mode.newslicious.net

From some points of view the “alternative” vibes of these somehow represent something you could consider part of those “clichesque” visions of Franzi we’ve seen over and over, yet on the other hand I simply love how neatly those crystal clear sides of the German model come out here. The austere and severe keen sides of Franzi look great, sharp, incredibly intense, and fabulously limpid. I mean, talking about poets, Nietzsche wrote they muddy the water to make it seem deep, and that’s the impression many editorials give me, the one of muddy waters that after all are just few inches deep. It happened many times with Franzi too (better: with a model like her especially), and it’s a shame, it is ‘cause in that case we have waters that actually deep are.

mode.newslicious.net

So yep, I adore when Franzi can powerfully unleash her astonishing qualities in something like the first editorial at Zoo Magazine, and when they gently and delicately represent a factor when you want a model reliable, solid, yet still capable of representing a unique and inimitable factor.

And obviously when you want a convincing interpreter, of many different things,

fashiongonerogue.com

a captivating confident femininity too. Credible, forceful, charming, striking, yet very multifaceted and enigmatic, cryptic, anything but banal. I read around words like “romantic” associated to this, I don’t know, what I know is I found her amazing, and that even in contexts actually romantic

she doesn’t look bad at all; sure, not the quintessential expression of that romantic elegance and grace, but a version as peculiar as in its own way compelling. Before I forget, because of a body structure I like really a lot, slender, somehow delicate, yet capable of being a factor in so many other different ways.

So, what to say about these profound waters?, crystal clear and (finally) showing their incredible depth in such a limpid way?, the best possible; and I definitely hope to see more in this direction.

So, let’s start with this, whaaatever it is:

visualoptimism.blogspot.com

What to say about Charlotte Free?, a model I pretty like, I did a post about her last year, “She’s Free, and Freedom tastes of reality” the title if you’re curious (not to brag, but sometimes I find awesome titles for posts), and… this doesn’t taste of reality at all. The point is… points are something like 1250 at least I guess, but briefly: what makes of Charlotte a model interesting, noteworthy and somehow unique? What I like are those wildly kooky and eccentrically jaunty sides of her, so the attitude she can express, and some edgy vibes of her beauty. In fact her beauty is in good part what makes of her a model of incomparable and somehow unique intriguing charm, from some points of view somehow unconventional, from some others simply very engaging, in its distinctive nuances and allure.

Well, great, but… what exactly happened here?, is this Charlotte?, no, I mean, really?!, are you kidding me?!!!, if such a cover is by itself quite surreal, the operation made on that face becomes even more senseless and pointlessly awful if we consider of who that face was, so a model like Charlotte; whose peculiarities and qualities, in this way, are simply wasted. Really, it’s just like… don’t know, signing Rajon Rondo (yep, I somehow find him a good player describing the kind of model Charlotte is) and make him play curling – what, the, heck, are, you, doing… I mean:

hehe duh…

So, above, what in my opinion is an illogical nonsense. Now we have something different, that I honestly decided to share especially because of what the next post of the day will be. If there we’ll see a Franzi Mueller fabulously doing what it’s ages I underline she can do for the best, so shine in contexts that somehow neatly / simply differently highlight how intense she can be, now we have… ok, let’s start with this:

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A Zuzanna maybe not at her very best, but in a context where she certainly looks comfortable and… I mean, but, have you ever heard “don’t judge a book by its cover”?, I hope you did, otherwise you’re going to learn the lesson right now:

mode.newslicious.net

The first consideration is… better, the second consideration, right after the “ok, cover stories don’t necessarily have to be the exact copy of what you see on the cover”, is – why exactly? Why 1) to completely distort the concept of “cover story”?, ‘cause in fact those images have in common with the cover the model, the photographer, maybe the planet where they’ve been shot (maybe, I can’t officially confirm), and period; and 2), (why) to place a magnificent Eurasian lynx (for the record in Poland you can find some) in the middle of… well, wherever its habitat isn’t?

