the gentlewoman Issue n° 16, Autumn & Winter 2017
UK £ 6.50
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The Gentlewoman Issue n° 16 Autumn & Winter 2017
Part One:........................................................ .................................................................... Photo by. Michael Grecco............... ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ First article ............................................ 5, 6, 7 Award winning Los Angeles commercial photographer and film director noted for his iconic celebrity portraits, innovative magazine covers and advertising spreads. ..................................................................... ..................................................................... ..................................................................... ..................................................................... .................................................................... Part Two: ........................................................ .................................................................... .................................................................... Main article ...................................... 8, 9, 10, 11 Red is one of trend colour in 2017 Autoumn and Winter fashion collection.The fashion collections and designers inspired by red : page 9-11 ....................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... .................................................................... .................................................................... .................................................................... .................................................................... .................................................................... .................................................................... .................................................................... .................................................................... Part Three:....................................................... ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ ............................................ Third article ........................................ 12, 13, 14 Award winning Los Angeles commercial photographer and film director noted for his iconic celebrity portraits, innovative magazine covers and advertising spreads. .......................... ..................................................................... ....................................................................
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Michael Grecco
Award winning Los Angeles commercial photographer and film director noted for his iconic celebrity portraits, innovative magazine covers and advertising spreads. magazine covers and advertising spreads 5
Michael Grecco
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Michael Grecco
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2017 RED alert! Red is obviously the repersentative colour in 2017 Autoumn and Winter fashion collection. The fiery shade dominated the A/W 2017 shows, with brands such as Givenchy, Preen and Max Mara sending head-to-toe burgundy, wine and cerise looks down the runway. From tracksuits to coats, oversized knits and accessories, there’s an entry point for every lady in red this season. 8
2017 Red alert!
Red
is obviously the repersentative colour in 2017 Autoumn and Winter fashion collection. Originally from St Andrews, Penny Martin was hand-picked to take the helm of The Gentlewoman, she says will show that women are interested in much more than just handbags. Picture: Liz Collins Interviewees are more likely to be asked about their boyfriends than their jobs, images of women tend to be either retouched to unrealistic proportions or deliberately can did in order to highlight physical flaws, and fashion is about spending money, not pursuing style. A new biannual magazine hopes to offer readers an alternative and to prove that style and substance are not mutually exclusive. The sister magazine to the hugely popular Fantastic Man and the latest from celebrated Dutch publishers Gert Jonkers and Jop van Bennekom, The Gentlewoman went on sale yesterday, and the title’s Scottish editor-in-chief, Penny Martin, is keen to give a glossy platform to smart, interesting and stylish women with something to say. Raised in St Andrews, Martin, 37, studied in Glasgow, was the editor of photographer Nick Knight’s acclaimed Showstudio website for seven years, and is a professor of fashion photography at the London College of Fashion. She was hand-picked by those two very picky Dutchmen to take the helm at The Gentlewoman, and she’s passionate about its ethos. We meet in a dark cubby-hole of a room in Edinburgh’s Prestonfield House. She’s just flown up from Paris Fashion Week and is enjoying a strong cup of builders’ tea, something of a novelty, she says, after the weaker offerings favoured by the French. Dressed in black, with a monochrome Herms scarf overflowing at her neck, her pale blonde hair is worn in a long bob. She is elegant, polished and put-together, but warm and accessible. She’s articulate, witty and smart, but not intimidatingly so. She likes to laugh, she loves women and she definitely knows how to dress. In short, she’s the personification of the magazine she now edits. “A lot of people, when they first heard our title, thought of it as two separate words,” she explains. “They thought that it was about gentility and decorum. I don’t think that’s what we think of as a gentlewoman now. It’s very easy to think of the values of a gentleman, yet people are kind of anxious about thinking about taste and style and wit and humour when it comes to women. I’m not quite sure why. So I guess what we’re trying to do is define a modern woman of the future as opposed to the past.”
