{"id":48758,"date":"2016-09-23T17:53:38","date_gmt":"2016-09-23T21:53:38","guid":{"rendered":"http:\/\/models.com\/mdx\/?p=48758"},"modified":"2016-11-02T11:51:20","modified_gmt":"2016-11-02T15:51:20","slug":"sissy-vian","status":"publish","type":"post","link":"https:\/\/models.com\/mdx\/sissy-vian\/","title":{"rendered":"Sissy Vian"},"content":{"rendered":"<div class='coverpic'>\n<img decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/Sissy-MDX.jpg\" \/>\n<\/div>\n<style>\n#introbox,#creditbox {border:1px solid white;padding:30px;max-width: 850px;margin: auto !important;}\n#introbox, #introbox p {font-family:'Open Sans';}\n#introbox{font-size:20px;text-align:center !important;}\n.coverpic {max-width:1280px;padding: 10% 30%;}\n.photogtitle {font-size:2rem;}\n#introtxt {margin:80px 0;padding:0 40px;font-size:1.6rem;}\n.opensans,#introtxt, #introbox, .introcredits {font-family:'Open Sans', sans-serif;}\n#introbox .introcredits {font-size:.85rem;padding:40px 0;}\n.post p, .post div p:first-child {padding:0}\n.toppic {padding-bottom: 20px;}\n.txtdiv {padding: 0 40px;clear:both;}\n#introbox,.txtbox,.rside {margin:0px 0 10px 0;font-weight:300;}\n.title {font-size:4.2rem;color:black;font-weight:normal;margin:auto;padding:60px 0;text-align:center;text-transform: uppercase;font-family: 'Open Sans';font-weight: 100;}\n.title a {color:black;}\n#introbox .titlename {font-size:8.5rem;}\n#introbox .mdctitle {color:#999;}\n#introbox,.txtbox,.introblurb {text-align:justify;}\n.introblurb,.introblurb p {line-height:1.6;}\n.quote {width:65%;margin:40px auto;}\n.credits {font-size:.75rem;font-family:\"Courier New\", Courier, monospace;font-weight:normal;text-align:center;}\n.txtcont {border:1px solid black;}\n.txtbox {font-family:'Open Sans', sans-serif;width:36%;border:0;margin:auto;padding: 60px 10%;}\n.rside {padding: 60px 80px 0 50px;}\n.interviewenglish {font-style: italic;}\n.imgbox {margin:0x;padding:40px 0;}\n.rside .quotebox {margin:30px 0px 10px 30px;}\n.fwidth {clear:both;}\n.separ {border:1px solid white;clear:both;margin:60px;}\n.center {text-align: center;}\n.center img {max-width: 80%;}\n.fullwidth {max-width:100% !important;margin-top:20px;}\n.videodiv {height:auto;width:auto;background-color:white;padding-top:20px;padding-bottom:20px;max-width:1280px;}\n.pullquote {font-size:1.8rem;text-align:center;font-style:italic;max-width:900px;margin:auto;padding:0px 20px;font-family: 'Neue Haas Unica W01';}\n.txtbox {font-family:'Neue Haas Unica W01', sans-serif;width:36%;border:0;margin:auto;padding: 60px 10%;}\n<\/style>\n<link type=\"text\/css\" rel=\"stylesheet\" href=\"\/\/fast.fonts.net\/cssapi\/1ee7eecc-8318-40d7-9f60-2840770611c0.css\"\/>\n<!-- mdc set, L Futura W01,Linotype Didot W01,Neue Haas Unica W01 --><\/p>\n<div class=\"txtdiv\">\n<div id=\"introbox\">\n<div class=\"title\"><a href=\"PERMALINK\" rel=\"bookmark\">Sissy Vian<\/a><\/div>\n<div class=\"introblurb\">\nIn-demand Italian stylist <a href='\/\/models.com\/people\/sissy-vian'>Sissy Vian<\/a> (<a href='\/\/models.com\/agency\/Management-Artists'>Management + Artists<\/a>) has racked up an impressive portfolio of stirring imagery since her days posing in front of Helmut Newton. Her fearless embrace of both the new and the old guard of photography has allowed her to stylistically contribute to the work of Camilla Akrans, Albert Watson, Ezra Petronio, Roe Ethridge, Collier Schorr, and Ryan McGinley. As creative fashion director of <a href='\/\/models.com\/client\/flair'>Flair<\/a>, she was able to bring a sharp shock of vitality to the Italian based magazine, melding the worlds of fashion and art as seamlessly as the couture garments she calls in. Now back as Editor-at-Large at the book that started it all, <a href='\/\/models.com\/client\/vogue-japan'>Vogue Japan<\/a>, Vian and her steady curation of new talent continues to push for powerful and sensual female characters as she crafts visuals we can all dream about. As Milan Fashion Week heats up, we had a conversation about her fortunate start in the business, working at Flair and Vogue Japan, and thoughts on what is needed in the industry to bring the spark back.\n\t\t<\/div>\n<div class=\"introcredits\">\n<p>\t\tPortrait by Bardo Fabiani courtesy of Sissy Vian<br \/>\n\t\tInterview by <a href='\/\/models.com\/people\/irene-ojo-felix'>Irene Ojo-Felix<\/a> and <a href='\/\/models.com\/people\/stephan-moskovic'>Stephan Moskovic<\/a><br \/>\n\t\tPhotographs courtesy of <a href='\/\/models.com\/agency\/Management-Artists'>Management + Artists + Organization (New York)<\/a><\/p>\n<div class=\"credits\" style=\"padding-top:20px;\"><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapanAymeline-1280x820.jpg\" width=\"1280\" height=\"820\" class=\"alignnone size-medium wp-image-48790\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapanAymeline.