Daily excerpts of new fashion, culture, lifestyle, activism and women's news posts 2007-2019.
Cindy Crawford Wears Modern Minimalism by Regan Cameron for Harper's Germany
Supermodel Cindy Crawford covers the November 2019 issue of Harper’s Bazaar Germany. Striking poses that many feel are dated, Cindy projects modern-woman, minimalism looks styled by Kerstin Schneider in images by Regan Cameron.
Did Cindy Crawford's George Magazine Cover Portend America's Struggle With A Female President?
Supermodel Cindy Crawford graced the first cover of ‘George’, a crucial decision in making it clear that the magazine was’t the “John Kennedy magazine” but a publication that stood on its own. Kennedy invited fashion photographer Herb Ritts and his creative director Matt Berman over to his TriBeCa loft, where they joined Kennedy’s wife Carolyn Bessette.
(Kate) Story writes that Bassette loved the Crawford idea, calling it “perfect”. Bessette listed the supermodel’s attributes: “She’s all-American, a self-made woman, sexy, strong, and smart.”
For a moment, there was more to the story — a move that would have been sensational for ‘George’ and also for America’s always on its knees women’s movement, as exemplified by Hillary Clinton’s loss to Donald Trump two decades later.
Story writes: “It wasn’t just the wig. After studying old paintings on the set of the photo shoot, the team decided to stuff Crawford’s skintight breeches with a sock.
Cindy Crawford Goes All-In Western, Lensed By Gilles Bensimon For ELLE Italia February 2019
Supermodel Cindy Crawford covers the February 2019 issue of ELLE Italy. Fashion editor Laura Seganti chooses denim, fringe and other western-inspired designs from Versace, Polo Ralph Lauren, Chanel and more for images by Gilles Bensimon.
Read More
Supermodel Cindy Crawford is styled by Tracy Taylor in utilitarian neutrals for ‘Super Natural’. Photographer Zoey Grossman is behind the lens for Porter Edit’s March 1, 2019 issue. Christine Lennon conducts the interview.
Most fashion types know Crawford’s history and family life today. The supermodel does add a new viewpoint about nudity, talking about working with Victoria’s Secret models’ favorite photographer Russell James and his new book ‘Angels.’
Supermodel Cindy Crawford covers the October 2018 issue of Vogue Spain. Patrick Mackie chooses film star, aphrodite-rising dramatic looks for an American original lensed by Sebastian Faena. / Hair by Teddy Charles; makeup by Ozzy Salvatierra
Supermodel Cindy Crawford is styled by Sophie Goodwin in veils, diamonds and glamour for 'Super Power', lensed by Yu Tsai for Tatler UK September 2018./ Hair by Dimitris Giannetos; makeup by Melanie Ingelssis
Supermodel Cindy Crawford layers up in fall outerwear from Balenciaga, Calvin Klein, Ellery, Off-White and more, styled by Sarah Gore Reeves. Photographer Nino Munoz is in the studio and parked by the vintage Mercedes for Harper's Bazaar Taiwan June 2018.
Supermodel, beauty mogul, and mom of models Cindy Crawford covers the May 2018 issue of Town & Country Magazine. Lensed by Victor Demarchelier, Cindy wears casual glam looks styled by Nicoletta Santoro in a mix from Valentino, Citizens of Humanity, Calvin Klein, Louis Vuitton and Prada -- with a dose of luxe dazzle from Van Cleef & Arpels.
Cindy Crawford Honors Gianni Versace, A True Lover Of Lady Boss, Smart Sensuality Women
Supermodel Cindy Crawford is styled by Karla Welch in 'Versace, Versace, Versace', lensed by Carter Smith for InStyle Magazine March 2018.
{. . . }
It has long been my contention that the mostly male designers, coupled with women editors, male photographers and male-dominated business interests felt a strong need to metaphorically cut the original supermodels down to size. These women were size 4-6 US Amazonian women who were powerful, sexual and exuded a confidence that the catwalk had never seen. At the time 25% of notoriously overweight American women could achieve a supermodel body with exercise and healthy eating. In recent years, the percentage is 6.