Zuzanna doesn’t look that bad, don’t misunderstand me, she’s a versatile model, it’s just that… she doesn’t look comfortable or great the way she does or can be in other contexts, quite simple. Btw I decided to show this editorial ‘cause it also looks strictly related to what we’ll see later with Franzi Mueller, as a good example of editorial where a model like Franzi is abundantly (over)used and where she doesn’t necessarily has to express her best. I mean, sure, Franzi in something like this would have looked more at ease, suggestive, successful, yet at the same time such a uniquely evocative face (and not only) is more, way more, and we’ll see many nuances later today.

++ IRINA NIKOLAEVA

interviewmagazine.com

Irina: what to say? Let’s not start with this, no, let’s start with something else: have you seen a couple of shots from the recent editorial @ Numéro Russia May 2013 by Vladimir Vasilchikov, if you haven’t, here they are:

The Russian model is one who objectively has some… I mean, let’s say who has many edgy and kind of fiercely intense vibes in her DNA, it’s her beauty, the kind of “intimidating” outstanding body presence, ok, it’s clear, and the thing can powerfully come out both in print and on the runway. But I have to say if in shots / shows that head in that direction Irina looks great, magic happens when those you could consider her innate vibes collide with something different – if not actually diverging.

Here from some points of view a very good example: the serene and kind of ethereally delicate vibes of the shot seem something way far from Irina’s natural attitudes, but they aren’t, her beauty looks surprisingly reliable, versatile, in this case a very welcome touch of gentle charm, and if you consider the spark represented by such an astonishing body, here in any case unleashing good part of its terrific captivating impact, well – we have a breathtaking wonder. A vision as gentle as incredibly tempting, maybe actually indescribable, certainly mesmerizing, like Irina can many times be. If you don’t love her and more rationally find terrifically remarkable her unique qualities, well, you must be blind…

+ SASHA LUSS / + GIEDRE KIAULENAITE

+ KATYA RYABINKINA

interviewmagazine.com

Three models I like a lot, and who so far in print for so many different reasons haven’t in my opinion shown their best. About Sasha I wrote quite recently (see the post about her Fall Winter 2013/2014 FWs season), so once I say how wonderful she looks here let’s focus on Giedre and Katya. I mean, I did a post about Katya’s last FWs season too, but since it’s a little less recent I’d like to underline how incredible for her this particular contingency at the moment is: a model fated to wonderfully embody a confident and mature striking femininity, “very Russian” (or “Anna Selezneva-esque” if you prefer), she already does it quite well in fact (territories explored especially on the runway btw), but the mix represented by that side of her and the gentle fresh grace she now embodies is and can be simply enchanting – and this image represents a quite good example (even if not the very best) from that point of view.

Giedre, finally another interesting model from Lithuania for the record, is… I find her a mine of cryptic and enigmatic intensity, in such a nonchalant way, but at the moment the mine has been barely inaugurated after all, a couple of pickaxe hits, and then?, then not so much, at least really interesting. This shot with its neat simplicity maybe isn’t a wonder, but certainly a welcome relief from some points of view; that said, the best with Giedre is definitely yet to be seen, and I hope it will actually come, ‘cause otherwise it would be a shame…

+ TILDA LINDSTAM / + AMANDA MURPHY

interviewmagazine.com

What I like of Tilda, a model I don’t love like others for the record, in any case is how subtly evocative her reliable solidity is. I mean, I don’t find her anything outstanding, astonishing, but I have to admit in her being a never disappointing option there’s a little more, maybe not crystal clear or with an impact so powerful, but still pretty remarkable.

Amanda is a model who somehow finally is at her best, but I don’t talk about the success in the industry, I talk about how the maturity represented a crucial booster for her and what she can express for the best. Many like to think there is this “dramatic brunettes” trend in the industry, but I consider Amanda, a model like Marine Deleeuw or Kremi (see below) for example three absolutely different things… Amanda is haunting in a completely different way, austere in a very severe acceptation of the term, suggestive especially in the moment she can leave you awed. Her mouth is always a factor, here too, just like the way she can amazingly look in the camera. The neat context gave us an intensity even more pure and somehow keen I liked a lot.

For the record:

IRINA KRAVCHENKO / KREMI OTASHLIYSKA

MAJA SALAMON / LISA VERBERGHT

interviewmagazine.com

Irina and Kremi are two models I don’t love but who are objectively interesting, I prefer the first one, but the second seems a little more what some people could define “what the industry seems to like in this moment”, so chapeau to her.

