I Want To Be An Alt

Kellina de Boer
EDITOR-IN-CHIEF

Paul Kolyer
MANAGING EDITOR

Heather Dunhill
FASHION EDITOR

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Kamila Brudzynska
Bernie Rothschild

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Entries in Emmanuelle Alt (330)

vendredi
juin212013

Vogue Paris Translation: Le Point De Vue De Vogue June/July 2013

L'été pointe son nez et, avec lui, les bonnes résolutions sont au rendez-vous. Objectif de ce numéro de Vogue : retrouver la forme, harmoniser ses formes et être phase avec son corps. Sur le papier, un véritable sacerdoce. En réalité, et en pratique grâce à Vogue, un programme à suivre illico. Qui plus est en prenant du plaisir.

Grâce aux enquêtes de la rédaction beauté-santé du magazine, vous allez découvrir les nouvelles techniques et tendances, ainsi que les gestes dernier cri pour s'offrir une silhouette de rêve. Et le mental qui va avec.

Cardio-mania en six sessions (notamment grâce à la technique de danse survoltée de la coach de Madonna et Gwyneth Paltrow), magie de l'aqua-thérapie, ondes électromagnétiques pour booster ses cellules, musculation calibrée, boom du régime primitif, sans oublier les conseils personnels et avisés de deux fidèles cover-girls... Tous les ingrédients pour décrocher des courbes de sirène sont ici. Rien de tel pour bien commencer l'été.

Summer is right around the corner, and with it, the good resolutions are on the agenda for you. The goal of this issue of Vogue: get fit, harmonize the form, and be in tune with the body. On paper, a true vocation. In reality, in practice thanks to Vogue, a program to follow pronto. Furthermore, whilst actually taking pleasure.

Through the investigations of the health and beauty editor of the magazine, you will discover new techniques and trends, as well as the last shout gestures to afford the figure of your dreams. And the mind that goes with it.

Cardio-mania in six sessions (thanks to the highly charged technique of the dance coach of Madonna and Gwyneth Paltrow), the magic of aqua-therapy, electromagnetic waves to boost the cells, body calibrated by the boom in the primitive regime, as well as personal tips and expert advice from two true cover girls... All the ingredients needed to get curves like a mermaid here. Nothing like it to start the summer.

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Vogue Paris editorial image © 2013 Condé Nast. All Rights Reserved.

mercredi
juin052013

Accomplice In Vogue: Gilles Bensimon

Gilles Bensimon lent his talents to Vogue Paris for the May 2013 issue, photographing Edita Vilkeviciute for "Miss Vogue: Calme Blanc" and also taking the time to sit for a brief interview during the shoot. Thanks to contributing editor, Kamila Brudzynska, for translating the text of this interview from French to English for everyone to enjoy — merci beaucoup, KB !

Le Complice De Vogue: Gilles Bensimon
Translation from French to English by Kamila Brudzynska

Monument de la photographie de mode, globe-trotter à l'objectif sensuel et voyageur, Gilles Bensimon s'invite chez Vogue pour une séance exceptionnelle placée sous le signe de l'été et du bleu océan. L'occasion idéale de le retrouver en six questions.

Quelle est votre définition de la mode ?

La mode ? C'est ce qu'on veut bien montrer de nous-mêmes. C'est l'envie d'être quelqu'un — et la possibilité de pouvoir la réaliser. La mode, ce n'est pas compliqué : c'est une forme de liberté.

Vous travaillez depuis plusieurs décennies dans cet univers. Auriez-vous pu faire un autre métier ?

J'aurais pu être chirurgien, parce que c'est une autre approche du corps, de l'humanité. Ou alors architecte, pour marier la forme et la fonctionnalité. Ce sont deux professions dans lesquelles on peut avoir le sentiment d'être Dieu.

Qu'est-ce qu'une photo de mode réussie ?

Pour moi, c'est une série réalisée par Bob Richardson pour Vogue Paris avec Donna Mitchell à fin des années 60. À l'époque, tout était droit, rigoureux, et il a introduit une sensualité hors du temps. C'est ça, une image réussie, moins une esthétique qu'une forme d'intemporalité.

Quelle est votre B.O. de la saison ?

Le Chant pour les enfants morts, de Mahler, dans la version sublimement interprétée par la contralto anglaise Kathleen Ferrier. Et n'importe quoi de Jimi Hendrix.

