A tipster with an enviable magazine collection pointed us to this spread, which is still viewable on the American photographer's website. (It's collected with his 2005 editorial work for the magazine.)

In addition to often exploring themes of sexual violence and power in his work, Klein has a certain habit of changing models' skin tones with makeup. In September, 2008, American Vogue printed an editorial that featured the white Brazilian model Caroline Trentini painted the color of burnt Cheetos; earlier this year, in some work for Vogue Paris, Klein had Dutch model Lara Stone posed with male models who were made up alternately in a deep tan, presumably to contrast with her very fair skin, or in matte yellow and red. This month, of course, it is Stone whom Klein photographed in blackface.

Racialicious ran a persuasive post earlier this week that argued that these kinds of images, where white women are made to appear black, actually further white privilege:

"[W]hat is on display in French Vogue...is not beautiful black bodies, but what Nirmal Puwar describes as 'the universal empty point' that white female bodies are able to occupy precisely because their bodies are racially unmarked."

Because as long as white remains the "default" race — the ethnicity that isn't — temporarily portraying them as black doesn't prove we live in a post-racial society: it just demonstrates that white people are permitted to play with racial categories in ways that people of color are generally not.

Also, there remains the issue of real black models, and the continued discrimination they face. Jourdan Dunn recently told Teen Vogue about being turned away from a casting at the last minute because the client had simply opted not to use any black models that season; although since we started counting models of color at New York Fashion Week, the level of overall diversity has improved, it is still very much a concern. The issue of Vogue Paris that featured Klein's blackface editorial with Stone, the so-called "Supermodels" issue, had no models of color.

This issue of Italian Vogue also had zero models of color in its editorial pages. None.

The fashion world's myopia when it comes to diversity — which is the underlying problem here — is also clouding some people's reactions to the Vogue Paris spread.

"I have a hard time reading 'race' into this," says a puzzled Teri Agins, the Wall Street Journal's veteran fashion reporter.

Elizabeth Gates, in an insightful essay, compares the Paris Vogue spread to "a modern minstrel show," but says, as a black woman working in fashion, she is utterly unsurprised by Steven Klein's photography and Carine Roitfeld's editorial choices: "I would be fooling myself if I thought the draftsmen behind fashion's most beautiful things were ever going to be sensitive to race, black women, or how they represent our cultural history. In fact, I'm not exactly sure why this was a shock to anyone." Elle's Anne Slowey admits, "It's an industry filled with people who have no idea about history and politics."

Maybe it's time to start learning.

Steven Klein [Official Website]
Blackface And The Violence Of Revulsion [Racialicious]
Back To Blackface [Daily Beast]
Duh! Of Course Fashion's Racist [Daily Beast]

Earlier: Oh No They Didn't: French Vogue Does Blackface
Self-Reflection: A Bizarre, Macabre Short Story Brought to You By Vogue
February French Vogue: Steven Klein Model Zombies & NSFW Nan Goldin
Fashion Week Runways Were Almost A Total Whitewash
How Did New York Fashion Week's 116 Shows Treat Models Of Color?

• Barneys' Simon Doonan: "Criticizing Ed Hardy for being cheesy is like saying that Elvis was 'flashy' or that Liberace was 'tacky.' It's a giant case of DUH! Of course it's cheesy! That's the whole point, you doo-doo heads." [NY Observer]

• "Ed Hardy is fromage-y and hedonistic and naughty and badass and-the ultimate crime in the world of haute fashion — Ed Hardy is FUN!" Doonan, in his entertaining op-ed dissection of the concept of "good taste," paused to riff on Christian Audigier's design efforts. "The unrestrained, bedazzled, heavy-metal-goes-Bollywood aesthetic rivals the gaudy heyday of Gianni Versace. Instead of knocking it, the style arbiters of the world should be grateful. Monsieur Audigier has done a real mitzvah to the insecure fashion cognoscenti: He has given them something about which to feel superior. If Ed Hardy did not exist, they would have to invent it in order to get their snooty fix." Also, "popped his sabots" is the best euphemism for dying, ever. [NYObs]
• Cynthia Rowley is starting a kids' line. [Stylelist]
• Comme des Garçons' Osaka store is inaugurating a floor that will serve as an art gallery with a show by Yayoi Kusama. [WWD]
• Kate Moss's fourth women's fragrance, Vintage, launches this September, and the ads are coming out now. [NowSmellThis]
• Apparently, when a woman cuts her hair after a breakup, that's called a "breakover." Who knew? [Glamour]
• All those who remember fondly the extraordinary 26-page Daphne Guinness spread from Vogue Italia's September, 2008, issue, rejoice: the couture-loving heiress and photographer Steven Klein have teamed up again, and have another 20+ page editorial coming in Vogue Italia's September issue. Guinness says this one will be "moodier" and is inspired by a cult French film from the 60s, though she won't name which one. [Style.com]
• "Everybody thought they had to spend money. They thought it was a new way of life. Now they're rubbing the dust out of their eyes. ‘I don't need that handbag. What was I doing?' " said a brave, but anonymous, Condé Nast editor to Cathy Horyn. [NYTimes]
• Christina Binkley of the Wall Street Journal reports on a well-known industry secret: that the same firms who supply raw materials, and in some cases manufacture, for high-end brands also sell the same items to more down-market brands. Binkley compares a $1,750 cardigan sweater made in Italy by the Quarano, Piedmont, wool company Loro Piano, and a $145 J. Crew cardigan "spun from supersoft, luxurious Italian cashmere from a world-famous mill in the foothills of Piedmont." Lesson: some less-expensive brands still take immense care in their sourcing. [WSJ]
• Which may just be why CFDA executive director Steven Kolb became a J. Crew fan on Facebook. [FWD]
• A gaggle of minor celebrities — some dude who was in a Britney Spears video, the guy from North Dakota who plays Emmett Cullen in Twilight, etc — availed themselves of a pre-season event at French Connection in Los Angeles. Instead of merely being given bags of free clothes to wear when waiting for the paparazzi, the store embarrassed them by making them all play French Connection-themed Twister, whatever that is. [WWD]
• Dania Ramirez, a.k.a. Maya on Heroes, is a newly minted Covergirl. [People]
• Footwear brand Penny Loves Kenny has filed for bankruptcy protection. The company founder, Kenny Robinson, explained the filing as a tactical move in a 6-year legal battle with two China-based agents, and said he expects the brand to emerge intact in 3-6 months. [WWD]
• Philip Lim stepped into his SoHo boutique last weekend and helped some customers find the right sizes and pick out flattering items — all without telling them who he was. Then some fashion-savvy shoppers blew his cover. If more designers did thoughtful things like that, they'd certainly sell more clothes. [Fashionista]
• Burberry's second store in Canada, and its first in Toronto, opens this Friday. [WWD]
• Benetton's profits fell 63% in the first half of this year. [WWD]
• Barneys New York is putting a brave face on its 13 months — and counting — without a C.E.O., its double-digit sales declines, and its recent credit rating downgrade, to Caa3, for "very high investment risk." The company recently received $25 million from parent company Istithmar World Capital to shore up liquidity, and this week it hired an asset management company to help it restructure its $500 million debt. [WWD]

It is Barbie's 50th birthday, after all, and Mattel does have those new black Barbies to promote. And while this supplement is not full-sized like a regular magazine (it's about 6 inches wide; 7.5 inches long) somehow the doll scale makes sense.

