It Takes Two to....

Tango
Vogue Germany April 2010
Ph: Karl Lagerfeld
Styling: Christiane Arp
Other models: Baptiste Giabiconi

I think this is one of the better things that Karl has shot featuring Freja. Maybe it's because there's a story motivating the photography, even though that story is probably trite and overwrought. But in this case I don't mind because I really enjoy seeing the chemistry between Freja and Baptiste.

They are really throwing themselves into the story, to the point where I actually believe there's some sort of relationship between the two of them. I'm sure in real life they're comfortable working with each other by now, after countless shoots together with Karl, and it really shows. There's an ease and relaxation in these images that can only stem from familiarity, and this is what makes the editorial so enjoyable to me.

I can already hear some people complaining that this is the same old thing from Karl and that it's boring and predictable, but I actually don't agree with this for once. I really wasn't expecting the dynamic movement and intimacy of the images. And even though the Tango story set in a cafe has been done before, this one still manages to be alluring, sexy and eye catching. I was looking at each and every image in order to catch all the details. And Freja plays this unexpected role quite well. I'm thrilled that she's gone from playing the sexless androgynous model to the sexy femme fatale in yet another show of her severely underrated versatility.

I feel like we're seeing a completely different model nowadays, and while I might still miss the Freja of yore, I'm starting to really admire this new one who is constantly surprising me with her maturity, intelligence and dexterity. It finally feels like Freja is completely at ease with her job as a model and that she's gained complete control of her body as a creative instrument.

You know, there is going to come a month where she won't have editorials in multiple magazines and I just don't know what I'm going to do when that happens. Sure, my wallet will be happy and I'll get a break from feeling like I have to say something pertinent, but I'll still be sad nonetheless. These past few months have been a complete joy in that I feel like we've seen Freja grow and transform once again before our eyes; like a second introduction five years into her career. And to be honest, I think we all needed that...at least, I know that I needed that.

Image Credits: scans by the wonderful helligirl @ tFS

Danes, Past and Present

We have scans of Freja's second editorial in Vogue Germany, once again thanks to tFS member candlebougie!

Asta Nielsen
Vogue Germany October 2009
Ph: Karl Lagerfeld

I must admit I'm growing weary of black and white editorials. As the summer ends and the autumn season begins with winter not too far behind it, I want to see Freja surrounded by color, vibrancy and life. Although I understand the concept warranted the use of black and white photography, being that it's a tribute to silent film star Asta Nielsen.

For those who don't know, Asta Nielsen was a Danish silent film actress popular in the 1910's. People say she was one of the first international movies stars, but her work was more well-known in Europe than in the United States. Perhaps this is owning to the Puritanical roots of the US combined with the risqué nature of Neilson's work. The two things don't mix, especially back during the early 20th century, so much of Nielsen's work was censored for US audiences. Nielsen was characterized by her long, slender body and self-possessed, androgynous attitude. Sound familiar? It seems as if Freja is the modern day incarnate of Neilsen.

In fact, the resemblance is a little uncanny. When I first saw the editorial, I didn't like Freja's facial expressions because they seemed strange and a little distorted. But now that I see how closely she is able to mimic Nielsen's countenance, I am really amazed. The similarities are most apparent in the pursing of the lips; but the gaze, attitude, expressions, and body language are all spot on.

To me, Freja's look is so modern given that the angles in her face are quite pronounced. She can effortlessly juggle between masculinity and femininity, along with high fashion and mass market appeal. But her ability to morph from a contemporary beauty into a classical ingenue of another era completely takes me by surprise. This is just another testament to the skills she's developed as a model.

And perhaps this is why she has remained Karl's muse for so long. Who else can be all things to the man who takes on all things? We know Karl likes to surround himself with beautiful men, yet he must also have a female muse because he is the designer for three women's labels after all. Freja is the one that can be both masculine and feminine. She is malleable to his particular vision, yet able to maintain a strong, unforgettable presence. She encompasses the current, yet recalls the past. With these capabilities it's no wonder Karl has been under her spell for so long.

Image Credits: Scans by tFS member candlebougie, digischool.nl, the100.ru, wikipedia, probertencyclopaedia.com, vargen57.unblog.fr

Gender Play in German Vogue

Thanks once again to the scanning prowess of tFS member candlebougie, we already have scans of one of Freja's Vogue Germany editorials.

Monokel Diele
Vogue Germany October 2009
Ph: Karl Lagerfeld

At first look the phrases "gender play" and "role reversal" pop into my mind. Using black and white photography and a neutral background, it seems to me as if Karl is making a statement on the fluidity of gender roles and how social constructions play a large part in how we determine who is male and who is female. Anatomy and physiology aside, there are certain social signifiers that we use to determine someone's gender; height, hair length, clothes, dominance, and passivity immediately come to mind. We rely on these signifiers to make assessments about the people around us, but when these signifiers are unexpectedly mixed around things get interesting. Take for example this particular shot from the editorial:

Freja is taller, has short hair and is wearing a bow tie - all things that suggest masculinity. Baptiste is shorter, has longer hair and is donning a corset - all things that suggest femininity. Here they are defying their gender roles; yet at the same time, they are playing into them as well. Freja is wearing a skirt and the highest of high heels. Baptiste is wearing pants and men's dress shoes. He is also taking Freja's hand in his own, exhibiting dominance over Freja's passivity. These are the elements that fit into our conventionally held notions of male and female.

Thus we have a simultaneous embracing and rejecting of traditional gender roles, colliding in the same image with androgyny as the end result. Perhaps it is no coincidence that this shot was the one that stuck out for me as the strongest in the set, because I think it has the most to say.

(Note: I wrote the above before I read the editorial summary: "Women, strong as men. Men, tender as women: In the legendary club of Berlin in the post war period the role of the sexes was completely turned upside down." So I guess my assessment was fairly accurate, except maybe I gave Karl too much credit in the intent of his concept. Maybe he wasn't looking to make some grand social commentary; he just wanted to re-create part of Germany's past, which is fitting for an anniversary issue such as this.)

Androgyny and the mixing of gender characteristics has been done before in fashion, so this editorial is nothing new. However, I think it's beautifully shot and all three models look absolutely stunning. You know that I'd take this overplayed concept any day over the shallow concept of having us gaze at pretty clothes on jumping models.

Lastly, I must say I'm so happy that Freja seems to be Karl's female model muse once again. I wonder what it is about her that draws Karl in? I have some thoughts, but I think those will be better suited to another post. It is amazing that their collaboration has lasted so long and presently shows no signs of slowing. At least someone is giving Freja her due as a model, for otherwise I think she is grossly underrated. While her modeling contemporaries show up at fancy fashion soirees, have the blessings of Anna Wintour (and consequently Vogue US) and Steven Meisel, have issues of magazines dedicated to them, and have fashion luminaries waxing poetic about their looks or bodies, Freja is left virtually unnoticed to occupy the role of the underdog. And I think I might prefer it this way. For the underdog is the one unconfined by conventions and traditions. The underdog is the one with the freedom to grow without the strain of public scrutiny. The underdog is the one who will defy all expectations to eventually come out on top. And that is exciting.

Image Credits: scans by candlebougie @ tFS