PaperCity Magazine

May 2019- Houston

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Page 93 of 131

92 © MARK SHAW/MPTV IMAGES A s fashion magazines a re c o n c e r n e d , there's a golden trifecta of editors — n e v e r t o b e m a t c h e d , h i s t o r i c a l l y speaking, in their innovation, risk taking, and impact on both the creative and commercial realms of fashion. The trio is comprised of France's Carine Roitfeld, the former editor in chief of Vogue Paris, who now oversees her own independent publication, CR Fashion Book; Anna Wintour, the queen of American magazines who is the longtime editor of Vogue and the artistic director of Conde Nast; and, finally, there is the late Franca Sozzani, the dynamite editor who oversaw Vogue Italia for 28 years. Sozzani, of the three, is most regarded for her devil-may- care spark of rebellion, featuring fashion editorials in Vogue Italia that touched on topics so controversial and so timely that the features alone often made hard-news headlines — all at once stirring outrage, inspiration, and heated debate. In 2014, she caused controversy for a portfolio of fashion editorial images by Steven Meisel, depicting models as the victims of violent attacks by men. The commentary on domestic violence pulsated through international headlines — some saying it gave voice to victims of violence; others saying the body of work glamorized a horrific epidemic in modern society. In 2005, Linda Evangelista took the cover in bandages, escorted by a nurse through the hallway of a posh apartment building. The Makeover Madness editorial, another shot by Meisel, was a direct response to the increase in plastic surgery and its normalization in society and pop culture, with models shown mid- injection and at the mercy of the scalpel on the operating table. Most statement-making, perhaps, was THE BRILLIANCE OF DISRUPTION A NEW BOOK ABOUT THE LATE VOGUE ITALIA EDITOR FRANCA SOZZANI PAINTS A GLORIOUS PORTRAIT OF THE WORLD'S MOST FEARLESS FASHION EDITOR. BY CHRISTINA GEYER (continued on page 100) Franca Sozzani in her Piazza Castello office Sozzani's notes and a message from Peter Lindbergh

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