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Kate Moss Balances Good and Evil for W Photo Shoot

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Kate Moss plays a bad girl in new W. Steven Klein/W

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And then, good Kate. Steven Klein/W


Her face is one of the most famous in the modeling world, but Kate Moss is almost unrecognizable in the March issue of W. In dual covers, she embodies good (in lace Vera Wang with an Erdem "habit") and evil (in Gucci's silk georgette dress ). And strangely, she's missing her eyebrows in both of them. The accompanying 12-photo fashion spread, photographed by Steven Klein, is just as bizarre. In each photo, Moss is either decked out in white or black, depicting good or bad.

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Moss gets cozy with a swan headpiece. Steven Klein/W

See More Good Kate/Bad Kate Photos in W

For the more "angelic" shots, the newlywed supermodel wears an assortment of light-colored getups, including a Comme des Garçons silk satin dress that looks like a giant bow, and another from the French designer that covers the entire top half of her body in fabric flowers. Despite the pleasant message it seems like they're supposed to depict, there are certain aspects to a few of the pics that are a little disturbing. In one photo, Moss — wearing an embroidered silk caftan from Mary-Kate and Ashley Olsen's line The Row — is covered in what one can only hope are computer-generated bugs. In another, she nuzzles a blood-red swan, which just so happens to be a Stephen Jones for Giles headpiece.

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As ghastly as the "good" pictures are, it's the darker ones that will truly creep you out. In the 19th-century-looking photos, the waif reclines in a series of fashions better suited for Lady Gaga, including head-to-toe latex from Atsuko Kudo and latex briefs by House of Harlot. Moss dons a custom Paul Hanlon headpiece that looks like oversized devil horns, paired with a Rocha black satin bodysuit, in another.

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Lots of latex for Moss. Steven Klein/W

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Although there is no interview with Moss in W, writer Will Self does give his take on the fashion spread — and not surprisingly, he loves it. "I look at the pictures of Moss dressed in black and think perhaps they're of a great beauty meditating upon her own inner ugliness," he writes in the profile. "But then the images of Moss in white are hardly a counterpoint to the ones where she's in black: The lacy swathing is too opulent, the blonde hair is too blonde, the skin has both the pallor of an ice age and the sun's queasy burnish. Moss, neither the most adroit of catwalk queens nor a fluid component of moving pictures, has always excelled at presenting herself in such static and iconic formats."

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I think I know what he's saying — and I couldn't agree more!

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