Btw I’d like to spend a couple of words for the last duo, a quite weird one after all… on purpose in fact, ‘cause we have two things which are poles apart: if Maja in this editorial is a presence somehow impalpable, Lisa… Lisa is… odd?, surreal?, I don’t know… it’s not that I don’t like her, I mean, I don’t love her, but I find the Belgian model a quite interesting one. The point is she definitely needs to be bridled, powerfully bridled, so if to let her run wild is inconceivable, on the other hand and because of opposite reasons, completely absurd in my opinion appears the idea of proposing such a version of her too. It’s not bad, awful, terrible, it’s simply surreal. I watched a movie the other day, and its premises look way less absurd and grotesque… I mean, it was “The Rocky Horror Picture Show” (hehe gosh, I hadn’t seen it in such a long time)…

First of all, she had a very good season, an incredibly noteworthy one, something like 60 shows, she deserved it, but – why? Good question. I have to say it’s a long time I know about her, but… yep, there’s a huge but, very briefly, but she simply was a completely different model.

Just like this Marine Deleeuw

wasn’t this one,

and this model

wasn’t…

no, wait, it was exactly the same… a funny way to say Sasha / Marine breakthroughs have nothing to do with the (kind of irrationally out of the blue) one of Tilda?, yeeep, I mean, let’s face what the point of this first part of the post is.

If you know fashion a little, you know it’s in good part about “potshots” and something I could define “the bullet drop theory”, so if the second one tells us something about novelty, fickleness and how ephemeral things tend to be talking about models (don’t think “the industry” is youth-thirsty, I really think it’s more novelty-thirsty after all), “potshots” define 1) whatever there is between random/wrong/catastrophic decisions and 2) how (for objective reasons: in this case not a negative annotation if you want) some choices are just the quintessential expression of what arbitrarily interchangeable successful ones are. I mean, if model A is after all a good choice just like model B, if for some reasons you prefer A and she has more successful castings that doesn’t mean she’s better, it just means casting directors in that moment / period preferred her, period (yep, let’s gracefully ignore the role agencies have in all that…). And then, you know: do I have to remind you once again here we don’t talk about objective performances?, that this has nothing to do with athletics competitions?, no, c’mon, we’re all smart people, and we all know it very well, to define how outstanding a model is because of how successful she is makes no sense, or if you prefer it would be a wonderful example of circular logic.

Btw yep, let’s go back to a model like Marine: the way she changed has been absolutely incredible, from one season to another (the Spring Summer 2013 one specifically) we had a model completely new, her attitude, the mere presence, the intensity, the vibes she could then suggest, a simply renewed model suddenly appeared, quite out of the blue, who found a deserved success that sudden change implied. For Tilda… nothing against her, really, after all the point is the same which made have a model like Juju Ivanyuk some successful seasons too, all of a sudden someone decided she could walk 60something shows, sure, we’re in the good side of potshots, there’s a polite why? but a good why not? too – yet, I repeat it, we’re definitely in Marine Deleeuw territories with Sasha.

But in the case of the Russian model the change hasn’t been that sudden, I have to say during the last year we little by little saw a model in evolution, slowly developing into something else, something I find objectively noteworthy, talking about runway especially (but not only). So yep, it could seem an out of the blue breakout, but in this case it has roots solid and visible, personally quite unexpected, I mean, I honestly didn’t consider that (1.0 version of) Sasha a work in progress to follow, an interesting prospect in fieri to watch, but here we are. Right – with what?

Sure, Sasha is Russian, and like many other models she wonderfully embodies some captivating and confidently fascinating sides of a femininity and mature elegance typical of a good number of models from “the country that gave the world Dostoyevsky, Turgenev, Chekhovand, Tolstoy, Vladimir Propp (you damn Russian Formalists… no, just joking, I love you), Eisenstein, Aleksandr Sokurov, Heinrich Lenz, Dmitri Mendeleev, Alexander Friedmann and Nikolay Umov among others” (hehe sorry for the long and quite surreal list of the first names which came to my mind… duh),

