Give a frock Friday

stardust edie campbell peter lindbergh grace coddington vogue us, june 2013 09

This image of English model Edie Campbell by Peter Lindbergh is from an editorial called Stardust which was featured in American Vogue’s June 2013 issue. The shoot was styled by Grace Coddington (yes I’m still in Grace-mode) and the frock is very 60s inspired tobacco-brown suede shirtdress from Saint Laurent by Hedi Slimane.

I’m going to be busy busy over the next week because I’m teaching Sun Salutations this Thursday at teacher training! So excited because who doesn’t love sun salutations right? I’m still nervous, but the more we teach the easier it will get – I hope!

Have a wonderful weekend, wherever you are!

love & light xo

 

 

Give a frock Friday

 

valentino_stella mccartney

In keeping with my theme of Frock Friday images styled by Grace Coddington, I love this image for its romance. It captures a moment in time when life was simpler, a mother and child spending time together – it could be from a hundred years ago…  The frock and the image have a very bohemian quality to them, and it is of course, the highly romantic and naturally carefree spirit of the image which I love. It takes me on a journey, which is the job of the stylist isn’t it, to feel transported. Model Caroline Trentini is beautiful in this star and flower print chiffon frock by Valentino and photographed by Vogue regular Patrick Demarchelier for American Vogue’s November 2011 issue.

Short and sweet this week, too much to do really, on top of which I’ve just come back from a super relaxing and much needed session with my marvellous Acupuncturist – so I do not want to undo all that good work by sitting at my desk!

Have a wonderful weekend, wherever you are!

love & light xo

Give a frock Friday

prada_grace coddington

“Into the Woods” a Red Riding Hood themed editorial for American Vogue’s September 2009 issue. Expertly styled by Grace Coddington and stars Natalia Vodianova in many crimson coloured frocks but I chose this gorgeous brocade frock by Prada and photographed by the seriously talented Mert & Marcus for today. Click through the image to see more.

This week I got to teach at yoga for the first time and the lead up to it was… let’s just say I was very, very, focused! It was amazing and I had so much fun so I am writing more about the experience in another post because there’s so much I want to say about it I feel it deserves its own post!

This weekend we have been preparing for the girls going back to school next week. The summer holidays are over, they’ve gone by so quickly.

Have a wonderful weekend, wherever you are!

love & light xo

Give a frock Friday

While away on our glamping trip this week, I finally had the opportunity to engross myself in Grace Coddington: A Memoir (a book my BFF Kirsty gave my for my birthday way back in August) and so my dear friends, the consequences of my reading this marvellous memoir and trip down memory lane is that you will now be inundated with pictures from Grace’s vast catalogue of editorials for Vogue – aren’t you lucky? I love to ready biographies and I am always greatly influenced by the subjects I read about and Grace Coddington has been no exception. I am simply in total infatuation with this woman’s talent and love for clothes and fashion and her delightful self-depracating attitude. She is a woman who comes across as having always known exactly who she is and is incredibly good at self-acceptance and pragmatism. She’s been around for some time and effortlessly fell into modelling and a career at Vogue in a way that just does not happen anymore. And so we come to today’s Frock …

fendi_kate_grace_mario_vogue 2000As it was Kate’s 40th birthday on the 16th (finally!) I wanted to honour that by posting this gorgeous picture taken by Mario Testino (the master of sexy pictures in my mind) for Vogue in 2000 which of course was styled by Grace Coddington. The frock is Fendi and features stunningly detailed crystal appliqué – the perfect frock to celebrate in, yes?

I’m in deep focus this week as I prepare for my first ever teaching session at yoga. I found myself having great difficulty finding the words to poses I have practiced hundreds perhaps thousands of times, it has been incredibly eye-opening and humbling. Speaking, breathing, remembering what to say and to remind students to inhale and exhale is so much harder than it looks!

