A Bruce Weber story needs no introduction. If the sunlit photography doesn’t immediately register, then the layout and collegiate lettering will. Weber’s virile American aesthetic has long since been subsumed into popular culture via the Abercrombie & Fitch A&F Quarterly and, it must be noted, without the slightest betrayal of apprehension over its decidedly more camp aspects.
Lately, any Paolo Roversi story that does not feature Ford’s Valerija Kelava is by default headline news. Having featured in four editorials by the Italian in the span of six months, you could be forgiven for thinking Valerija would be even money to be in his next story to appear on this page. As it turns out, however the honor falls to Ford Men’s Adrian Bosch, who can be seen in Vogue Hommes International Spring / Summer 2011.
With full-time having yet to be called on Spring / Summer 2011 biannual issues, I would like to take a look at one Condé Nast edition that has been patiently biding its time on Magazine Mountain. Yes, it’s that British volume, whose title is written all shouty-like so that it reads LOVE. Amongst several editorials contained in the fifth issue of LOVE is a story by photographer Alasdair McLellan featuring Ford’s Valerija Kelava.
That the “statute of limitations” has not yet lifted on Spring / Summer 2011 biannual magazines means any editorials contained therein remain subject to prosecution, or, in the case of this page, celebration. The fact is, biannual editions that hit newsstands in March are frequently lost in the maelstrom of the show season. Today, however I would like to return to Magazine Mountain for a look at a story that was unfairly passed over in the hasty exit from the runway season.
These days when I’m not listening to German post-industrial musicians Einstürzende Neubauten, then I can be found leafing through the pages of GQ Style Germany Frühjahr – Sommer 2011. What does the former have to do with the latter? The umlaut over the u of course. Beyond that, nothing save being yoked together by dint of non sequitur.
Magazine publishers generally cannot help themselves when it comes to releasing multiple covers. It is not without good reason. Biannual editions have it especially hard, what with the inverse relationship between the annual number of covers to the possible opportunities to eff up said covers and all. Unlike monthlies, which benefit in no small part to the law of averages, a biannual is really only ever one Spice Girls cover away from complete ignominy.
Once you step out from underneath the enormous umbrella that is Condé Nast‘s global publication and distribution empire, then the likelihood is slim to nil of encountering a hard copy of a Japanese magazine instead of a slew of images soaking wet from interweb-mediated saturation. In the City, Vogue Nippon can be found almost as readily as its American counterpart. Vogue Hommes Japan, same.
Digital and film do not compare. An image made on a digital system is not a photograph and an image made on film is a photograph. There’s got to be a point where people stop talking in a photographic vernacular about digital photography but I don’t think that means I have to go around calling myself something different…The two do not compare. – David Sims
Photographer David Sims articulates the difference between digital and film in the above quotation, which was taken from Self Service N°34 Spring / Summer 2011 from a conversation he had with editor in chief and creative director Ezra Petronio.
Daily readers of this page will know that I am a bit of a pedant when it comes to creative credits. I reckon amongst other things, attention to detail is what distinguishes the Ford Models Blog from any other rando fashion blog on Tumblr. I don’t care if it’s a “catering assistant,” if a published credit exists, then it will accompany any story posted here.