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The first issue features Phoebe Philo, the creative director at Celine, on its cover. The women profiled inside include an artist, an architect, a downhill mountain biker, a model, a winemaker and an ocean swimmer who describes her experience of swimming from Egypt to Jordan. In her first letter from the editor, Martin says that “elegantly side-stepping the passive and cynical cool of recent decades, The Gentlewoman champions the optimism, sincerity and ingenuity that actually gets things done. These are the upbeat and pragmatic qualities defining gentlewomen of today.” An editorial called Tall n’ Small features two models in shorts: one tall and one small. Another feature shows readers how to achieve various up-dos. Captions are arch and knowing: “The Fold & Twist looks best when very tight, which can induce headaches. It is advised to relax the scalp beforehand by taking 400mg of ibuprofen.” Unusually for a style magazine, many of the images – including the cover shot – are monochrome. The pale ointment pink of the cover is repeated throughout, but the design is simple, almost minimal. Some interviews are long, weighty and in-depth. Others are sparse and focus on a specific topic: model Daisy Lowe is quizzed on housekeeping, print designer Josephine Chime on transport and Scottish fashion designer Louise Gray on time-management. “I wanted to make sure that for every one part fashion and celebrity, there would be four parts other things, because this is an exercise in restoring the balance that I remember in publishing,” says Martin. “Even in the 18th and 19th centuries, women were writing about travel and education and philosophy, and that’s somehow disappeared. We have the opportunity to do these things, and yet if 50 years from now you were to look at the magazines we’re consuming, you’d think we were just interested in handbags.” Read more at: http://www.scotsman.com/ l i fe s t y l e / i nt e r v i e w - p e n ny - m ar t i n - e d i t o r- o f - n e w - m a g a z i n e - t h e - g e nt l e w o man-1-796009. I remember in publishing,” says Martin. “Even in the 18th and 19th centuries, women were writing about travel and education and philosophy, and that’s somehow disappeared. We have the opportunity to do these things, and yet if 50 years from now you were to look at the magazines we’re consuming, you’d think we were just interested in handbags.” Far from shying away from some of the more controversial issues within publishing, Martin is keen to discuss them. She does not want The Gentlewoman to be heteronormative. She will not feature only white women in her pages. When it comes to the topic of skinny women,
she is “just interested in healthy-looking happy women” and likes “nice substantial thighs”. There happen to be, she says, no beautiful obese woman in the first issue, but she’d have no reason to exclude such a woman in the future. On airbrushing she is firm. Some retouching will almost always be used to tidy images, and she has no desire to use unflattering shots of the women featured; however, from pores on faces to hairs on legs, the things that make a person look human are not airbrushed away. “We were adamant that we didn’t want the very retouched aesthetic you’ve almost got across the board in women’s magazines,” she says. “We have a strict ‘no fantasy’ policy. It’s not about some Russian princess on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The women aren’t really allowed to hide, and we’re choosing people who want to stand up close to the camera and just be great.” She strikes a strong, defiant pose at this last line. She wants The Gentlewoman to congratulate “great” women, and certainly it reads much like a conversation between a group of fantastic women. “Visually, women are very well served by magazines,” says Martin. “But I’d feel really quite depressed if we put all this trouble into a thoughtful and careful way of making these women look great and people come away saying, ‘Oh, doesn’t she look good for her age’ or ‘isn’t she thin’ or ‘isn’t she cool’ or all those crushingly back-handed compliments. I just want people to say, ‘God, she’s great, I love her.’” What’s really great about The Gentlewoman is that, rather than being talked at, the reader gets to be one of those fantastic women. She gets to know that if all the women on the pages of the magazine were to attend a party, she’d be invited.More than that, she’d have a
