I Want To Be An Alt

Kellina de Boer

Paul Kolyer

Heather Dunhill

Yuka Ryou

Justine Ariel
Kamila Brudzynska
Bernie Rothschild

Coups de cœur de Alt
Galerie de Alt
Armoire de Alt
quoi de neuf
Vogue Paris

Vogue Hommes

Vogue Paris Collections


Pretty Much Everything
Inez van Lamsweerde/
Vinoodh Matadin


Amber, Guinevere, and Kate
Photographed by Craig McDean: 1993-2005


Hans Feurer
By Gianni Jetzer, Hans Feurer


M to M of M/M (Paris):
Fashion, Music, Art, Graphics, and
Visual Styling from the Groundbreaking
Design Studio

By Emily King, Hans Ulrich-Obrist


Stern Fotografie 72
By Mario Sorrenti


IWTBAA Black Tee

IWTBAA White Mug

IWTBAA White Tee

I Want To Be A Roitfeld

I Want To Be A Battaglia

I Want To Be A Coppola


Vogue Paris March 2014: Lara Stone

From the Vogue Paris web site…

Objet de tous les désirs et fantasmes, la femme fatale est à l'honneur du numéro de mars de Vogue Paris. Incarnée par Lara Stone, elle est rendue électrique par l'objectif du tandem Mert & Marcus. En kiosque le 21 février prochain.

"Qu'est ce qu'une femme fatale? Un miracle de la nature? Un vampire sexuel? Une virtuose de la mise en valeur? Un fantasme, ça c'est sûr. Les contours de la femme fatale sont d'autant plus complexes qu'il suffirait d'en citer quelques-unes pour prendre conscience qu'elles sont toutes très différentes", écrit Emmanuelle Alt, rédactrice en chef de Vogue Paris, dans l'édito du numéro de mars 2014. Pour tenter de percer ce mystère, ce n'est pas une mais quatre générations de muses qui se prêtent au prisme du magazine. En couverture, le top étoilé Lara Stone fait la démonstration de sa beauté troublante dans une bichromie, alternant un noir corsé et un rouge magnétique, capturée par l'objectif de Mert & Marcus. Des smokings et des lignes incendiaires de celle dont Vogue a lancé la carrière en 2007, aux essentiels de Jane Birkin, en passant par le magnétisme de Betty Catroux ou la troublante innocence de la jeune Marine Vacht, ce n'est pas une femme unique qui se dessine, mais une allure iconique et renversante. Un bouleversement des codes, qui se lit également à travers ces clichés d'autres filles en Vogue (Natasha Poly, Edie Campbell, Karlie Kloss...) n'hésitant pas à bousculer leur féminité pour mieux en éprouver le sens, à l'image d'une Toni Garrn sacrifiant en live pour le magazine ses longues mèches blond miel pour un carré au caractère affirmé. Ces amazones envoûtantes sont comme chez elles dans le magazine, comme en témoigne le portfolio de belles images vintage regroupées dans le supplément en l'honneur de l'exposition Papier Glacé, un siècle de photographie de mode chez Condé Nast qui se tiendra du 1er mars au 25 mai au Palais Galliera.

Vogue Paris n°945, en kiosque le 21 février

Object of desire and figure of fantasy par excellence, the femme fatale takes center stage for our March issue, covered by an electrifying Lara Stone shot by image-makers Mert & Marcus. On newsstands February 21.

"What is a femme fatale?" asks Vogue Paris editor-in-chief Emmanuelle Alt in her March 2014 editorial. "Is she a miracle of nature? A vamp? A master of sartorial enhancement? She's a fantasy figure, sure, but so complexly drawn that try to name just one or two of these women and you'll realize that they are all very different."

