpleść polskie projekty w światowe trendy. Kiedy pracuję z zagraniczną gwiazdą czy top modelką zabieram z Polski ubrania. Tak było na sesji z Karoliną Kurkową, czy Andrejem Pejicem, oboje zakochali się w legginsach Agnieszki Maciejak. Dla Julii wybrałam sukienki Gosi Baczyńskiej. Koronkowe, kobiece i trochę szalone, jak czerwona sukienka z łańcuchów. Julia była bardzo otwarta i chętnie przymierzała nowych, nieznanych sobie projektantów.

Fotografem od początku miał być Victor Demarchelier?
Tak, Julia i Victor znają się od lat, ale to na naszej sesji pracowali razem po raz pierwszy. To było ciekawe spotkanie „drugiego pokolenia”, bo współpraca Carine Roitfeld (matka Julii) z Patrickiem Demarchelier (ojcem Victora) jest niemal legendarna. Kiedy zapytałam Julię o życie w cieniu sławnych rodziców powiedziała: „ Można wykorzystać to, co się dostało, i ciężką pracą udowodnić, że się na to zasługuje, albo chodzić na imprezy i nie robić nic. Zarówno ja i Victor wybraliśmy tą pierwszą opcję. " (Całość wywiadu z Julią w zimowym numerze VIVA! MODA).

Z racji tego, że nie była to Pani pierwsza współpraca z Victorem, przebiegało to łatwiej, swobodniej?
Wiedziałam, że Victor jest niezwykle szybki. To jest niesamowite! On dokładnie wie, czego chce. Często zdarza się, że fotograf robi 300 ujęć, żeby wybrać jedno dobre zdjęcie. Ale nie Victor. Pracowałam z nim już drugi raz, wcześniej robiliśmy sesję z Anją Rubik. On robi od 3 do 5 zdjęć, oglądamy je, robi kolejnych 10, weryfikujemy na bieżąco i wybieramy to właściwe.

Julia lubi pracować w jakiś określony sposób? Miała jakieś życzenia, zastrzeżenia?
Tak jak wcześniej mówiłam „raider” Julii nie był skomplikowany. Żadnych ekscentrycznych zamówień. No i start o 9 rano. Julia to bardzo naturalna osoba, a nawet wyjątkowo skromna. Do studia przyszła parę minut po 9tej i od razu zaczęła przepraszać za 10 minutowe spóźnienie. Ekipa właśnie się rozpakowywała, asystenci rozwijali kable, fotograf pił kawę, a ona tłumaczyła, że wyszła z domu później niż planowała, bo Romy (jej 6 miesięczną córeczka) rano płakała.

W jaki sposób szuka Pani inspiracji do pracy? Jak udaje się Pani zachować świeżość i oryginalność? Nie ma powtarzalności, bo równie dobrze mogłaby Pani zobaczyć pomysł w Vogue’u i stwierdzić „Zróbmy coś podobnego”, a jednak Pani tego nie robi.
Założyłam sobie, że tego właśnie robić nie będę. Wielu fotografów i stylistów w Polsce, gdy zobaczy świetną sesję od razu chce ją powtórzyć. Mnie to nie interesuje. Czasami redaktor naczelna nie potrafi sobie wyobrazić pomysłu i najłatwiej jest ją przekonać do „remak-u”. Mnie to nie interesuje. Jeśli ktoś argumentuje „Wszyscy o tym piszą, wszyscy to tak pokazują, to od razu jestem na nie. To jest dla mnie spalony temat, szukam czegoś, co jest nowe. Po co powtarzać coś, co już ktoś zrobił? Trzeba być oryginalnym.

Kiedy powstaje sesja to najpierw wybiera Pani modelkę, fotografa, czy pierwszy jest pomysł? Jaka jest kolejność?
Różnie. W przypadku Julii, najpierw była ona, osobowość, potem Victor, a dopiero na końcu powstał pomysł na zdjęcia. Teraz pracuję nad zupełnie inną sesją, tym razem najpierw miałam pomysł na stylizację, a dopiero do niego dobrałam ekipę. Obecnie jesteśmy z fotografem na etapie szukania modelek.

Jak się Pani odnajduje w tak dużej ilości ubrań? Patrzy Pani na coś i wie, że to jest „to”?
Nadmiar? Nie, nadmiar nie jest dla mnie problemem. Łatwo dokonuję wyborów, „od pierwszego spojrzenia” wiem, co będzie lepiej wyglądało na zdjęciach. Fotogenicznych ubrań jest tak naprawdę mało. Pewnie, dlatego we wszystkich magazynach pojawiają się te same outfity.

A ma Pani czasami problem z rozgraniczeniem, co się Pani podoba w pracy, a co prywatnie, czy od razu Pani wie, że „to bym założyła, a to tylko na sesję”?
To dla mnie dwie oddzielne sprawy. Kiedy jestem w pracy to wybieram rzeczy na zdjęcia, niestety nie udaje mi się nigdy zrobić zakupów w godzinach pracy.

Który moment w swojej karierze nazwałaby Pani najbardziej przełomowym?
Myślę, że to są dwa momenty. Pierwszy, kiedy zostałam redaktor naczelną Viva! Moda, bo to dało mi możliwość robienia gazety o modzie i uwolniło od ograniczeń, jaką powoduje praca w magazynie lifestylowym. Drugim było spotkanie z fotografem Michelem Comte. Michel jest prawdziwym artystą i doświadczonym fotografem. To było świetne i inspirujące spotkanie. Pracowaliśmy kilkakrotnie i zawsze powstawały świetne sesje, ale to rozmowy z nim pomogły mi znaleźć dobry kierunek dla magazynu, który prowadzę. Ważnym doświadczeniem zawodowym były też sesje z Hansem Freuerem. To wielki mistrz, a jednocześnie bardzo ujmujący i bezpośredni człowiek. To z nim zrobiłam sesję dla japońskiego Vogue'a.

