For this week’s fashion post, I decided to look back at a magazine editorial that I love. I did this previously for the CFDA/Vogue Fashion Fund spread in Vogue US but this time I am going back further. I want to revisit the March 2012 issue of W Magazine because it had a stunning fashion story, which provided two different cover images and featured the one and only Kate Moss.
This editorial, titled Good Kate, Bad Kate, also demonstrates the importance of a great team working together to produce a spectacular magazine spread. In this case it was the dream trio of photographer Steven Klein, fashion editor and stylist Edward Enninful and model Kate Moss. All three are widely known and well respected figures within fashion and I think the success of this shoot can be equally credited to each of them. However, I do just want to take an extra moment for Kate Moss because I feel like the term supermodel gets thrown around a lot now and is often incorrectly used to describe models. This doesn’t mean that they aren’t great at modelling or that they aren’t popular but to be classed as a supermodel needs something more in my opinion. Kate Moss should be and is worthy of this title because she has proved that she is eternal and a true chameleon. The original ‘supers’ are still just as relevant today as they were in the 90’s and if we are still talking about and seeing the models of today in 20 years time, that will be the true test.
The relevance of discussing Kate Moss’ chameleon-like abilities as a model comes fully into play with Good Kate, Bad Kate. The striking cover images introduce the theme of the shoot; good vs. bad, an angel vs. a devil. It is a clever link to the cover line ‘Spring’s Fashion Bible’ as there is religious iconography throughout the shoot and it can also be quite clearly seen on the Good Kate cover via the Erdem lace habit she is wearing. The dual covers have a brighter, more ethereal look in comparison with the haunting images inside. This would have been to ensure a greater newsstand appeal but it also works to highlight the good vs. bad theme and adds to the almost other-worldly look of Kate Moss in this shoot.
The images in the main spread of this fashion story are eerie and gothic. The high contrast and processing of the photography adds a mystical feeling to them as well. The low saturation in the Good Kate images allow Moss to stand out even more and add a crispness to the different shades of white in the pieces she is wearing. By having the Bad Kate images in black and white, it both increases the contrast between the two sides and it further creates a dark and seductive tone. In addition, I think this editorial is more effective being published in March as it would have felt too on-the-nose and costumey if it was featured in the October issue for example. It makes much more of an impact having a dark shoot like this in the issue that signals the first month of Spring. On the whole, it is a dramatic editorial which manages to showcase the model just as much as the clothes and accessories and I really wish I could pour over the physical copy of this issue.