Is it a little sad that instead of gorgeous black models, we only get to see plastic dolls propped up in poses? Sorta. But the issue is elaborate, fun, detailed and enchanting, with absolutely stunning photography.

The supplement is divided into many sections, this one is called "Hat Mania."

What is not to love? I might frame this one.

This is from a section called "The Tourist Glam." Notice how the dolls are toting tiny issues of last year's Italian Vogue!

Not for chewing, for admiring only: Shoes.

According to the index in the back, this is "Pop Life!" Barbie in this "Sixties Fever" spread. She looks swinging, but did the editors mix up the '60s and the 70s? Isn't it "Disco Fever" and disco balls?

This diva is Diana Ross Barbie.

In an elegant series of photos titled "Red Carpet," this image stood out as the worst.

The "Shape Up" story included swim, track and tennis spreads.

I have mixed feelings about the "Ethnic Chic" photo shoot. While I appreciate the effort, one of the dolls used was the "Fantasy Goddess of Africa Barbie" by Bob Mackie. Not sure how much is authenticity and how much is just a love of feathers.

Diversity in hair textures are a thumbs up, however.

From "The Royal Way" spread, immediately following the "ethnic" spread, which doesn't say anything about colonialism, does it?

Another really gorgeous image suitable for framing.

This image is in "Tribute To Horst." Teeny tiny furs.

Another Horst tribute, with great hair.

The hairdo spreads are my favorite, and show how playful working with a doll model can be.

Especially when she has flirty eyes.

I wish I could say that this fun, colorful "Street Style" spread was the last one in the supplement.

It would be great to end on an upbeat note.

Instead, the last spread is "Fetish Icons," which isn't very fun, and not a great way to end.

But all in all, for a Barbie or magazine collector, it's an exciting, well made and enjoyable little publication.

Earlier: Mattel's New Black Barbie A Step In The Right Direction

• Nicolas Ghesquière picked the intolerably cool Charlotte Gainsbourg to advertise Balenciaga's perfume. Ghesquière calls his friend "one of the most inspiring girls in the world." Gainsbourg said, "I was secretly hoping to be the face of Nicolas' first perfume." [WWD]

• Sources are saying Rihanna has an editorial, shot by Steven Klein, in Italian Vogue's September issue. [Fashionologie]
• Julia Restoin-Roitfelt, French Vogue editor-in-chief Carine Roitfeld's daughter, is the face of a new perfume by Jil Sander. [NowSmellThis]
• Hold onto your quirky hats, everybody! There's going to be a new hour-long television drama set in the New York fashion world. Because it's going to star a lady, it'll be just like the new Sex And The City! Isn't that exciting? [Variety]
• The ten finalists in this year's CFDA/Vogue Fashion Fund are: Flora Gill and Alexa Adams of Ohne Titel; Natalie Chanin of Alabama Chanin; Patrik Ervell, Sophie Theallet, Waris Ahluwalia of House of Waris, Wayne Lee of Wayne, George Esquivel of Esquivel Shoes, Gary Graham, Monique Péan, and Simon Spurr of Spurr. Congratulations to them all! The winners of the six-year-old cash and mentorship award will be announced on November 16; past honorees include Proenza Schouler, Alexander Wang, and Doo-Ri Chung. [WWD]
• Doo-Ri Chung is just one of many designers whose business has been hurt by the economic downturn. Chung is owed more than $60,000 by the owners of Jake, a small, independent Chicago boutique. Specialty retailers have been among the hardest-hit in the whole retail sector, but the two men behind Jake, Jim Wetzel and Lance Lawson, actually managed to reorganize their company when it went bankrupt, and continue on as employees of a new entity, the Jake Retail Group. Except that Jake Retail Group did not assume liability for any of the store's debts — meaning that Chung, plus other young designers like Brian Réyes, Tina Lutz and Marsha Patmos of Lutz & Patmos, and Emma Fletcher of Lyell, are out tens of thousands of dollars each for clothes they made and shipped, and Jake sold, but which haven't been paid for. [NYTimes]
• Lyle Lodwick, brother of fameballer Jakob, is a male model. He says that male models take their jobs less seriously than women models do — which is generally true — but also that women models are, naturally, bitchier. "I've heard horror stories of girls putting needles in a girl's shoes so when she's on the runway she'll fall over." Lodwick: Whichever sweet model lady told you that is pulling your leg. [TDB]
• Ossie Clark, the iconic British label that was briefly revived by private investors, is closing again. [WWD]
• The occasion of Berlin designer Patrick Mohr's recent homelessness-themed collection, where he had homeless people walk his runway caked in mud, is used to peg a list of other politically edgy collections of varying levels of success — like John Galliano's own Spring 2000 homelessness-themed couture work, Rei Kawakubo's 1995 Comme des Garçons collection that looked like concentration camp victim uniforms, and Karl Lagerfeld's 1994 appropriation of verses from the Koran. Somehow, the list ends with nary a mention of Miguel Adrover's 2001 MeetEast collection, which was so widely panned it drove the talented designer out of business. [TDB]
• Alber Elbaz: ""The people I chose to run my new store in London are nice. I cannot work with bitches, I can't, I can't. Maybe I am too sensitive, I get blocked. There are some people who don't give a damn. With me, I find that if there is no energy flowing or no connection, I can't think. Talent is amazing - I love it, appreciate it. I respect talent a lot. But if you ask me, ‘Talent and bitch, or less talent and good?' I'll go with less talent." [MyFashionLife]
• New York attorney general Andrew Cuomo caught the firm behind the "Lifestyle Lift" cosmetic surgery procedure posting fake customer reviews and testimonials on the Internet — and won a $300,000 settlement for the astroturfing. [Clickz]
• U.K. lingerie maker Intimas is in bankruptcy administration. Around 200 jobs are at risk. [ToL]
• Liz Claiborne, which has been struggling in the recession, renewed its C.E.O. William McComb's contract, but didn't give him a raise — just a bigger bonus. [WSJ]
• That story about how Crocs are going bust is getting written again, this time kind of artlessly. [WaPo]
• In the second quarter, net income at Joe's Jeans fell 17.8%, on a same-store sales decline of 4.3% [WWD]
• Chemists have traditionally been unable to produce fabrics that are reliably water-repellent when doused with hot, instead of cold, water. Which is why the development of a hydrophobic fabric coating that can repel hot water is potentially exciting news. Scientists think it could have applications in protective clothing, for instance for people who are at risk of scalding burns. [NS]

