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?

In the October issue of the magazine is a 14-page editorial featuring the Dutch beauty. Shot by Steven Klein and styled by editor-in-chief Carine Roitfeld, the piece starts off by praising Stone's "sensual" body, her "uninhibited gappy teeth" and the "radical break with the wave of anorexic models" that she supposedly represents. Too bad they changed everything they claim to love about her for the shoot.


What Klein and Roitfeld should know — as the producers of the Australian programHey, Hey, It's Saturday also should have known — is that painting white people black for the entertainment of other white people is offensive in ways that stand entirely apart from cultural context. France and Australia may not have the United States' particular history of minstrel shows as a form of popular entertainment going back to the 19th century, but something about the act of portraying a white woman as black ought to sound an alarm, somewhere.

The fact that the issue, dedicated to "Supermodels," contains no black models, should also have been noticed, and corrected.

Given Klein is American, it would be nearly impossible to even argue that the magazine didn't know what buttons it was pushing. It's kind of sickening to think that minstrelsy has become just another "reference" for po-mo fashion editorials to "appropriate" to show how "edgy" they are, "conceptually."

After painting Stone's body brown, the makeup artist then apparently painted parts of her white again.

Inexplicably, the editorial moves from the studio to a location.

The token Lady Gaga picture at least clears up one troubling question: why it is that Stone spends the editorial wearing only a black thong on her lower half. I looked at this editorial, and I just thought, pathetic, pathetic, pathetic. When I got to this shot, I thought lame. Since when does Carine Roitfeld seem so out-of-date?

In forgetting the G on the cover, Vogue invited at least this one joke: voué à l'échec.

All scans via Laetitia at TFS

Roitfeld, the editor of Paris Vogue, is the subject of a fawning profile by Lisa Arnold in today's Times of London. "The Ultimate Style-Setter" traces Roitfeld's immense influence over the look of the coming season, from the high street to fashion's top lights. Not only are designers Roitfeld champions personally — like Christophe Decarnin at Balmain, and Riccardo Tisci at Givenchy — experiencing success, writes Arnold, but chain stores like Marks & Spencer are imitating Roitfeld's signature style.

It almost goes without saying that they are all pushing big shoulders and a whole lot of black.

Then there is the British high street. From Oasis's fitted dresses and Mango's outlandish furry coats to Topshop's leather jackets and Miss Selfridge's strong-shouldered blazer, white shirts and leather leggings, they are all referencing her. Even M&S is at it, juxtaposing sequins, leather and Roitfeld's trademark smoky eyes.

Roitfeld, who was rumored briefly late last year to be in the running to take Wintour's job, once compared Wintour to "a puppet" in the pages of New York magazine.

Anna Wintour is known not to love the press, and will likely retreat happily into her fortress of solitude on the 12th floor of the Condé Nast building as soon as the ink is dry on her contract. (Should, of course, the negotiations be successful.) What we've seen in recent months, with the public events and the film promotions and the television appearances, is the charm offensive of someone who is neither naturally very charming, nor easily charmed. Roitfeld could have merely looked on while her rumored rival twisted in discomfort; but instead, she made sure the Times of London just happened to have all these lovely things to say about her.

Because the thing is, this whole people-imitate-Carine thing is not news. We've read this very story before. So why did Roitfeld make sure this piece ran right now, the week of The September Issue's release?

Carine Roitfeld: The Ultimate Style Setter [ToL]
The Anti-Anna

Earlier: Anna Wintour: "I Reckon That Makes Me A Lukewarm Royalty From Outer Space With A Whip"
Being Anna: "Sometimes You Don't Love The Press"
3 Reasons We Hope The Wintour/Roitfeld Rumor Is True

In addition to mentioning that Wintour arrived at the magazine with her own desk, New York also notes that in the fortnight their new editor has been on the job, she hasn't appeared in the same outfit twice.


Wintour's first fashion spread for New York starred a young Andie MacDowell posing on a Midtown rooftop in a Rietveld Red Blue chair.


Reader response to Wintour and her aesthetic was mixed.


It took Wintour all of until August 24 to run a spread that linked higher quality pieces with higher prices. "Investing In The Best" advises that "The right looks are also more costly, but well worth it." And they're still pulling that 'investment pieces' line on us now!


For the May 3, 1982, issue, Wintour ran a spread called "Wait Until Dark."


It was shot by Lothar Schmidt on location at Danceteria.

But one of the best reasons to trawl through New York's digitized archives is to search, in these spreads, for the headwaters of Wintour's aesthetic.

Am I alone in drawing a visual parallel between "Wait Until Dark," and a story for U.S. Vogue's September, 2007, issue, featuring Shalom Harlow?

The later spread, photographed by Steven Klein, even has the same men's wear theme.

In the February 28, 1983, issue, the cover fashion story "Metropolitan Life" features this shot of model Jennifer Rubin at Sloan's supermarket.

Vogue Paris used the Morton Williams on E. 23rd St. as a setting for its own editorial about surreal suburban malaise in October, 2007.