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapanAymeline-200x128.jpg 200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Aymeline Valade for Vogue Japan by Liz Collins<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; I first would love to understand how you became who you are today. How was it for you when you first started?<\/strong><\/p>\n<p>SISSY &#8211; I might be a strange stylist because everyone says to me, \u201cOh! But you are so normal.\u201d I don\u2019t know if all of us are normal, but in the weird world of fashion maybe I\u2019m more normal than others. Is it because I\u2019m still based in Italy? I\u2019m Italian &#8211; I\u2019m not American, I\u2019m not English. I have a different culture. I started as a model a long time ago and for me it was really about the art. I worked with photographers like Helmut Newton and he said to me, \u201cOh you have to take the camera. You should start to take pictures because you are a visionary.\u201d For me, it\u2019s not just about fashion, it\u2019s more about the concept and to leave a signature. My goal is not to be on Instagram or to be like, \u201cOh, I\u2019m here! I\u2019m doing this!\u201d I don\u2019t care. It\u2019s more about being in a book and that one day someone will look at a picture of my work and say \u201cOh, this is so gorgeous! How did she make it happen?\u201d That is what is really interesting to me.<\/p>\n<p><strong>STEPHAN &#8211; It\u2019s from the image making and the art side first. So you modeled for Helmut?<\/strong><\/p>\n<p>Yes! That was funny because I was modeling in the 80\u2019s but I was short and skinny. At that time everyone was tall, but because of my body proportion and I knew my body I could make myself look like I was 5\u201911.\u2019\u2019 So, he chose me thinking that I was 5\u201911\u2019\u2019 and when I arrived, I was so small! **laughs** He says \u201cAh! I thought you were taller!\u201d So they said \u201cOkay, get naked\u201d And of course\u2026.<\/p>\n<p>He was a bit disappointed to see me but after I started assisting Anna Dello Russo at Italian Vogue. She started to work with him so I went back to work with him again. After when I left Anna, I began my own career but for me Helmut still is #1 as far as photographers go. It\u2019s not nice to say I have a list, but for me he was really a god. I was not really interested in modeling to be honest. To me it was frustrating all of the time to be chosen because you are this or you are that. For me it\u2019s always more about what you can say to people through your work.\n<\/p><\/div>\n<div class=\"pullquote\">\n\t&#8220;To me it was frustrating all of the time to be chosen because you are this or you are that. For me it\u2019s always more about what you can say to people through your work.&#8221;\n\t<\/div>\n<div class=\"txtbox\">\n<p><strong>STEPHAN &#8211; Did you have an interest in art and photography from the beginning? <\/strong><\/p>\n<p>Si! I started a long time ago to mix the two. I was able to do this project with Francesco (Vezzoli) because he came to me a long time ago when nobody knew him. He said, \u201cI\u2019m just an artist and I would love to do this project with you.\u201d It was with Marianne Faithfull, Catherine Deneuve &#8211;  all of those classic actresses. He said, \u201cI\u2019m dying to work with you as a stylist, but I have no money &#8211; could you do for me?\u201d And I said, \u201cYes! Of course!\u201d I always tried to make different choices. If the project is interesting to me, I just do it. <\/p>\n<p><strong>STEPHAN &#8211; That\u2019s great to hear because I wanted to talk to you about how do you assemble such a great variety of artists and photographers?<\/strong> <\/p>\n<p>When it came to Francesco, he had just finished this big project for the MOMA, which they did a book for and he was always asking to do something together that involved great people, to get hair and makeup teams at that good level. He knew I was working with Catherine Deneuve at that time, Juliette Binoche too. Since forever I\u2019ve been trying to mix cinema and fashion, and I was always interested in doing different things. If not, I get bored. It\u2019s not just fashion, fashion, fashion for me.<\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/JessicaMiller_Flair_Inez-1280x1736.jpg\" width=\"1280\" height=\"1736\" class=\"alignnone size-medium wp-image-48764\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/JessicaMiller_Flair_Inez.