Karen Mulder was a blonde 5'10" Dutch teenager who shot to fame after a friend sent in pictures of her to the Elite agency's famous Elite Model Look competition. Within two years, Mulder had given up high school to work full-time for clients like Valentino, Giorgio Armani, Calvin Klein, Yves Saint Laurent, and Versace. She made the covers of British Vogue, Italian Vogue, and various international editions of Elle, among many other magazines. At 21, she bagged a multimillion-dollar multiyear contract with Guess? She was picked as one of Peter Lindbergh's iconic gaggle of leather-clad biker supermodels in American Vogue in 1991, when DUMBO was still thought of as a little dangerous.

That's Mulder second from the right, between Stephanie Seymour and Naomi Campbell. Her career, still managed by Elite, flourished through the 1990s. Mulder capitalized on her wholesome look with commercial gigs, like her two appearances in Sports Illustrated's Swimsuit Edition, and she became a Victoria's Secret model. There was a Karen Mulder doll, made by Hasbro. Mulder dated a racecar driver, she dated Prince Albert II of Monaco, she dated a real-estate developer named Jean-Yves Le Fur. They broke up, but it was still Le Fur who picked her up off the floor of her Paris apartment and called the ambulance in the winter of 2002, after Mulder attempted suicide by overdosing on pain pills.

The suicide attempt and the coma she would lie in for two days following it came after Mulder had told the press, "From the beginning, I hated being photographed. For me, it was just an assumed role, and in the end, I didn't know who I really was as a person. Everybody was saying to me, 'Hi, you're fantastic.' But inside, I felt worse from day to day." It came after she laid a formal rape complaint in France against Prince Albert. It came after she said, "My job distracted me from my worries. It enabled me not to be myself, to pretend I was someone else." It came after a notorious appearance on French television where her various claims — that men at Elite had raped her, that she had been coerced into having sex to garner better contracts, that Elite had used her and other models as sex slaves in a ring that extended through the top echelons of French society, implicating politicians, members of the police, and other top officials, that her own father had raped her, that she had been sexually abused by a family friend from the age of 2, that she had been hypnotized and raped, kidnapped and raped, and raped some more — were regarded as so potentially libelous that France 2 not only never aired the segment, but destroyed the master tape. No matter: In a series of more-or-less coherent magazine interviews, Mulder repeated most of her accusations, and added that her agency had encouraged her to use cocaine and heroin. She told the Daily Mail, "They tried to turn me into a prostitute because they thought it would be so easy. I was raped by two bookers. I reported them and they were fired. Another time I was shut in the office of [a high-profile man from the modeling world] for a whole day. All these people who betrayed me I used to love very much. Then I realized how big the conspiracy was. It brought in the government and police, who both used Elite girls. People have tried to kidnap and poison me."

Her suicide attempt came after she was packed off to Montsouris hospital and heavily sedated for five months of treatment for depression and anxiety. (Gerald Marie, the head of Elite Paris and one of the men Mulder had accused of raping her, paid.) It came after Marie was filmed on hidden camera by the BBC trying to give a 15-year-old model £300 for sex, and bragging of how many entrants to the Elite Model Look competition — average age 15 — he was going to sleep with that year. It came after Mulder's attempt at a crossover music career resulted in the release of a cover of "I Am What I Am", which peaked at number 13 on the French pop charts in the summer of 2002. It was after recanting all her rape accusations, and explaining that she was in fact dealing with the aftermath of childhood sexual abuse and had "gone overboard," that the former supermodel tried to kill herself. Since emerging from hospital, and until her arrest yesterday, Mulder has kept a low profile.

How a woman like Mulder, one of those people who journalists are always quick to say "has it all," could fall so far, so fast is not really the question that commands interest here. We all know this story: it's got drugs in it, and predatory older men, and very young women, and the abject self-consciousness of the individual whose worth is in her pictures. It's always more or less the same story, even if Mulder, with her recantations and paranoid stories of kidnapping and poison at the hands of a shadowy "they," isn't always its most credible narrator. It's the story of Wallis Franken, of Ruslana Korshunova, of Katoucha Niane.

It's the story presented in a 60 Minutes segment from 1988 that reported, according to author Ian Halperin, "about the many models who had been drugged, raped, and sexually harassed by the world's top agency owners." (Halperin characterized the segment as "shocking.") It's the story of the BBC's undercover documentary of Elite executives offering to pimp out their models for drugs. (This was seen as "alarming" and "surprising.") It's the story models like Sena Cech are telling when they talk about being coerced into sex by photographers and clients at castings and on the job. (These accounts, and model Sara Ziff's documentary that provides one vehicle for them, were described in the Observer by writer Louise France as both "shocking" and "surprising.")

What amazes even more than how little the story actually differs from telling to telling, how fundamentally the same its elements remain, is our capacity for disbelief. It takes a certain dedication to one's own credulity to insist on being "surprised," "alarmed" and "shocked" by a situation that has been the subject of interest from such under-the-radar media venues as 60 Minutes going back a generation. As a culture, we have so far managed, through every news story and blog post and exposé, to maintain an innocence of the realities of the modeling industry that is almost touching. Or nearly culpable.

Our persistent willingness to be taken aback by the notion that wealthy, powerful, older men, when left in charge of a younger, poorer, female workforce, might generally act as something less than gentlemen, is testament to the power the multibillion-dollar fashion industry wields as an expert creator of narratives. It's this attitude of disbelief that allows agency directors to claim they had no idea some of their models were using cocaine and that some of their bookers were dealing it to them, or that some photographers like to sleep with models and some bookers encourage models to go along with it. Our endless capacity for shock is what gets Karen Mulder sedated and lets Gerald Marie retain, to this day, his position as head of Elite Paris.

The longer we keep up our charade of disbelief, the less the industry will change. One of the most chilling scenes in Sara Ziff's documentary, Picture Me, didn't make the final cut. A model was talking about a photo shoot that took place she was 16, with what Ziff has described as "a very, very famous photographer, probably one of the world's top names." When the girl left the studio to go to the bathroom between shots, the photographer cornered her in the hall. Then he started touching her dress. "But you're used to this," Ziff reported he said. "People touch you all the time. Your collar, or your breasts. It's not strange to be handled like that." Then the world-famous photographer put his hand to her crotch and forced his fingers into her vagina. The teenager, who had never even kissed anyone before, just froze and waited for the man to walk away. They finished the shoot, and she never told anyone. The day before the New York premiere, she begged for the scene to be cut.

