#vogue editorial

frackowivk:

Naomi Campbell, 1994

vintagejunction:

Vogue UK, November 1996

Whilst many may overlook fashion editorials or photographs of this nature, it is important to appraise their significance in communicating ideals and concepts in new and progressive ways of self-expression. These ideals always eventually become adopted by the greater public over time and become codes and symbols of everyday life. This adaptability is something we can all gain from, as many of us end up identifying personally with these ideals if they manage to resonate with us. This resonating aspect of expressions can only exist when these ideas are effectively communicated by the people who conceive and project them, such as models and photographers, highlighting the importance within the jobs of those who create these campaigns. The significance of their projects is undisputable, especially when the subjects of these campaigns can go on to be such familiar fixtures of our daily lives which we are okay with seeing on large billboards and magazines, etc. Edita Vilkeviciute is one such fixture. The essence of her work as a model communicate ideas which I can recognise or identify with. This is something I find to be a pleasurable and reassuring association. This is an association not as mush influenced by the visual element of these ideas, but a cultural/ conceptual connection that is often established by an engaging with a radical/idealised form of expression of these ideas. Therefore, there is an undisputable respect that can be attached to the work of a remarkable model such as Edita Vilkeviciute, who can project the ideals of several brand identities. It is incredible how she can be both understated and communicate many brand essences.

Edita Vilkeviciute’s Essence

There are many insufficient words and manners to describe the effect of the most significant contributors in Fashion such as Edita Vilkeviciute. That insufficiency coupled with a lack of acknowledgement of contemporary greatness almost tempts one to become radically critical of Fashion today for lacking insight into the value of essence. Essence in the context of this article can be described as Edita Vilkeviciute’s standout gift as a model to exude eminence in swagger and elevate the sophistication of any project she is a part of. The Lithuanian fashion model projects fashionable ideas and tasteful concepts within campaigns to a degree that demonstrates her command as a muse and iconic model. Whilst sometimes overlooked, her work such as an editorial by Quentin de Briey for Vogue Paris in 2020 has gone on to be one of the most influential fashion editorials of recent times setting a blueprint  for Fashion obviously referenced by many brands and influencers today under the pretense of Parisienne Style. Thanks to online archives and print media we have proof and references to the testimony of Edita Vilkeviciute’s great presence within fashion and her modelling career which those who choose to acknowledge the significance of her role in shaping and influencing the taste buds in Fashion today can indulge. This indulgence will lead one to an elevated experience with High Fashion and an enlightenment I can only describe as Edita Vilkeviciute’s essence.

Kim Wilde by Anton Corbijn for Vogue, 1980

Kendall Jenner photographed by Daniel Jackson, Vogue, November 2019

Houndstooth coat and leather cap: Balmain
Blouse: Chanel, $2.000

“Éclat Pur” Vogue Paris March 2015. Amanda Wellsh by Claudia Knoepfel & Stefani Indlekofer, styling by Veronique Didry.