Avez-vous une devise ?

J'en ai eu une : ‹‹Dans l'adversité, faisons face.›› Je ne sais pas si c'est très utile, mais j'essaie de la garder.

Et un endroit préféré ?

Vous savez, on croit souvent que l'on va trouver le bonheur quelque part, mais une fois arrivé on est un peu dépité. Alors disons que mon endroit préféré, que je sois à Paris, à New York, à Rio ou à Venise, c'est toujours le suivant, celui où je vais bientôt aller.

Accomplice In Vogue: Gilles Bensimon
Translation from French to English by Kamila Brudzynska

Monument of fashion photography, globe-trotter with sensual purpose and traveler, Gilles Bensimon was invited by Vogue for a special sitting arranged under the sign of summer and the blue ocean. The perfect opportunity to ask him six questions.

What is your definition of fashion?

Fashion? This is how one wants to show oneself. It is the desire to be somebody — and the possibility of achieving it. Fashion, it is not complicated: it is a kind of freedom.

You worked for several decades in this universe. Could you do another job?

I could have been a surgeon, because it's another approach to the body, to humanity. Or maybe an architect, to marry form and function. These are two professions in which one can feel like God.

What is a successful fashion photo?

For me, it is a series produced by Bob Richardson for Vogue Paris with Donna Mitchell in the late 60s. At the time, everything was right, rigorous, and he introduced a timeless sensuality. That's a successful picture, less than an aesthetic that is a form of timelessness.

What is your B.O. the season?

The Song for the dead children, Mahler, in the version sublimely interpreted by the English contralto Kathleen Ferrier. And anything by Jimi Hendrix.

Do you have a motto?

I've got one: "In adversity, face it." I do not know if this is useful, but I try to keep it.

And a favorite place?

You know, it is often believed that one will find happiness somewhere, but upon arriving one is a little annoyed. So let's say my favorite place, that I may be in Paris, New York, Rio, or Venice, it's always the next one to which I'm going soon.

More from Vogue Paris May 2013

Vogue Paris: Un Ange A Ma Table
By Yuka Ryou

Vogue Paris: Couture
By Heather Dunhill

Vogue Paris: Blonde
By Kamila Brudzynska

Review: Vogue Paris May 2013 Issue
By Heather Dunhill

Vogue Paris Translation: Le Point De Vue De Vogue May 2013
By Kellina de Boer

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Vogue Paris editorial images © 2013 Condé Nast. All Rights Reserved.

mardi
juin042013

Vogue Paris April 2006: Noces Blanches

Vogue Paris April 2006: Noces Blanches
By Bernie Rothschild

The highlight of the April 2006 issue of Vogue Paris was the editorial "Noces Blanches" (or in English, "White Wedding"), styled by Emmanuelle Alt featuring her favorite model Daria Werbowy in her bridal best as photographed by her frequent collaborators, Inez and Vinoodh. The theme of that issue is all about the French wedding. Ms. Alt manages to show her sensual side without showing too much and captures the fine line between the virginity and the sexuality of the bride which makes it so interesting. It also showed the trademark très chic of the French women with the mix of bare breasts, cigarettes, and some kinkiness on the side. It also has some hint of her namesake French soft porn movie Emmanuelle that made the editorial oozing and exciting. Though the editorial was erotic, it still showed the powerful sexual femme fatale of the bride.

In the first photo, Daria is wearing a skirt from the first collection by Riccardo Tisci for Givenchy for Spring 2006. The religious inspiration of the photo somehow showed the big influence of Riccardo for Givenchy Religion. Daria looks like she's practicing privilège du blanc wherein women are permitted to wear white in the Vatican in the presence of the Pope, a privilege enjoyed only by the Catholic Queen or Queen Consort of Spain and of Belgium and the Grand Duchess of Luxembourg. The green and the white is a great color combination. It simply focuses on the Givenchy gown which makes this photo breathless.

This photo that portrays the ruffled blouse by Moschino is one of my favorite photos of all time. It manages just to focus on the blouse and the femininity despite Ms. Werbowy's alluring presence. Even with the fur shawl, it still seems to be so wearable day or night. Ooo la la...