But more and more models are speaking out. (I have.) If only we can dispense with our "shock" at what they have to say, perhaps this is an industry where some realistic chance for improvement remains.

Supermodel Karen Mulder Arrested For Threatening To Attack Plastic Surgeon
"We Need To See You Without Your Bra, He Told Me. I Was 14. I Didn't Even Have Breasts Yet."

Earlier: The Not-Rape Epidemic: The Modeling Industry Is Anything But Immune
Suicide And Abuse In Fashion's Top Echelon
Ruslana Korshynova, No Longer Anonymous

In April, a French Vogue shoot featured a "pregnant" model smoking and tossing a baby doll over her shoulder.

As Tatiana pointed out, if American Vogue were to portray the concept of motherhood, you'd get models holding babies and looking serene — "the mother of all clichés." She added: "French Vogue found the tenderness in mothering, but also the humor, the wackiness, the suggestion that it isn't perhaps natural to all women, and the surprise."

Additionally, in the July issue of Bazaar, MIlla Jovovich played a distracted working mom.





Obviously these shots differ in that there is a man present, but they certainly don't evoke the beaming, wholesome, Norman Rockwell concept of motherhood.

The new Italian Vogue shots include alcohol and cigarettes:






…As well as just plain-old avoidance:

There are a few ways to look at these images. Blogger Gwen from Sociological Images notes,

…Most countries don't share the American middle-class demonization of smoking or our concerns about the effects of second-hand smoke on children, or the idea that drinking cocktails around the kids is problematic (and remember, we used to give kids alcoholic drinks and Marlboros were marketed to moms). And many people don't believe that children need to be tended to every time they cry or look unhappy–that's a culturally and historically specific parenting ideal.

But a reader named Claire points out:

The message that motherhood might produce boredom, irritation, irreverence, and drive one to consume massive quantities of alcohol is one that I find refreshing, rather than appalling. Although this spread glamorizes the condition of being trapped within the confines of domesticity, can we not also interpret it as depicting the failure of domesticity and motherhood as a norm? And isn't the critique of a norm a productive act?

Good point. And here some more questions: Do these magazine editors want to start a dialogue about deconstructing the visual clichés of motherhood? Or do they just want edgy photoshoots? Does it matter? And even if they're not neglecting the kids — why all the bored, distracted moms?

Rich Moms Are Bad Moms: Vogue Italia's "Vagaries of Fashion" [Sociological Images]

Earlier: French Vogue And Ambivalent Modern Motherhood
Mr. Big Plays Housewife? How Bazaar

• Eva Mendes got all verklempt at a Cartier press conference talking about a charity that matches actors and musicians with sick kids. "Thank God for waterproof mascara," said the star of such films as Ghost Rider and 2 Fast 2 Furious. [WWD]

• Marc Jacobs, man of 31 tattoos, on his latest: "Elizabeth Taylor in Who's Afraid of Virginia Wolf with 3-D sunglasses on." [Style.com]
• Add Jacobs-helmed Louis Vuitton to the list of brands that are sticking with what works: Australian model Catherine McNeil, face of last year's resort campaign, will shoot this year's campaign tomorrow in St. Tropez. [Karen Kooper's Twitter]
• The First Lady's deputy press secretary, Semonit Mustaphi: "Mrs. Obama does not wear fur." [Washington Times]
• Reese Witherspoon is releasing a fragrance with Avon. It's gonna be called "In Bloom". [WWD]
• And Claudia Schiffer is to be the face of Alberta Ferretti's as yet untitled first scent. [Elle UK]
• The Sun is reprinting Karl Lagerfeld's four-month-old dis of Heidi Klum as news. (Either that or the Kaiser still doesn't know who she is, German Vogue or no.) [Sun]
• Kanye West, on life fashion: "I've made some mistakes, some good moves, some bad moves, and I've just grown every day. I think just learning from my mistakes, and the amount of exposure that I've had, has made me become a very influential person." [NYObs]
• Kanye text-buddy and model Chanel Iman gave a more or less brain-dead interview to The Cut, in which she asked, "What's the day today?" [The Cut]
• Diane von Furstenberg settled out-of-court for an undisclosed sum with the owners of Mercy, the Canadian label whose floral jacket her fashion house copied. As CFDA president, von Furstenberg has been an advocate of greater protection for fashion designers' intellectual property, including lobbying for the passage of the Design Piracy Act, which would extend copyright protection to fashion designs. "While this is an isolated incident for DVF, it is unfortunate that way too many others intentionally build businesses by stealing the work of other designers," said von Furstenberg. "I greatly appreciate DVF coming forward to resolve this issue in such a forthright manner and for acknowledging our ownership of the jacket design," said Jennifer Halchuk, of Mercy. [WWD]
• When André Leon Talley is over something, boy is he upfront about it: "Designers with an obsession for towering torture chambers, often poorly designed for the well-being of the foot, must get a reality check. I, for one, am over the mania for the high, high heel. Too many career women look like a herd of fashion beasts, aping one another in impractical shoes." [Vogue]
• In a strange conflagration of fashion nepotism, the son of Jeremy Irons became the face of Mango's menswear line. He replaced the son of French Vogue editor Carine Roitfeld. The photographer who shot the campaign? None other than the son of Italian Vogue editor Franca Sozzani. [WWD]
• The Gap's CFDA Design Editions collaboration — wherein designers nominated for a Council of Fashion Designers of America Award redesign something ubiquitous to the chain, generally a white shirt, which tends to be boring — launches in stores today. This year is different: Vena Cava, Alexander Wang, and Albertus Swanepoel all took yards of Gap's typical khaki fabric and turned it into hats, printed dresses, shorts, and a bitchin' motorcycle jacket. [Fashionista]
• Ecko has sold its Avirex brand to Kids Headquarters to raise some cash. How much was not disclosed. [WWD]
• The bankruptcy of men's clothier Hartmarx takes another odd turn with the announcement that Hickey Freeman, one of the labels owned by the company, plans to open a "pop-up" store at 545 Madison Ave. in Manhattan. Hickey Freeman had to vacate its 666 Fifth Ave. flagship last month when it couldn't pay the rent. [WWD]
• Prada has been approached by private-equity funds wishing to buy a minority stake in the brand, but the family-owned label has rebuffed the interest. Prada apparently owes around €600 million in total debt, €350 million is set to expire in mid-2010 — a sum it would struggle to repay. The family holding company has begun talks with banks to renegotiate terms. [WSJ]
• Joseph Abboud has won back the legal right to use his own name in relation to his men's wear line, Jaz. [WWD]
• A kind of chenille robe made by Blair and sold through its catalog is being recalled after six deaths. The robes, made in Pakistan, can easily catch flame. Five of the six victims died while cooking. The recall affects 162,000 robes. [CBS]