Have a wonderful weekend, wherever you are.

love & light xo

 

 

 

 

 

 

Give a frock Friday

Linda Evangelista wears a John Galliano for Givenchy Haute Couture, hand-pleated, double-layered mousseline dress with Juliet sleeves.  Styled by Grace Coddington and photographed by Steven Meisel for Vogue, December 1996.

I remember seeing this dress in Vogue magazine back in 1996 because I remember many designers taking inspiration from the film Sense & Sensibility which was doing great things at the same time. 


Emma Thompson won an Oscar for her beautifully written screenplay interpreting Jane Austen’s novel so well that I think we all wanted to go back in time and live like the Dashwood sisters portrayed by Emma and Kate Winslet. I still can’t watch Sense & Sensibility without crying a river over the scene when Edward proposes to Elinor. 

I will be off-line all weekend and for most of next week as we are going away to Rainbow Beach to stay at a friend’s beach house, yay! I was only saying the other day how much I would love to getaway and what a surprise, a trip away to Rainbow Beach was offered to us this morning, how serendipitous? 

I wish you a lovely weekend.

Heidi

Image source via.

Give a frock Friday

Kate Moss photographed by Tim Walker and styled by Grace Coddington for American Vogue, April 2012. Kate is wearing Christian Dior Haute Couture from the Spring 2012 collection. The images from the shoot which took place at The Ritz hotel have been doing the rounds on the internet. I found the image below a while before I saw the gown in all its glory in this beautiful image from Vogue.

This is the gown as it is being lovingly hand-sewn by the talented artisans at the House of Dior.  

I would like to thank you for your patience this week, it has been a very trying time working out the issues with Blogger and why I couldn’t publish anything. It has been stressful and unpleasant, to say the least. But, I am happy to advise that very, very soon, I like, I wish, I heart will be moving to a new home Yippeeee! There is still a few technical details to sort out, and all my work from the last 4 years will transfer across with me to my new self-hosted website, so you will always be able to browse the archives. So until then, 

Have a lovely weekend!

Heidi x

 

Amazing Grace




So on Monday night night I finally got to see The September Issue!  It was great, very very interesting and by the end of it I was wanting to see more.  More of Grace Coddington, the supremely talented misstress of styling and VOGUE’s Creative Director.  Don’t get me wrong, Anna Wintour is the queen of decision making, she never hesitates.  But is it always the right one?  Most of the time it probably is, but when you see the work (and the money) and the HEART that Grace puts into her stories only to have them treated second-rate or to have important parts of her story canned because they don’t fulfil Anna’s vision is both heartbreaking and infuriating.




I wanted to see more, much more of lovely Grace and her sublime creations.  A truly innate talent that somehow she is able to transfer from her mind to reality with the help of gorgeous models and gifted photographers.


Grace began her work in fashion on the other side of the camera as a model in the late 50s.

Grace has worked as a stylist for more than 30 years and if you think back to any editorial of the past that may have stuck in your memory – chances are it was Grace’s work.


So you might be wondering, what exactly does a fashion editor do?


“Of course, choosing the clothes to shoot is part of it, but it’s also much more than that… it’s playing with everyone’s personalities and making sure that everything is jelling.  When I’m on top of a mountain with a photographer who doesn’t want to shoot something because it doesn’t look sexy, and the magazine wants it in the issue – at that point, I’m the one who has to keep everyone motivated.”  – Grace Coddington



Following is some of Grace’s sublime work for VOGUE over the years and an interview with Jay Fielden of VOGUE regarding her “role” in The September Issue.



You were reluctant to be in The September Issue.But you eventually decided to do it. Why?
I really wasn’t given an option, and I guess R.J.[Cutler, the director] noticed I was the only one who argued. I was even a bit spiky with them. And they wanted that dynamic. I still didn’t want to do it. It’s not what I do, but I gave in. These things do come back to haunt you.
What was your reaction the first time you saw the movie?
Shock! Shock that I was in it as much as I was. I thought I would end up on the cutting-room floor. . . . It has happened before.