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/JessicaMiller_Flair_Inez-147x200.jpg 147w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Jessica Miller for Flair #8 by Inez &#038; Vinoodh and Francesco Vezzoli<\/div>\n<div class=\"txtbox\">\n<p><strong>STEPHAN &#8211; And now especially I imagine that the brands have so much influence on shoots and try to impose their priorities. It\u2019s got to be difficult creatively.<\/strong> <\/p>\n<p>It\u2019s really hard for us. Because also with my experience when I was a Fashion Director, you&#8217;re scared when the magazine goes out because you know that there is at least one shoot where a brand will call you and start screaming at you over the phone that you didn\u2019t do this or you didn\u2019t do that. It\u2019s never enough, you know? I think it\u2019s not just the small magazines I think for everyone it is like this at this moment. They have so much power because they have money. <\/p>\n<p><strong>IRENE &#8211; And you don\u2019t want to make them mad because if they\u2019re mad they don\u2019t give you looks\u2026<\/strong><\/p>\n<p>No, but at the same time I really believe in freedom\u2026 <\/p>\n<p><strong>STEPHAN &#8211; Creative freedom?<\/strong><\/p>\n<p>Si. Creative and journalistic freedom. I mean our point of view has to be safe. If not, it\u2019s just a catalogue. So, I try always to defend and publish young designers that have no money. I try to support them through interviews. Push them to do editorial. It\u2019s what makes it all believable and makes people like the magazine. I try to support people, young people. I look at young models, young photographers, young designers because I think that they need support much more than before to be honest.\n<\/p><\/div>\n<div class=\"pullquote\">\n\t&#8220;I always tried to make different choices. If the project is interesting to me, I just do it. &#8221;\n\t<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE \u2013 It&#8217;s funny that you mention the new generation because you collaborated with Paul Sinclaire and he&#8217;s been a contributor of ours. He really has an amazing story but how did you first link up? He&#8217;s part of the old school.<\/strong><\/p>\n<p>I remember I started in the 80\u2019s as a model but there was one time in the early 90\u2019s, I was just starting as a little assistant. [At that time] there was Joe McKenna and Paul Sinclaire &#8211; it was just about those two and nobody else. Really, he left a [mark]. There was a period that he was really big, big, big. It\u2019s nice to come back after all those years and to meet again in a different place. I said to him yesterday that it was such an honor to collaborate. <\/p>\n<p>What I think is really missing because all of this pressure from clients is the fun in this business. When I started as a model you could work until 2 AM in the morning and you enjoyed it because at the end of the day you did an amazing picture and if it didn\u2019t work you could just do it another time. There was no drama. Now, everything is dramatic. Like, oh it\u2019s too late we have to stop, oh you have to run, oh it\u2019s too early oh it\u2019s\u2026 <\/p>\n<p><strong>STEPHAN &#8211; It\u2019s true. You work a lot with Camilla Akrans? Is there a group of photographers that you work with frequently?<\/strong> <\/p>\n<p>Yes, Camilla we started working together a long time ago. I brought her to Japanese Vogue, I just worked this past week with her. But it depends on the moment in my life. The time that I started with Vogue I worked with other photographers and now I want to go back to work with them like S\u00f8lve (Sundsb\u00f8) and Peter (Lindbergh), those kind of photographers. I enjoyed working with the young ones, the Flair experience made me more in tuned with the younger generation.<\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/CamillaAkransMariacarla-1280x821.jpg\" width=\"1280\" height=\"821\" class=\"alignnone size-medium wp-image-48791\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/CamillaAkransMariacarla.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/CamillaAkransMariacarla-200x128.jpg 200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Mariacarla Boscono for Vogue Japan by Camilla Akrans<\/div>\n<div class=\"txtbox\">\n<p><strong>STEPHAN &#8211; Yes and you\u2019ve shot with so many different photographers at Flair as well.<\/strong><\/p>\n<p>Si. Because you give them a chance and now most of them are at Interview or Vogue so for me it\u2019s good because that means also I have a good eye. Today it\u2019s much more difficult. But at the same time they give you a new energy and they push you. Sometimes old photographers they give you something wonderful in one second, but they don\u2019t have any more passion. So you need both.