Model Suvi Koponen, photographer Richard Burbridge, and stylist Joanne Blades serve up scads of all of the above in the May issue of Italian Vogue, for a story called A Summer Blend. It's the kind of seasonal round-up that could have been a grab-bag of trends tied together incoherently by lesser hands — but here the craziness works. We don't care to know what Suvi is "doing" in these shots, or wonder as to her motivation, or whatnot — it's enough that she's there, moving, jumping (but not in that U.S.Vogue way), twisting and dominating every picture. It's the kind of spread that's an end in itself.

Yes, Suvi can balance on the wooden-ridged lid of a steamer trunk in six-inch heels. That's the kind of stuff they teach you when you're Finland's Next Top Model.

And yes, she can do the same trick upside down. Remember the all the pretzel contortions and weird angles of last season's Calvin Klein campaign? This is a woman who knows how to throw the kind of poses that make you look twice.

This is kind of a don't-call-it-a-comeback moment for Koponen. While she still appeared in major campaigns as recently as last fall, she's been absent from the international runways for two seasons now, preferring to travel. If only we all could announce our returns from abroad with 13-page editorials in Italian Vogue.

While I love narrative fashion spreads as much as the next person, they can sometimes suffer from a certain cloying quality, a kind of intrusive nudge-nudge of the viewer. Even as you're flicking through the pages, you recognize that now you're supposed to think this, and now you're supposed to realize this is true, but wait, here's a reversal! Et cetera. Also sometimes models aren't good at acting, or the stories are trite — how many times have we seen the "woman takes a lover" arc? Editorials like Burbridge's here are bombast, color and light signifying little, perhaps, beyond themselves — but they're so damn for-the-heck-of-it impressive it's hard to look away.

• Freida Pinto and Evangeline Lilly are new faces of L'Oreal. To mark the occasion, Lilly said she's proud "to represent a brand whose ambition is to...contribute to the fulfilment [sic] and well-being of everyone." [PRNewswire]

• After long construction delays, cash-strapped Roberto Cavalli has opened his $30 million designer night club in Dubai. The floors are black quartz, and Swarovski crystals dangle from the ceilings, for that pre-recession look. [WWD]
• Designer Hussein Chalayan, for his part, sees the future, and it looks like you wearing his ugly sneakers for Puma. [Dazed Digital]
• The pop star Estelle, who recently designed a handbag, now wants a shoe line. [WWD]
• Giles Deacon is expanding his business. A new manufacturing deal with Italy's Castor Srl will allow his label to reach more than 120 stores worldwide, compared with his current 38, and to do pre-season collections. [Elle UK]
• Pharrell Williams, and Takashi Murakami. Making art, together. [WWD]
• Sophie Dahl, who recently published her first cookbook, is rumored to be in talks to present a food show for the BBC. [Metro UK]
• The Elle Decor of cokey hipster creatives, The Selby, shot Julia Restoin-Roitfeld's New York apartment. Look only if you can stomach a designer shoe collection with a total sticker price in the tens of thousands before noon. [The Selby]
• Christian Siriano, who has made Heidi Klum some clothes to wear during her fourth pregnancy, demonstrates the way not to talk about a high-profile client after the fact: "I think she's trying to cover it a little this time. She's getting older and wants to be more sophisticated, not casual. She's trying to keep it a little quiet." Klum's trainer, David Kirsch, shows the proper deference and positivity: "Why should she do anything differently? She had a beautiful body all throughout her pregnancies. She's very disciplined and dialed in to being healthy." [People]
• Sessilee Lopez credits last July's all-black issue of Italian Vogue, which featured her on one of its four covers, with "resurrecting" her career. [The Cut]
• Topshop is on the hunt for more retail locations in Manhattan. [NY Observer]
• Competitor H&M is making its latest designer collaboration, with Brit Matthew Williamson, available in more of its stores than ever before. The Swedish chain has 1,700 stores worldwide, and Williamson's summer collection will be stocked in 1,600 of them when it launches this Thursday — compared with the 200 stores that previous collaborations with designers like Karl Lagerfeld and Stella McCartney had reached. [WSJ]
• The H&M line is also Williamson's first foray into men's wear — something he might continue under his own label, if the mass-market collection goes over well. [WWD]
• Rick Ross wore a pair of Louis Vuitton sunglasses on the May cover of XXL magazine — and promptly received a letter from the company informing him they were counterfeit. "Louis Vuitton did not grant permission to Mr. Ross or to whoever did make the sunglasses to use our trademarks," wrote a miffed company spokesperson. Ross says the glasses are real, but that he had an L.A. jeweler add 14 karat gold accents to them. Which befits a style named "The Millionaire." [WWD]
• Macy's, ever neighborly, expands its inventory whenever a competitor within its ambit fails, in order to lure the bankrupt chain's former customers. [WSJ]
• Nordstrom is being sued by a group of former employees who allege that the company stole their sales commissions. When an item is returned by a Nordstrom customer, the commission originally paid the salesperson is deducted from that worker's salary — but thanks to Nordstrom's lenient return policy, in practice this policy means that items bought, and commission accordingly paid, months earlier can suddenly be rescinded. Nordstrom settled a racial harassment lawsuit with the Equal Employment Opportunity Commission for $292,500 last month. [Fashionista]
• eBay has won the lawsuit brought against it by L'Oreal, meaning the auction giant has no legal responsibility for counterfeit products sold through its site. [WWD]
• Liz Claiborne reported a loss of $91.4 million in the first quarter of this year. This was much steeper than analysts had expected, and the company's share price fell. [Reuters]
• If you want to fly like Superman, this leotard worn by Christopher Reeve — with reinforced slits for wires — might get you started. [Mirror]

• It's too early for this heartbreak. Pixie (Pixie!) Geldof got the March Italian Vogue cover. Have Franca Sozzani and Steven Meisel lost their minds? The cover line is "So young, so cool." So barf. [Telegraph]

