EDIT: Caroline has NOT booked Louis Vuitton. False alarm!
Well, I wasn't expecting this at all! The Brasch has booked the Fall/Winter 2011 Louis Vuitton campaign!
The news broke on tFS about 3 hours ago, and I'm still waiting on official confirmation, but if this is true, I am completely blown away. If you remember, Kate Moss closed the LV show in Paris last month in a very emphatic fashion, and everyone was quite certain that she had the campaign in one of those famed brown bags. But somehow, it seems that Moss is now completely uninvolved with the project.
Word on the net is that Caroline will be featured alongside Vogue Paris favorite, Daphne Groenfeld, as well as Fei Fei Sun, Zuzanna Bijoch, and Anais Pouliot. An interesting cast, not least because the majority of the girls are quite young, and the shoot will likely be on the raunchy side. It is Marc Jacobs though, and he's never been one to shy away from controversy in that area (I don't think I need to remind anyone about his BANG fragrance ad).
Interestingly, Jacobs also got a bit of flak from fans when Caroline was featured in the Spring/Summer 2011 campaign for the designer's eponymous line, in which she wore a transparent camisole that exposed her breasts (this was the same outfit she wore for the show; in fact, the shoot was done backstage at the show itself). As Caroline was sixteen when the ads were shot, this was seen as somewhat tasteless.
Either way, I'm eager to see what the result will be of the Louis Vuitton version of the collaboration, if it is, in fact, true. More on this later!
Sunday, April 17, 2011
Thursday, April 7, 2011
Bits and Bites
Just a couple of tidbits that have popped up in the last week!
Caroline walked in the Runway to Green fashion show on March 29th, part of the Bid To Save The Earth campaign. A plethora of designers, including the likes of Marc Jacobs, Nicholas Ghesquière, and Alexander Wang, all designed clothes for the event, which are currently being sold exclusively at net-a-porter.com. Caroline had one look in the show, and I was really quite surprised she was involved with the event as it was very much focused on drawing in as much attention as possible, which means big name models like Coco Rocha, Karolina Kurkova, and Jessica Stam. But our girl was trekking along with the lot of them, which might be an indication of her rising profile in the industry. Caroline wore Rachel Roy's cocktail confection.
Another image has emerged from Caroline's shoot for Vogue Nippon's March 2011 beauty supplement. Still not sure if there are more photos in this or not, but I will keep you all posted as usual, and do a full review if no more are forthcoming!
I also have some excellent news on the cover front: The Brasch is on the cover of Vogue Portugal for May 2011! It is a reprint from her Vogue Nippon April 2011 editorial (interestingly, one of the two shots I picked as my favorites yesterday). Generally speaking, reprints aren't big news, but where Caroline is pretty much starved for covers, I'll take what I can get. I doubt there will be new editorial content in the magazine, chances are that the editorial will just be reprinted in full, but sometimes outtakes from the original are used. Congratulations on nabbing a cover Caroline!
As a parting note, The Brasch is nominated for Best New Danish Model at the 2011 DANSK Fashion Awards! You can vote for her at the official website under the eleventh category Årets Nye Danske Model – Dame. She is nominated alongside fellow newbies Juliane, Caroline C., Ida, and Josephine. Get over there and vote folks, after the last two seasons, the girl deserves it! Also of interest is that her Fall/Winter 2010 campaign with Designers Remix is nominated for Best Danish Campaign (category six).
Photos courtesy of tFS users Nils, EnVogueLove, and tarsha
Caroline walked in the Runway to Green fashion show on March 29th, part of the Bid To Save The Earth campaign. A plethora of designers, including the likes of Marc Jacobs, Nicholas Ghesquière, and Alexander Wang, all designed clothes for the event, which are currently being sold exclusively at net-a-porter.com. Caroline had one look in the show, and I was really quite surprised she was involved with the event as it was very much focused on drawing in as much attention as possible, which means big name models like Coco Rocha, Karolina Kurkova, and Jessica Stam. But our girl was trekking along with the lot of them, which might be an indication of her rising profile in the industry. Caroline wore Rachel Roy's cocktail confection.
Another image has emerged from Caroline's shoot for Vogue Nippon's March 2011 beauty supplement. Still not sure if there are more photos in this or not, but I will keep you all posted as usual, and do a full review if no more are forthcoming!
I also have some excellent news on the cover front: The Brasch is on the cover of Vogue Portugal for May 2011! It is a reprint from her Vogue Nippon April 2011 editorial (interestingly, one of the two shots I picked as my favorites yesterday). Generally speaking, reprints aren't big news, but where Caroline is pretty much starved for covers, I'll take what I can get. I doubt there will be new editorial content in the magazine, chances are that the editorial will just be reprinted in full, but sometimes outtakes from the original are used. Congratulations on nabbing a cover Caroline!