Jak wyglądały początki Pani kariery? Skąd moda? Widziałam zdjęcie, które Alicja Kowalska wstawiła na swojego bloga, kiedy była modelką w Pani pokazie.
Zawsze chciałam pracować w magazynie i robić sesje zdjęciowe, ale zaczęłam od nauki w Akademii Sztuk Pięknych. Studiowałam Malarstwo i Projektowanie Ubioru. Natomiast pokaz, w którym Alicja Kowalska wystąpiła to był konkurs, w którym wzięłam udział jeszcze w liceum. Przyniosła mi szczęście i ten konkurs wygrałam. Kolekcja, którą zaprojektowałam była miksem punka i grunge. Pełna agrafek, szwów na wierzchu, a zamiast wzorów miała namalowane sprayem graffiti. Dzięki Alicji przypomniałam sobie tą kolekcję i nawet żałuję, że nie mam niektórych z tych ubrań. Pracę jako stylistka zaczęłam w magazynie Pani. W międzyczasie zaczęłam też pracować dla zagranicznych tytułów, dla części pracuję do dziś. Włoskie Vanity Fair, L’officiel - holenderska, francuska i rosyjska edycja, a ostatnio z Hansem Freuerem zrobiłam sesje dla japońskiego Vogue’a.

Jakie rady miałaby Pani dla młodych redaktorów, stylistów, pasjonatów mody?
Jeśli chce się z pasji uczynić zawód warto dołożyć do niej wiedzę i profesjonalne umiejętności.

Sesję zdjęciową z Julią Restoin-Roitfeld, córką słynnej Carine Roitfeld, można obejrzeć w najnowszym magazynie Viva! Moda.
Fotograf: Victor Demarchelier/Management + Artists
Modelka: Julia Restoin-Roitfeld/Next Model Management London
Stylizacja: Agnieszka Ścibior
Produkcja: Sara Marcysiak

Julia Restoin-Roitfeld, Victor Demarchelier

IWTB Interview: Agnieszka Ścibior
By Kamila Brudzyńska

How did the idea of working with Julia Restoin-Roitfeld develop?
She is beautiful, talented, and incredibly sexy. I came up with this idea long ago. Maybe even when I saw the campaign for Tom Ford Black Orchid perfume for the first time but I was not the editor-in-chief of a fashion magazine then. Julia took part in plenty of photo shoots and campaigns and after that she disappeared for six months. I thought it is the perfect moment, I wanted for us to be first to shoot her after that break. Besides, she is the right person for the Viva! Moda cover. Usually we invite top models (such as Anja Rubik, Monika Jac Jagaciak, Karolina Kurkova) but sometimes there are great personalities like Karl Lagerfeld or Alice Dellal. We photographed Alice in the same moment when Karl chose her to front the Chanel handbag campaign, Karolina was just after her come back Fashion Week. For Julia it was a very special moment after the six-month break. Everyone was curious about how she would look after pregnancy.

Had you ever met Julia before the photo shoot?
It was our first meeting. Of course I saw her during fashion shows and events plenty of times. I was surprised when I was looking at our photos and I suddenly realized that Julia recalls her mother… It was not my aim at all. I was seeing them during the fashion shows often but I never before saw this similarity.

Was it difficult to convince her to take part in this idea or did she agree at once?
We already did the photo shoots with Anja Rubik, Karolina Kurkova, Andrej Pejic, Alice Dellal, and even Karl Lagerfeld, and these ones had great comments in the world. We are starting to have the prestige of a magazine which is making good photo shoots with foreign collaborators. It is easier. It was the first photo shoot for Julia after her pregnancy, but when she decided to take part in this project it was a very short time until we set up everything: the location, the photographer, and even the catering.

Where did you find the inspiration to show Julia in this photo shoot?
The photo shoot was published in our Winter issue which usually focuses on an elegant evening atmosphere. I wanted to show that Julia is very beautiful in a 1940s way. All the clothes accentuate her femininity and her sensuality. There are only skirts and dresses, all accenting her slim waist. And there is plenty of her favorite color black, of course.

Did she like the dresses by Gosia Baczyńska?
In Viva! Moda beyond the best worldwide fashion I am trying to show our Polish designers. My ambition is to mix Polish projects with international trends. When I work with a star or top model outside of Poland, I take Polish clothes with me. Like with Karolina Kurkova or Andrej Pejic, they fell in love with Agnieszka Maciejak leggings. For Julia I picked Gosia Baczyńska dresses — made of lace, feminine, and a bit crazy like the red dress. Julia was very open-minded and willing to try designers that were new to her.

Was Victor Demarchelier your first choice to be the photographer for this shoot?
Yes, Julia and Victor have known each other for years but our project was their first collaboration. It was an interesting meeting of the second generation because the work of Carine Roitfeld (mother of Julia) and Patrick Demarchelier (father of Victor) is legendary. When I asked Julia about living with famous parents she said “You can either actually use what you’ve got and by working hard prove what you’re worth or keep going to parties and not do much. Both Victor and I chose the first option.” (Read the entire interview in the Winter issue of Viva! Moda).

It was not your first collaboration with Victor so was it easier, more comfortable?
I knew that he is incredibly quick. It’s amazing! He knows exactly what he wants. Photographers often do 300 shots to pick a single good one but not Victor. This was my second time working with him, before there was the photo shoot with Anja Rubik. He takes three to five photos, we review them, he takes another ten, we verify that they are up to speed, and then pick the right one.

Does Julia like to work in any particular way? Did she express any wishes or objections?
Like I said before, Julia’s rider wasn’t complicated. No eccentric wishes. The photo shoot started at 9:00 a.m. Julia is a very natural and modest person. She came a few minutes after 9:00 and started to apologize for being late. Everyone had unpacked, the equipment was ready, the photographer was drinking coffee, and she was explaining that she was late leaving the house because Romy (her six-month-old daughter) was crying.

How do you seek inspiration? How can you still be fresh and unique? There is no repetition in your work, because you could see an idea in Vogue and say “Let’s do something similar,” but you never do that.
I assume I will never do this. In Poland there are many photographers and stylists that want to repeat great photo shoots. I am not interested in this. Sometimes the editor-in-chief can’t imagine the idea and the easiest thing to do is to remake. But I am not that kind of editor-in-chief. If someone says, “Everyone will write about it, everyone is showing this in that way,” then I am against it at once. I am looking for something new. Why remake something already done by someone? You have to be an original.

