The Fashion Wizards Conjure Up a Bohemian Fairytale for LOVE Magazine
Master storyteller Tim Walker and LOVE Editor-in-Chief Katie Grand reunite for Wizard, a hyper-dreamy shoot taken from the title's latest issue. Set on shooting his “favorite Brit girls,” Walker whisked homegrown talents including Kate Moss and Edie Campbell to Eglingham Hall, the fantastical 17th-century residence in Northumberland, England, that has defined much of his career. “Tim wanted to shoot a mystical fairy tale, and I never usually like wizards and all that hippy shit, but I loved the challenge of pulling in more magical clothing––especially from the great William Vintage,” says Grand, who unearthed the two-tone Halston dress as seen on Jean Campbell. New to the LOVE fold, Matilda Lowther and Jake Love also joined the cast, but it was the decade-plus teaming of Walker and Ms Moss that ultimately defined the made-in-Britain atmosphere on set. “They were sat in the forest having a cup of tea and a chat, and we were all like, ‘Tim, the light's going, Tim the light's going,’ but they were much more bothered about the tea,” adds Grand. Fresh from a road-trip across Utah and Arizona after closing issue 12, the super-stylist sat down with NOWNESS to talk Snow White, wishes and to-do lists.
When did you first meet Tim?
Katie Grand: We first worked together on Dazed & Confused about a million years ago. I think the story was called Poor Cow, and Grace Cobb styled it. I had been at college with Grace and she introduced us. They shot a cow on the M40, I think.
If you could describe shooting with him in emojis, what would they be?
KG: I don’t have emojis on my computer, but if I did there would be hearts and wizard hats, and perhaps the camels––they always make me smile, especially to accompany a picture when someone is showing a lot of cleavage.
Who else’s vintage collection do you admire?
KG: Stephen Philip at Rellik; he's always such a joy. Others’ I've admired are Azzedine Alaïa's, Miuccia Prada’s and Manuela Pavesi’s.
What do you most identify with in fairytales?
KG: I like how sinister they are with such a dark overtone. Something bad always happens and someone always has a good cackle about it. Jean Campbell would be Goldilocks and Matilda’s got beautiful white skin, so she’d be Snow White.
What's on your to-do list?
KG: Answer these questions; get back to Irene at Marc Jacobs about the SS15 shoe fitting; get back to Condé Nast about our advertising sites for the new issue; look at the new Italian Vogue; send Hannah McGibbon a note to thank her for sending her excellent magazine; pick up a new cape from Prada. I think that's it today––not particularly stressful.
Finally, one wish?
KG: My rabbit Clara to come back (she died this week).
LOVE 12 Autumn/Winter 2014 is out Monday 28 July.
Graydon Sheppard’s Latest Furry Subject is a Feline with a Curious Tale
Warning: The above video contains much downy fur, a pair of heterochromatic eyes, and some strong language. The viewer may witness scenes of scratching, preening and meowing.
Writer and filmmaker Graydon Sheppard offers up the second installment of Pure Breeds, the series that celebrates the most interesting and aristocratic of pedigree pets. Following last week’s focus on the Cavalier King Charles Spaniel, today the creator of the internet phenomenon Shit Girls Say looks at the Cornish Rex, the short-haired cat well-known for its intelligence, mischievous demeanor and playful nips. Experts have it that the Rex’s long legs and light build make it perfectly suited for running: it is described as “the Greyhound of the cat world” by The International Cat Association. “Cornish Rexes are like little dogs in a lot of ways,” says Sheppard. “They ran up and greeted us, unlike most cats who would usually hide under a bed if strangers came. But they’re also aloof. They don’t need your affection.”
Were there any particularly interesting challenges you met, in filming the Cornish Rex?
Graydon Sheppard: Herding cats is always hard. The neon-rave scene was really chaotic and strange to film, a bit nightmarish to be in a dark basement with glowing cats and strobe lights. And I got a few scratches while dressed as Marilyn Manson. I don’t think any cat likes to be held against bare skin.
Why look at the Rex? Is there some personal attachment to the breed?
GS: A good friend has a Rex named Winston, and I’ve never met a cat so immediately affectionate but independent. He’ll sit on your chest and lick your neck endlessly. After a while it starts to hurt, though.
In our last conversation we discussed Molson, the Bouvier-Shepherd cross, your family dog. (For the benefit of readers who may not yet be up to speed, Molson was named after the beer brand, and “screamed like a human”) NOWNESS would very much like to hear more about Molson, and his adventures.
GS: Ha! I got him when I was 13, shortly after I got my first job, and could afford to buy the family Christmas presents. I was so excited and felt like a fully-actualized, adult human person. I put Molson in my room for a couple of hours. When I came back he had torn apart every single gift. There were cushions I got for my grandmother that had been ripped open and full boxes of ‘deluxe’ chocolates that he had devoured. I was very upset, but I was also a little worried that he was going to die from eating so much chocolate. In the end he was fine and my grandma was probably happy that she didn’t have to display the tacky pillows I got her.
Finally, how do you feel about costumes on pets? Do purebreds deserve that kind of special treatment, or do outfits demean an otherwise proud and noble breed?
GS: I love costumes on pets. They’re so cute, especially on cats who look grumpy in costumes. One of my favorite GIFs is of a cat in a bee costume who looks at the camera and falls over. It’s endlessly adorable. I think that if someone feels a dog is being demeaned by getting dressed up in a super-cute outfit then they’re probably just jealous of the attention the dog’s getting. Come on prudes, join the party!
Malcolm Venville's Crusade to Pose a Single Question to the Illustrious Designer at His Alpine Exhibition
There aren’t many people who you’d endure several flights, two long train journeys, exceedingly early wake-up calls and a soggy McDonald’s hamburger dinner to spend one minute with—but that’s how powerful the pull of fashion legend Karl Lagerfeld can be. And that pilgrimage is exactly what director Malcolm Venville undertook for a brief encounter with the Chanel and Fendi designer, artist, photographer and one-man cultural phenomenon in St. Moritz in February, where the polymath was revealing an exhibition at Galerie Gmurzynska. The series featured Lagerfeld’s new set of fire etchings on glass—based on portraits of his muses such as Theophilus London, Freja Beha Erichsen and Aymeline Valade—and evolved the Kaiser’s extraordinary photographic legacy, which has yielded not only a multitude of ad campaigns, but also groundbreaking books like The Metamorphosis of an American and The Beauty of Violence, both of which distilled the model-to-muse relationship, focusing respectively on male faces Brad Koenig and Baptiste Giabiconi. Navigating the alpine VIP frenzy, filmmaker Venville came straight up against the unrealistic expectations of the Kaiser’s media and creative schedule. Hence he delivered just one potent question, appealing to Lagerfeld’s savoir faire. “To borrow from Hamlet,” says Venville, “brevity is the soul of wit, and he couldn’t be more interesting in that respect.” The director would know, having helmed the films 44 Inch Chest starring John Hurt and Ray Winstone and Henry’s Crime with Keanu Reeves. “I felt there was a lot of power in his answer,” he says of Lagerfeld. “It’s all about the artistic process being intuitive and spontaneous.”