Anthony Vaccarello / Dolce & Gabbana

Balmain / Francesco Scognamiglio

Belstaff

(a good example of the impeccable, solid and captivating option she can be for so many shows, that after all represent a good part of what FWs are all about)

DSquared2

Versace / Ralph Lauren Collection

(yep, not a chance these two shows appear one next to the other, two shows that demonstrate how comfortable Sasha looks in contexts which require a mature and confident femininity, even if made of very different nuances)

Emilio Pucci / Salvatore Ferragamo

(ok, this will ruin the point here a little, but… can I say ok Emilio Pucci is slightly changing, ok Sasha looked great, but I have to say it’s been quite surprising to find as a more unforgettable image Nastya Kusakina walking that show instead of Sasha? Sure, different model, interpretation, whatever, but the impact still without this captivating power was simply mesmerizing)

Roberto Cavalli

Tommy Hilfiger

Isabel Marant

(see Belstaff… she really looks great in shows like these)

Lanvin

Loewe / Paco Rabanne

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but there’s more too. So yep, a mature and solid beauty good for many (many) shows (in fact above I didn’t focus only on shows like Versace or Anthony Vaccarello, I wanted to show a wider range of things), very reliable, sure, who still can work a little on her runway presence (I mean, I talk especially about her expressivity…), but who can do what a solid runway model is supposed to do with disarming naturalness – and a certain uniqueness. So, then?, then two things in particular I’m smitten with. Let’s start with… yep, something quite related to what we saw above,

Christian Dior / Chanel

Valentino

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and I talk about the sophisticated and very haute couture sides of elegance she can wonderfully embody. She’s really great from that point of view, ‘cause she somehow put aside those “solid” (as part of being a good option for practically any show always resulting a quite versatile one) or “aggressive” (see some more explicitly seducing nuances) facets in favor of an interpretation of elegance romantically classy. So no, not snobbish, haughty, it’s something else, something else I adore.

The other thing I wanted to highlight is about such a mesmerizing allure, kind of ethereal aura, in part indescribable, see the marvelous mix her skin and eyes (as icy as enchanting) are, in part… don’t know…

Diane von Furstenberg / Bottega Veneta

Vera Wang

(the result @ Diane von Furstenberg was marvelous, but @ Vera Wang we somehow had a manifesto of fabulous and unique colors… I mean, makeup, her skin, those eyes: a dream)

Hermès / Jil Sander

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Btw some outstanding peaks, but in general a convincing season as a whole, and if you consider the remarkable number of shows she walked, the thing isn’t exactly an easy one:

Prada / Louis Vuitton

(I have to admit it, it’s been a surprise to see her so comfortably fit Prada’s gloomy and somehow tough identity for the FW1314 season)

Marc Jacobs / Calvin Klein Collection

(CK minimalism is always a welcome opportunity to appreciate interesting models)

Miu Miu / Proenza Schouler

Sacai / Zadig & Voltaire

Vanessa Bruno

Narciso Rodriguez / Tory Burch

Sonia Rykiel / H&M

Iceberg

Chloé

Barbara Bui

N°21

Altuzarra

Max Mara

Alberta Ferretti

Etro / Givenchy

Giambattista Valli

Reed Krakoff / Alexander Wang

Michael Kors / Diesel Black Gold

Moschino

Philosophy by Natalie Ratabesi / Derek Lam

Victoria Beckham / Gareth Pugh

Donna Karan

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So: a model who with time, little by little (even if in fact from some points of view during this last year the variance has been actually remarkable), like a fine infusion (yep, the brew of the modified “Out of the blue” title… hehe please, institute a Nobel prize for titling posts, I would decline it since I’m not a fan of prizes, social admiration and social events too I guess, but it would be such an honor) has become a very good one. I have to say so far in print she hasn’t shown the many excellent things she demonstrated on runway, sure, some good shots, some fabulous ones (we’ll see soon one, by the end of the week I guess), but in general, and the fault isn’t hers, her potential in front of a camera is yet to be completely expressed (with, since I’m on the subject, some subtle severe nuances of her beauty still unexplored and/or underrated). But ok, we’ll see, what I know, and I know it for sure, is such a positive FWs season is already a fact, positive because of numbers, of what Sasha showed especially, and when the first thing sensibly depends on the second, well, I can’t feel any kind of disturbance in the force – and personally it’s always very welcome news.