• Maria Sharapova for Cole Haan is now a reality. The new campaign looks pretty good, and for fall, Sharapova herself will create a line of shoes and bags for the brand. Assuming, that is, that we've started buying celebrity fashion lines again by fall. [Sassybella]
• Alexander Wang has designed a limited-edition run of condoms called Proper Attire. They're for sale in Thompson hotels, and all the proceeds will go to Planned Parenthood. Wang, whose fall/winter show is, appropriately, on Valentine's Day, said of the collaboration: "I used a spare design that felt sexy, modern and empowering; after all, women should always come first!" Yes. [The Cut]
• Prada, meanwhile is concentrating on objects that are intimate in a different way: The next edition of its LG phone launched last week. "You carry it with you and it tells something about you," said Prada's director of licensing. I'd go through the specs, but if you're buying a Prada phone, you probably don't care about any technical point of difference so much as you do about it being a Prada phone. [Business Week]
• The Paris show schedule was just released. At Balenciaga, Nicolas Ghesquière is changing his venue, and there's no mention of the troubles at Nina Ricci — Olivier Theyskens is on the calendar. (Allegedly, creative director Theyskens is to be replaced at Nina Ricci before the end of his contract by Marc Jacobs' second-in-command at Louis Vuitton, Peter Copping.) [WWD]
• Manish Arora, a London-based, Indian-born designer who showed last season in Paris (you remember — it was the show both Madeline and Austria booked in Paris) has a Q&A where he discusses his use of color, the influence of his homeland on his designs, and his upcoming projects. Which include a deal with Swatch. [Style.com]
• And Fashionista has a sit-down with Elise Overland. Her fall collection is all about food — sushi, to be exact. "It's very sexual, almost macabre," says Overland, "the way they show all the sushi and how the fish is all cut up, up close. If you look at like it like a small human, kind of." That was not a pleasant image this early in the morning, but, carry on I suppose. [Fashionista]
• New York talked to Jason Wu at his little soiree the other night. Unsurprisingly, still riding the post-inaugural boost, he was upbeat. "You know, you have to give someone a legitimate reason to purchase something," he said, of the current economic climate. "And that can only help the market." [The Cut]
• Which fits right in with Women's Wear Daily's view that young designers should find the brave new economy "invigorating." [WWD]
• The WaPo's Robin Givhan is more sobering. Read her thoughtful and considered expectations for fall/winter 09. "The conversation is focused on survival," Givhan writes. "There's palpable anxiety about the economy and how the fashion industry — the part dominated by razzle-dazzle dresses, hand-stitched embroidery and Italian cashmere — will weather the storm. And there's confusion over what sort of tone the industry should strike as it muddles through the worst of it. Magazine editors are running through their list of synonyms for budget and bargain while trying to maintain the fairy dust of glamour and élan. Big retailers have been discounting everything but the light fixtures." [Washington Post]
• L'Oreal has stopped shipping supplies of its cosmetics — including brands like Lancôme — to a leading Russian retailer. The store L'Etoile has been late on its payments due to the credit crunch. [WSJ]
• A tipster tells Racked.com that Gucci has disbanded its in-house architecture firm, which would normally be responsible for store interiors, and set designs at shows. So, that could be true. Or not. [Racked]
• More news on the potential bankruptcy of the IT Holdings SpA division that owns luxury labels Gianfranco Ferre and Malo, and ready-to-wear licenses from Versace Sport and Just Cavalli, among others. The group hit trouble because of the credit squeeze and falling demand for luxury products (duh), which cause it to run out of money to operate those licenses. The company says it hopes to restructure and come out of bankruptcy. [WSJ]
• A pressure group called the Campaign for Safe Cosmetics tested 33 well-known brand-name lipsticks over a year ago to find that 61% had lead levels of 0.01 - 0.65 parts per million, and a third had lead levels that exceeded the FDA's safe lead limit for candy. Twelve months on, the FDA still has not released the results of their own, independent lead tests. Lead is a neurotoxin and pregnant women are particularly vulnerable to it. [UPI]
• The 18 million items L.L. Bean ships annually will now go via UPS. FedEx lost its contract with the brand after 12 years as their exclusive shipping agent. [The Street]
• JC Penney is advertising its most "fashion-forward" lines this spring, instead of its basics. Which lines might those be? Kimora Lee Simmons' and Charlotte Ronson's, for example. [WSJ]
• There's a cool-sounding exhibit called "Vreelandesque" up in Rome about Diana Vreeland's connection to Italian fashion. The co-curator says of the magazine spreads from the 40s to the 60s, "What you see nowadays on fashion magazines implicitly references these photo shoots, this is why 'Vreelandesque' should also be conceived as a reflection on yesterday and today's fashion, as the past is of fundamental importance to rethink what is fashionable nowadays." [Dazed Digital]
• Mandy Moore's new album was kind of a co-creation with Coach. She had company president and creative director Reed Krakoff style her cover shoot, and she played a private concert in Tokyo to open a new store there. Moore just closed her fashion line, Mblem, but says "I love the fashion world. I'm fascinated by it. I'm humbled by it." [WWD]

We noted that there were barely any black models on the runways in Milan last year. This year, writes Trebay:

While Giorgio Armani notably cast some black models for his Emporio Armani show, as did Donatella Versace for hers, there was not a single black (or Asian or Latino) face to be seen on the runways at Jil Sander, Missoni, Burberry, Trussardi, Bottega Veneta, Gianfranco Ferre, Roberto Cavalli or Prada.

(Armani and Versace had a few.)

The crazy thing is that there's a tabloid magazine, Urban, that's being given away at the men's shows this week, and the cover line is "Black Fever." The mag's editors claim that "From politics to fashion, photography to art," black is the color. And they don't mean hue — they mean black people. Except, of course, on the runways.

All of the models were white at the Gucci show, but Frida Giannini, Gucci's head designer, said: "I think it would be great if there was an industry initiative on this issue, because I am always looking for black models, or even Chinese or whatever, for the shows. I'm after a specific kind of look, and I request the agencies — I asked last season — to send me someone interesting. But they never send me anyone very new." And so begins the blame game: Designers and editors blame casting directors and model agencies; model agencies blame designers and editors. In fact, Trebay contacts NYC modeling agency owner George Brown, who flew several of his black models to Milan. Brown says: "They had some amazing options, options I’d never seen before on black guys," meaning some big designers put the models on hold. But: "The options fell off and we found the same line-up of white guys doing all the major shows."

Of course, these are the men's shows, and not the more consequential women's wear, but we'll see what happens: Can Italian designers really look through the "all black" issue and not want to hire any of those ladies?

In Milan, Models Still Come in Only One Color [NY Times]

Earlier: On The Runways Of Milan, Color Just Wasn't Considered Chic
Italian Vogue's "All Black" Issue: A Guided Tour
The "All Black" Issue Of Italian Vogue Is Officially A "Success"
The "All Black" Issue Of Italian Vogue: Both A Success And A Failure
Is Prada To Blame For the Lack Of Black Models?

