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Artsy synth-princess Sweden’s best-dressed woman

Sweden's newly crowned best-dressed woman, BWO keyboard player Marina Schiptjenko, has a wardrobe that stretches from punk to princess, writes David Bartal.

Published: 3 February 2008 17:32 CET

Marina Schiptjenko, keyboard player in the electronic pop band BWO and co-owner of a distinguished Stockholm art gallery, was named Sweden’s Best-Dressed Woman 2007 at the annual Elle Gala on Friday night.

In a sense, Schiptjenko should have won two awards. As synth-player in Bodies Without Organs, Marina can dress herself in a flamboyant manner as sexy vamp or an Elizabethan princess. In her other incarnation, as co-owner of the highly-regarded Andrehn-Schiptjenko gallery, Marina has a sophisticated look, with a punk, artsy edge.

“She mixes the gallery look with a more theatrical style,” the magazine’s awards jury said in their prize motivation. A few of Schiptjenko’s favorite designers are British fashion icon Vivienne Westwood and Amsterdam-based Viktor and Rolf.

“I’m not really a girly type. I found my musical identity in the 1980s during the punk movement. I’ve been playing with synth bands since I was 15 years old,” Schiptjenko told The Local. “I think it’s very important to express oneself though clothes. I try to have a personal style, not to be mainstream.”

Schiptjenko, whose surname comes to her via her Russian father, says she isn’t a collector-type who hordes high-heels or other garments: “I’m not really attached to clothes in that way.”

Bodies Without Organs, now known as BWO, was founded by Alexander Bard, a colorful personality prone to committing fashion crimes like shorts-and-braces. The original members of the band included nightclub artist La Camilla and hairdresser Jean-Pierre Barda. The current trio is completed by singer Martin Rolinski, a former tennis player especially appreciated by female fans.

A new single by BWO, “Sunshine in the Rain,” is currently climbing the charts in the UK. The group will competing to be Sweden’s entry in the 2008 Eurovision Song Contest with a tune called “Lay Your Love on Me.”

French Vogue celebrates 100 years

French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance.

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