Charlotte Rose in “Goodbye, innocence” Willy Vanderperre for Vogue Italia, January 2019
Photographer: Willy Vanderperre. Model(s): Charlotte Rose. Source: Vogue Italia. Stylist: Katy England. Makeup: Lynsey Alexander. Hair: Anthony Turner.
Posted Jan 16, 2019
Delving into the dark side Charlotte Rose says “Goodbye, innocence” by Willy Vanderperre for Vogue Italia, January 2019. Unique designers have their own perspective, but here it appears they’ve synced their senses. In an elevated manner we are witness to this wonder. To avoid stilted prose I must look beyond the page. I must go deeper. Journey into the unknown. Katy England’s divine designs create sweeps of flowing fabrics. The passion inspired takes me to a place of poetic intent. Sleeves form bulbous shapes as billowing silks are the star of the show. The foundation of a successful garment is seen when an artist’s expression is mastered. Jazz era gowns fall straight to the ground flowing with rivers of beaded adornments. The story flows from flat black to shiny ebony, while a variety of tones take on an ethereal glow. Sinuous styles team with quiet energy as layers of silk, tulle, satin and lace flow. Witnessing the rise and fall of fabrics we find ourselves lost in the decadence of the dance.
That which moves you can carry you away as we find ourselves lost in this melody of mayhem. Katy England does a inspired job of luring us in, by dropping a thought in the haute couture pot. Just when we are feeling all cozy in our couture, something comes to change the context. Diametrically opposed imagery can cause a culture clash. However, contrary to what we believe, sometimes it is the most opposing element that can calm you. Stunning us into submission, this story carries a strange sense of symbiosis. Opposing shots can signal a kind of secret retreat. That when viewed, lifts the spirit of freedom, while breaking down the walls of separation. The dynamic element of this editorial event lives inside the dimensions of intent. Bound by the rapture of the Renaissance era we find ourselves lost in the fantasy of high fashion.
This fairly simple set puts the onus of the editorial on the details of the designs. Billowing fabric bursts out as sensuous silks wrap around the wrists. Dramatic accessories defines the times with bulbous shapes that signal strength. Operatic gloves burst out, with blooming sleeves that crawl up the arms. A stark backdrop gives each structural element a chance to rise forth from Valentino, Maison Margiela, Louis Vuitton, Rodarte, Prada and more. Rose uses her body to elevate the experience, by allowing us to get inside the designs. This is what we’ve been missing in the industry for too long. Reaching the phenomenal aspects of the story, we watch as her inner beauty collides with the editorial concept. Each piece is ripe with originality, from beaded brocade to floral applique. Millinery makes a statement as Anthony Turner creates bold headgear, to include leather helmets, bows and plastic shower caps.
Symbolic spirits start to rise saying good-bye to her innocent side. The power of primordial beauty pushes us past pretty and into another arena. Here, we are met with a primitive energy. Art should always inspire thoughts of limitless possibility. Exploring her wild side she embraces the archetype of anarchy. Neon colors explode off the page falling from the fingers in a righteous rage. The nail beds begin their lengthy bid to grow, transforming into tiny spikes, as talons take on a treacherous edge. Paint stripes project a sense of power, like a tiger waiting to pounce. A bold, yellow base is decorated with black, as pink pours over a hanging hand. Lynsey Alexander’s naked makeup celebrates strong angles of the face, giving us a deeper connection to her craft. The claws, while seemingly dangerous, to me represent the scratching we all have to do to escape certain confines. Forces fuse into one as darkness slides over the sun.