[Image via New York Times.]

And then, in November, we got one of the most beautiful editorials of the year, inspired by the Ingmar Bergman film Persona. So, let’s take a paranoid seaside lesbian vacation, with Susan Sontag!

Steven Meisel has an extraordinary relationship with Italian Vogue. He’s shot every cover of every issue for as long as I can remember. Meisel particularly loves to “discover” new models — and among the girls he rocketed to acclaim via Italian Vogue are models like Karen Elson, Sasha Pivovarova, and Coco Rocha. His signature style is a little desaturated, a little obsessed with doubling, mirroring, and repetition, a little moody, and perhaps ever so slightly off; the scenes he creates are often filled with a vague dread, like a David Lynch movie.

What do I love about Italian Vogue? Covers like this. Toni Garrn, 17-year-old Calvin Klein favorite, and her 21-year-old German compatriot, Katrin Thormann, looking lovely and peachy and perhaps just a little awkward, as though they’ve been disturbed in some moment of intimacy. “A New Look At Seasonal Dressing.” (There’s a cover line we could never improve.) What does that even mean? Italian Vogue is confident you’re going to want to find out.

The editorial inside, called Cottage In Riva Al Mare (“Cottage by the sea”) is the kind of 34-page spread that would’ve been reduced to an incoherent 12-page hackjob under Anna Wintour’s watch at American Vogue. Each image is its own best reason for existence; there isn’t exactly anything as didactic as a plot going on here, but the general idea is that two women have gone away to the coast for something more purposeful than a vacation. They play dominoes, they read, they face off with arms crossed, they make love, they weep. Their queasy friendship — if it is a friendship? — doesn’t seem likely to survive these intensities of feeling. The last image is of Katrin clutching her suitcase, her back to the ocean.

The obvious reference is to Ingmar Bergman’s film Persona, which is more or less about an actress named Elizabeth, played by Liv Ullman, who becomes an elective mute following a sort of psychic break during a performance of Electra. She goes to the seaside in the care of a psychiatric nurse named Alma (Bibi Andersson), and, over the course of the film, some sort of exchange occurs. It’s as if Alma can’t help but fall into the void created by Elizabeth’s silence, and in her willingness to fill the space left by Elizabeth’s withdrawal, Alma loses something of herself.

Susan Sontag loved Persona; in her 1969 book Styles of Radical Will, she called it “Bergman’s masterpiece.” In examining the contemporary critics’ general distaste for the movie, she wrote:

To be sure, some of the paltriness of the critics’ reaction may be more a response to the signature that Persona carries than to the film itself. That signature has come to mean a prodigal, tirelessly productive career; a rather facile, often merely beautiful, by now (it seemed) almost oversize body of work; a lavishly inventive, sensual, yet melodramatic talent, employed with what appeared to be a certain complacency, and prone to embarrassing displays of intellectual bad taste.

The strange thing is, most of that’s also a familiar vein of criticism in regards to Meisel’s work — a withering level of productivity, “often merely beautiful,” melodramatic, complacent, empty-headed. In looking over this editorial, which because of the simplicity of its mise en scène probably is going to divide opinion, Sontag’s words about its most direct filmic inspiration came to mind in an entirely different context. So, here we go, because I thought it would be fun: Steven Meisel, annotated by Susan Sontag.

“Persona is constructed according to a form that resists being reduced to a story — say, the story about the relation (however ambiguous and abstract) between two women named Elizabeth and Alma, a patient and a nurse, a star and an ingénue, alma (soul) and persona (mask).”

“There might exist what could be called a dormant plot.”

“After we have seen Elizabeth enter Alma’s room and stand beside her and stroke her hair, we see Alma, pale, troubled, asking Elizabeth the next morning, ‘Did you come to my room last night?’ and Elizabeth, slightly quizzical, anxious, shakes her head no.”

“One tactic upheld by traditional narrative is to give ‘full’ information (by which I mean all that is needed, according to the standard of relevance set up in the ‘world’ proposed by the narrative), so that the ending of the viewing or reading experience coincides, ideally, with the full satisfaction of one’s desire to know, to understand what happened and why. (This is, of course, a highly manipulated quest for knowledge.)”

“There is, above all, the connection between the two women themselves, which, in its feverish proximity, its caresses, its sheer passionateness (avowed by Alma in word, gesture, and fantasy) could hardly fail, it would seem, to suggest a powerful, if largely inhibited, sexual involvement.”

“But, in fact, what might be sexual in feeling is largely transposed into something beyond sexuality, beyond eroticism even.”

“The business of the artist is to convince his audience that what they haven’t learned at the end they can’t know, or shouldn’t care about knowing.”

“My own view is that the temptation to invent more story ought to be resisted.”

“The viewer can only move toward, but never achieve, certainty about the action.”

Earlier:
Italian Vogue's "All Black" Issue: A Guided Tour

I've said it before and I'll say it again: Vogue is stale. The covers are static and lack energy; the photo shoots are repetitive. Even though the December issue, with Jennifer Aniston, has attracted a lot of attention for the "What Angelina Did Was Very Uncool" cover line, doesn't that kind of thing seem beneath Vogue? It is so very Star. Photo-spread wise, the December issue tries to branch out with a "Romeo & Juliet" shoot — costarring, uh, John Lithgow. But the following spread is six pages of a blonde model posing and jumping on a grayish-beige background. Which was done in the November issue. And the July issue. And the September 2007 issue.

French Vogue shakes things up with edgy concepts, like devil worship, breathtaking colors and crossdressers; when there is a photo shoot set in a studio, it still manages to be interesting, with black and white photography, animated models or baby animals.

As for Italian Vogue, the magazine's experimental photo shoots are often bizarre, but never boring. And the July edition, dubbed the "All Black" issue, was such a success that it sold out in many cities.

There's no doubt that Condé Nast would never allow American Vogue to be as edgy or fashion-forward as its international editions; it's a mainstream fashion and lifestyle magazine. But other American magazines manage to make fashion seem fun and fresh: Marie Claire had a goofy gameshow shoot, in addition to visiting Vietnam and finding romance in Rome.

Of all of the women's magazines out there, Vogue disappoints more than any other. Possibly because it has the most legendary reputation to live up to. But. Month after month, it ignores models of color, celebrates the untouchable lifestyle of the rich and manufactures ridiculous insecurities (like when Vera Wang called armpits "nasty". I guess we should just amputate our limbs?). Vogue needs to ditch the overly Photoshopped covers, discover diversity, quit featuring the same old people (Kate Bosworth may be thin and blonde, but she is not interesting) and take some risks. And I don't mean putting LeBron James on the cover. And maybe in order to get a fresh new look, you've got to clean out the closet. And if that means trying someone new, so be it. No one doubts that Anna Wintour is an icon, an editor who would leave behind a legacy. But she's been edior-in-chief since 1988, and we've seen what she can do. Let someone else give it a shot. Maybe when we get a new President, we should get a new Vogue as well?