And in fact it was that editorial, by Steven Klein, that I always assumed was the inspiration for American Vogue's tamer, Steven Meisel-shot, supermarket editorial of one year later. But maybe all this time Wintour was hearkening back to the winter of '83?

Predictably, Wintour's love for fur blossomed early. This story, entitled "Furs For All Seasons," is from September 14, 1981. Wintour touts this "sheared-rabbit blouson that reverses to a rain jacket." It's by this designer, maybe you have heard of him, Karl Lagerfeld?

Amazingly, in 1981 a Fendi "beaver coat with squirrel necks and mole" only ran $8,250. That seems like a steal given the $64,300 gold-dipped Fendi fur coat that Vogue featured in its September, 2008, issue. This editorial does take care to point out that "None of the furs shown is on the endangered species list." So while Anna Wintour might judge you for your egret-feather hat, she thinks rabbits are fair game. Good to know.

Also in September of 1981, Wintour used a spread to boost the American profile of the then-little known Japanese designers Rei Kawakubo and Yohji Yamamoto. (Apparently she was a fan of shooting head-to-toe runway looks even back then.)

Wintour shot a 25-year-old Ines de la Fressange for a story about what models wear on their own time. Her famous Anglophilia definitely shows in the spread: two of the five models pictured are British, and a third, Wintour points out, shops at an L.A. store that specializes in "English rock'n'roll clothes."

Lady GaGa, is that you?

I searched, valiantly, for a picture of a model pulling some daft pose while jumping, since that's pretty much all that Vogue publishes under Wintour's watch today. This shot from an April 4, 1983, story about British fashion designers was as close as I could get.

Eureka! The definitive inspiration for the terrible graffiti Wintour made Julian d'Ys paint on the walls of the Met.

As for this editorial, from the December 13, 1982, issue, I've got no snark.

It's actually kind of beautiful — the spread has a simplicity that's entirely missing from the sterile, massively airbrushed set pieces of American Vogue today.

I suppose you don't get to be Anna Wintour without doing something right, once upon a time. (Either that or secretly sacrificing your first born.)

All images via the Google Books archive of New York

• Australian Vogue's September cover is out, and it features a stunning illustration of Cate Blanchett. [WWD]
• Meanwhile, Fashion Week Daily is reporting on a rumor that Victoria Beckham might be American Vogue's October cover model. [FWD]

• The Kanye West-Gap intern story is back, this time as written in the Chicago Tribune. But no sources are named — doubly so where the rumor-within-a-rumor that West is looking to launch a clothing line with the retailer is concerned. But it would be so perfect! Amber Rose could model it. [ChicagoTrib]
• Jessica Simpson, on her new lingerie line, produced by a licensee of a licensee: "Of course I love lingerie. What girl doesn't? My lingerie reflects the way I'm feeling when I wake up and helps me set the tone for my day." [WWD]
• Takashi Murakami for Louis Vuitton stuffed animals: no celebrity artist megabrand collaboration should ever be this goddamned cute. [FWD]
• French street style photographer Garance Doré has a new gig expanding her blogging coverage for Paris Vogue. [WWD]
• Balenciaga returned to Jennifer Connelly for its fall ads — and then had Steven Meisel photograph her very awkwardly. [SassyBella]
• Jean-Paul Gaultier, for his part, booked Raquel Zimmerman and Raquel Zimmerman for his fall campaign. Raquel Zimmerman plays the girl role and the boy role and looks mighty good doing it. [FWD]
• Gaultier's collaboration with Doc Martens — available only in France, hélas — features boots with perforated leather in a grid. And, as Fashionista points out, you could totally make a DIY version. [Fashionista]
• Roberto Cavalli's house involves significantly less leopard print than we might have imagined. [The Moment]
• Naomi Campbell may have attacked a paparazzo with her handbag on holiday in Sicily. [Daily Mail]
• Designer Paul Smith, on photographing his own ad campaigns: "The whole idea of a designer doing photographs is sort of pretentious: ‘I do everything, you know.' Like Karl whatshisname. I'm a snapper, not a photographer. I'm not Mario Testino. But my lot have been saying, ‘You take pictures; you do it.' So I thought, ‘Let's have a go.' My creative director and the marketing guy and the press people are all pleased with them." [ToL]
• Amber le Bon is to be featured in an upcoming issue of (British?) Vogue wearing her mother Yasmin's vintage clothes. [Daily Mail]
• Late on Friday, fashion writer Diane Pernet published an e-mail exchange between the stylist for "a well-known singer of color" and a PR representative for designer Alexander Wang; the PR was denying the singer's request to wear Alexander Wang clothing, and when the stylist wrote back intimating that the denial was based on her client's race, the PR seemed to agree, and said she was quitting her job. Although Blackbook originally reported on the story, both it and Pernet have pulled their posts about it — did Wang threaten legal action? — but Blackbook's Facebook note publicizing its post is still visible, and Homo Neurotic has reprinted the full text of the e-mails. [Facebook and Homo Neurotic]
• You can now count Yves Saint Laurent designer Stefano Pilati among the thundering horde descending on London Fashion Week in September. Pilati will be in attendance because of his mentor relationship with the label Veryta. [Vogue UK]
• The fashion industry's huge waste is a serious environmental hazard in the third world countries where most of our clothing is made. [UPI]
• A particular jean factory in Lesotho, which produces denim items for the Gap and Levi's, exposed locals to burns and chest infections because of its toxic fumes. [CBS]
• Juicy Couture's higher-priced line, Bird, is now hitting stores. Anyone who had her eye on Rachel Zoe's recommended leather leggings, now is your time. [LATimes]
• Emma Watson, despite her professed abhorrence of celebrity clothing lines, is rumored to be in the process of launching one with the London fair trade organic brand People Tree. There's a Mischa Barton coke joke in here somewhere. [Daily Mail]
• New York is still an attractive place for overseas tourists to go shopping, since the dollar is slightly lower again. London, where the exchange rate has only recently become more favorable, has seen a 4.7% increase in retail sales over last year for the month of June. [WWD]
• Astoundingly, teenagers in America are spending on average 14% less on clothes than they were last year. [NYTimes]
• Christian Dior's profits were down 27%, to $943 million, in the first six months of this year. [WWD]
• A collage of snippets of fabric used in the late Princess Diana's wedding dress is available on eBay for £15,500, if anyone wants it. [Daily Express]
• 13,300 Burlington Coat Factory boys' hooded sweatshirts are being recalled because their cords pose a strangulation risk. [UPI]