2017 Red alert! ball, and she’d be at the centre of that conversation, where anything from politics to platforms might come up. Far from shying away from some of the more controversial issues within publishing, Martin is keen to discuss them. She does not want The Gentlewoman to be heteronormative. She will not feat comes to the topic of skinny women, she is “just interested in healthy-looking happy women” and likes “nice substantial thighs”. There happen to be, she says, no beautiful obese woman in the first issue, but she’d have no reason to exclude such a woman in the future. On airbrushing she is firm. Some retouching will almost always be used to tidy images, and she has no desire to use unflattering shots of the women featured; however, from pores on faces to hairs on legs, the things that make a person look human are not airbrushed away. “We were adamant that we didn’t want the very retouched aesthetic you’ve almost got across the board in women’s magazines,” she says. “We have a strict ‘no fantasy’ policy. It’s not about some Russian princess on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The women aren’t really allowed to hide, and we’re choosing people who want to stand up close to the camera and just be great.” She strikes a strong, defiant pose at this last line. She wants The Gentlewoman to congratulate “great” women, and certainly it reads much like a conversation between a group of fantastic women. “Visually, women are very well served by magazines,” says Martin. “But I’d feel really quite depressed if we put all this trouble into a thoughtful and careful way of making these women look great and people come away saying, ‘Oh, doesn’t she look good for her age’ or ‘isn’t she thin’ or ‘isn’t she cool’ or all those crushingly back-handed compliments. I just want people to say, ‘God, she’s great, I love her.’” What’s really great about The Gentlewoman is that, rather than being talked at, the reader gets to be one of those fantastic women. She gets to know that if all the women on the pages of the magazine were to attend a party, she’d be invited. More than that, she’d have a ball, and she’d be at the centre of that conversation, where anything from politics to platforms might come up. “Visually, women are very well served by magazines,” says Martin. “But I’d feel really quite depressed if we put all this trouble into a thoughtful and careful way of making these women look great and people come away saying, ‘Oh, doesn’t she look good for her age’ or
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‘isn’t she thin’ or ‘isn’t she cool’ or all those crushingly back-handed compliments. I just want people to say, ‘God, she’s great, I love her.’” What’s really great about The Gentlewoman is that, rather than being talked at, the reader gets to be one. Far from shying away from some of the more controversial issues within publishing, Martin is keen to discuss them. She does not want The Gentlewoman to be heteronormative. She will not feature only white women in her pages. When it comes to the topic of skinny women, she is “just interested in healthy-looking happy women” and likes “nice substantial thighs”. There happen to be, she says, no beautiful obese woman in the first issue, but she’d have no reason to exclude such a woman in the future. On airbrushing she is firm. Some retouching will almost always be used to tidy images, and she has no desire to use unflattering shots of the women featured; however, from pores on faces to hairs on legs, the things that make a person look human are not airbrushed away. “We were adamant that we didn’t want the very retouched aesthetic you’ve almost got across the board in women’s magazines,” she says. “We have a strict ‘no fantasy’ policy. It’s not about some Russian princess on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The women aren’t really allowed to hide, and we’re choosing people who want to stand up close to the camera and just be great.” She strikes a strong, defiant pose at this last line. It’s not about some Russian princess on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The women aren’t really allowed to hide, and we’re choosing people who want to stand up close to the camera and just be great.” She strikes a strong, defiant pose at this last line. She wants The Gentlewoman to congratulate “great” women, and certainly it reads much like a conversation between a group of fantastic women. “Visually, women are very well served by magazines,” says Martin. “But I’d feel really quite depressed if we put all this trouble into a thoughtful and careful way of making these women look great and people come away saying, ‘Oh, doesn’t she look good for her age’ or ‘isn’t she thin’ or ‘isn’t she cool’ or all those crushingly back-handed compliments. I just
