Stella Tennant. Forever.

Steven Meisel for British Vogue

Stella Tennant, the iconic British model famed for her statuesque beauty and inimitable personal style, has passed away at the age of 50. My heart broke when I discovered the news. Wisdom and beauty, royalty and true artist, game-changing rebel and forever elegant. While Tennant was first known for her signature tousled pixie haircut, androgynous features, and commanding six-foot-tall presence – as well as her longstanding creative relationships with fashion legends from Steven Meisel to Karl Lagerfeld – her passion for sculpture, environmental causes, revival of the heritage Holland & Holland brand and her home country of Scotland were what eventually became closest to her heart. The news of Tennant’s untimely death was confirmed earlier today in a statement released by her family – including her husband, the French photographer David Lasnet, and her four children, Marcel, Cecily, Jasmine, and Iris – who asked for their privacy to be respected.

From left: Valentino spring-summer 2020 couture, Vogue Italia cover by Steven Meisel, Juergen Teller.

Holland & Holland ad by Hawkesworth, Steven Meisel, Missoni ad.

Paolo Roversi.

Tennant was born in 1970 as the youngest of three to the Hon. Tobias Tennant and his wife Lady Emma—daughter of the current Duke of Devonshire and his wife Deborah, the youngest of the famous high-society Mitford sisters. Despite her aristocratic pedigree, Tennant’s upbringing was decidedly more down to earth; she grew up on a 1,500-acre sheep farm in the Scottish Borders. It was a region that remained close to her heart throughout her jet-setting modeling career and one she would eventually call home again upon purchasing a Berwickshire farmhouse in the early-aughts. Tennant displayed a natural creative instinct from a young age, attending the famous British boarding school Marlborough College before going on to complete a degree in sculpture at the Winchester College of Art. Her career as a model began when she caught the eye of fashion writer Plum Sykes, with whom she appeared in the now-iconic Steven Meisel shoot for British Vogue’s December 1993 issue, “Anglo-Saxon Attitude,” which captured a nascent London scene of well-heeled women whose eccentric take on style offered a British counterpart to the U.S. grunge movement. A famous anecdote saw Tennant show up to the shoot with a nose ring, much to the surprise of the Vogue editors – it was her refusal to remove it that endeared her to Meisel, who invited her to model for him the next day in a Paris shoot for Vogue Italia.

 

Chanel ad, with Karl Lagerfeld, Bruce Weber for Vogue Italia.

 

Self Service.

Juergen Teller for Purple, Steven Meisel for Vogue Italia, Bruce Weber for Vogue.

Mark Borthwick, Tim Walker, Mark Borthwick.

Martin Parr for Sunday Times Style.

From there, Tennant was a regular muse of Meisel’s, shot by him most recently for the December 2018 cover of British Vogue. She also became a favorite of some of the most influential fashion photographers of the 1990s, including Mario Testino, David Sims, and Mark Borthwick, embodying the edgy, waifish insouciance that served as one of the defining features of fashion imagery throughout that decade. On the runways, Tennant made regular appearances for Karl Lagerfeld at Chanel, alongside the likes of Jean-Paul Gaultier and Versace. She also became a mainstay of Alexander McQueen’s runway spectacles, walking for some of his most iconic shows, including spring 1996’s “The Hunger” and spring 1997’s “La Poupée.” In 1998, after announcing her first pregnancy with her photographer boyfriend David Lasnet, Tennant retired from the industry. (The pair would marry later that year, with Tennant wearing a memorably minimalist Helmut Lang gown for their wedding in Scotland.) Shortly after the birth of her third child in 2002, Tennant made a return to modeling in a campaign for Burberry shot by Mario Testino that was partly credited with revitalizing the fortunes of the brand and returning it to its now global status as a fashion leader. Another career milestone came at the closing ceremony for the 2012 London Olympics, at which Tennant appeared with fellow British models Kate Moss and Naomi Campbell (among others) during a tribute to the country’s fashion industry.

Juergen Teller for Marc Jacobs and Céline, Steven Meisel for British Vogue.

Martin Parr for Sunday Times Style, Versace ad by Bruce Weber, Bruce Weber.

British Vogue, Juergen Teller for Saint Laurent, Jamie Hawkesworth.

Paolo Roversi.