<\/p>\n<p><strong>IRENE \u2013 And now you said you&#8217;re back at Vogue Japan where it all kind of started for you\u2026<\/strong> <\/p>\n<p>I\u2019m the Editor-at-Large at Vogue Japan now. I\u2019m more involved with them in terms of what I can bring to the table. Anna is still there, she\u2019s my biggest teacher and Fashion Director. But, she asked me to bring in the new blood.<\/p>\n<p><strong>STEPHAN &#8211; You have a very long work relationship and you trust each other&#8230;<\/strong><\/p>\n<p>Si. I spend more time with her than with my husband. *laughs* It\u2019s true! When I look back I think, \u201cOh my god it\u2019s a really long time that we\u2019ve known each other.\u201d She was really tough, I was her assistant for 5 years at Italian Vogue but I learned that I could do what I am doing and what I did because of her schooling. She was really intense. At that time when I was assisting, Italian Vogue was #1 in the world. American Vogue has the power but all the creativity was at Italian Vogue. For me it was a really good time and I had the chance to work there with big photographers. It\u2019s something that you can\u2019t replace. You had to just shut up and work, you know? There was no 2nd, 3rd, 4th assistant\u2026 it was just you with 40 pieces of luggage, 3 suitcases for you, flying around the world. I was sleeping I think for 2 hours. There was so much to do and it had to be perfect. The Flair experience was really good for me, for a different level also because I wanted to bring back something fresh in Italy. Italy was really stuck and now there\u2019s new blood.<\/p>\n<p>When I first left Italian Vogue, my choice was to be international. I didn\u2019t want to stay Italian. Italy needed international support. It was old and everything was old. It was so tough to make things happen. It\u2019s still not easy. At least in France I think there\u2019s some sensibility. Not the advertising agencies that are older than in Milan, but in terms of magazines. Where is the new generation? Where is the new point of view? New stylists, new photographers, new hair and makeup?<\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/Luigi26IangoVOGUEJAPAN2016.07_000003-1280x823.jpg\" width=\"1280\" height=\"823\" class=\"alignnone size-medium wp-image-48767\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Luigi26IangoVOGUEJAPAN2016.07_000003.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Luigi26IangoVOGUEJAPAN2016.07_000003-200x129.jpg 200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Anna Dello Russo for Vogue Japan by Luigi &#038; Iango<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; New designers even. In the past 2 years there is Marco de Vincenzo, Fausto Puglisi, and more but there wasn\u2019t really a system set to support them so that they can get money. It can\u2019t just only be Armani\u2026<\/strong><\/p>\n<p>SISSY \u2013 Here [in NY] it&#8217;s like okay, let\u2019s move on, more new! Which is super interesting because you feel the energy. That\u2019s why I love to work here. I can\u2019t move because I am married and because I have a daughter. So I am always on the plane back and forth. <\/p>\n<\/div>\n<div class=\"pullquote\">\nI think with the internet it\u2019s so quick that now the vision is slightly different. You have to be consistent and believable.\n<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; I wanted to talk about specifically your work with Flair and Vogue Japan. When I look at their magazines they seem very celebratory of youthful spirits. They kind of take more risks, especially Vogue Japan in comparison with American Vogue. Were you always initially drawn to that sensibility of being fearless? Or was it a more organic connection? Did you seek that out beforehand?<\/strong><\/p>\n<p>I think fashion is about movement. Sometimes you have to have a different point of view. You have to evolve. I have to really understand what is the taste now and see what\u2019s going on. It\u2019s not just about having style or vision. What is really important is to have a point of view, which people recognize as a kind of signature if you want. You have to be consistent and believable. <\/p>\n<p>The experience with Flair was to have a different point of view because I had no money and no support. So, how can we make it interesting and how can we do a project that is different, something new? I said okay, let\u2019s start with new photographers that don\u2019t have a chance to be in all the big magazines. That\u2019s why I started with a new generation of people. And after they grow up, you bring them to Vogue.