In what order do you conceive the photo shoot? What is first — the model, the photographer, or the idea?
It is different every time. In Julia’s case, she was first, her personality. Then it was Victor and the idea was at the end. Now I am working on a project when the idea was first and then I chose the collaborators. Right now, with the photographer we are looking for the models.

How do you choose among such a volume of clothing? Do you look at a piece and know this is “it”?
No, the volume is not the problem for me. I can easily make the choices. I know at first sight when something will look good in photos. Such clothes are rare. Probably it is the reason that the same outfits appear in all the magazines.

Do you ever have a problem choosing clothes for work and for your private style, or do you always know that “this is for me, this is only for the photo shoot”?
These are two different matters for me. When I am at work, I am picking clothes to photograph. Unfortunately I never have occasion to shop during work.

Which moment would you name as your biggest landmark?
I think there are two landmark moments. First, when I become editor-in-chief of Viva! Moda because it gave me the chance to create a magazine about fashion and I was free of the confines of a lifestyle magazine. The second one was meeting with Michel Comte. He is a real artist and a very experienced photographer. It was great, an inspiring meeting. We worked together a few times and there were always great photo shoots at the end but the talks with him helped me find the right direction for my magazine. He is the master and very direct. I did a photo shoot for Vogue Nippon with him.

How did you start your career? Why fashion? I saw the photos of Alicja Kowalska (a Polish stylist) when she modeled for your fashion show.
I always wanted to work in magazines and create photo shoots but I started by graduating from the Academy of Fine Arts. I studied painting and fashion. The fashion show for which Alicja modeled was a competition in which I took part in high school. She brought me luck and I won it. My collection was a mix of punk and grunge. The clothes were full of safety pins, the stitching was exposed, and I sprayed graffiti instead of patterns. I call this collection to mind thanks to Alicja and I regret that I haven’t got some of these clothes right now. I started work as a stylist for Pani Magazine. I also was working for some foreign magazines some of whom I still do, Italian Vanity Fair; Dutch, French, and Russian L’Officiel; and Vogue Nippon with Hans Freuer recently.

What advice would you give to young editors and stylists?
If you want to make your living from your passion, it is worth it to combine it with knowledge and professional skills.

Photo shoot with Julia Restoin-Roitfeld, daughter of Carine Roitfeld, which you can see in the latest issue of Viva! Moda
Photographer: Victor Demarchelier/Management + Artists
Model: Julia Restoin-Roitfeld/Next Model Management London
Stylist: Agnieszka Ścibior
Production: Sara Marcysiak

Translation from Polish to English by Kamila Brudzyńska

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Julia Restoin-Roitfeld editorial images © 2012 Viva! Moda. All Rights Reserved.

The Cut has released an exclusive look at CR Fashion Book announcing the theme for the second issue — dance. I love Carine Roitfeld's vision and I cannot wait to see more of this issue dedicated to her passion for dance. I am totally inspired to learn that she has only recently begun to practice the elegant art of pain and refusal herself. Carine, j'adore!

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Karen Kilimnik illustration of Carine Roitfeld courtesy of the artist and 303 Gallery, New York.CR Fashion Book images courtesy of crfashionbook.com.

I am excited to announce the latest IWTB contest in collaboration with I Heard They Eat Cigarettes, a cool Australian company specializing in unique jewelry. Choose a ring from the IHTEC site and imagine how you would incorporate it into an editorial styled by Carine Roitfeld then submit your idea for a chance to win the ring! You can either alter the image yourself to include the ring of your choice or simply describe your concept using the entry form — this is not a measurement of Photoshop skills but of creativity. The contest is limited to the first 100 respondents and ends 12 March 2013. 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 concept here.

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Editorial images © 2010 Condé Nast and © 2012 CR Fashion Book. All Rights Reserved. IHTEC mod by Kellina de Boer.

CR Fashion Book: Elsa
By Bernie Rothschild

In her debut issue of CR Fashion Book, Carine Roitfeld made a stunning tribute to the legendary Elsa Peretti with her editorial "Elsa." The editorial itself was inspired by the style of Ms. Peretti during the 1970s as one of the talented scene stealers of that decade. But who is Elsa Peretti really? As we all know, Elsa Peretti is an accomplished woman and one of the world's most renowned jewelry designers. Just recently her long time collaborator Tiffany & Co. paid her the staggering amount of $43 million to buy out her famous open heart necklace design, one of the company's best selling assets. Peretti has worked with Tiffany's since 1974 and has designed some of their most iconic pieces including Carine Roitfeld's favorite scorpion pendant which became a part of her fashion style.

Besides being one of the most prominent jewelry designers, Elsa Peretti has a very interesting and inspiring persona. Elsa was born to a very wealthy family in Florence, Italy, in 1940. She studied in Rome and Switzerland and became a French teacher for a brief period. Bored with her life, she went to Spain to become a model and quickly developed as the favorite of Salvador Dali. Elsa was one of the top models of the swinging 60s. She then went to New York where she shone as a favorite model of the legendary Diana Vreeland who became her mentor and friend.

Elsa Peretti emerged as one of the icons that characterized the glittering 70s. This became her shining moment. Her glamorous presence in the social scene — together with her contemporaries Marina Schiano, Marisa Berenson, Benedetta Barzini, and Loulou de la Falaise — influenced the style of that decade. She was one of the fixtures of the hedonistic Studio 54 where she socialized with the likes of Truman Capote and Andy Warhol.

On top of that, Helmut Newton photographed Elsa for French Vogue wearing a bunny hat by Halston (her best friend) on top of a building in New York and the image became synonymous with the sexual decadence of the 1970s. Proving that she is not just another pretty face or social scene stealer, Ms. Peretti reinvented herself as a jewelry and accessories designer. She is well known in the fashion world as the muse of Halston. She once stated "I had a deep love affair with Halston, without having a love affair." They became close collaborators and Peretti designed Halston's trademark perfume that grew to be the top selling fragrance of all time next to Chanel No. 5. She also designed the famous sterling silver buckle belt on which Tom Ford based his Fall 1996 collection for Gucci as well as jewelry for Giorgio di Sant' Angelo (one of the most famous designers of the 1970s) and Oscar de la Renta.