And these shots @ Vision China April 2013 by Pizco gave us many interesting suggestions about why:

piczoweb.net

A certainly enjoyable editorial, vivace, intense, which with its different vibes offered appealing suggestions about a Weronika lively, sometimes even jaunty, still perfectly fitting the “royal background” of the shoot; so ok, let’s play, but with a refined manner, and an attitude as confident as pretty restrained.

Btw styling has been a (wonderful) factor, see above, see below,

(yep, styling, makeup, not an easy shoot, and Weronika resulted simply impeccable)

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where some kooky solutions offered a good opportunity 1) to appreciate the in any case coherently exuberant structure of the editorial, and 2) the convincing interpreter Weronika is. That last shot specifically more than others remind us how outstanding her body structure is, a terrific factor we appreciated other times so far, I remember among others this shot @ Dazed & Confused

I liked really a lot. Really, just because of Weronika in general we can talk about a work in progress, but… if with a model like Yumi Lambert “work in progress” is a concept a little wider and about a body whose both structure and “performances” (I talk about runway especially) are in a very unripe stage, in this case Weronika is already astonishing, her mere presence in front of the camera is always a factor, such a noteworthy one – and unlike other models similar to her, something photographers can bridle with ease. So yep, it’s just about expecting something more, even more striking and significant.

And then… and then there’s something like this shot,

piczoweb.net

whose diverging suggestions of delicate intensity are simply indescribable.

Yep, the title of the post… the one of the original editorial was “Naughty Queen”, I liked it, but if you know me a little you know if to find let’s-say-“inventive” titles for the posts isn’t a priority, well, it’s often a welcome pastime. In this case specifically, you know, “keen” rhymes with “queen”, and I found the addition of this other adjective perfect to describe what this editorial (and therefore in part Weronika) is about, a mix of outstanding attitude and moreover the capacity to always leave a mark, result sharp, cutting, intense, piercing, pungent, never obvious or banal, and I find it such a great thing. So ok, I have no idea of what will be of Weronika, what her potential actually is, I find her quite inscrutable from this point of view, more than many other models, probably more than it may seem, but I think it’s kind of a must to follow her with curiosity the way I’m still doing.

So, just a little post today, but with a lot of images. Briefly, Svetlana is a model I like a lot, really, I find her interesting, actually noteworthy, and the shots from these two editorials have been very welcome since… after all there’s, if not everything, many good suggestions about why I always follow Svetlana with attention.

Here the two editorials, the one @ Marie Claire France June 2013 by Max Cardelli,

visualoptimism.blogspot.com

and the shots from L’officiel Paris May 2013 by Simon Crane:

visualoptimism.blogspot.com

In these shots there’s her confident and sometimes very seductive femininity, some unique sides of her beauty, from some points of view edgy yet still very solid, a body structure maybe not outstanding like others but still capable of being very “reader-friendly” and if necessary looking terrifically captivating, the stunning intensity, even the trademark gently inscrutable wonder of her slightly open mouth (that I adore – something like shots 15 and 18 specifically are what I mean) – really, a little compendium I found very welcome, and a good opportunity to underline once again the interesting model Svetlana is.

Points are few, crystal clear, but very very remarkable, so please, give them the right importance, ‘cause you know, a model like Esther, lookbook material, I already know what is going to happen: “Pfff / Yawn, anything more interesting to see?”, please, don’t do it.

So, why I adore these shots and I find them actually noteworthy?, they’re flawless, from many points of view, the images, obviously, lookbook shots tend to be neatly impeccable, but not always; the choice of the model, simply perfect (for the record there is Maud Welzen too, as you can see I don’t want to focus the post on her, but a fitting pick in her case too), quintessential expression and interpreter of Valentino’s identity and vibes.

Really, the most evidently romantic and fresh side of its grace,

valentino.com / vogue.it

and its trademark elegance, sweet, dreamy, yet at the same time nonchalantly sophisticated and capable of gracefully explore many nuances of femininity, sure, still in a certain direction, but showing some delicately diverging facets Esther can wonderfully embody:

valentino.com / vogue.it

Yep, Esther, once I underline the dream she is wearing long dresses,

valentino.com / vogue.it

in this kind of context she can express her best with ease and naturalness.