<\/p>\n<\/div>\n<div class=\"pullquote\">\n&#8220;Every issue had a different idea about youth, about couture, dreaming, revolution. I was trying to give kind of a box where I could put all of my fashion ideas and choose photographers that were on top.&#8221;\n<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; So what\u2019s your take about the pace that everything is going now? How everything is getting faster? Do you find that they\u2019re good or bad?<\/strong><\/p>\n<p>I think everything goes too quickly. It\u2019s just about business and there is no more creativity. I think that we should go back to that creativity. I\u2019m not interested in just shooting catalogs. This happened to me when I worked for a magazine, I don\u2019t want to say the name, but I was so frustrated about it. We love your work but you can\u2019t do this or that. The image it\u2019s not mine, it\u2019s not my point of view now and there are more and more magazines that do this. <\/p>\n<p><strong>STEPHAN &#8211; And what was the approach for Flair? Was each issue a specific idea? Or was it a collaboration with the artists and photographers?<\/strong> <\/p>\n<p>That was basically my idea. It was more of an artistic approach. Every issue had a different idea about youth, about couture, dreaming, revolution. I was trying to give kind of a box where I could put all of my fashion ideas and choose photographers that were on top. Vogue, of course, you have more possibilities than a younger magazine but I tried to give a strong point of view. Thank you, by the way, because you always supported me! <\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/Mariacarla_JuergenTeller-1280x1737.jpg\" width=\"1280\" height=\"1737\" class=\"alignnone size-medium wp-image-48763\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Mariacarla_JuergenTeller.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Mariacarla_JuergenTeller-147x200.jpg 147w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Mariacarla Boscono for Flair #1 by Juergen Teller<\/div>\n<div class=\"txtbox\">\n<p><strong>STEPHAN &#8211; It really stood out as a magazine! It had a strong point of view which is unfortunately rare now.<\/strong><\/p>\n<p>I told you Italy is a really old place, and they didn\u2019t really follow me. They are slow it&#8217;s always &#8220;maybe tomorrow\u2026&#8221; with them. They just started now Instagram! It\u2019s been 4 years that I was talking to them about social media. It took so much effort. The magazine existed before and was totally down and to make it believable again took so much energy. They didn\u2019t understand the project. It was too modern for them. But they understand that people and designers loved the magazine and supported the magazine so they couldn\u2019t believe it. <\/p>\n<p><strong>STEPHAN &#8211; What\u2019s your take on Instagram as a fashion or Instagram\u2019s place in the fashion universe?<\/strong> <\/p>\n<p>It\u2019s really important. It\u2019s important for people in fashion for sure. What has really changed the vision and is really still powerful is Facebook, at least globally. We love Instagram because it\u2019s quick and it\u2019s your personal things but it\u2019s just for our business. It\u2019s not really outside our industry. If you want really to be worldwide and connected it\u2019s still Facebook.<\/p>\n<p><strong>STEPHAN \u2013 Do you see a platform like Instagram or even now snapchat having a creative role? People use it primarily as a self promotion or even as a performance platform\u2026 and it has limitations creatively because of the format. So I was wondering what\u2019s your take on that.<\/strong><\/p>\n<p>I don\u2019t really promote myself in the sense that \u201cYeah I have this pair of shoes\u201d or \u201cI have this\u201d I mean a lot of stylists they do that. But I try to publish pictures, nice pictures that I like or something that inspires me or can inspire other people.<\/p>\n<p><strong>IRENE &#8211; Do you find inspiration there? Or do you find talent there? Have you ever discovered something on a social media platform where it\u2019s been a benefit to you? <\/strong><\/p>\n<p>Of course! I mean it\u2019s a work to stay on Instagram and Facebook and I have no time to be honest. Just when I take my coffee in the morning or if I\u2019m at the airport I can take the time to play with it. <\/p>\n<p>You understand the approach people &#8211; take and how they think and what they like through Instagram. It\u2019s so immediate and you will learn a lot. For example when you look at Glen Luchford, he\u2019s always putting like inspirational pictures or something. It\u2019s really interesting to see. <\/p>\n<p><strong>STEPHAN &#8211; Where do you see the magazine business going? Of course it\u2019s in a crisis or transition right now. There also seems to be an explosion of independent magazines right now, like smaller ones. <\/strong><\/p>\n<p><strong>IRENE &#8211; So many\u2026<\/strong><br \/>\nToo many. *laughs*. I mean it\u2019s not difficult to make a new magazine or a new project if you have good people. The difficult things is to keep going a long time, go the distance, to do another. A lot of those people who don&#8217;t have space on a regular magazine, they disappear.