Peretti's designs are not intimidating and grandiose, instead simplicity and elegance developed as her winning technique and revolutionized jewelry design. The "Elsa" spread in the debut issue of CR Fashion Book is just a perfect definition of how colorful Ms. Peretti's life is but also an interesting intellectual character that made her a success in her game. Long live the Queen of Tiffany's.

More from CR Fashion Book Issue 1: Rebirth

CR Fashion Book: Hush Little Baby, Don't You Cry
By Kate Ringo Suzuki

Inside the Pages of CR
By Dara Block

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Elsa Peretti photographs courtesy of Condé Nast, elseperretidesign.blogspot.com, and Fashion Spot.

I am delighted to present this interview with Dara Block, editor-at-large for I Want To Be A Roitfeld and I Want To Be A Coppola, as well as curator of the blog she maintains with her sister, Sisters in Black Frocks. Dara's constant creativity, vision, and enthusiasm are an inspiration to many and it is my pleasure to share with you more about her life now.

You meet randomly and regularly with royalty and creative geniuses wherever you travel. What can you share with us about your encounters? What are a few of your favorite places to travel? I know you discover fashion treasures on your journeys as well, what are a few of the standout pieces you've collected from around the world?

Such an interesting question to start with. To be honest, I think it is just timing and a little bit of luck. I have been an observer my whole life and wherever I go I am always conscious of the people around me. I have always been fascinated by creative individuals whether in fashion, film, or in any artistic field and it is not just in front of the camera but behind the scenes, as well. Recently, I have had some really amazing encounters. Just this July, I had the pleasure of chatting with Charlotte Casiraghi, who is the current Gucci model and granddaughter of legendary actress Grace Kelly. Also, last year I had an interesting conversation with photographer and current YSL designer Hedi Slimane. Oddly enough, I was wearing the same Missoni kaftan in both photos... perhaps, it is my good luck charm kaftan-dress! One of my very favorite moments was when I met artist and director Julian Schnabel. Not only do I admire his work as a painter-director, but also his personal style, too. I was so happy the day he signed this book-photograph for me at a screening for his 2007 film Le scaphandre et le papillon. The composition of this photo and his signature look so beautiful together.... a total work of art in penmanship!

I have been so lucky to travel and to see so many countries throughout the years, but I think one of my favorite cities has to be Vienna. I love Austrian art and I am always inspired by early 20th century painters like Egon Schiele and Gustav Klimt. For culture, fashion, and people watching I love New York City. It truly is a total melting pot of style and I love how I am continuously inspired by this city. I also love London for being so innovative with fashion and technology. Finally, for a more relaxing getaway I love St. Bart's. It is the perfect island for people who hate the sun, like myself. The shopping is pretty incredible and I love all the unique boutiques on the island.

By far, the best part about traveling is finding key pieces for your wardrobe. First, I must start with my orange Missoni kaftan (as seen in the photos with Slimane and Casiraghi). I found it in 2003 while vacationing in St. Barts. This is probably one of the best investment pieces ever. It is so comfy-chic and not a summer goes by without me wearing it. Also, in 2009 while in New York City I purchased an Issey Miyake Bilbao bag at the Pleats Please boutique in SoHo. I love this purse so much, it is not only a good day bag, but it is equally perfect for night, as well. Finally, back in 2001 while vintage shopping in Los Angeles, I stumbled upon a 1968 Lanvin dress. This probably has to be one of my favorite finds ever and interestingly Catherine Deneuve wore the same dress when she posed for Vogue back in the 60s and she even featured it as one of her personal favorites in her January 2004 guest editor issue of Vogue Paris.

Dance, fashion, illustration, writing — your vivid imagination and your creative ability know no bounds, from teeth to puzzles to video productions, and everything in between, you are such a fascinating person. How did your creative interests germinate? What media were you first attracted to as a child? Do you have any early images you would like to show? Name a few of your primary influences for us. The Dara Block top 10!

My creative interests started at the age of 9, when my mom bought me my first ever Harper's Bazaar magazine, which was the September 1992 issue. The cover featured supermodel Linda Evangelista and I still to this day have this issue in my archives. I remember being completely inspired by the then editor-in-chief Liz Tilberis and her vision for the magazine. I also was very much inspired by my sister growing up. She always encouraged me to keep a sketchbook and she taught me about the art of collage, illustration, as well as teaching me about the elements of finding your own personal style. My parents have also played an important creative role in my life. Both are such visionaries in architecture, home design, and jewelry making. They taught me from a young age how imagination is way more important than knowledge.

As a child I loved fashion magazines...W magazine, Interview, Harper's Bazaar, and Vogue from every country, particularly Paris and Italy. I also grew up loving 90s MTV, Fashion File with Tim Blanks, Sundance Channel and IFC, as well as a love for foreign films. Here are my top 10 influences:

1. Carine Roitfeld's first ever issue of Vogue Paris from February of 2001... amazing styling and such a cutting edge issue.

2. Pedro Almodóvar's 1999 film Todo Sobre Mi Madre (All About my Mother) — brilliant direction and use of color, particularly red tones.

3. Cindy Crawford and MTV's "House of Style" — this show taught me so much about the importance of individual style.

4. Dancer/choreography Pina Bausch... the way she blended fashion, dance, theatre was truly unique and inspiring

5. Madonna's Ray of Light album.... love that electronic sound produced by William Orbit as well as the photographs of Madonna exquisitely captured by Mario Testino! 

6. Björk's Pagan Poetry video directed by Nick Knight... controversial, avant-garde, and full-out fashion by the late Alexander McQueen... no surprise it was banned in America!

7. Bernardo Bertolucci's 1996 film Stealing Beauty.... love the look and style of this film, Italian bohemian chic at its finest!

8. Jigsaw puzzles — here I am putting together my limited edition Steven Meisel Vogue Italia December 2007 puzzle.

9. Photographer Guy Bourdin — he was totally ahead of his time as far as subject matter and colors go...

10. Austrian expressionist Egon Schiele — he transformed the human figure and exaggerated the body in such a unique, profound, and original way!