To answer the question, we called on not just one, but four generations of muses. Fashion superstar Lara Stone lays bare a troubling beauty in deep black and magnetic red for Mert & Marcus on the cover and from the flaming-hot figure of the model launched by Vogue Paris back in 2007 as she raises the temperature in tuxedos, to Jane Birkin's essentials and the magnetism of Betty Catroux, via the disturbing innocence of Marine Vacht, the muse takes shape inside the magazine. But she's not just one woman, the femme fatale is more an iconic, astounding allure that breaks all the rules. This same refusal of classic codes also runs through editorials featuring some of the biggest girls of the moment, including Natasha Poly, Edie Campbell and Karlie Kloss, who readily play with their femininity as they explore what the term really means. And no-one more so than Toni Garrn, who sacrificed her honey blonde locks live for the magazine, in favor of an assertive bob in this issue. Stunning Amazonian women have always been at home in the magazine, evidenced in this month's supplement of beautiful vintage images from Coming into Fashion, a Century of Photography at Condé Nast, a new exhibition at Paris' Palais Galliera March 1 - May 25.

Vogue Paris n°945, on newsstands February 21

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Vogue Paris March 2014 issue cover © 2014 Condé Nast. All Rights Reserved.


I Want To Be An Alt: Year Three

Today is the third birthday of I Want To Be An Alt, and I want to express my heartfelt thanks to all of the wonderful writers and artists that contribute to the site, particularly my inspiring editorial team, and to all of the amazing readers that follow us, Emmanuelle Alt, and her Vogue Paris through these pages. During the month of February we will celebrate our anniversary and Valentine's Day with Love Notes to our favorite icons of French style. I will kick off the fun with my Love Note to Team IWTBAA: Justine Ariel, Kamila Brudzynska, Heather Dunhill, Richard James, Paul Kolyer, Bernie Rothschild, Yuka Ryou.


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Emmanuelle Alt photo courtesy of Fashion Spot. Blogiversary candy love by Kellina de Boer.


Rihanna For Balmain By Atelier Franck Durand

Balmain released a sexy new campaign last month, starring Rihanna for their Spring/Summer 2014 print advertising campaign, with creative direction by Emmanuelle Alt's husband, Franck Durand. I love this quote by Olivier Rousteing describing his vision for the collection, "La femme Balmain n'est pas une victime, elle ose être ce qu'elle est." or in English, "The Balmain woman is not a victim, she dares to be what she is." Mais bien sûr. Regarding the choice of Rihanna, Rousteing stated, “When the woman that inspires you wears your creations, your vision feels complete. Not compromising, fresh, modern, the icon of my generation, Rihanna embodies my vision of Balmain in this new campaign. In front of the camera, she makes you feel like she is the only girl in the world.” The creative team for the campaign also boasts photographers Inez van Lamsweerde and Vinoodh Matadin and Rihanna's own stylist, Mel Ottenberg. The IWTBAA editorial team was inspired to comment on the images as follows… Also be sure to view the videos from behind the scenes during the filming for the Balmain campaign.

Kamila Brudzynska
Contributing Editor

I’m a huge Balmain lover but from the time when Christophe Decarnin was the designer.  If I only could, I would own every little piece of his designs. I think that Olivier is a great designer, he has talent, but I don’t really feel his collections, I don’t see any character in them during shows. When Anja Rubik or Rihanna wears these clothes, they look incredible, maybe their personalities make them so awesome? I don’t know, but it would be hard to find the piece which I would love no matter what, like I love Decarnin’s designs. The campaign is very good, I love RiRi and it’s amazing how Balmain’s clothes underline her tattoos. My favorite photo is definitely the one in black and white pieces and with the top with deep décolletage (my favorite of her tattoos looks great here — the one under her breasts). Great model (or should I say personality?), great photographers, stylizations, production, and — without RiRi — decent clothes.

Heather Dunhill
Fashion Editor

Well, hello beautiful! The pix are out there and they are major. Rihanna is the new face of Balmain and she’s just as hot as the brand itself, it’s the perfect pairing. “She’s powerful, she knows how to mix beauty, she’s boyish, she’s strong… she’s the new icon,” reflected the fashion house’s creative director Olivier Rousteing, who further mused that he created the collection around the Barbadian bad girl.