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Vogue Paris editorial images © 2006 Condé Nast. All Rights Reserved.

jeudi
mai302013

IWTB Interview: Linda Morand

IWTB Interview: Linda Morand
By Heather Dunhill

A mod sartorial shift was in the air during the Sixties, a convergence of high fashion with the Space Age Super Chick, and as one of the supermodels of the decade, Linda Morand had the instantly alluring right stuff. She was discovered by the incomparable Eileen Ford, inspired the illustrious Pierre Cardin as his muse, and was photographed by the most celebrated names in the fashion world like Helmut Newton and Richard Dormer.

The unflappable Morand also walked the coveted Parisian runways in the finest of prêt-a-porter and haute couture, much of which was made especially to fit her, by fashion icons such as Jean Patou, Karl Lagerfeld, Emanuel Ungaro, Paco Rabanne, Louis Féraud, and Valentino.

During her mod M.O.D. (Model Off Duty) hours, the girl with the sleek and chic Vidal Sassoon haircut hobnobbed with those who retained exclusive European titles as well as those who were to inherit their own countries. One evening in particular, she even found herself on a surprise double date at Maxim’s with Prince Rainier and Princess Grace. And, for a lifetime she’s been likened to the former First Lady, Jacqueline Kennedy, a comparison that Morand intentionally shied away from as a model wanting her own distinct look.

This modern Long Island ingénue became one of the most photographed faces of the Sixties, for which she’s earned a rightful place in fashion’s history. Today Linda Morand is a fashion philanthropist who chronicles the industry’s history while keeping an eye on mentoring the generations to come. If you’d love to know more, stay tuned; her memoir is in the works. Below we gain insight into her intriguingly stylish life that most fashionable femmes can only invent in a schoolgirl-like parallel universe…

Let’s begin with your first modeling job in Lilly Pulitzer, how did that come about?

It was the summer of 1964. Having graduated high school on Long Island, I decided to spend the summer in Key West, Florida, before attending Fashion Institute of Technology in New York City in the fall. One day, Jim Russell, the owner of Key West Hand Print Fabrics, approached me with the usual line, “Did anyone ever tell you that you look like Jackie Kennedy?” Did anyone ever tell me? I felt like saying, I wish they would stop already, but I said yes, sometimes. He offered me a part in a fashion show. They had a small building on Duval Street in the heart of Key West, where they designed the exclusive fabrics for Lilly Pulitzer, just emerging on the Palm Beach scene. She favored colorful detailed silk-screened prints on polished cotton. I was chosen to model the dresses in a sort of boutique modeling setting. They also took a picture of me for an ad that appeared in The New Yorker, my first professional modeling job. I returned to New York in the fall encouraged to try the big time.

When were you discovered by Eileen Ford?

It is funny to say that she discovered me, but in a way she did. I had a hard time being accepted by the Ford Agency at first because at the time she was only interested in Scandinavian blondes. But the demand for someone with the Jackie Look had become great so she scooped me up, had me groomed into the ultra-mod, Space Age Super Chick image, and sent me off to Paris. It was written about in a syndicated newspaper article. All doors were open to me. Eileen was not happy when I did not return to New York for five years. Paris in the Sixties, with London, Rome, and Ibiza a hop and a skip away, was not to be missed. I made a new life for myself in Europe and do not regret my decision to become an ex-patriot for a while.

Incredibly cool (and enviable!) that your signature hairstyle — a closely cropped asymmetric cut — was crafted by the master, Vidal Sassoon. What was that experience like?

I was always careful to wear my hair very differently from the former First Lady while I was a model. At first I had it shoulder length, while Jackie wore hers in a chin length bouffant bob. Eileen Ford sent me to the Vidal Sassoon salon, newly opened in New York City, the very hub of the mod look. They designed the little ergonomic bob that hugged the shape of my head, very short in the back with full bangs in the front. With one side covering my ear and the other side trimmed to show the ear, it looked very odd at the time. I did not like it at first, but it seemed the magazines did and I began to work a lot. I posed for some iconic images with Betsey Johnson dresses which were so original at the time and still survive today in museums and galleries. I also modeled for Mary Quant. The haircut was perfect with those clothes.

I can’t let the opportunity pass to ask about your evening with Prince Rainier and Princess Grace. Whatever do you discuss with His and Her Serene Highness over a late supper at the legendary Maxim’s?