As a parting note, The Brasch is nominated for Best New Danish Model at the 2011 DANSK Fashion Awards! You can vote for her at the official website under the eleventh category Årets Nye Danske Model – Dame. She is nominated alongside fellow newbies Juliane, Caroline C., Ida, and Josephine. Get over there and vote folks, after the last two seasons, the girl deserves it! Also of interest is that her Fall/Winter 2010 campaign with Designers Remix is nominated for Best Danish Campaign (category six).
Photos courtesy of tFS users Nils, EnVogueLove, and tarsha
Wednesday, April 6, 2011
The Beauty of Hauter
I have finally found a spare moment to get to work on Caroline's editorial for Vogue Nippon's April 2011 issue, which I must admit, I have been putting off for an inordinate period of time... Why? Well, aside from the most obvious excuse of being stretched to the second, I didn't really like the editorial. I suppose this is one of those situations where my busy-ness became a blessing in disguise, allowing for a bit more reflection than usual. But more on that after the jump; here is "Beauty of Extreme," shot by Sølve Sundsbø, and styled by Katie Grand:
As I said above, I was not very pleased with this editorial when it was released. It seemed drab, not in the least because Caroline's poses, while they might have been dramatic in isolation, are very much repetitive when seen in the context of the full editorial. I am ashamed to relate that all that was going through my head while looking at it was a grim voice lamenting: "You had an excellent photo this week, but flipping through your film, the judges noticed something that greatly concerned them... [ominous pause for intended suspense]... ALL of your photos looked THE SAME."
Now, realizing that my initial reaction to an editorial by The Brasch was to berate it with the words of Tyra Banks, I was unable to face the prospect of making a post about it. No, until I could come up with a reason for not liking the pictures other than the same one used week in, week out on one of my least favorite prime time comedy shows, I would not address the issue at all. Suffice it to say, had Ms. Banks' critique never entered my mind, I would have felt completely justified in not liking it. But as it did, I had no other choice but to search for something I deemed amazing about "Beauty of Extreme," or risk the nauseating prospect of agreeing with a woman who believes she's the best thing to happen to fashion since... well, ever.
What I think is important about this editorial is the overpowering sense of snobbery that it exudes. Not only is this demonstrated by Caroline through her posing, but also through the camera angles in each shot, and the way that these play off of each other. Caroline is often depicted looking away from the camera, indicating a sense of either disinterest, or ignorance of the viewer, and in the cases where she is looking directly into the lense, her head is tilted up with her chin held high, so she is effectively "looking down her nose" at you. Combine this with the placement of the camera, looking up from her feet, and the overall impression is that she is quite untouchable.
Of course, there are some occasions where the camera is level with her, and I feel that it is on these occasions that we see a bit more depth to the character's story. In photo 2, we see the camera beginning to move to a more equal view point. In this picture, she is glancing over her shoulder somewhat suspiciously. Her gaze is not level, but angled somewhat below her eye line. What I would suggest is being implied here, is that someone has moved to challenge her in her state of invincibility. Whether intended or not, someone is competing with her, and she is surprised by this, and for a moment, threatened.
Deciding this is a passing moment of doubt, she returns to her state of divinity, as we see in the next image. However, in number 4, the camera angle is quite on par with her. She stands facing the camera with her feet spread, defensive, but also informing her competitor that she will not bow before any pressures they place upon her. Evidently, her opponent is again daunted, and backs down.
Picture 6 is one of the most fascinating in the story. For the first (and only) time in the entire editorial, she has bent down. Instead of someone challenging her, she willfully brings herself down to the camera's (and by association, the viewer's) level. She still looks away from the camera, showing her remaining sense of pride, but this photo is incredibly significant because it indicates that despite thinking herself so high and mighty, she has the ability to humble herself to a certain degree and see things from the perspective of more "lowly" beings. But in the context of the story, it is made clear that she does this of her own accord, not by the will of others.
As a result of all this background (whether by my own invention or my perception of what is meant to be there), my love is given to the last two shots. After establishing herself as being powerful, unchallengeable, but also enlightened and observant, we understand that second glance over the shoulder as the camera again moves level with her, more clearly than the first. She seems to say "After I have proven all of this, do you really think you can compete with me?" As if in answer, the camera immediately falls back to her feet as she resumes that all-powerful stance with her upturned face, sighing "No, I thought not."
It is a moment that is reminiscent of one towards the end of The Devil Wears Prada where Meryl Streep drawlingly states: "The truth is, there is no one that can do what I do..." Had it not been for all of the events you had seen occur up to that moment of triumph, you would find it much less easy to think of this claim as being justified. But having been made witness the way she has manipulated everyone so successfully, you do not doubt that she is the best at what she does.
I think that is what makes this editorial special. Through the way the photos have been organized, you get to see that there is a reason why this woman is so empowered and revered. While she is beyond all doubt very assured that she is better than everyone else, this sentiment is not the result of some sudden, ignorant conception. She has the status she has not only because she captured her throne, but also because in the face of all challengers, she has managed to hold it: a feat that is incredibly difficult to achieve.