Aside from the French connection, why is IWTBAA talking about the Balmain S/S 2014 campaign with RiRi? The creative director was none other than Emmanuelle Alt’s husband, Franck Durand. And, it’s easy to connect Franck’s style to that of Emmanuelle. Shot by Vogue Paris favorites Inez and Vinoodh, it’s an unapologetic throwback to the 80s merging 90s.

For a girl who’s preternaturally attuned to her natural street style, thanks to her stylist Mel Ottenberg, Rihanna fronts the campaign in all the right pieces from denim to blown-out houndstooth. All looks heavy with gilt accessories but just right, nonetheless. Check it out, she’s sure to raise Balmain’s street cred. No doubt.

Paul Kolyer
Managing Editor

Helmut Newton likened working for fashion houses to being "a hired gun" — and Inez and Vinoodh continue to fire off strong images for major houses, the latest (greatest) being Balmain. Starring Rihanna, with creative direction by Atelier Franck Durand (Ms. Alt's husband), and styled by Rihanna's stylist Mel Ottenberg. So cool to see RiRi bring new energy to Balmain. The photos really show off the clothes and Rihanna in such a flattering way, relaxed and pulled together Parisian chic, so Vogue Paris! Pastels, gold, lace, patterns, and killer accessories scream ladylike and seductive! RiRi's gaze really pulls you in, Olivier creates the Balmain woman that women want to be and men want to….

Check out Helmut Newton A Gun for Hire published by Taschen.

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Rihanna for Balmain images © 2013 Balmain. Rihanna and Olivier Rousteing photographs courtesy of instagram.com.


Vogue Paris February 2014: Emily DiDonato

From the Vogue Paris web site…

Rencontre avec la nouvelle génération de mannequins stars, découverts sur les podiums et immortalisés ici sous l'œil des plus grands photographes de Vogue Paris. Un pari sur l'avenir à découvrir en kiosque le 22 janvier prochain.

"Fraîches comme si elles sortaient du collège, ou hypersophistiquées, beautés classiques ou singulières, 22 tops prennent la pose dans ce numéro. On reconnaît certaines dans la rue: Emily, Edita, Amanda, Andreea. D'autres font une carrière de star: Freja, Saskia, Edie, Georgia. Dans leur sillage, un florilège de nouveaux visages. Sur lesquels nous misons.", écrit Emmanuelle Alt, rédactrice en chef de Vogue Paris, dans l'édito du numéro de février 2014. David Sims, Inez & Vinoodh, Terry Richardson, Mario Sorrenti, Mikael Jansson... Ce sont les plus grands photographes et collaborateurs réguliers du magazine qui immortalisent sur papier glacé ces nouvelles filles en vogue. Une série de portraits à double visage, faisant monter progressivement la courbe du désir en dévoilant tour à tour le charme innocent ou la sensualité ravageuse de ces tops. C'est Edie Campbell qui ouvre les hostilités, suivie par les irrésistibles Andreea Diaconu, Sam Rollinson, Amanda Murphy ou Vanessa Axente. A fleur de peau, l'hypnotique Emily DiDonato laisse place à une Freja candide suivie d'une Saskia de Brauw électrisée par les feux de la nuit blanche. Des beautés laissant place à 12 mannequins aux noms prometteurs (Malaika, Riley, Estella...). Le temps de l'innocence se lit aussi au regard des reines de cœur se disputant la Mairie de Paris: une Anne Hidalgo et une Nathalie Kosciusko-Morizet s'affrontant sans détour dans ce numéro résolument tourné vers le futur.

Vogue Paris n°944, en kiosque le 22 janvier

First, we spotted them on the runway, then we called in some of the biggest photographers in the business to immortalize them for the glossy pages of Vogue Paris. Meet the next generation of modeling stars in the February issue, out January 22.