So many of the models were courted by photographers and rock stars but I was more attracted to the Continental type. Shortly after I arrived in Paris, to walk the runways and appear in magazines, I was invited to sophisticated parties that I could only dream about back home. There were still strong influences from classic Europe, with emphasis on history, art, and tradition and manners. I was part of the mod movement that would change all that. With Courrèges and Mary Quant introducing miniskirts, the up-and-coming models traded in their teased up bouffant hairstyles for sleek bobs. With the emergence of millions of young people coming of age, the Baby Boomers, the dynamics of society were changing. In Paris, London, and Rome the aristocrats, whom Diana Vreeland dubbed the Young Bloods, were fascinated by the middle-class youth, the mods, who were emerging as the top photographers, actors, and models with a new way of looking at the world. It was the dawn of the Space Age; we were going to the moon. Anything could happen.

Top models were treated as young ladies and most behaved so. I was introduced to a charming gentleman about town named Albrecht, a prince of the tiny principality of Liechtenstein. He was young, handsome, and the brother of the reigning prince. He invited me to dinner with friends. They turned out to be Prince Rainier and Princess Grace, rulers of another tiny principality of Monaco. I was only nineteen years old and was awed by the magnificent restaurant, Maxim’s, and the stellar company. Princess Grace was radiantly beautiful. The royal couple was dressed in formal attire, having attended a state function earlier. Grace was wearing a white pearl studded Dior gown, diamonds, and a tiara, and of course the beautiful engagement ring. We dined in a private room. It was quite informal with no need to use titles or curtsy or anything, thank goodness.

They were so gracious as to make it all about me and ask me questions about myself, my ambitions, and my successes, putting me at ease. I had always been taught not to talk about myself so much, but to ask polite questions. So I asked Princess Grace and Prince Rainier how they met. They told me she had been in Monaco, ten years before, while filming To Catch a Thief with Cary Grant. There was to be a publicity photo shoot at the palace and Grace was to be presented to the Prince. But when they arrived the Prince had been delayed somewhere. So the photographer began taking a few shots of Grace around the palace. They were in the throne room when he suggested that Grace go sit on the throne, just as a joke. At that moment the Prince walked in and that was his first impression. “I saw this lovely vision sitting on my throne and took it as a sign,” he said. “I made up my mind, then and there, to marry her if she would have me.” They told me a bit more about their romance and marriage. Albrecht had been in the fairy-tale wedding party. That evening is one I will never forget.

As a Fashion Editor who reviews Vogue Paris for IWantToBeAnAlt.com, this question is a must…The Helmut Newton shoot for VP’s September issue, 1973 – how amazing was that? I heard it was such a great success that Richard Avedon sent a telegram of congratulation to Newton with a note that said Jackie Kennedy was ready to sue!

I had been running from the Jackie comparison, which I felt limited my scope. I had short hair and later, when I decided I would like to have longer hair, I dyed it auburn. When I went to see Helmut Newton, who was then the one of biggest photographers in the world, he immediately remarked on the likeness. He asked if I would do a shoot dressed and coiffed like Jackie O. I said it depends on who the photographer is and for what magazine. He said “How about me for Vogue Paris, shooting in Dior, Chanel, and Givenchy. And we will use your name in the story." It was an offer I could not refuse.

My eyebrows, which I had plucked into a thin line, were thickened and darkened. That was all they had to do really. Jean-Marc Maniatis, a top stylist, brought a long brunette wig and my makeup was done to make me look a little older. In most of the shots I am wearing sunglasses but my favorite is one in which I am standing with a US Marine outside the American embassy, where I am not wearing glasses.

Helmut and I planned a paparazzi style shoot in the streets of Paris. He went across the street with a telephoto lens and I got one chance to stride past soldiers and Parisian policemen at the Palais Bourbon, while he shot away, unobserved by them with a motorized camera. Those officials were in the magazine with me, unaware, as background figures. The pictures were so strikingly realistic that Jacqueline thought at first it was herself. Then she was ready to sue the magazine because she hated to be imitated, which always put a big burden on me who could hardly help it. She once sued Oscar de la Renta for using a model named Margaret Donohue, inferring that she was Jackie, in a double-page ad in Vogue. But seeing my name in print deterred her. Avedon sent a telegram congratulating Newton on the spread. One life-size picture from this series is in the current Newton Exhibit on tour around the world.