Does the movie accurately portray life at Vogue?
It portrays a small part, I think. It showed the racks whizzing by. And it showed us all sneaking into the art department when no one is looking to see what pictures made it up on the board and how they’re jumping around. Everyone does that, though maybe I’m a bit more like a dog with a bone.
I think work is actually busier than it appears in the movie, more frantic. At the time we were shooting the September issue, we were doing shoots for Teen Vogue and Fashion Rocks out of the same office space. There were so many racks in the hall at one point I went on strike. They filmed that, but it didn’t make the cut.
I don’t think you’re made aware of quite how many fashion editors are working here, either. Phyllis [Posnick, Executive Fashion Editor], who you see in maybe one scene, has a very major role in the magazine, but she mostly works with Penn, who doesn’t allow cameras in the studio. Her contribution might be just one page in an issue, but it’s huge in making Vogue Vogue. And besides the Neiman’s breakfast and the Fashion Fund, you’re not given a sense of just how many huge extracurricular projects Anna’s always involved in, such as Fashion’s Night Out.

Of the photo shoots you did in the September 2007 issue, which is your favorite?
The one I make such a fuss about in the movie—the twenties story I did withMeisel, who also won’t allow cameras on his set. He was allowed not to allow it.
The New York Times characterized your most important relationship here as one like that between Keith Richards and Mick Jagger. . . .
What I want to know is which one’s me. Anna’s the leader like Mick. I guess I’m Keith because I’m wrinkled. Seriously, though, a lot of people say Anna’s the business one and I’m the creative one. It’s not true. She’s the creative one. So many of the shoots I do start with her ideas. She was the creative director ofVogue before I was, after all. I also believe that everyone needs an editor. What she does is edit and make my work stronger.
What is your favorite moment in the movie?
I like the part when I’m walking past the feathers and spitting them out. And I loved the bit about Andrè’s diamond tennis watch, I also like the cameos at the end—I hope people stay to watch that part, which comes after the credits have rolled by.
But my very favorite scene is when Raquel [Zimmermann, the model] was eating pies at the couture. She kept looking at them and saying she wanted one, while we were lacing her into this tiny corset and reminding her she wouldn’t fit if she ate one. So she didn’t eat them. . . . and she didn’t eat them. Then when the shoot was over she ate, like, a whole pie! It’s a funny scene, and she looks absolutely beautiful.
What do people who have seen the movie say to you?
Well, I wish people would stop saying to me, “You were great in the movie”—as if I were acting! I wasn’t acting!

What’s it like watching yourself on-screen?
I’d much rather see myself in a still photograph than a moving one, because a still is more controlled and they can get rid of the double chins. I really thought I looked younger than that.
What was going through your mind in the infamous silent-elevator scene?
“Oh, God, I hope it’s not too many floors up.”
What if the movie makes you famous beyond the fashion world?
I’m in denial about that. I don’t think it will happen. If it does, I’ll allow my hair to go naturally gray, and then no one will recognize me.
What’s the secret of surviving for 27 years in fashion?
Twenty-seven! Are you kidding? Do I look that young? Try 50!
There is no secret—just by absolutely loving what you do. Maybe it looks easy in the film to get great pictures. But there’s a lot more lead up, which you wouldn’t want to film because it’s boring. There’s all the wheeling and dealing to get the people to do the picture. There’s making sure you get the best clothes first, getting the right photographer and model, hair and makeup. The precise team is all-important. I do not accept second best. That’s my strength and my downfall, at the same time. Because I’m so stubborn I often do end up getting what I want. Even at school. On my reports it used to say, “Grace has a sweet way of getting her will.” I mean, I AM aware that sometimes I can be very annoying.
So if you haven’t seen The September Issue yet, it is well worth it, for it’s not so much about the fashion, but the working relationship between a pair of alpha females that know their stuff and work day and night to achieve the ultimate in fashion publishing, month after month after month.

Ciao for now,


Hx


Sources: Vogue.com, Style.com, 
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