"Fresh-faced and schoolgirl-style, smooth and sophisticated, classic beauties and edgy new faces, 22 models feature in this issue. Like Emily, Edita, Amanda, and Andreea, you might know some of them if you saw them on the street. Others — think Freja, Saskia, Edie, and Georgia — are already established stars. In their wake, a clutch of the new faces that we're backing," writes Vogue Paris editor-in-chief Emmanuelle Alt in her February editorial. With David Sims, Inez & Vinoodh, Terry Richardson, Mario Sorrenti, and Mikael Jensson all behind the lens, some of the biggest snappers in the business and regular Vogue photographers were called upon to immortalize the girls on glossy paper, in a series of double portraits that reveal by turns the girls' innocent charm and sultry sensuality to super sexy effect. Edie Campbell leads the charge, followed by the irresistible Andreea Diaconu, Sam Rollinson, Amanda Murphy, and Vanessa Axente. A mesmerizing Emily DiDonato makes way for to a candid Freja and an electric Saskia, all beautiful girls who herald a raft of 12 promising young models including Malaika, Riley, and Estella. Remember their names. Two more for you, are Anne Hidalgo and Nathalie Kosciuscko-Morizet, Paris' queens of hearts currently fighting it out for the honor of being the first female mayor of the city. The two politicians go head-to-head in an issue that resolutely faces the future.

Vogue Paris n°944, out January 22

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Vogue Paris February 2014 issue cover © 2014 Condé Nast. All Rights Reserved.


Vogue Paris: Bardot Comme Jamais

The December 2013/January 2014 issue of Vogue Paris holds a special treat for lovers of Brigitte Bardot — exclusive photographs from inside her home in Saint-Tropez, La Madrague, as captured by filmmaker David Teboul for his film Bardot, la méprise. Our generous and polylingual contributing editor Kamila Brudzynska has translated from French to English, "Bardot comme jamais," the interview that Teboul granted to Vogue Paris. Merci belle Kamila ! J'adore Bardot toujours !

Bardot comme jamais
By Kamila Brudzynska

"So that's where she has always hidden? Brigitte Bardot is the idol and the inspiration of her generation." — VICTORIA BECKHAM

It has been forty years since Brigitte Bardot quit the cinema. In a magnificent film, the filmmaker David Teboul relies on very rare materials — exclusive access to La Madrague — and looks at the life of BB through an unexpected prism: her melancholy. Or how she remains one of the most beautiful fictional characters off screen.

How to touch on the Bardot topic today, forty years after her departure from cinema and after so many films and books have appeared about her?

DAVID TEBOUL: I did not want actors to take part because I wanted just the words of Bardot. I used her memoirs because I think she has said very interesting things, which she would not today. There is something in the order of present in Bardot’s past, there is something fictional and she makes it exciting, and I wanted to treat her as a fictional character. I did not want a factual portrait, I wanted the transfigured image of her. At first, I asked her to comment on a montage of photos of herself, but I quickly realized that I would have to do this film without Bardot and I knew that this refusal could only give something to the film. Finally, a ghost, it can be extraordinary.

How was your meeting with Bardot?

First, I talked to her husband and he helped me a lot. I told him I wanted to make a labor of love and restoration and it was the key. I did not have a meeting with her in La Madrague, but in her other house, in Garrigue, still in Saint-Tropez, where she was spending the afternoon with her animals. It’s a very simple house, protected better than the one in La Madrague, and she handles her foundation there. The meeting wasn’t the perfect one. She is an elderly woman, very angry and not serene, always with her characteristic passion, but with a bit of violence. I was troubled, because usually actresses are trying to be nice — not her. Bardot is a total renunciation. And at the same time, this is what fascinated me the most, that she lives in her own legend: her house is full of photos of her, books about her, etc. It reminded me of Gloria Swanson in Sunset Boulevard by Billy Wilder. With Bardot one is constantly in the present of her past. She told me: "If I am in your movie, it will serve you. If you have talent, you will be better off without me. It’s a present which I can give you, listen to me, it’s a present!” And then: "If you are not able to manage on your own, you won’t succeed. You must manage alone in your life.” From the beginning, she was taken by my beard: "Your beard is not possible. You have to shave it! Me, I could not!" But what I did gain was permission to film at La Madrague and her other house, and access to her family movies. And she gave me total freedom.