This did lead to a lot more work for me in Europe, but I altered my style to a glam Thirties look and specialized in cool haughty stares, something Jackie would never do. If I dared to smile though, I was a dead ringer.

Speaking of Jackie, did you ever have the opportunity to meet her? Did the “twin” subject come up?

Early in my career I met Jacqueline Kennedy. It was chronicled by syndicated columnist, Marian Christy. I was having lunch in P.J. Clarke's, a famous New York restaurant. Who was sitting nearby but the famous lady herself, with Pierre Salinger who had been President Kennedy’s press secretary. It was like looking in the mirror. My companion knew them and introduced us. Mr. Salinger said, “Boy, you two look enough alike to be sisters!”

My friend told them that I was on the cover of Mademoiselle that month. “Oh,” Jackie said with a smile, “You must be the model everyone is saying I look like.” So gracious was she to turn it around like that. It endeared her to me even more, I had always been a big fan.

However I left for Europe shortly after to escape the constant comparison. Jackie was not so well known there as she was in New York until the Seventies when she was married to Onassis. I made a life for myself over there. Peter Beard, the famous photographer and former fiancé of Jacqueline’s sister, Lee Radziwill, approached me in the same restaurant years later. He shot a series of portraits with me because he could not believe how much I resembled Jacqueline, whom he knew so well. He and his friends said I had the same mannerisms, the same gestures. It was not as if I had to act the part. One of the pictures appeared in Esquire magazine.

It’s certain you’ve received numerous compliments in your lifetime – any one stand out as touching and memorable?

That is hard to answer. I was recently interviewed for Hamptons.com by Douglas Harrington who said: “Although Morand, like many of us from the flower power generation, now qualifies for senior discounts at movie theaters, she is a still a stunner with intoxicating looks and a figure that the average 20-something would envy. In a word, she remains to this day an absolute beauty.” I was flattered that he would say that!

Now that I am semi-retired I have more time to lend to good causes. I am very involved in Models Against Addictions and Super Role Models, an international group of successful models, exceptional individuals, and established figures in the fashion industry who want to help create a better society, via becoming role models. We acknowledge the power of the fashion world and believe that we can set an example and spread the awareness throughout the global society. I am also very fond of Last Chance Animal Rescue on Long Island who do incredible work finding good homes for dogs on Death Row, literally.

So in the future, if I receive any compliments, I would like them to be for the work I am doing to help in some way, and encouraging others. And if anyone wants to say I am a good mother, I would take that as the best compliment of all.

If you could go back in time, what would you whisper in the ear of that mod model?

I would whisper to buy up property in Europe while the price was so low and the dollar was so high. I did not understand real estate then and missed some opportunities for very good investments. I would have also encouraged her to further her education, perhaps go for a doctorate in the subjects which interested her. This would come in handy later in life, back in the real world. Oh, and not to fall in love at first sight.

I’m completely interested in your work as a fashion archivist. Please share some insight into what you’re working on…

Since the spring of 2006, I have led several educational/dialogue internet groups consisting of models, photographers, art directors, agents, archivists, and beauty artists who have been active since the 1950s until the present day. We have assembled, scanned, identified, and cataloged over 25,000 fashion and beauty images of the famous models of the mid-Twentieth Century, especially the Sixties.

Our archives are consulted by designers, Hollywood costumers, artists, beauty professionals, models, and photographers.

For the fashion faithful: How about a few must-see documentaries from The Supermodels Hall of Fame collection?

We are working on one right now about the supermodels of the Fifties. This is an area that has not been explored as much as the Sixties and the Eighties. There is a great interest in the Fifties generation by young people. We want to get the interviews done while many of the participants are still with us. Through this I met Daniel Patchett, who is the webmaster of jeanpatchett.com (Jean Patchett Tribute). He has extensive and excellent archives of original photos of his famous relative who was one of the most celebrated models of all time.

I’ve chosen a few of my favorite photos of you — would you share a story or tidbit about each shoot and who you’re wearing?