First of all, such a solid model, look at her!,

valentino.com / vogue.it

lookbook material is as undervalued as something not easy the way it may seem, to look convincing and flawless in tens of shots ain’t that simple, and Esther does is with such a welcome nonchalance. Then, her beauty, sure, not cryptic or enigmatic like others, so immediate in fact, but it’s the kind of immediacy I adore, very powerful and suggestive despite or better right because of its disarming marvelous simplicity.

You might like it, you might not, that’s not the main point of this post… well, better, points are two, 1) right that, the fact you might like it or not but when a model quintessentially represents what a maison wants to express and she does it in such an incredibly outstanding way, well, that’s always a noteworthy thing, because of the right choice of the maison (*cough* sometimes really a surprise, considering the fact campaigns / shows are often made of an incredibly significant number of potshots *cough*), because of the remarkable qualities of the model specifically. Right, then, 2) if shots made of powerful intensity can have an astonishing impact, I have to say something like this in a completely different way and because of completely different reasons obtains a similar result: to leave mesmerized. Really, I adored these images, there’s not so much to say, they’re so manifestly simple, but the coherent vision they propose… well, first of all it tells us at Valentino they have ideas quite clear about what they are and what they want to suggest (hurray! Jokes aside, some maisons’ identities are “dynamic”, some others are “static”, see Valentino indeed, but that doesn’t mean a consequent coherent expression –through shows, campaigns, etc- of such an identity is so consequential), then how is actually possible to be smitten by a model like Esther, sure, not a unique face like others, not an outstanding attitude or mere presence like others, but not like others because of how incredibly charming and mesmerizing her grace is and at its very best (see here) can be.

Yep, the “butterfly effect” of the title… it has two different perspectives in fact, the first one is the most obvious and somehow famous, how a butterfly can in some ways (a very simplistic exposition) influence and actually cause waaay bigger changes and reactions; a butterfly, something that little, adorable, lovely, enchanting I’d underline (so yep, take as “butterfly effect” the fascinating effect of such a mere beautiful vision too if you want; and a way to underline again the mesmerizing impact a model like Esther –perfectly represented by a butterfly- can have). Then, and I unleash the little nerd there still is in me, let’s consider the statistic studies of Edward Lorenz (hehe ok, one of my idols since I was a teenager – I had a quite weird adolescence…) on weather differently, so (still very briefly) the fact he noticed very little differences in his mathematical model produced completely different scenarios: something I found quite simile to the instable equilibrium the flawless wonder these shots represent, really, it would take the slightest lack or fault to ruin this magic – but luckily with Esther such a thing is very unlikely to happen.

Sometimes in a very delicate (and marvelously nonchalant) way, see the shots @ Jalouse May 2013 by Cedric Viollet:

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I still feel there’s a potentially “quite Valerija Kelava” part of her latent yet there,

mode.newslicious.net

not a main facet of her, not even close from being a strong suit, but hey, who said it has to be?, however maybe someday she’ll anyway express Valerija’s amazing and outstanding intensity in a way or another… I don’t know, and that, “I don’t know”, it’s great part of why I like Caterina so much, a model who offers few certainties, about the present, the future, ideas are personally not very clear, quite nebulous, hazy – but it’s a gentle misty haze I like to lose myself into.

But… I don’t know why the other day I happened to find myself watching the Moschino Fall Winter 2013/2014 show, not from the beginning, it was the last part of the show, and… sure, not the first time, I already saw it, many models looked great there this season and I already knew it, nevertheless… nevertheless …

Moschino

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nevertheless to see Nastya closing the show this way left me quite overwhelmed.

