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I'm working on a project which needs italics with a little more oomph to them, and I'm looking for something in the transitional or modern forms. My point of departure in this search is the new Didot Christian Schwartz and Paul Barnes completed for Vanity Fair. According to their own blog on the commission, the drawings they built their didone from revive a specific letterer's cuts: Molé Le Jeune.
Although so familiar, it's one of those that I can't put a finger on—the italic that Ken Leung used in his proposed redesign of the Vanity Fair wordmark.