Your marvelous fashion archives endlessly intrigue and astonish me. At what age did you begin collecting magazines? How do you store them? Any tips for organizing? When do you anticipate completing your Vogue Table? Highlights among your collection? We'd love to see photos from your glorious fashion library....

I began collecting fashion magazines at age 9. It is something that I cannot really describe, it is just something that I do. I love visual inspiration and the fantasy and magic that happens when you skim through a magazine. I must admit that my archives are endless and I am blessed to have lots of shelves to store them in. I anticipate that my Vogue table will be done any day now. It is really a great way to build your magazines into a table. The key is finding the perfect four covers for the four legs of your table.

Some of my highlights of my collection would have to be my November 2008 issue of Vogue Paris with Vanessa Paradis... such an amazing-vibrant red cover beautifully captured by Mert Alas and Marcus Piggott!

I am currently loving the July 2005 issue of US Vogue with Kate Winslet photographed by Mario Testino. A beautiful example of how to look incognito chic.

I so admire this Mario Sorrenti image of Kate Moss from the Harper's Bazaar December 1997 issue.... love the colors and Kate Moss' body expression. Of course, there are so many more to mention, but as of now, these are my current photo inspirations!

You and your sister curate a blog titled Sisters in Black Frocks, which is a constant source of inspiration for me, I so love being able to see the world through your eyes. How did Sisters in Black Frocks begin?

Sisters in Black Frocks started in January of 2009. Originally, it was my sister's idea. She even came up with the quirky and interesting title. We basically started it as a fun blog for inspirational ideas. We are both continuously influenced by film, fashion, music, and other various forms of style and we try to incorporate how these concepts have inspired our everyday lives. The blog was a challenge at first, but together as sisters and as the years go on, we find that our ideas keep flourishing.

Favorite Flower: Hydrangea

Favorite Beverage: Moroccan Mint Tea

Favorite Guilty Pleasure: The Bravo network

Favorite Illustrator: David Downton

Favorite Lip Product: Rouge d'Armani #400

Favorite Magazine: It is a tie between Vogue Italia and Interview Magazine 

Favorite Opening Scene from a film: The opening scene from Pedro Almodóvar's 2002 film Hable Con Ella (Talk to Her)

Favorite Quote: "Imagination is everything. It is the preview of life's coming attractions" Albert Einstein

Favorite Name: Harper

Favorite you wished I asked: Favorite Designer... my answer would have to be Norma Kamali. Love her sporty-chic approach to style! :)

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Dara Block photographs courtesy of Dara Block.

February is a satisfying month for fans of Carine Roitfeld with the release of her second issue of CR Fashion Book and her first issue as global fashion director for Harper's Bazaar. I thought it would be interesting to look back at Carine's work from exactly a decade ago, the February 2003 issue of Vogue Paris. The IWTBAR team will review pieces from the issue throughout the month beginning with this fun look at the preferences of the VP team, fondly known as the French Voguettes. Styled by four different assistants and photographed by Thomas LaGrange, each page examines the individual aesthetic of one of the top Vogue Paris editors at the time: Carine. Emmanuelle. Anastasia. Marie-Amélie. Which is your favorite?

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Vogue Paris editorial images © 2003 Condé Nast. All Rights Reserved.

CR Fashion Book: A Woman's Life
By Renee Hernandez

There is something alluring and magnetic about Carine Roitfeld. Although it's hard to describe this feeling, my mind is always hungry to absorb anything she creates. I love how obsession fuels her creativity. Her new magazine, CR Fashion Book, is a place for her to share her obsessions. In her note to the reader she describes the way she is swept into an obsession, “When something is consuming your thoughts, you suddenly notice it everywhere. When I learned that my daughter, Julia, was expecting, I immediately began seeing babies and new mothers on planes, at fashion shows, in New York and in Paris. Birth and rebirth all around. I became obsessed.” The first issue, “Rebirth,” is a fantasy fueled fashion journey celebrating beginnings, renewal, and family.

My favorite editorial is “A Woman’s Life” photographed by Sebastian Faena, styled by CR, starring Juliet Ingleby, Daniela Braga, Magda Languinge, Stef Van Der Laan, Saskia de Brauw, Clément Chabernaud, Lara Stone, and Aiden Shaw. This high drama story depicts all the stages of a woman’s life: Birth, Childhood, Adolescence, First Lover, The Spirit, Betrayal, Sisterhood, Despair, Rebirth. Each image is thought provoking with a notable dose of CR shock value, of course. What I especially love is the sentimental groove to this story combined with a surreal quality to life. Recognizing yourself in each stage and interpreting the story in your own way.

Carine Roitfeld can make an obsession iconic, which is why I am in awe of her.

More from CR Fashion Book Issue 1: Rebirth

CR Fashion Book: Elsa
By Bernie Rothschild 

CR Fashion Book: Hush Little Baby, Don't You Cry
By Kate Ringo Suzuki

Inside the Pages of CR
By Dara Block

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Editorial images © 2010 Condé Nast and © 2012 CR Fashion Book.

Vogue Paris February 2003: La joueuse... Aux jambes nues
By Dara Block

I don't know about you, but I always find it fascinating to look back at Carine Roitfeld's history as a stylist and image maker, especially those years in which she was editor-in-chief of Vogue Paris. Since it is February 2013, I thought it would be appropriate to flashback 10 years ago to February 2003 and a provocative editorial she styled that month, entitled "La joueuse...aux jambes nues." For those of you who do not speak French, the title simply translates as "The player… with bare legs." With a title like that you know the editorial is going to be ultra sexy and chic! Let's take an in-depth look inside the pages. 

The editorial was photographed by Mario Testino and features some of spring's hottest looks from 2003. What I find so brilliant about this editorial is that Carine Roitfeld incorporates much of herself into the styling. For Carine Roitfeld, her Russian origins have always been a major source of style inspiration and in this layout you certainly see all that depicted. Louise, the model featured, has a very Carine Roitfeld sensibility mixed in with a Dostoyevsky quality, perhaps like a female heroine in one of his novels. Dostoyevsky happens to be one of Carine Roitfeld's favorite writers… so it's no surprise that she waned to include a subtle Russian literary reference. Just by looking at her, you can tell that Louise embodies a very sexy, strong, yet mysterious way about her... qualities you would definitely find in a female character in a Dostoyevsky novel. I totally admire how Carine Roitfeld blended her Russian heritage and elements of a Dostoyevsky heroine to showcase these cutting-edge spring 2003 looks.