<\/p>\n<p>That\u2019s the problem. And I don&#8217;t feel very much interested in projects now. I don\u2019t feel many magazine I would love to work with. Everything looks a bit the same. I mean, when \u2018Gentlewoman\u2019 was popping up, after that, EVERYONE was copying.<\/p>\n<p>Everyone has that as a reference. Just do something different, you know? Its not about copying someone else. Just a nice picture.<\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapan_FernandaLy_Ezra-1280x1697.jpg\" width=\"1280\" height=\"1697\" class=\"alignnone size-medium wp-image-48761\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapan_FernandaLy_Ezra.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/VogueJapan_FernandaLy_Ezra-151x200.jpg 151w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Fernanda Ly for Vogue Japan by Ezra Petronio<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; Coming from a styling perspective what do you think will need to change in order for it to have that kind of, that new energy? I see a lot of designers now, I guess in a way to kind of balance the system, are choosing to show men and women together. Like, we want less shows so that we can be more creative.<\/strong><\/p>\n<p>A lot less shows! Everything is super fast, it\u2019s the same problem. Look at this season, Hedi Slimane left, Raf Simons left, Alber Elba left. Before it was Galliano. I mean I feel that the designer comes in, they squeeze all the good out and are then it\u2019s like, \u201cnext\u201d. It\u2019s like this, look at Saint Laurent. You know, I love Vaccarello. But, after Hedi, the message is really, really clear. I don&#8217;t think that all of the trends, all the ideas, will arrive at the final woman, or customer. They just stay in our little business. And this chain has to be broken. I think the designer needs more time to think. I mean once it was one collection in winter and one collection in summer, not all the seasons. Saint Laurent, Dior, Balmain, they became geniuses and icons but this took awhile. Every single collection was amazing! You know, take your time. And now we don&#8217;t have time, designers don&#8217;t have time, it\u2019s just *snaps fingers*, you know? That\u2019s why I understand people now want to produce. It\u2019s a lot of money to make a good show.<br \/>\n<strong><br \/>\nIRENE &#8211; That\u2019s what people remember, I would assume. Even the amount of time it takes for people to find inspiration and it not just be throw-away\u2026the time to actually do the critical thinking. I didn\u2019t know if in styling you feel that same pressure. <\/strong><\/p>\n<p>Yes, we have a pressure. Also, I work in consulting and I work on shows to I understand the maison and people ask us for new ideas for trend. But it\u2019s always the same themes, it\u2019s 70\u2019s and 80\u2019s and 90\u2019s and modern and retro and the past. It\u2019s so schizophrenic, you know? It\u2019s so quickly that it\u2019s not arriving to the real message to the customer and you burn through a year in one second. Like everything is old right after it shows.<\/p>\n<\/div>\n<div class=\"pullquote\">\nIt\u2019s nonstop. You don\u2019t even have time to think \u2013 your eyes have to travel to have a inspiration. You need to have the time to sit down, have a coffee, and see other magazines or other books. Go on a trip just for work.\n<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; Cruise! Cruise just dropped yesterday for Chanel in Cuba so now it\u2019s already\u2026<\/strong><\/p>\n<p>It\u2019s nonstop. You don\u2019t even have time to think &#8211; your eyes have to travel to have a inspiration. You need to have the time to sit down, have a coffee, and see other magazines or other books. Go on a trip just for work. But these companies are like a vampire and they suck from you all your ideas and inspiration and right after it\u2019s on to the next. That\u2019s why I think that many designers want to slow down. But someone has to start. I think it\u2019s really important.  <\/p>\n<p><strong>STEPHAN &#8211; Maybe also the aspect of obsession consumption. What\u2019s the point of fast-fashion when you\u2019re constantly churning out all of these products?