This issue really is as much DOA as the cover suggests. Following MDNA's specs:
Breaking Ground by Ryan McGinley
Ryan on lethargic autopilot. Models lounging around pastoral spring splendour. It’s clear this was a spring shoot with flowers in full bloom— so weird it’s relegated to a September issue. When H&M campaigns are more expensive-looking and richly-drenched in mood than a Vogue shoot, you know you need to try a little harder.
L’oiseau Rare by Paolo Roversi
I always did like her, especially in The Banquet. Here, Zhou Xun is portraying the role of a beige painted wall, as you can see in MDNA's post. ZZZzzzzzz.
The Life Terrestrial by Emma Summerton
Emma beating Ryan and doing a better version of Willy’s Calvin Klein A/W/18 campaign, among a cornfield. The wardrobe is mostly Calvin, with the prerequisite Prada, of course. And Despite such horrendous designs, Emma makes it all work with her dramatic and sharply graphic compositions without veering into cartoony terrain like Willy’s CK campaign. Kind of a discount version of any given shoot by Meisel featuring a cornfield.
The Clash by Collier Schorr
Sarah Grace doing her best to capture that Collier monotone, while struggling to carry off Marc’s titanic-shoulders collection— if it were worn by the mousey teen daughter and not the Dynasty-mum. There’s no energy, no life, and dull lighting— in other word, typical Collier.
Just 3 measly fashion stories, with Emma’s being the only one that registers anywhere near living. It’s odd how VC has completely bought into the whole oversized, overlayered and overstuffed trend and still come up dull rather than camp, kitsch and cartoony. And the whole presentation, everything from the features to the fashion stories, are presented so austere, so clinical and so serious— as if professional women are going o dress like this. Angelica needs to lighten up and conjure some energy if she’s going to go with the infantile and baglady flow. Nice graphic design— but it's all so serious and wrong for the juvenile bag lady fashions. The cluelessness of VC is such a potent example of why print is dying.