Now, if we contrast this to the earlier-mentioned "lofty" Tyra Banks... there is no comparison. Tyra Banks was a Victoria's Secret and Sports Illustrated model. She was not high fashion, and as such, has no claim to the throne on which she places herself. Or perhaps she does. The difference, we might perceive, is that her throne was poorly made by her own hands out of tape and cardboard from a refrigerator box. The throne on which Caroline sits in this editorial was won by blood, sweat, and tears. And it is fashioned of Byzantine gold.
Photos courtesy of tFS user tarsha
As I said above, I was not very pleased with this editorial when it was released. It seemed drab, not in the least because Caroline's poses, while they might have been dramatic in isolation, are very much repetitive when seen in the context of the full editorial. I am ashamed to relate that all that was going through my head while looking at it was a grim voice lamenting: "You had an excellent photo this week, but flipping through your film, the judges noticed something that greatly concerned them... [ominous pause for intended suspense]... ALL of your photos looked THE SAME."
Now, realizing that my initial reaction to an editorial by The Brasch was to berate it with the words of Tyra Banks, I was unable to face the prospect of making a post about it. No, until I could come up with a reason for not liking the pictures other than the same one used week in, week out on one of my least favorite prime time comedy shows, I would not address the issue at all. Suffice it to say, had Ms. Banks' critique never entered my mind, I would have felt completely justified in not liking it. But as it did, I had no other choice but to search for something I deemed amazing about "Beauty of Extreme," or risk the nauseating prospect of agreeing with a woman who believes she's the best thing to happen to fashion since... well, ever.
What I think is important about this editorial is the overpowering sense of snobbery that it exudes. Not only is this demonstrated by Caroline through her posing, but also through the camera angles in each shot, and the way that these play off of each other. Caroline is often depicted looking away from the camera, indicating a sense of either disinterest, or ignorance of the viewer, and in the cases where she is looking directly into the lense, her head is tilted up with her chin held high, so she is effectively "looking down her nose" at you. Combine this with the placement of the camera, looking up from her feet, and the overall impression is that she is quite untouchable.
Of course, there are some occasions where the camera is level with her, and I feel that it is on these occasions that we see a bit more depth to the character's story. In photo 2, we see the camera beginning to move to a more equal view point. In this picture, she is glancing over her shoulder somewhat suspiciously. Her gaze is not level, but angled somewhat below her eye line. What I would suggest is being implied here, is that someone has moved to challenge her in her state of invincibility. Whether intended or not, someone is competing with her, and she is surprised by this, and for a moment, threatened.
Deciding this is a passing moment of doubt, she returns to her state of divinity, as we see in the next image. However, in number 4, the camera angle is quite on par with her. She stands facing the camera with her feet spread, defensive, but also informing her competitor that she will not bow before any pressures they place upon her. Evidently, her opponent is again daunted, and backs down.
Picture 6 is one of the most fascinating in the story. For the first (and only) time in the entire editorial, she has bent down. Instead of someone challenging her, she willfully brings herself down to the camera's (and by association, the viewer's) level. She still looks away from the camera, showing her remaining sense of pride, but this photo is incredibly significant because it indicates that despite thinking herself so high and mighty, she has the ability to humble herself to a certain degree and see things from the perspective of more "lowly" beings. But in the context of the story, it is made clear that she does this of her own accord, not by the will of others.
As a result of all this background (whether by my own invention or my perception of what is meant to be there), my love is given to the last two shots. After establishing herself as being powerful, unchallengeable, but also enlightened and observant, we understand that second glance over the shoulder as the camera again moves level with her, more clearly than the first. She seems to say "After I have proven all of this, do you really think you can compete with me?" As if in answer, the camera immediately falls back to her feet as she resumes that all-powerful stance with her upturned face, sighing "No, I thought not."
It is a moment that is reminiscent of one towards the end of The Devil Wears Prada where Meryl Streep drawlingly states: "The truth is, there is no one that can do what I do..." Had it not been for all of the events you had seen occur up to that moment of triumph, you would find it much less easy to think of this claim as being justified. But having been made witness the way she has manipulated everyone so successfully, you do not doubt that she is the best at what she does.
I think that is what makes this editorial special. Through the way the photos have been organized, you get to see that there is a reason why this woman is so empowered and revered. While she is beyond all doubt very assured that she is better than everyone else, this sentiment is not the result of some sudden, ignorant conception. She has the status she has not only because she captured her throne, but also because in the face of all challengers, she has managed to hold it: a feat that is incredibly difficult to achieve.
Now, if we contrast this to the earlier-mentioned "lofty" Tyra Banks... there is no comparison. Tyra Banks was a Victoria's Secret and Sports Illustrated model. She was not high fashion, and as such, has no claim to the throne on which she places herself. Or perhaps she does. The difference, we might perceive, is that her throne was poorly made by her own hands out of tape and cardboard from a refrigerator box. The throne on which Caroline sits in this editorial was won by blood, sweat, and tears. And it is fashioned of Byzantine gold.
Photos courtesy of tFS user tarsha
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