(for the record here the first outfit she wore in that show)

The image doesn’t express well the impact of such a vision “in motion”, or better “live”, but… it’s amazing how actually disarming (word that I love like few others describing Nastya) the Russian model can be, her sweet grace and enchanting aura is mesmerizing, a wonder, a wonder quite hard to describe. Plus, that outfit in particular if with those roses gave a very welcome romantic touch, at the same time wonderfully and quite gently highlighted a body structure simply amazing, and that I adore and find remarkable like few others. So ok, that just to explain why I changed my plans, as you can see a certainly reasonable reason…

As I mentioned above I already wrote about her Spring Summer 2013 season, about her first one too, so… I’d say: just a couple of words about Nastya, the catwalk chapter, and then let’s see some shows from the Fall Winter 2013/2014 season which will quintessentially express how interesting she is, considering I still have to explain the title of the post…

So, Nastya and catwalk, such an amazing combination. She’s one of those models who seem born on a runway, there’s not so much to say, she looked convincing and comfortable from her very first shows, an impeccable walk, such a flawless attitude, and please, don’t you even try to think she looks dull, or boring, or tedious, the apathy she expresses is something else, ‘cause 1) well, first of all, it’s anything but something looking awkward or uncomfortable, and 2) her looking miles away isn’t a white canvas but a painting full of marvelous and fascinating suggestions. It’s something else, really, don’t be mistaken, it would be a shame.

That said… every time I can I want to underline Nastya isn’t just a cutie, I do ‘cause I actually think that’s the way she could be considered, and that would represent another incredible mistake. So ok, let’s take some shows from her Fall Winter 2013/2014 and once again fantastic season to see what I mean.

Writing about the title of the other post I did about her this week, “Настя Кусакина” (nothing that complicated, just Nastya Kusakina in Russian), talking about this one I had the opportunity to say I already know that title will seem such a cliché… but it’s perfect for Nastya, so not just an empty dull cliché after all – better, quite the opposite, and that’s the way it is. Sometimes people identify models who look incredibly cute and adorable as “dolls”, and if Nastya too has to be one, at least let’s take a matryoshka doll, ‘cause better than just a doll can tell us about how many different facets and subtly different vibes this amazing model can express and embody.

So sure, impeccable, flawless, with her trademark little touch of delicate grace too,

Matthew Williamson / Moschino Cheap & Chic

Topshop Unique / Ports 1961

(if “Awww” @ Moschino Cheap & Chic, simply “Aw” at Topshop Unique – obviously with a big fat vinculum on the infinitely repeating w… outstanding fresh simplicity at its very best)

BCBG Max Azria / Hervé Léger by Max Azria

(if her presence at BCBG has raison d’être because of a flawless and very fresh beauty, I have to say @ Hervé Léger she has many too, but in a show which par excellence emphasizes body structures I’d like to see Nastya’s amazing one highlighted a little more)

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that’s what you might first of all expect from her, and that’s definitely a very important part of Nastya, but not the only one. I mean, still back to this first point, what I love the most is when she appears in contexts fabulously neat,

Antonio Berardi

(I adore how wonderful the diverging vibes suggested by the intense touch of the lipstick and the specific outfits looked on Nastya)

Preen by Thornton Bregazzi / SUNO

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and where the Russian model looks more enchanting than ever, but there’s way more, let’s say some little cryptic variants on the “romantic theme”,

Vera Wang / Antonio Marras

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how wonderful look some nuances of confident femininity she can express are,

Emilio Pucci / Lanvin

(looking great @ Lanvin, but simply breathtaking @ Emilio Pucci… sure, the show isn’t “strictly Natasha Poly territory” the way it used to be, but still one marked by a striking and incredibly captivating femininity, and Nastya in her way resulted very convincing; PS and simply stunning with bangs…)

Marc by Marc Jacobs

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and talking about nuances, let’s see some of elegance too, ‘cause sure, since her very first runway appearance I can say “she’s so Dior” (in the Raf Simons’ acceptation of such a thing more than ever),

Christian Dior / Giorgio Armani

(with Zhenya Katava one of my favs @ Giorgio Armani, even if clearly in a different, and if you want less intrinsically innate, way… btw definitely  a positive annotation)

Oscar de la Renta / Tadashi Shoji

Tadashi Shoji

Ralph Lauren Collection

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but not only, and if Tadashi Shoji somehow takes us back to that romantic side of Nastya which will look anything but surprising, some other shows (Ralph Lauren first of all) once again underline how confident and in-her-own-way mature(/“Russian”, in an Anna Selezneva-esque acceptation, or if you prefer better “on the Katya Ryabinkina’s side” of such a thing) the femininity she can express is.