Tennant always maintained a lifelong interest in sculpture, establishing a studio at her home in Berwickshire, where she worked with her sister Issy on a luxury homewares brand named Tennant & Tennant. Over the past decade, Tennant also grew to be a vocal advocate for environmental causes, appearing in a number of campaigns for the nonprofit Global Cool raising awareness around climate change, and joining forces with Oxfam for Second Hand September. Already, tributes have begun pouring in from luminaries of the fashion world. But while the statement released by her family earlier today marks the end of an extraordinary career as one of fashion’s most beloved and iconic personalities, Tennant’s legacy as a groundbreaking figure in the history of British style, as well as a passionate supporter of causes close to her heart, will live on.

Willy Vanderperre for Document, Self Service, Mark Borthwick.

Tim Walker.

Versace ad.

REST IN PEACE, Queen. You will be missed.

The Look – Marc Jacobs AW20

Marc Jacobs‘ phenomenal autumn-winter 2020 collection is probably one of my favourite moments of the entire season. The runway featured a dance performance choreographed by Karole Armitage, New York’s „punk ballerina”, with the catwalk staged like a bistro. At some point it was hard to tell who’s the model and who’s the dancer (everybody was dressed in Jacobs), and that was the intention: beauty in chaos, told through powerful movement. Infinitely inspired by his heroes of the past and present, it is style, in which different people dress at the various stages, ages and times in their lives, that provokes Marc’s love for fashion and possibilities of what it can be. The designer especially had the fading image of disappearing New York in his mind – forever mythical and chic, with its „beauty, promise, sparkle and grit”. The simple, yet unbelievably elegant look Sara Grace Wallerstedt wore – black bra worn underneath a cable-knit cardigan, black pencil skirt, kitten heels with socks and a head-band – is the style refinement level that equals to Holly Golightly’s Breakfast at Tiffany’s wardrobe. When I rewatched this film a few days ago, I just couldn’t not think about Jacobs’ recent line-up.

Collage by Edward Kanarecki featuring Steven Meisel‘s photo for Vogue Italia‘s April 1999 issue.

The 2010s / Marc Jacobs AW19

Believe it or not – I can’t! – but we’re heading towards a new millenium. So, how do you choose the most important collections, designers and labels of the decade? The ones that made an actual impact in the 2010s? Well, it’s not an easy task. It all began in September 2009 with New York’s spring-summer 2010 shows and ended when the autumn-winter 2019 haute couture shows wrapped in Paris. Few thousands of shows, by the way. There will be 19 posts (that’s really the only possible minimum!) reminding about the best – and if not the best, then strongly influencing – moments in fashion.

Marc Jacobs AW19 – the King of New York.

Marc Jacobs closed New York fashion week last March with one of his best collections in years – or even, in his entire career. While the past few seasons were brilliant, they slightly worried with being too exaggerated, too show-y. The autumn-winter 2019 collection is just the perfect balance of Jacobs, and what his brand stands for. New York edginess combined with this cool, ‘off’ glamour. There was drama, of course: the yellow gown worn by Adut Akech looked insanely gorgeous, just as the dresses covered in feathers, as seen on Christy Turlington (by the way, it was her major runway return after 20 years and let me tell you – she was so, so beautiful). But there was something calm about this collection. Even sober. The venue was dark and absolutely minimal. Classical, live music played throughout the show. No killer platform boots or crazy hair – most of the models looked make-up free and wore beanies topped with a feather (that’s how Stephen Jones does ‘casual’). You might say that the collection seem to be inconsistent: how does Sara Grace Wallerstedt’s minimal pistachio dress works with Guinevere Van Seenus’ ruffled, retro ensemble? Well. They don’t have to. And Jacobs is fine with that. “They’re all very beautiful, but they’re all different. We have 40 girls and each one is slightly different… our vision of who each of these women are,” is what the designer said about both, the collection’s diverse model casting, and the aim behind the entire line-up. A ‘wardrobe’ would be a bad term to describe this, as this is something much more broader. It’s rather a set of personalities, in the fashion aspect, but not only. I’m still completely in love with this collection every time I see it.

Collage by Edward Kanarecki; Christy and Marc photographed by Steven Meisel.

#TBT: Dolce & Gabbana’s 2001

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Actually, Dolce & Gabbana used to great fashion before it became commercial, millenial-loving (duh) trash. With a backdrop of blossoming trees and lace curtains, Stefano and Domenico‘s glitzy glamour met power-dressing and… Madonna! I guess the fans of Material Girl went through an orgy after they saw those heavily beaded T-shirts with the musician’s most iconic album covers (as pictured above in Steven Meisel’s advertising campaign starring Gisele Budchen). But in 2001, Dolce & Gabbana brought some of the most chic suits to their runway, as well as Monica Belluci approved sheer eveningwear. Those were the times.