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

Earlier: French Vogue: The Wind Beneath Our Wings
Mon Dieu! C'est French LOLVogue: Shoulders, Champagne and Cigarettes
Bon Joor, C'est Paris LOLVogue Encore!
French 'Vogue': Devil Worship Is The New Black!
Related: LOLVogue: Teh Hare Toss & Teh Bunnee Hop
LOLVogue: Tard Moddles & Bahlinceeyagga
LOLVogue: Sheez Over Ayteen, I Sware
LOLVogue: Hungry Moddles & Rorschach Tests
LOLVogue: Carbs, Botox & Pink-Eye
LOLVogue: Good Help Is Hard To Find
LOLVogue: Starving Models & Marionettes
LOL'Vogue': Scarves, Silverware & Scooters

The wind tapped like a tired man,
And like a host, "Come in,"
I boldly answered; entered then
My residence within

A rapid, footless guest,
To offer whom a chair
Were as impossible as hand
A sofa to the air.

No bone had he to bind him,
His speech was like the push
Of numerous humming-birds at once

His countenance a billow,
His fingers, if he pass,
Let go a music, as of tunes
Blown tremulous in glass.

He visited, still flitting;
Then, like a timid man,
Again he tapped—'t was flurriedly—
And I became alone.

(From Nature)

Of all the sounds despatched abroad,
There's not a charge to me
Like that old measure in the boughs,
That phraseless melody

The wind does, working like a hand
Whose fingers brush the sky,
Then quiver down, with tufts of tune
Permitted gods and me.

When winds go round and round in bands,
And thrum upon the door,
And birds take places overhead,
To bear them orchestra,

I crave him grace, of summer boughs,
If such an outcast be,
He never heard that fleshless chant
Rise solemn in the tree,

As if some caravan of sound
On deserts, in the sky,
Had broken rank,
Then knit, and passed
In seamless company.

(From Nature)

The wind begun to rock the grass
With threatening tunes and low,—
He flung a menace at the earth,
A menace at the sky.

The leaves unhooked themselves from trees
And started all abroad;
The dust did scoop itself like hands
And throw away the road.

The wagons quickened on the streets,
The thunder hurried slow;
The lightning showed a yellow beak,
And then a livid claw.

The birds put up the bars to nests,
The cattle fled to barns;
There came one drop of giant rain,
And then, as if the hands

That held the dams had parted hold,
The waters wrecked the sky
But overlooked my father's house,
lust quartering a tree.

(The Wind Begun To Rock The Grass)

The daisy follows soft the sun,
And when his golden walk is done,
Sits shyly at his feet.
He, waking, finds the flower near.
"Wherefore, marauder, art thou here?"
"Because, sir, love is sweet!"

We are the flower, Thou the sun!
Forgive us, if as days decline,
We nearer steal to Thee, —
Enamoured of the parting west,
The peace, the flight, the amethyst,
Night's possibility!

(From Time And Eternity)

Earlier: Bon Joor, C'est Paris LOLVogue Encore!
What's The Message Behind A Black Man In Heels On The Cover Of Vogue?
French Vogue: Now With More Bearded Drag Queens
Olivier Theyskens Totally Naked in French Vogue: Hot or Not?
Mon Dieu! C'est French LOLVogue: Shoulders, Champagne and Cigarettes
French 'Vogue': Devil Worship Is The New Black!