Restelss Anna [Page Six]
Earlier: Royals, The Rich & Marc Jacobs: No Wonder Vogue's Numbers Are Down

• More hot water for American Apparel: an accountant is suing for wrongful termination, saying he was fired for refusing to cook the books. [WSJ]
• A Bosnian company is starting an Obama-inspired suit line. Now is he obliged to wear one?! [Breitbart]
• Joan Rivers critiques Michelle's "horrible dress." In fairness, she's totally ambushed by a TMZ reporter. [TMZ]
• Mark Wahlberg says his CK co-moddle Kate Moss looked "like his nephew." “I mean she’s beautiful – she’s a very pretty nephew – but I’m more into curvy women.” In fairness, she started it. [The Sun]

• Three words: Juicy Couture Stroller. A favorite with teen moms everywhere! [Racked]
• Designer Jussara Lee, us, sick of SATC. "The whole Sex and the City thing was a huge influence on ordinary people. It looks too done up to me. It's too much hair. Everyone looks like they've spent too much time, too much money, and then in the end everyone looks the same. It's curious that people would go the whole extent to look so the same." [New York]
• Oy. Macy's takes a major hit. [WWD]
• How do the Vena Cava designers relax? "Cold beer and Steve Martin movies." [Style.com
  ]
• Asia emerges as one of Versace's biggest markets. [WSJ]
• Retailers, shoppers all terrified. Christmas shopping should be a blast! [Washington Post]
• If a photo shoot is deemed too racy for Italian Vogue, you better believe it's NSFW! [NY Mag]
• Meanwhile, Kate Moss rocks the cover of Vogue China. [Models.com]
• "At Lanvin, (Alber) Elbaz did not just resurrect a sleeping beauty and transform it into one of the most desirable fashion brands in Paris today, but with his designs, he has helped up the allure of French fashion overall." [WWD]
• L'Oreal's European supremacy is slipping. [Reuters]
• Payless gives a million dollars to kids in need for the holidays. That's like 500,000 pairs of their shoes! [Payless Gives via NY Mag]
• Poked by Burberry? Luxury labels take to social networking sites. [WWD]
• More on Stella's adorable children's windows! [Telegraph]
• Pucci makes moddles dance with mannequins. "Aside from the mannequins — a sassy gaggle called Girl to be dressed in contemporary styles by Frank Tell — the dancers will intermingle with big round plaster sculptures by Michael Evert." [WWD]
• Roland Mouret breaks into menswear. [Fashionista]

Givhan writes that Sozzani:

…wanted to focus on people, projects and ideas. She did not want to make an aesthetic statement about Africa. So she didn't fill the magazine with images of Western models in overpriced vaguely ethnic frocks. And unlike a recent issue of India's Vogue magazine, which sparked outrage among activists and humanitarians, this one won't show peasants posing with $5,000 handbags.

Says Sozzani: "I think it's ridiculous to see a 16-year-old wearing clothes he'll never afford at his age." The issue will feature men — and some women — in their own clothes, showing off their own style: Forest Whitaker, Quincy Jones, John Legend, Matt Damon and Michelle Obama. All will be expressing their personal connections to Africa.

As Givhan points out, L'Uomo Vogue is an insiders' magazine that designers, photographers and creative directors read. "It speaks to the folks who define beauty and who then tell us whether we meet those standards." So even though Sozzani's not making a statement that a mainstream audience would consume, tastemakers for those people will see the magazine. But is Sozzani's "Africa" issue a gimmick to generate buzz? Or an honest effort to address issues besides the "it shoe"? And if half the money is going to charity, does it matter?

Deeper Meaning Below A Glossy Surface [Washington Post]

Earlier: Italian Vogue Shocks, Awes, Makes Civil War Sexy
LOLVogue: Sheez Over Ayteen, I Sware
Italian Vogue's "All Black" Issue: A Guided Tour

Gopal writes:

Well, it certainly is one for the inalienable right to be tall, thin, and airbrushed… Black models? Sure. But there's not a "natural" or "kinky" in sight, indeed, barely even a mop of curly hair. This is black girls-as-white girls: all aquiline noses, large eyes, oval faces (bar the standard exception of "unusual" Alek Wek), hair coaxed into silky straightness or carefully turbaned away in shot after shot. As for "black", it's more latte than americano.

By simultaneously marking blackness as "special" and yet ensuring conformity to dominant (white and European) ideas of sophistication and beauty, the "black issue" tells us a great deal about race and ethnicity in the media today. To be non-white is to be constantly relegated to a "special issue", while the regular edition remains determinedly white.

She has a point. Magazines are not inclusive. There's absolutely a euro-centric point of view; a Westernized, Caucasian standard of beauty. But I'll argue that without the "special" issue, some people would not be talking about the race problems in the fashion industry at all. Model mogul Bethann Hardison spearheaded conversations about the lack of black models last fall; I attended her "Out Of Fashion" discussion in October. Then another one in January. The number of people at the events grew; the number of news outlets discussing the issue grew. By June, Vogue had acknowledged the problem. Italian Vogue may be but a hammer blow to the wall put up around a billion dollar industry; a fortress to which, for years, only willowy Eastern European 16 year-olds had access. It wasn't always so; black models worked in the '70s and '80s more than they do now. Does Italian Vogue solve the problem? No. But every little bit helps. A dialogue helps.

And the next wall to break through just might be weight: With the exception of Toccara, all of the models in the "all-black" issue held to the slim standard. Unfortunately, according to a study by business professors at Villanova University and the College of New Jersey, ads featuring thin models made women feel worse about themselves but better about the brands featured. Writes Jack Neff for AdAge, "Despite the negative effect on their body image, women preferred ads showing thin models and said they were more likely to buy products featured in those ads than in ones showing 'regular-size models,' said Jeremy Kees, a business professor at Villanova." Why do we expect magazines to embrace women of all colors, shapes and sizes, when we, the women reading them, fail to do so?

Vogue Italia Is a Hit in Black [Time]
Vogue: All White Now? [Guardian]
Study: Skinny Women Better for Bottom Line [AdAge]
Earlier: Italian Vogue's "All Black" Issue: A Guided Tour
Is Prada To Blame For the Lack Of Black Models?
Modeling Matriarch Continues To Demand Diversity On The Runways
Vogue's Not Racist; Three Black Models Prove It!