want people to say, ‘God, she’s great, I love her.’” What’s really great about The Gentlewoman is that, rather than being talked at, the reader gets to be one of those fantastic women. She gets to know that if all the women on the pages of the magazine were to attend a party, she’d be invited. More than that, she’d have a ball, and she’d be at the centre of that conversation, where anything from politics to platforms might come up. On airbrushing she is firm. Some retouching will almost always be used to tidy images, and she has no desire to use unflattering shots of the women featured; however, from pores on faces to hairs on legs, the things that make a person look human are not airbrushed away. “We were adamant that we didn’t want the very retouched aesthetic you’ve almost got across the board in women’s magazines,” she says. “We have a strict ‘no fantasy’ policy. It’s ss on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The women aren’t really allowed to hide, and we’re choosing people who want to stand up close to the camera and just be great.” She strikes a strong, defiant pose at this last line. She wants The Gentlewoman to congratulate “great” women, and certainly it reads much like a conversation between a group of fantastic women. “Visually, women are very well served by magazines,” says Martin. “But I’d feel really quite depressed if we put all this trouble into a thoughtful and careful way of making these women look great and people come away saying, ‘Oh, doesn’t she look good for her age’ or ‘isn’t she thin’ or ‘isn’t she cool’ or all those crushingly back-handed compliments. I just want people to say, ‘God, she’s great, I love her.’” What’s really great about The Gentlewoman is that, rather than being talked at, the reader gets to be one. It will almost always be used to tidy images, and she has no desire to use unflattering shots of the women featured; however, from pores on faces to hairs on legs, the things that make a person look human are not airbrushed away. “We were adamant that we didn’t want the very retouched aesthetic you’ve almost got across the board in women’s magazines,” she says. “We have a strict ‘no fantasy’ policy. It’s ss on the moon and it’s not about a visual confection of slick, heavily retouched photography. We are interested in what these women are like. The models are called by their names, and we include information about them, to make sure that everyone has a personality. The
�Red is a benevolent dictatorship.� designer
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James Jannard
Mila Kunis
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Mila Kunis Brief intro about her and her career. Helen McCrory will gladly sign autographs for fans who loved her as Narcissa Malfoy from Harry Potter or Aunt Polly from Peaky Blinders . But the Paddington-born actress is just as likely to be found trading the boards of the National. Inspired by seeing Judi Dench on stage in Mother Courage as a schoolgirl, Helen. Helen McCrory will gladly sign autographs for fans who loved her as Narcissa Malfoy from Harry Potter or Aunt Polly from Peaky Blinders . But the Paddington-born actress is just as likely to be found trading the boards of the National. Inspired by seeing Judi Dench on stage in Mother Courage as a schoolgirl, Helen.
Helen is wearing a white striped cotton shirt by SUNSPEL with her own jeans, socks, trainers and hat. On page 12, she adds a double0-breasted navy wool trench coat by PAUL SMITH and a brushed yellow mohair hooded cardigan by CHLOE.
gantlet for Connie to run. Over the course of one night he gets dragged all around Flushing, from his girlfriend’s house to the hospital to a random woman’s home where he crashes after breaking a prison-battered Nick out of said hospital and dyes his own hair a gnarly shade of blonde to evade identification as the bank robber who’s wanted on TV. Then, after the most audacious narrative changeup I’ve experienced at a movie all year—I won’t spoil it for you here—he spends the second half of the night on an adrenaline-and/or-acid-fueled adventure that has less to do with saving Nick than with Connie’s own survival. All of this is happening in the most aesthetically unpleasant movie you’ve ever seen this side of John Waters. Good Time is loud, jittery, propelled by an anxiety-inducing electronic score, and queasily neon. Director of photography Sean Price Williams shoots the thing almost entirely in close-ups of everyone’s artificial-light-bathed pores and neck hairs; the only time he eases up into a wide shot isn’t to give us any relief from our claustrophobia but to show us a guy jumping from a 12th-story window. I think his work is brilliant, but I also think the Safdies are a dash insane for committing so thoroughly to a cinematic vision that’s oriented toward neither strict documentary realism nor palatable entertainment. Yet somehow I had a good time with this movie. I attribute this mostly to Pattinson, who’s a mesmerizing presence as he saunters and skedaddles in what’s otherwise an unforgivable role. Connie keeps dropping into other people’s lives in medias res and ruining them with his single-minded, narcissistic pursuit of his goals at the expense of everyone’s well-being. Whatever else Good Time is—and it does admittedly go to greater lengths than most American films to humanize those living at the furthest, dirtiest margins