Plus, she walks shows you could consider not exactly easy like a charm,

Miu Miu / J.W. Anderson

(astonishing @ Miu Miu, one of the best demonstrations possible of her trademark suggestive runway apathy)

Jean Paul Gaultier

Rick Owens

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and even if that’s not exactly what to expect from a model like her, that’s how things are.

Just like those matryoshka dolls, one inside the other, same shape, but different sizes, and most important in this case drawings, different and all enchanting, precious, result of a meticulous handmade work. From this point of view I like to think of that most evident and erroneously underrated gentle side of her as the littlest of those dolls: yep, little, adorable, but can you imagine how hard it is to carve and paint such a little piece of wood?, in this optic it certainly becomes the most precious piece of them all, and that’s exactly what I think about Nastya and those adorable, enchanting, graceful, fascinating and simply mesmerizing sides of her.

Btw I love them all, all those facets, and the way they alternate is incredible,

Just Cavalli

Theyskens’ Theory / Yigal Azrouël

Zac Posen / Erdem

Rue du Mail

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and sometimes… quite impossible to be really categorize. I mean, at Theyskens’ Theory, Yigal Azrouël, Zac Posen and Rue du Mail for example Nastya as you can see is an inscrutable mix of diverging suggestions, there’s space for dramatic intensity too from some points of view, but still with the presence of her innate and astonishing loveliness, so genuine yet so multifaceted. And the thing came out in a show like Just Cavalli too, sure, not in an actually enigmatic or “deep” way, but… I adore how lovely she looks, still capable of expressing a certainly convincing captivating charm.

Btw many many shows this season too, she’s one of those models who actually deserve to walk them, they were something like 50 this last one, here they are:

Shiatzy Chen / Maison Martin Margiela

Marco De Vincenzo / Philosophy by Natalie Ratabesi

3.1 Phillip Lim / Prabal Gurung

Peter Pilotto

Alberta Ferretti / Angelo Marani

Anteprima / Dries Van Noten

Emporio Armani / Ermanno Scervino

Genny

Gabriele Colangelo

Gareth Pugh

Helmut Lang / Kenneth Cole Collection

Y-3 / Ann Demeulemeester

Byblos

Valentin Yudashkin

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What else to say?, for being an unplanned post I guess it is already long enough, I could once again underline how actually interesting and unique Nastya is, the amazing (still being incredibly reliable and gracefully solid) factor the Russian model represents on the runway, a couple of words about the in print chapter, and I could try to count how many dolls there are nested one inside the other, but… yep, the post was unplanned, some kind of a vision made me do it, and that’s why Nastya is so outstanding and unique: the dimension of the indescribable and unforgettable vision. And you easily see how terrific it is to build good part of a whole FWs season of something like that, so just enjoy it, in all its immediate yet mesmerizingly magnificent splendor…

Let’s start with Maja… something like this is simply phenomenal,

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and if a cover is supposed to catch the eye and have an outstanding impact, that’s definitely what this specifically does. Maja from this point of view is amazing, the shot above doesn’t show her body, but the mix represented by that face and a body structure incredibly “important” (whatever that may mean) can be simply amazing, such a powerful (and never banal) presence in front of the camera.

I personally find all that incredibly interesting and remarkable, maybe not my favorite kind of model, but some things are objective, and I’d like for all people to open a little their mind and start thinking that way: a noteworthy model is a noteworthy model, period. Sure, I’m not blind, because of some intrinsic characteristics and limits Maja is a model who definitely needs to be bridled, somehow guided, but when that happens, the result is always convincing, and in some cases, see that cover above, actually astonishing.

Btw I liked the other shots of the editorial too, which with some ups and downs offered interesting suggestions about Maja, some of those above mentioned limits, what she is, what she can do for the best, really, as a whole an interesting shoot:

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(for the record the male model is Erik Andersson)

As you can see Maja isn’t exactly “a model for all seasons”, but it’s not a bad thing, I mean, if you know it, and I guess it’s a quite obvious thing to notice, you’ll easily see in what kind of contexts Maja won’t look exactly convincing, what she can do for the best, and the fact that “best” has whatever it takes to be extremely impressive.