With all that analysis, let's get back to the fashion.... I love the first look featured. Louise looks so chic in her Salvatore Ferragamo black trench coat. The messy hair and smoky eyes work so well together. I definitely see how Carine Roitfeld used herself as inspiration... this look is so her!

I also love the styling of this Rick Owens dress with that sequined Anna Molinari slip-dress placed over... it's an unlikely pairing, but somehow it works in such a mysteriously glam way. Let's also not forget that pose she is giving to the camera. Only Mario Testino could capture such an incognito-chic moment like that. 

Another standout look from the editorial is this soft lavender Tom Ford for Yves Saint Laurent dress as seen on Louise. The layering and ruffles on this dress are superb. On a side note, this was one of Tom Ford's most memorable YSL collections, so many magazines featured this dress, but I always thought Carine Roitfeld styled it best. She definitely knows how to work and style a Tom Ford creation like no other.... love it when these two collaborate as designer and stylist, such a dynamic bond and style connection they share and this image beautifully shows that!  

The next look featured is a bit risqué, but isn't that why we love Vogue Paris? Louise is seen in an open blouse and fur coat placed over her shoulders. She not only looks confident, but also a bit vulnerable, as well.... love how this image conveys both qualities. You can definitely see that quintessential Carine Roitfeld attitude and style with this photo. Also, in case you cannot tell Louise has purple painted nipples. Yes, only in Vogue Paris can you get away with this racy look, but the idea actually came from Tom Ford! He featured purple painted nipples in his Yves Saint Laurent show that spring season, so it is obvious where Carine Roitfeld took her inspiration.... just leave it to Carine Roitfeld to add something cheeky to catch your attention. 

I can't help but also love this brown Prada silk coat featured on Louise.... the silhouette is perfection! It's not just the jacket, but also her body composition. I totally admire her stance and the way it contrasts with that lavender background. That is actually another hidden Tom Ford influence. His runway set for YSL that season was also lavender. It is quite interesting how Carine Roitfeld even took inspiration from the setting. There are so many tiny details with this layout that it make it so visually stimulating.... I guess inspiration really is everywhere! 

The next look probably has to be my favorite look from the editorial.... who could ever forget this silk kimono bathrobe from Tom Ford's Gucci spring/summer 2003 collection? This was such an iconic season that I still think it about to this day. I so love how cutting-edge and glamourous she looks with her messy hair and purple eyeshadow. That kimono is the perfect complement and I so appreciate the humor and wit of that flower placed over her breast.... très chic! 

Personally, I love the way the editorial ends. Louise looks very alluring in her Valentino sheer black dress. The body language and look in her eyes completely oozes glamour and sex appeal... what Carine Roitfeld does best.

As we can see, it's always a revelation to look back on Carine Roitfeld's days at Vogue Paris. Interesting how with time her editorials have not aged at all... they still look just as fashion forward as they did 10 years ago... I am not sure how she does it, but it certainly is very inspiring! Spring/Summer 2003 will never be forgotten and this editorial proves it, brava Carine!

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Vogue Paris editorial images © 2003 Condé Nast. All Rights Reserved.

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Carine Roitfeld in The Gentlewoman, Issue No. 7, Spring/Summer 2013 photo courtesy of thegentlewoman.com

If you missed it the first time around, now would be a perfect time to read "The Coats of Carine Roitfeld" by Dara Block for winter style inspiration...

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Carine Roitfeld photographs courtesy © 2013 Condé Nast, all-theprettybirds.com, and stylebistro.com.

Net-A-Porter publishes an online magazine titled The Edit and the 28 February edition features Carine Roitfeld in an unbelievably sexy editorial styled by herself along with an engaging interview. In the editorial "Belle de Jour," Carine elegantly models pieces by designers such as Rick Owens, Carine Gilson, Equipment, Bottega Veneta, and Miu Miu. The photographs are by Sebastian Faena.

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Carine Roitfeld photographs © 2013 net-a-porter.com.

It is my pleasure to introduce a fabulous new addition to the I Want To Be A Roitfeld team — contributing editor Jessica Eritou! Jessica considers Carine Roitfeld to be a major inspiration and influence in her life and I look forward to her sharing her passion on these pages. I hope you will all join me in welcoming Jessica!

Transferring from Carleton University with their own Art History program, Jessica enrolled at the University of Ottawa to study Communication and Philosophy but found her heart and passion was still in writing as she is completing her Communication degree.

Throughout her university studies, Jessica has primarily worked with labels such as; Burberry, Ralph Lauren, Oscar de la Renta, Halston Heritage, Ermenegildo Zegna, Hugo Boss, and Armani Collezioni.

She considers Tim Blanks, Cathy Horyn, and designer Raf Simons major influences to her editorial writing. Having worked in fashion for seven years now, she is able to see how the two correlate and have an undeniable connection. Her experience in high-end fashion and styling will add a dimension from a hands-on fashion perspective to IWTBAR.

Jessica loves the effortlessly sporty, wearability of Alexander Wang and the finer feminine details of Balenciaga. Even though she is surrounded by high-end fashion, on her days off you can find her in a slouchy tee and skinny jeans.

Having studied with the Ottawa School of Art, Jessica developed her strength in visual arts, specifically in painting. She is an enthusiast and collector of contemporary modern art. Jessica is also a contributor to the University of Ottawa's paper The Fulcrum, and the local campus independent newspaper The Leveller. She is an aspiring journalist and is driven to achieve her master's degree.

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Jessica Eritou photograph © 2013 Jessica Eritou. All Rights Reserved.

CR Fashion Book: Clearly
By Kristin Sekora

In the second issue of CR Fashion Book there is a layout named "Clearly." Continuing Carine Roitfeld’s choice of the theme of dance for this issue, which she has studied privately for the past year and a half, the pages are filled with five images of the nude body of a ballet dancer in exercise and dance poses intermingled with beautiful art-quality see-through accessories. The stylist is Michaela Dosamantes.

