Here’s a video showing an upcoming shoot for Vogue Italia, screencaps have been added to the gallery.

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Photoshoots > Natalia Vodianova for Vogue Italy

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Appearances & Events > 2011 > Berluti Christmas Party
Appearances & Events > 2011 > Christian Louboutin 20th Anniversary Book Launch by Eric Reinhardt

Old candids have been added to the gallery. Enjoy!

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Candids > 2008 > Out in Moscow (February 13, 2008)
Candids > 2005 > On the Beach in St. Tropez (July 31, 2005)

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Editorials > 2011 > Harper’s Bazaar Spain December

Issue: Harper’s Bazaar Spain December 2011
Title: Diez Dior
Photographer: Patrick Demarchelier

Natalia is featured on the November 14th issue of Ogonek Magazine. I’ve added the cover to the gallery and you can read the article below. Please note: The following article has been translated into English using google translation.

Over the past ten years I worked as a model, I was able to achieve success, wealth and fame, which I did not dare to dream. However, this does not make sense to me, if I can somehow help others.

More than anything, I hate injustice. It angers me to the core. So, after reading the book “Give me a chance” *, I experienced a strong shock.

Difficult and painful to think about how my country is for children with disabilities. Hard to imagine what would have happened with my sister, if my mother had given her in the care of the state.

I remember that up to seven years I have had a perfect childhood. I lived with my mother, stepfather, grandfather and grandmother to four-room apartment in Nizhny Novgorod. And of course I was terribly spoiled. My grandmother sewed me pretty dresses and stuff Crimean grapes.

Everything changed when I was seven years old and I was born the first sister Oksana. Doctors put her diagnosis – infantile cerebral palsy. Vanya from the orphanage N 10, which describes in his book “Give me a chance”, was born in the same year as Oksana, and perhaps why his story is particularly strong hold of me. Birth Oksana literally destroyed our family. In the nursing home my mother strongly advised to abandon the child and give the girl in the care of a state institution for children with disabilities. They said that she would never go and do – grow “vegetables.” Perhaps they sincerely believed that a sick child at the hands of my mother put an end to his life. “Your own life will end, if you take a girl. Do not even think about it.”

But I have a strong mother, and she rejected all the arguments of doctors. Oxana – her daughter, she said, and care for her she would be herself. This decision is adopted mother yourself, did not listen to any doctors, no relatives and friends. Her husband, my stepfather, said, or child, or me. And he left us.

My grandmother and grandfather worked at the automobile plant and even grown fruits and vegetables in the country near Nizhny Novgorod. Throughout his life, they have been working hard. At the same time my grandmother was a very sociable man, fond of fun for the holidays and collected a lot of guests. Presence in the house of a sick child would radically change her life. “We are no longer so young and deserved rest. Let us disperse.” So we with mom and sister were in a studio apartment is not in the best area of ??town. The apartment was so small that we were sleeping with Oksana in the hallway.

(more…)

To photograph haute couture is to build an elaborate, imaginary world that extends far beyond the limits of one single frame. This is why Patrick Demarchelier’s photograph for Vogue of Natalia Vodianova in front of the Dior atelier in Paris—an arresting image styled by Vogue Creative Director Grace Coddington that opens Demarchelier’s new book, Dior Couture (Rizzoli)—is all the more exceptional. With the iconic house’s petites mains, furniture, tools, and fabrics taken right out of the impenetrable studio and onto Avenue Montaigne, the fantasy is planted firmly in the real world, the craft contextualized without losing any of its magnificence. Whether this was Demarchelier’s intention, he says the choice to shoot on the street came down to aesthetics. “We didn’t like the inside,” he explains in his signature succinct manner.

Vogue’s European Editor at Large, Hamish Bowles, who was on set in 2008, remembers the shoot this way: “We really wanted to capture that behind-the-scenes world and to convey a sense of the pride and perfectionism of the people who bring the couturiers’ fantasies so magnificently to life. This was such an exciting story to work on because it involved really understanding the hierarchy as well as the level of craft, skill, artistry, and refinement that the tailors and dressmakers—and the legions of petites mains—possess.”

This black-and-white portrayal, so classically Dior, is only one of hundreds featured in the tome, the others a mix of Demarchelier’s previous editorial work and photographs taken of runway stars like Sasha Pivovarova and Karlie Kloss specifically for this project. The 2008 Vogue image, however, remains dear to Demarchelier for many reasons, not least of which is Coddington’s exquisite eye—he considers it as well honed as that of any of his peers. “It was a very easy shoot,” he says. “When you have a great picture, there’s no point in doing anything more.”

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Appearances & Events > 2011 > Harper’s Bazaar Women Of the Year Awards 2011