In Vogue’s November issue of this year, the incredibly masterful Patrick Demarchelier snapped the most steadfast photographs of Karlie Kloss. Although “ensemble pieces” exhibits various personalities of a woman, one concept remained a common denominator: movement – whether kinetic or immobile, a woman’s impression would always alter.
By merely adding and substituting clothes and accessories, the stylist – Lucinda Chambers, resulted in fabulous looks for the shoot. What’s quite interesting is the dynamic with which she modified these outfits. Here, “more is more.” She created looks so distracted, they began to make sense. I thought “ensemble pieces” was a representation towards a new approach, perhaps because it is less likely to be worn in reality, but enthusiastically cheers for every real woman’s individuality. It shows how a woman can wear white and beige, without a crease in sight along with high heels and winged eyeliner sharp enough to kill. One look at her and you’d know she’s not one to mess with. On the other hand, it shows how a woman can play with proportion. She’s the risk taker who knows how to have fun and wears dresses over pants just because she can. In retrospect, though these two women seem like polar opposites, they might just be the same person. The transformation of a workaholic to a happy-hour-goer can result from the addition of a flared dress on top of your work clothes (totally kidding).
Lucinda Chambers styled outfits that are feminine and graceful; there were clothes that were tightly fitted, and those that were endlessly flowing. What caught my eye is the remarkable satin pleated dress, the way it moves with the body like water. It imbues a wave of confidence that not only you but your environment will instill. “ensemble pieces” is a vast modernistic expression of fashion. Simple, but important. The photographs’ significance is one for the arts, for this is done purely for the sake of Vogue.