<\/strong> <\/p>\n<p><strong>IRENE &#8211; That people aren\u2019t buying. The numbers are showing it\u2019s still accessories, it\u2019s still what everybody&#8217;s\u2026 Even if you can afford to buy clothes you only can afford to do it every like 2-3x per year. You\u2019re not doing it 4,5,6x per year because you can\u2019t consume unless you\u2019re a celebrity only wearing something once and then donating to charity. <\/strong><\/p>\n<p>Yeah but that\u2019s true. But this happened because of the internet. Globalization and the internet hit so quickly that everyone wants more. But I said to you that trends, aren\u2019t even arriving to the final customer. The public doesn\u2019t even know\u2026 All of my friends ask me all of the time and there are people that take what\u2019s going on and also when you look at a magazine, there are few that understand fashion but a lot you don\u2019t even know what\u2019s going on. <\/p>\n<p>And with that is the real challenge. I had this conversation with a new photographer and said that it\u2019s good that you haven\u2019t been in a magazine because you really push yourself, you have freedom but at the same time you need a big magazine like Vogue. An established book to make your images believable and strong. That doesn\u2019t mean it\u2019s commercial it means you have to do a super nice picture but in 10 year it\u2019s still looks relevant \u201cnow.\u201d Look at images of Avedon. Look at Lindbergh, Meisel. They shot fashion and they\u2019re still modern, all of the images. So that has to be I think the challenge. <\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/SV-VOGUEJAPAN-09-1280x822.jpg\" width=\"1280\" height=\"822\" class=\"alignnone size-medium wp-image-48760\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/SV-VOGUEJAPAN-09.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/SV-VOGUEJAPAN-09-200x128.jpg 200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\"> Teddy Quinlivan, Julie Hoomans, &#038; Diego Villarreal for Vogue Japan by Albert Watson<\/div>\n<div class=\"txtbox\">\n<p><strong>STEPHAN &#8211; Is there anyone from the new generation that you think does it right? Or stands out?<\/strong><\/p>\n<p>Oh of course! I have to say that the level is really good on <a href='\/\/models.com\/people\/Luigi-and-Iango'>Luigi &#038; Iango<\/a>. They\u2019re incredible. They\u2019re really focused but they love fashion, they love women, they want to show beauty and all of the pictures are really strong. <a href='\/\/models.com\/people\/Greg-Harris'>Greg Harris<\/a> is another one that is on the come up super quickly. <a href='\/\/models.com\/people\/harley-weir'>Harley Weir<\/a>, 27 years old she\u2019s like wow. <a href='\/\/models.com\/people\/Coco-Capitan'>Coco Capitan<\/a>\u2026 I mean she\u2019s young. She\u2019s not perfect but you feel something. You feel the energy, you know? And of course after you have them beside all the big ones. <\/p>\n<p>It\u2019s an interesting time. It\u2019s a bit of a challenging time but more and more I believe in this moment, I was talking these days that it\u2019s really about big or new. I mean I did this project with <a href='\/\/models.com\/people\/Albert-Watson'>Albert Watson<\/a> and the new generation doesn\u2019t even know who Albert Watson is! I said, what are you talking about? Albert Watson?! One time in my life I wanted to shoot with him so bad. He\u2019s a legend for me.<\/p>\n<p><strong>IRENE &#8211; When I look at you book I notice the way you style women is focused on that feminine power. You\u2019re not afraid to show skin or put them in lace and leather, but it\u2019s still kind of this feeling of strength. I wanted to talk more about your sensibility and how you style. How you choose to style women\u2026 <\/strong><\/p>\n<p>It\u2019s me. I love beauty. If you see what is strong in my work it is that you might have a naked woman but they\u2019re never vulgar. This is real quality for me because of Newton and the power that his women had. I like all kinds of beauty in a woman. To transform a little girl like Peyton Knight. <\/p>\n<p><strong>IRENE &#8211; She\u2019s so amazing.<\/strong> <\/p>\n<p>Yeah she\u2019s a super good model. She\u2019s interesting to me. When I was a model, the first thing I was looking was the face. I want the girl to look beautiful and to be sophisticated. I love sensuality. It\u2019s really I would say big part of my pictures for sure. All of the designers say to me, \u201coh your woman doesn\u2019t have underwear. What do you put\u2026?