of our society—it’s a great story about the causality of arrogance. Unlike so many other modern antiheroes, Connie’s vices don’t go unpunished; his actions have sickeningly palpable consequences; his homecoming never comes. Instead we watch as selfishness unravels everything he touches, never more upsettingly than when we return to Nick in a “one week later” sort of epilogue. Nick’s in a new therapy program, where a chipper instructor asks her class a series of icebreaking questions to loosen them up. For two whole minutes, Nick sits stonily through all of her prompts. When she finally instructs her students to cross the room if they’ve ever not gotten along with a family member, he doesn’t need to think twice. All of this is happening in the most aesthetically unpleasant movie you’ve ever seen this side of John Waters. Good Time is loud, jittery, propelled by an anxiety-inducing electronic score, and queasily neon. Director of photography Sean Price Williams shoots the thing almost entirely in close-ups of everyone’s artificial-light-bathed pores and neck hairs; the only time he eases up into a wide shot isn’t to give us any relief from our claustrophobia but to show us a guy jumping from a 12th-story window. I think his work is brilliant, but I also think the Safdies are a dash insane for committing so thoroughly to a cinematic vision that’s oriented toward neither strict documentary realism nor palatable entertainment. Yet somehow I had a good time with this movie. I attribute this mostly to Pattinson, who’s a mesmerizing presence as he saunters and skedaddles in what’s otherwise an unforgivable role. Connie keeps dropping into other people’s lives in medias res and ruining them with his single-minded, narcissistic pursuit of his goals at the expense of everyone’s well-being. Whatever else Good Time is—and it does
The Third District looks like a jalapeno as it stretches from Jacksonville to Orlando. Gerrymandered to have a black majority in 1992, it was “corrected” in 1996 for constitutional reasons. Today, the district, one of Florida’s poorest, is just 47 percent black. It is also heavily Democratic ‐‐ having elected President Clinton by 23 points in 1996 and 27 points in 1992, the same year Corrine Brown was elected with 59 percent of the vote. In that campaign, Brown disregarded or disobeyed numerous campaign finance laws by misplacing, misallocating, and misreporting tens of thousands of dollars. Among her violations: failing to report use of a corporate plane, using money from a non-federal campaign account, accepting donations from foreign citizens, accepting donations from corporations, failing to account for numerous disbursements, and failing to report $ 81,000 in contributions before the election. This, obviously, does not end well: Nick gets caught and tossed in jail, which kicks off an insomniatic nightmare for Connie, who spends the rest of the night—and the film— relying on his Odyssean wiles to scrounge up the money to post his brother’s bail. Connie is a master in the subtle art of lying his ass off. The tales he spins to get strangers to give him what he wants sound so believable, even from our knowing vantage, that we’re nearly convinced ourselves that they aren’t outright lies so much as variations on the truth. Still, just as no amount of storytelling prowess could free Odysseus from the decade of wandering ordained for him by the angry gods, poor Connie can’t talk his way out of the fate in store for him. The divinities governing his world— every no-good bank, bureaucracy, and urban-planning committee you can think of—give the Olympians a run for their money by cooking up a nauseating nocturnal
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“ He’s also 3 months old and you forget what sleepless nights are like. I remember guys, talk to me.”
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A final word.
Though everything has been said for now in this printed instalment of the magazine, the particularly curious can sign up for further entertainment and notification by joining The Gentle woman Club. Until February 2018, that is, when we’ll be back with a 17th issue. Farewell for now, readers!
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