Lana Del Rey for Madame Figaro, January 2013

In January 2013, French weekly Madame Figaro put Lana Del Rey on its cover as a “modern diva”—less Hollywood neon, more Parisian winter editorial. The photographs, made in Paris on 14 November 2012 by Jean-Baptiste Mondino and styled by Johnny Blueeyes, lean into a seventies-adjacent haute-hippie register: suede, fox fur, headbands, earthy neutrals, and a center-parted fall of dark hair. This gallery gathers frames from that specific French magazine package. It is not a general roundup of Lana magazine stills, and it is not the ethereal “Say Goodbye to the Wonderland” story shot for Vogue China around the same season. It is one titled issue, one photographer, one Paris day.

By early 2013 Del Rey was already a global pop figure after the long afterlife of Born to Die and a relentless fashion-press appetite for her cinematic persona. French titles often translated that persona through local codes—less Americana motel neon, more couture texture and European photography history. Mondino, known for sharp celebrity and fashion portraiture, gave the issue a bronzed, prairie-tinged glamour that still reads as deliberate costume theater rather than street candid. The clothes do the storytelling: Miu Miu suede and tunics, Isabel Marant cotton, Yves Salomon fur, jewelry from Axenoff and Karry’O, boots and moccasins that ground the fantasy in tactile detail.

Why this French cover mattered that winter

Print fashion weeklies still functioned as event objects in 2013. A January Madame Figaro cover with an American singer signaled that Del Rey’s image had crossed language markets and that French editors trusted her face to sell an issue after the holidays. The magazine’s framing—“ultramodern diva,” hippie chic, prairie woman—was not random styling language. It was an attempt to locate her somewhere between Old Hollywood myth and 1970s bohemian dressing, a blend French fashion media often prefers to pure Americana nostalgia.

In interview material around the issue, Del Rey spoke in the register magazines already expected from her: childhood difference, life as a work of art, a self-mythologizing honesty that matched the clothes. The quotes were not the main product; the photographs were. Still, the interview helped the cover feel like a personality package rather than a rented celebrity face in expensive inventory. Readers who bought French weeklies wanted both the clothes and the aura.

Mondino’s look: bronze, suede, and controlled drama

Compared with many of Del Rey’s American magazine appearances—cleaner studio glamour, high-contrast red lips, polished Hollywood stillness—this set is warmer and more tactile. Skin takes a sunset glow. Eye makeup softens into bronze rather than graphic black. Hair stays chocolate and center-parted, sometimes finished with a headband that pushes the story toward festival-bohemian fantasy without abandoning couture price tags. The effect is “dressed down” only in relative terms: jeans and fur can still be high fashion when the cut, the jewelry, and the photographer’s light are doing serious work.

Watch how Mondino uses silhouette. Coats open to reveal structure underneath. Tunics and trousers create vertical lines that keep the frame elegant even when the styling nods toward hippie ease. Rings, earrings, and personal bracelets break the monochrome palette so the eye has a place to rest. Landscape-oriented frames—when they appear—give the clothes room to breathe; portrait frames lock the stare. That alternation is classic magazine pacing: cover intensity, then interior wandering, then a return to the face.

How to tell this editorial apart from her other 2012–2013 shoots

Del Rey’s magazine season around late 2012 and early 2013 produced several widely circulated image sets that fans still confuse online. Keeping them separate helps if you are archiving fashion history rather than collecting “Lana aesthetics” as one blur.

• Madame Figaro, January 2013 (this page): Paris, Jean-Baptiste Mondino, Johnny Blueeyes styling, haute-hippie / prairie / bronze neutrals for a French weekly cover package.
• Vogue China, January 2013: Photographed by Wee Khim, styled by Grace Lam, editorial title often cited as “Say Goodbye to the Wonderland”—softer, more whimsical femininity, cat-eye makeup, waved coifs, a dreamier fashion-story mood rather than French weekly cover heat.
• General magazine stills roundups: Mixed-source galleries that pull covers and interiors from many titles without claiming one photographer or one issue date.

If a frame shows heavy prairie headband energy, suede coats, and Mondino’s particular bronze skin treatment against a relatively restrained backdrop, you are likely in Figaro territory. If the mood turns ethereal, softer, and more storybook, check the China editorial instead. If the page is simply a pile of magazine pages with no shared photographer credit, it belongs to the roundup genre.

What the clothes are doing

Fashion credits from the shoot map a European luxury vocabulary onto Del Rey’s mythic American persona. Miu Miu suede coat, tunic, and trousers; Isabel Marant blouse; Yves Salomon fox; Chloe Heritage jeans; Roger Vivier moccasins; Michel Vivien boots; Falke tights; jewelry that catches light without screaming logo. The mix is intentional: heritage French-adjacent houses and contemporary Paris favorites dressing a California-coded star for a French newsstand. That translation is half the historical interest. Magazines do not only photograph celebrities; they renegotiate them for local taste.

Look for texture contrast in the published set—suede against sheer chiffon, fur against denim, polished jewelry against soft hair. Mondino’s light rewards matte and nap; flashy sequin armor would have told a different story. This editorial wants touchable luxury. It wants the viewer to feel fabric even through a phone screen years later.

How to look at the gallery

Start with the cover energy: face first, clothes second, mood third. Then slow down on the interior frames where styling details do more work—headband placement, ring stacks, the way a coat falls open. Notice which looks feel “street” relative to Del Rey’s usual couture armor, and which still protect her familiar glamour silhouette. Date the set mentally as winter 2012–13 Paris fashion press, not as timeless brand content. Early-2010s beauty ideals—glow, defined eye, glossy mouth—are part of the historical record here, not a flaw to correct.

If you are building a personal archive of Del Rey’s fashion years, file this under Madame Figaro / Mondino / January 2013 and keep it separate from China and from mixed scrapbook posts. Precision is a kindness to future you. One French weekly cover package is enough for one page; the images already carry the season’s particular bronze weather.