In the first photo the dancer is in a split with her leg bent behind in back attitude, a practice stretch pose, all the more to take advantage of the soft PVC plastic of the glorious Givenchy shoe she carries on her foot. The shoe’s clear Lucite heel reveals a patterned interior and rests on the silver metal of a heel. The dancer’s perfectly pointed toe is revealed through the plastic. But in this first photo we begin to get the sense that the clearness that Carine Roitfeld intends for us is not the clarity of light but perhaps the see-through quality and nebulousness of a vacuum. Yes, CR is truly a woman of mystery and not to be taken for granted. Why does the dancer have no head? It cannot just be that it is behind her shoulder. No, it is gone. And most shocking of all, for a woman who once published a photo of a model with the Gucci logo shaved into her pubic hair, here Carine has airbrushed the dancer’s sex. The dancer has been defaced in more ways than one. CR is playing with us when she uses the word "Clearly."

However, examined closely, the pores of the dancer’s body are clearly seen, exfoliated with MAC Mineralize Volcanic Ash Exfoliator. The choice of a dancer instead of a fashion model goes beyond a mere adherence to the ballet theme, for Carine is showing us that the dancer is as dedicated to her art as the truly fashionable woman is to hers. The toughness of the sinews, the tightness of the muscles, all are mirrored in a woman’s pleasure in the touch and feel of the fashion objects with which she surrounds herself.

The photographer, Brigitte Niedermair, known for her startling female nude imagery such as the juxtaposition of a woman’s naked buttocks with a fecund cow’s udders, continues such imagery here. In the next two photos, we encounter perhaps the most beautiful art-quality objects, placed by Carine Roitfeld in the most disturbing context, for our eye is suddenly shocked by what seems to be flesh in an abattoir held by blocks of preserving ice. Is Carine saying that in some way beauty is cold? That we pay too high a price for it? Even the juxtaposition of the two photographs suggests shards of ice coming together. The objects here are incredible. On the left is a Gucci Plexiglas box to hold the lovely contents of a lady’s evening. On the right is a Valentino minaudière of such exquisiteness that it will be handed down for generations. It is Plexiglas, tiny, with the appearance of cut glass, with square marcasite-covered areas and a short burnished silver-toned chain.

In the final two photos, as in all the others, the dancer is contorting herself for fashion. She bends over backward to appreciate the beautiful Hermès cuff on the left. On the right, she does backbends over a PVC Michael Kors shoe with a Lucite heel. Is Carine Roitfeld at base cynical about fashion? I think not. These are exquisite art-quality fashion objects, not just everyday accessories. Carine has "Clearly" chosen to display them against the pristine beauty of a dancer's skin.

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Editorial images © 2013 CR Fashion Book.

CR Fashion Book: High On Rebellion
By Jessica Eritou

Photographed by Jamie Morgan for the first issue of CR Fashion Book, the editorial “High on Rebellion” pleasantly unifies the juxtaposition and hard edged basics with subtle, feminine accents.

The first page features a motorcycle jacket from Calvin Klein which is the epitome of rebel iconographic style. The only caption features the words “Seeking peace, love, unity, respect” which could be an ode, or play on words with the raving community (P.L.U.R.) whom get a lot of negative insurgent reputations. Next is a tutu from Sansha. But it is not the combination of the two that sets this editorial right. In typical Carine Roitfield style, there is always a twist. The model is wearing a reinvented gas mask with floral accents inside and a delicate rose by the mouthpiece. Very subtly, this combination is quite the polarity without the yearning most stylists try when creating drama between two elements.

The next shot features Magda Laguinge in a fur skirt and jacket by Fendi, with natural makeup and hair. This can be an ode and the clash between beast and nature, with primitive elements mixed with her smelling the flower in hand. The shape of the jacket is exquisite, with the detailing on the sleeve and a peplum bottomed edge.

Jamie Hewlett, the comic book artist, co-creator of the band Gorillaz, and fashion designer, contributed a sketch to this editorial featuring his signature style and graphic hard edged sketches. When you view Hewlett's work, it is instantly recognizable. There's a new age soldier with tiny elements and odes to people like Jim Morrison. One could argue Hewlett is making his own political statement but since he adds quirky bits it could be considered satire at the same time.

Next the model is sporting a Nina Ricci sweater which almost gives an Isabel Marant, late 70s Missoni vibe, paired with a leather Kenzo jacket, again in military style with a KSI NYC hat. The composition of the shot is very bold and direct. The soft, luscious sweater parallels wonderfully with the rest of the styling in the outfit. Perhaps it is due to the open-knit stitching of the sweater which helps open up the body and gives the viewer a nice balance of concordance.

Magda is seen wearing a gorgeous Pucci dress holding a white flag, representing another military motif. The dress itself is dawned in detail but with almost an athletic presence to it. There is a great deal of wearability and effortlessness to Pucci and Carine Roitfeld captured this perfectly. The same tones and hues featured on the Pucci dress are followed with the last photo of Madga wearing the helmet (Ministry of Acquisitions) with the same floral colors and line. This is paired with a military coat from Max Mara.

Although this is a great start to Carine's work, I wish there could have been a third element added to this other than hard-edged clothing and symbolism meets feminine motif parallels. It is shot beguilingly, however, CR could have subsumed another perspective to this editorial that not already been done before.

More from CR Fashion Book Issue 1: Rebirth

CR Fashion Book: A Woman's Life
By Renee Hernandez

CR Fashion Book: Elsa
By Bernie Rothschild 

CR Fashion Book: Hush Little Baby, Don't You Cry
By Kate Ringo Suzuki

Inside the Pages of CR
By Dara Block

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Editorial images © 2012 CR Fashion Book.

Imagine skimming the pages of the February 2003 issue of Vogue Paris and spying Vladimir Restoin-Roitfeld winking at you from behind a pirate's eye patch.... Vlad appears in the issue as part of a black-and-white spread titled "Gang Lang." Styled by Olivier Lalanne and shot by Antony Ward, the editorial focuses on Helmut Lang's Spring/Summer 2003 collection along with an interview by the designer.

