Dá um confere na entrevista que o Style fez com a Carine Roitfeld, ex Paris Vogue.
“What are some of your plans?
You know, I have many projects, but as a Russian, I am very superstitious, and nothing is totally clarified. I think it will be [clearer] in one month. It’s just one week since I left the magazine, but I have a lot of ideas. It will of course be in fashion, but I don’t know exactly which way—magazines or maybe the muse of someone, I don’t know exactly. But what I’m sure of, because I discovered this at the end of my decade [at Vogue], it’s very important to help young designers. My last issue is the March issue, and it’s dedicated to young designers, no advertisers, just young designers, because I think they really need the support…When you meet these kids, you learn a lot from them, and I think it gives them a lot of positive energy…I definitely want to work on a project with young designers, not just French but international…I grew up and I think I have better ideas than I had ten years ago. [For the last ten years] I didn’t have a lot of time to think about the big picture or how fashion is going to be in some years. Now it’s a good moment for me to think about fashion for today, because a lot of things have changed, and when you’re working you don’t see all these things changing. But when you stop, you can see it. You have to understand the new way of working with fashion.
What are some of those changes?
Everything is going so quick now with the Internet, with the blogs. It’s very important. There are two possibilities; either you go very quick to the Internet or you go to magazines and you make it like a collector’s item. [I still think] it’s very normal to have all these fashion weeks and to go to all these shows. Can you show them through movies? I don’t think this is possible. It’s very exciting to be at the runway, to hear the music, to feel the atmosphere, to feel what people like or don’t like. Even if there are too many shows—I would love if there were less shows—I think we have to live with the shows. But after, maybe there is another way to make fashion stories.
You were one of the first editors to become a star of the street-style blogs. Were you conscious that was happening?
I’m never conscious about those sorts of things. I was never conscious that I was becoming an icon or I’m not an icon, because my family, my kids, my husband keep me down-to-earth. But it’s true that, when you go to a show now, the photographers are more interested sometimes in the dress or the jacket you’re wearing than to photograph the show, and I think this is totally wrong. It’s an honor and you smile to the people. But is it normal? I think there is something a bit weird, that more people want to see these looks than want to see what John Galliano or Dolce & Gabbana did for the show.
I’d like to talk about Paris Vogue. Was there a moment where you felt you’d really defined the voice of the magazine?
It took a little time, because when I came to Vogue ten years ago, it was not the Vogue it is today. Joan Juliet Buck, who I was working for as a freelancer, was more a journalist editor than a fashion editor, so it was focused more on the text and writers and not so much on fashion. And me, I come with all my fashion ideas, but it was very difficult at the beginning, because a lot of photographers, it’s easy to forget, didn’t want to work for the magazine…Each time we try to be better and better, and it takes almost ten years to be a team, and now I think the best team is there. It’s very sad to leave your family after ten years…But I think the times are changing, too. I said to Jonathan [Newhouse, chairman of Condé Nast International], when I can make it ten, it will be great for me. And I think in the last [period] that maybe I got less freedom than I got before, so I think it was just the right time for me to leave, because I want to enjoy and do everything that I want to do. And Jonathan was an amazing boss, because he let me do such crazy things. To put a black transsexual with a beard and high heels on the cover? I don’t think a lot of presidents will let you do that. I think it was fun to look at French Vogue. Each month was a new happening. But I think now they want to change a bit. Even the French president [Xavier Romatet, of Condé Nast France] now wants something a bit [pauses]…sweeter I would say, and if I cannot have a lot of fun, then I prefer to do something else.
You felt you had less freedom at the end?
I think yes. I think the French president—maybe not Jonathan—but the French president thinks he wants something more [pauses]…I won’t say I’m too provocative; it’s my way of expressing myself, you know. They won’t change everything, because when something has been so [successful], it would be stupid to change it. Maybe they want [things] a bit more easy for everyone. It’s true, I’m always pushing. I like that. I’ve always been provocative, but what I’m going to do next is a new way of provocation. I did for many years porno chic. I was the queen of porno chic. And I will do something totally different now.”
A entrevista é imensa e vale mega apena dar uma lidinha!
Leiam na íntegra em www.style.com.
BjoBjo
The code of fashion 