Twenty-five years after the second wave of feminism culminated in a fiery display of supermodel prowess -- accused photographer David Bellemere, who seemed to agree with white nationalist Steve Bannon that feminism will destroy 10,000 years of civilization -- broke new ground last week, arguing 50-years later that feminism threatens to pull Western civilization back to the Dark Ages. I do not exaggerate.
Interviewed in 1990 about the ways in which she and a few other models were calling the shots and changing the game, Linda Evangelista made her infamous, regrettable, sarcastic waking up for 10,000 dollar-bills comment. Still, the spirit of her comment was true. The supers didn't get bossed around much. I doubt that stylists were ever accused of ripping off panties without permission with that 90's goddesses posse.
{. . . }
Gianni Versace celebrated strong, Amazonian women whose obvious sensuality was part of their glorious DNA. He was not afraid of female power and influence. In this era of #MeToo, the question of why the fashion industry supported a takedown of the original supermodels is worth considering again. The main argument is that the pendulum of change swung in the direction of the equally wonderful Kate Moss and heroin chic. Change is good, the industry argues. End of the conversation.
It's not at all clear that the fashion industry is as on fire with #MeToo as Hollywood is. How many fashion industry people agree with David Bellemere that #MeToo is taking our celestial, pinnacle-reaching, male-dominated civilization back to the Dark Ages? Exactly why the fashion industry is so far behind Hollywood in embracing #MeToo issues is a question worth asking. What is the industry's relationship with powerful women, whether they are models or brand managers? ~ Anne
Supermodel and Kaia Gerber's mom Cindy Crawford shows us how to pose in a series of saturated colors, racy-woman throwback images that reference Cindy's iconic 1992 Pepsi lovefest. Charlotte Collet styles the 50+ beauty with an infectious personality for images by Charlotte Wales in Pop Magazine Spring/Summer 2018. / Hair by Ward Stegerhoek; makeup by Jen Myles
Crawford-Gerber family courtesy of Omega
Eye: Rande Gerber, Ex-Model, Hospitality Mogul, Patriarch of America's Model Family
It's easy to forget that there's a fourth member of the Gerber-Crawford family -- the 55-year-old patriarch Rande Gerber. The New York Times has a major profile on the Gerber family, with a special focus on Rande Gerber, also a former model.
It's not an exaggeration to write "Maybe the gods were jealous", in writing about the Gerber-Crawford family: real-deal supermodel Cindy Crawford; her 16-year-old daughter, Kaia Gerber; 18-year-old son, Presley Gerber and dad Rande Gerber.
As the new brand ambassadors for Omega, the Gerber family was center stage in Paris last November.
Mr. Gerber, a former model, took the mic and, with the modesty of a supporting player, thanked Omega for employing his family. “Because now I can retire,” he said, to polite chuckles. “They’re all working.”
Cindy Crawford Shows Who's The Boss In Damon Baker Images For Madame Figaro December 29, 2017
Supermodel Cindy Crawford claims her icon status, styled by Julie Gillet in dazzling, sexy, body con looks to ring in the new year. Photographer Damon Baker flashes Cindy for Madame FigaroDecember 29, 2017./ Hair by Harry Josh; makeup by Hung Vanngo
Kaia Gerber Launches OMEGA Trésor Watch After Peru Visit For Orbis International Flying Eye Hospital
In September 2017, Cindy Crawford's daughter Kaia Gerber and son Presley Gerber joined Cindy as brand ambassadors for OMEGA luxury watches. Cindy Crawford has worked with OMEGA for over a decade. On occasion, husband and dad Rande Gerber drops in for a family photo.
In these new black and whites shot by Peter Lindbergh, Kaia Gerber showcases Trésor, a collection of nine watches aimed specifically at women. The watches come in 36mm and 39mm sizes and are available in the brand's signature 18k rose gold case or stainless steel, with each piece adorned with 39 diamonds on the bezel. The collection is inspired by the original Trésor collection which was first launched in 1949, however these new pieces come with a custom mirrored caseback which the brand says is to give "women a reminder of who they are and the natural charisma they possess."