\u201d **laughs**<\/p>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/LizCollinsPeyton-1280x793.jpg\" width=\"1280\" height=\"793\" class=\"alignnone size-medium wp-image-48792\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/LizCollinsPeyton.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/LizCollinsPeyton-200x124.jpg 200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Peyton Knight for Vogue Japan by Liz Collins<\/div>\n<div class=\"txtbox\">\n<p><strong>IRENE &#8211; But it\u2019s good to see because like you said there are so many different viewpoints now as far as photographer style, but it still is cool to see someone who wants to make a woman look like a woman. To feel good and not be afraid. <\/strong><\/p>\n<p>Or you have to make a woman dream. Ok you represent a woman &#8211; for me it has to be beautiful. How much time do you spend looking at a page? It has to be so strong that you want to be the woman you see. Or you have to say \u201coh that\u2019s so funny!\u201d<\/p>\n<\/div>\n<div class=\"pullquote\">\nI never thought I was beautiful, even when I was modeling, I would look at the other girls and think that they were always more beautiful than me, and I loved watching them. And through that I started changing roles \u2013 I started discovering what I wanted to do\n<\/div>\n<div class=\"txtbox\">\n<p>I never thought I was beautiful, even when I was modeling, I would look at the other girls and think that they were always more beautiful than me, and I loved watching them. And through that I started changing roles &#8211; I started discovering what I wanted to do, to live through my characters, it\u2019s a little bizarre and psychological but I thought it through a lot. Often as a model, it\u2019s not that all stylists love the girls, for me I adore working with them, even during shows, to take them into a different world and push them where I want them to go.<\/p>\n<p>It\u2019s always a big collaboration with the girls. I was the one to first start shooting with Karen Elson. I brought Gisele to Milan. I was the one Karlie Kloss made the first trip with for Japanese Vogue. She was crying and said, &#8220;Come on. You will be a star!&#8221;<\/p>\n<p><strong>IRENE &#8211; How do you find the, or I don\u2019t know if you do\u2026 Do you find this special thing within a model that makes you connected?<\/strong><\/p>\n<p>Well I don\u2019t say this to every model but I try to have the best from every girl. I just did a job in China, and there was only one model that could talk a bit of English but I tried anyway to push her and to have from them all the best that they could give to me. The model is 8% of the picture and the rest is the light. But if you lose it and you don\u2019t have the girl, you don\u2019t have the picture. It doesn\u2019t matter if you have the #1 model in the world. And you have to work for this. The girls feel that I love them and that I\u2019m really there to make them even more beautiful. They\u2019re like a flower and for me it\u2019s really important as a part of my job to help them open up.\n\t<\/p><\/div>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"\/\/i.mdel.net\/mdx\/i\/2016\/09\/Milla-Jovovich_Flair_Inez-1280x1736.jpg\" width=\"1280\" height=\"1736\" class=\"alignnone size-medium wp-image-48762\" srcset=\"https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Milla-Jovovich_Flair_Inez.jpg 1280w, https:\/\/i.mdel.net\/mdx\/i\/2016\/09\/Milla-Jovovich_Flair_Inez-147x200.jpg 147w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/p>\n<div class=\"credits\">Milla Jovovich for Flair #8 by Inez &#038; Vinoodh and Francesco Vezzoli<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The in-demand stylist talks to Models.com about her career and the current state of fashion<\/p>\n","protected":false},"author":2,"featured_media":48823,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[155,99,1538],"tags":[2495,2635,2554,2098,1036,1703,197,1767],"_links":{"self":[{"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/posts\/48758"}],"collection":[{"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/comments?post=48758"}],"version-history":[{"count":33,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/posts\/48758\/revisions"}],"predecessor-version":[{"id":48828,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/posts\/48758\/revisions\/48828"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/media\/48823"}],"wp:attachment":[{"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/media?parent=48758"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/categories?post=48758"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/models.com\/mdx\/wp-json\/wp\/v2\/tags?post=48758"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}