I am intrigued by the choice of models for "Gang Lang." The lineup begins with Claire Dhelens, an editor for Vogue Paris. Next is model Natalie followed by Peter Kruder, the DJ for Helmut Lang's shows during this period. Beside him is Jerry Gorovoy, assistant to the artist Louise Bourgeois. Turning the page we see artist Jenny Holzer, model Amanda Moore, student Vladimir Restoin (he was 18 years old at the time) and models Jake Boyle and Stella Tennant. Posed on the page opposite them are model Anne V., ex-model Cordula, and her son and student, Ben.

My favorite passage from the interview: "A la sortie de son dernier défilé présenté à Paris, une journaliste notait qu'une femme qui porte du Helmut Lang a l'air intelligente. «J'essaie de ne pas leur donner l'air stupides» commente Helmut Lang," or in English, "At the end of his last show presented in Paris, a journalist noted that a woman who wears Helmut Lang has an intelligent air. 'I try not to give them a stupid air,' said Helmut Lang."

More from Vogue Paris February 2003

Vogue Paris February 2003: Carine. Emmanuelle. Anastasia. Marie-Amélie.
By Kellina de Boer

Vogue Paris February 2003: La Joueuse... Aux Jambes Nues
By Dara Block

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Vogue Paris editorial images © 2003 Condé Nast.

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Carine Roitfeld et al photographs courtesy of Condé Nast, harpersbazaar.com, Getty Images, huffingtonpost.com, buro247.ru, leeoliveira.com, stylebistro.com, forum.purseblog.com.

Carine Roitfeld celebrated her second issue of CR Fashion Book with a lavish soirée in the salons of the Shangri-La Hotel in Paris. As the theme for the issue is dance, you might imagine the evening would focus on dancing… A sampling of guests were asked to pick a favorite dance: Jessica Chastain loves to jitterbug, Karl Lagerfeld likes to tango, Riccardo Tisci prefers to salsa, and Carine Roitfeld adores ballet, which was reflected in the evening's entertainment. The principal ballerina for the Paris Opera, Marie-Agnès Gillot, performed with Vincent Chaillet to the song "O mio babbino caro." Chaillet then shared the first dance of the evening with Carine Roitfeld.

The lengthy star-studded list of guests that turned out in support of CR Fashion Book included Christian Restoin, Julia Restoin-Roitfeld, Jessica Alba, Fabien Baron, Giovanna Battaglia, Sara Battaglia, Mariacarla Boscono, Hamish Bowles, Adrien Brody, Maria Grazia Chiuri, Claire Courtin-Clarins, Saskia de Brauw, Louis-Marie de Castelbajac, Victoire de Castellane, Delfina Delettrz, Alice Dellal, Anna Dello Russo, Peter Dundas, Alber Elbaz, Isabeli Fontana, Magdalena Frackowiak, Stephen Gan, Daphne Groenveld, Jamie Hince, Kate Moss, Karlie Kloss, Hannelore Knuts, Karolina Kurkova, Johan Lindeberg, Margherita Missoni, Alison Mosshart, Arizona Muse, Gaspar Noé, Tom Pecheux, Pier Paolo Piccioli, Gareth Pugh, Gaia Repossi, Alexandra Richards, Francesco Russo, Francesco Scognamiglio, Ulyana Sergeenko, Amanda Seyfried, Caroline Sieber, Joan Smalls, Mario Sorrenti, Jessica Stam, Olivier Theyskens, Riccardo Tisci, Anthony Vaccarello, Giambattista Valli, Harley Viera-Newton, Edita Vilkeviciute, Ellen von Unwerth, Alexander Wang, Kanye West, and Olivier Zahm.

To see more of the soirée, view the video published by Mercedes-Benz, a staunch supporter of CR Fashion Book and the sponsor for the Parisian launch.

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Carine Roitfeld et al photographs courtesy of fashionguru.com.cn, buro247.ru, nextmodels.com, socialitelife.com, crfashionbook.com, purple.fr

Throughout the month of March, the IWTBAR team will explore Carine Roitfeld's farewell issue of Vogue Paris from March 2011. From "Cœur a Corps Perdu," Carine's absurdly humorous soft porn tribute to her successor by way of the film Emmanuelle, to the lively and surreal "Audace Manifeste" as styled by Giovanna Battaglia, the last issue of Vogue Paris edited by Carine Roitfeld never fails to inspire.

To lead off the exploration, we begin with a look at "La Fée Toxique," a brilliant decision by Carine to feature Victoire de Castellane in her last Vogue Paris at the same time that the revolutionary jewelry designer was launching her first solo exhibit, Fleurs d’excès, at Galerie Gagosian Paris.

Styled by Olivier Lalanne and shot by Juergen Teller, "La Fée Toxique" displays the surreal gems from Victoire de Castellane's exquisite ten-piece Fleurs d’excès collection. In a strange twist, her precious pieces are named for illegal narcotics although she herself abstains: Extasium Ethero Coïtus, Opium Velourosa Purpa, Acidae Lili Pervertus, Quo Caïnus Magic Disco, L. Es Déliriuma Flash, Cana Bisextem Now, Héroïna Romanticam Dolorosa, Amanita Santane Diabolus, Crac Bouminalum, and Crystalucinea Metha Agressiva. The shoot is set in the colorful apartment of de Castellane and in the background we can see the childhood watercolor paintings of her husband, Thomas Lenthal.

De Castellane was destined to collaborate with Chanel, having being raised by her uncle, who happened to be one of Karl Lagerfeld's principal assistants. After 14 years spent overseeing Chanel's costume jewelry designs, inspiring the collections, and even walking the runway at times, de Castellane became creative director of Christian Dior fine jewelry in 1998 where she continues to create today.

In 2006, Victoire de Castellane was chosen by Sofia Coppola to play a small part in her film Marie Antoinette and in 2007, the talented jewelry designer was awarded the Légion d’Honneur, clearly the epitome of a Parisienne original. If you would like to learn more about the work of de Castellane, I recommend Dior Joaillerie and Victoire de Castellane, Fleurs d’excès.

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Vogue Paris editorial images © 2011 Condé Nast. All Rights Reserved.