American Vogue celebrates its 125th Anniversary September 2017 issue with a packed 700+ pages heaping with iconic model faces. Nothing is more American than denim styled on Cindy Crawford, Christy Turlington, Elaine Irwin, Claudia Schiffer, Tatjana Patitz, Joan Smalls, Amber Valetta, Carolyn Murphy, Linda Evangelista, Kendall Jenner, Gigi Hadid, Imaan Hammam, Liu Wen, Fei Fei Sun and Natalia Vodianova in 'Good Jeans'. Annie Leibovitz produces Rembrandt-inspired portraits styled by Tonne Goodman. / Hair by Garren and Thom Prizno; makeup by Diane Kendal
Christy, Linda, Naomi, Cindy & Tatjana by Peter Lindbergh for Vogue Australia As 'Supernova'
Last year celebrated the 25th anniversary of George Michael's 1990 music video 'Freedom!', an anthem for women, LGBTQ people, women and men of color, and hundreds of kindred spirits everywhere who were trying to establish their own identities against the patriarchal, monotheistic, global norms confining us in their medicine-bottle vision of appropriate behaviors and self-identiites.
George Michaels threw a sledge hammer into that power structure metaphorically -- if not actually -- with his 'Freedom' video and lyrics. As The Republican War on Women and many more -- based on its Godly, male-centric vision for America -- rolls into Washington, led by their new God Donald Trump -- we revisit 'Freedom' a day after progressive spirits are crushed by the death of George Michaels at 53. In a year when we've lost some of our best -- Bowie, and Prince come to mind, and now Michaels, our loss isn't only about talent but rather critical messaging and philosophy.
Last year, Harper's Bazaar asked the fabulous 5 -- Naomi Campbell, Christy Turlington, Linda Evangelista, Cindy Crawford and Tatjana Patitz -- who made the 'Freedom' video to reflect back on that day.
"I came to the set on the first day they were shooting. On my god, it was crazy! It was during the fashion collections, so I came straight from Paris, and I'd done 4 or 5 shows the day before and we finished at 2 o'clock in the morning. They didn't have the Eurostar then, so I took the 6 o'clock train to London and then went to the airport. I didn't sleep -- I went from the plane to the shower to the set. I was up all night working to work all night again! But it was great. I love George Michael, and I love all the girls who were in it, and the director, David Fincher, is a great filmmaker."
"All the models and I knew George Michael -- I think I had done a photo shoot with him at some point before. His manager contacted my agent to see if I could do the video. George wasn't in it -- he wasn't even on the set when I was there. David Fincher directed it, which was so exciting even then because he had already done one of Madonna's.
"25 years later, this video -- and not my magazine covers -- is what people mention the most when they approach me on the street. It's pretty incredible."
"It was a whirlwind. I flew in from LA and drove straight to the set, so I was pretty delirious. Each of us filmed for a day on our own, except Linda and I overlapped on the last day because we had a scene together. They were long days. I don't recall any specific direction from David Fincher. He was focused on the lighting I recall. George was there the whole time."
"I remember them sending me a Walkman so I could learn the words before I got to set. The studio was huge and dark and smoky. Someone explained to me that my first shot would be in a bathtub. They oiled me up and put me in an empty tub with a smoke machine to look like steam. I had to sit on an apple crate because you couldn't see me over the edge of the tub. My second shot was sitting on a chair with a towel on my head, and I kept thinking my part wasn't going to be that sexy. I watched the video recently, as I wanted to write about the whole supermodel phenomenon in my new book, 'Becoming', and my kids were like, "Hey, we know that song!" I think it stands the test of time and still looks amazing today. I like how David Fincher saw something different in each of us and tried to bring that out in the video."
Anne of Carversile is an influential fashion, design and culture news resource for creatives, brands and lifestye businesses since 2007.
All content Copyright © AnneofCarversville.com 2007-2024 or their respective owners where indicated.