This picture was done by Gunnar Larsen, a Danish photographer who had me under contract for a week along with Jeanette Christjansen, who was Miss Denmark and later married John Casablancas, the founder of Elite Models. We drove around Paris to all the fashion houses during the collections just after the shows. Jeanette and I would be hastily fitted into the latest creations, including the shoes and jewelry. Then we went outside to be photographed in the nearby streets. Then a quick change and on to the next couture house. It was very exciting to be there and to wear those impeccably tailored outfits, to meet the designers and to wear the exquisite clothes. This Yves Saint Laurent two-piece outfit was made of black satin, with long, wide pants and a leather and gold chain belt. The pictures appeared in syndicated newspapers and magazines all over the world.

Here is another Dior dress. This was taken at the Vogue studio in Place du Palais Bourbon by Richard Dormer. It was my first job in Paris. I was thrilled to see Jean Shrimpton, the British supermodel, and Brigitte Bauer, a top model from Germany, who were shooting for Vogue with David Bailey. Catherine Deneuve was in the studio too. Love this dress. My hair was cut by Alexandre de Paris whose clients included Liz Taylor.

This picture was done for Italian Vogue. You can’t see much of the location but it was the beautiful Villa d'Este in Rome. I was often photographed in a beret, which was my favorite headgear and still is. You always look jaunty and chic in a little beret.

Here I am in Lanvin. This was done for Vogue Patterns. They made the dress on me. I worked for them a lot and had the experience of having dresses made to my size. It was a thrilling experience to be in the heart of Christian Dior, Pierre Cardin, Yves Saint Laurent, and others, and to see just how much skill and artistry goes into making a couture outfit.

You’ve crossed paths and enjoyed the company of fashion icons. For fun, tell us three words you’d use to describe:

André Courrèges: Handsome, Dynamic, Daring.

Helmut Newton: Complicated, Brilliant, Droll.

Valentino: Suave, Handsome, Refined.

Pierre Cardin: Brilliant, Excitable, Mean.

Karl Lagerfeld: Proud, Genius, Remote.

Vidal Sassoon: Charming, Innovative, Heroic.

Paco Rabanne: Original, Flamboyant, Insightful.

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Photographs courtesy of Linda Morand.

mercredi
mai222013

Vogue Paris: Blonde

Vogue Paris: Blonde
By Kamila Brudzynska

A kiss on the hand may be quite continental
But diamonds are a girl's best friend
A kiss may be grand but it won't pay the rental on your humble flat
Or help you at the automat

In the short text next to the photos we can read the Marilyn Monroe quote: "I'm not interested in money. I just want to be wonderful." So, yes, the photo shoot "Blonde" will be inspired by her. I was afraid because I hate when celebrities or even huge stars are dressed up like Marilyn in shoots. She was the only one and she died in 1962. And it should be the end of the topic. BUT I have to admit that Magdalena Frackowiak, Giampaolo Sgura, Géraldine Saglio and the Vogue Paris team did a great job with the editorial "Blonde" for the May issue.

Tiffany's...
Cartier...
Black Star
Frost Gorham
Talk to me Harry Winston, tell me all about it!

These pictures are not obvious and boring. It's only the inspiration, not the copy. Finally! Magda doesn't have the mole but we all know who she is playing. The hair is not the same, only similar. And I think Magda's poses are awesome because they don't look so fake as usual. She played this character better than many actresses that have tried, chapeau bas!

Time rolls on and youth is gone
And you can't straighten up when you bend
But stiff back or stiff knees
You stand straight at Tiffany's

The idea of the photo shoot also is not the empty, sad copy of Marilyn's one. In Vogue Paris we have more poses, we can see a new interpretation of MM original photos. Beautiful, classy jewelry is the first association to the song from the movie Gentlemen Prefer Blondes. This mix of connecting old and new ideas was amazing for me!

Diamonds... Diamonds...
I don't mean rhinestones
But diamonds are a girl's best...
Best friend!

More from Vogue Paris May 2013

Vogue Paris: Un Ange A Ma Table
By Yuka Ryou

Vogue Paris: Couture
By Heather Dunhill

Review: Vogue Paris May 2013 Issue
By Heather Dunhill

Vogue Paris Translation: Le Point De Vue De Vogue May 2013
By Kellina de Boer

connect with iwtbaa  bloglovin  |  facebook  |  pinterest  |  tumblr  |  twitter

Vogue Paris editorial images © 2013 Condé Nast. All Rights Reserved.