my two favourite shots - white on white and that celine bag, as well as a gorgeous rust coloured arnsdorf coat, on sale at the moment in the corner shop strand
The end is always sad, no matter what. That bittersweet feeling when you've reached the end of a box of macarons (in less than 15 minutes), the end of the hot water shocking your senses, the end of a book, the best book, your favourite book, and that sad feeling when you know that there is just no more. But I think endings can be good too, the sweet part of bittersweet, when they inspire you and intrigue you and leave you wanting more. It is then that you manically google search that author's back catalogue and read all his other works, it is then that you find yourself forever searching for something to top that last experience - a better creme brulee, a better pair of comely ballet flats. Even if they could never top that first experience - and often, here's the rub, they just can't, as rosy glasses reflect such a bright view - they are an extension of the journey. An avoidance of the inevitable.
Today I picked up the last issue of RUSSH with Stevie Dance as the Editor, and the last of Vogue Paris with Carine Roitfeld in the same role. Carine Roitfeld has split ties with Vogue completely, as you all well know, and amidst much Twitter speculation, it seems that Stevie is going to be working on other projects whilst still contributing to RUSSH - one imagines it is not easy to put a magazine together whilst living in New York. So it is an end for RUSSH with Stevie in control, though not a goodbye to her legacy of indie photographers, worn in leather and pretty girls not wearing bras. Likewise, how could Vogue Paris be anything other than what it is today without Carine's challenging, sensual and totally on trend touch. Carine managed to make a magazine that was at once wholly "Paris", wholly "Fashion" and wholly "Sex", three things that all women really want, right? It is fitting that these last issues are also some of the best in memory. I'm not a regular buyer of RUSSH, but when I am it is always become something attracts me to it, this month it was for the natural and raw features, including a fantastic column by Lesley Arfin on work and a lovely piece by Sophie Ward on sleep and waking. The still lifes and little analogue camera shots are great as usual. Vogue Paris is bigger than ever, not physically maybe (The October issue wins the cake there, surely), but in spirit definitely. It was all about outrageous looks and going out with a bang. Gone, but most certainly not forgotten.
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