What did you discover by watching her family movies?

I discovered a little girl who wasn’t pretty. A bourgeois family. And the rapport with her mother, which was very interesting: she had a mimetic system with her mother, who was very beautiful and she comes into competition with her. She was free later thanks to dance. Early, Bardot is very physical. Moreover, she starts everything very early: she meets Vadim when she is 15 years old, she marries him at 18, she is a star at 20; in short, when she leaves the cinema in 1973 at 38 years old, she has already lived so much. What moves me about her is a melancholy which I see so early. Bardot is a euphoric melancholic, and like all euphorics, she alternates between the full and the void. This is the tension that I find beautiful, between a form of immediacy and a deep disenchantment that will, with age, catch up. She ended up being re-enclosed in childhood in her imagination, surrounded by her animals, that is to say, having exhausted all contradiction.

Do you understand why she radically abandoned the cinema?

She doesn’t believe in the truth of fiction, it’s a problem for her. She doesn’t believe in the characters that she interprets in the cinema, she believes only in a form of truth of life which makes it a bit tough. The great moments of Bardot are when the cinema and her life merge. The great directors were always inspired by the life of BB: in a very psychological manner with Clouzot, and much more transfigured with Godard, who shed his tricks.

You make Le Mépris (Contempt) her high point, as the only film which finally makes her a real actress…

Often, other directors relied on all of her devices, and Godard transformed her; he is the only one who really filmed her face, not just her body, and filmed in gravity, in a stripped game. But what is more important, he captured her disillusionment, her disenchantment — Bardot is a profoundly disenchanted person. I think that after this film, when she has reached something, she doesn’t have control, it’s over for her: she resigned from becoming a huge actress, from playing huge parts because basically, she resigned from work… She never wanted to be an actress. And what is beautiful, she will come to contradict her destiny, which was to be an actress, to reinvent a life.

Et Dieu créa la femme (And God Created Woman) is still a very important film...

This is an incredible gesture, that inspired the New Wave, without it taking that train. This film has been an accident, because with Bardot, everything is an accident: she mixes passion with passion, she is bored. She is a woman who is very bored. A great lover who is terrified of love, and who still thinks there is something that will be even more sublime. She always had the finest men, lesser known actors than her, Jean-Louis Trintignant to Sami Frey and Jacques Charrier, she remained the star. When she met the millionaire — Gunther Sachs, she said she had finally found a man on her level and she was still a huge star. But it’s a pure fiction. She doesn’t believe in the materiality of fiction and this makes her a romantic character outside the cinema. In my opinion, Gainsbourg was her last train because they both are the same, euphoric melancholics. She wasn’t an object for him but she became the subject. And there was something soft and feminine in her love for Gainsbourg. 

Why did you want to integrate the film?

I wanted to establish a dialogue between our two melancholies which are opposed by the difference in our statuses. This woman awakens in me feelings of loss… I find her very dark, but while being a party girl. And for Bardot, the truth is in life, while for me it is much more in the artifice of fiction.

Extract from David Teboul's film Bardot, la méprise, including interior footage of the private home of Brigitte Bardot.

Video of Brigitte Bardot singing "La Madrague" at La Madrague in 1968.

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Exclusive photographs of La Madrague, the home of Brigitte Bardot in Southern France © 2013 Condé Nast. All Rights Reserved.