Fashion Extravaganza
Couture on the Streets of Rome The Next Wave of Style Setters
The New Royals
Claire Danes, Julianne Moore, Allison Williams, Adam Driver, Jourdan Dunn, Greta Gerwig, and 10 Others Who Reign Supreme
W OCTOBER
194 Picasso Baby Photograph by François Halard
Covers
Fashion + Features
Diana Widmaier-Picasso, at the Picasso Museum, Paris.
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THE ROYALS From seasoned vets to rising stars, these 16 rule breakers reign supreme. By Lynn Hirschberg Photographs by Inez and Vinoodh
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WHEN IN ROME Haute couture gowns as monumental as the Eternal City itself. Photographs by Inez and Vinoodh
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PICASSO BABY The art historian Diana WidmaierPicasso is tending the family flame. By Diane Solway Photographs by François Halard
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WE ARE SUCH STUFF. AS DREAMS ARE MADE ON… The Honorable Daphne Guinness and her pals party up a storm. Photographs by Nick Knight
Photographs by Inez and Vinoodh. Styled by Edward Enninful. Creative-movement director: Stephen Galloway. Hair for Claire Danes, Julianne Moore, Allison Williams, Adam Driver, Jourdan Dunn, and Greta Gerwig by James Pecis for Oribe; makeup for Danes, Moore, Driver, Dunn, and Gerwig by Jeanine Lobell for Dior at Tim Howard Management; makeup for Williams by Yadim for Maybelline; manicures by Daria Hardeman for Deborah Lippmann. Danes wears Michael Kors Collection dress; ring from Stephen Russell, New York. Moore wears Céline coat; L’Oréal Paris makeup. Williams wears Saint Laurent by Hedi Slimane blazer, shirt, trousers, tie, and suspenders; Inez and Vinoodh earrings. Driver wears Prada suit; Brioni shirt; Custom Fabric Flowers by M&S Schmalberg flowers; Tom Ford cummerbund. Dunn wears Jason Wu blouse, pants, and belt; Roberto Coin ring; Maybelline makeup. Gerwig wears Gucci dress; earrings from FD Gallery, New York. For stores, prices, and more, go to Wmag.com/where-to-buy-october-2015.
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W OCTOBER
198 We Are Such Stuff. As Dreams Are Made On… Photographs by Nick Knight
Who’s Next 95 104 Top: The Honorable Daphne Guinness wears Gareth Pugh jacket; Alexander Wang skirt; L. Erickson comb; her own shoes. Bottom: Valentino gown; Tom Ford boots. Styled by Simon Foxton. For shopping information, go to Wmag.com/whereto-buy-october-2015.
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The Italian actress Matilda Lutz leads the latest generation of style setters. Stylist to the stars–turned–designer Brandon Maxwell launches a luxe collection. Camilla and Carolina, scions of the Brunello Cucinelli empire, call a medieval Italian hamlet home. What the Danish artist FOS has in store for Céline. With a MoMA show and a biennial in the works, the art provocateurs known as DIS are messing with the mainstream. Lionel Richie’s youngest daughter, Sofia, is carving out her own identity.
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Cultural impresario André Saraiva imagines his own café des artistes.
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The new It bag is hole-ier than thou. Brooches are back in a (very) big way. FASHION NEWS: Lucrezia Buccellati brings a youthful vision to her family’s jewelry house, a princess debuts her own line of ready-to-wear, and more. Fendi joins the haute couture ranks with a fur-tastic collection. Fuzzy accessories are the cat’s meow.
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W OCTOBER
156 Curly Cues
Photograph by Diego Uchitel
Beauty Chloé dress; Tiffany & Co. earrings. Styled by Sam Traina. For shopping information, go to Wmag .com/where-to-buyoctober-2015.
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This season, bangs do the wave. JANE’S ADDICTION: What W’s Beauty Director, Jane Larkworthy, is hooked on now. Los Angeles is once again going crazy for healing stones.
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EDITOR’S LETTER
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MOST WANTED
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GIO’S JOURNAL
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CULTURAL CALENDAR
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PARTY PEOPLE
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INSPIRATION EQUATION
Talking Royalty From top left: Julianne Moore, Lynn Wyatt, Jourdan Dunn, Greta Gerwig, Jillian Hervey, Allison Williams, Iman, Jamie Lee Curtis, Claire Danes, Adam Driver, Indre Rockefeller, Benicio Del Toro, Anna Sui, Shayne Oliver, Maika Monroe, and Mary J. Blige.
In this issue of W, you’ll meet the amazing cast of actors, musicians, models, and fashion designers we’ve crowned the New Royals (page 163). In Editor at Large Lynn Hirschberg’s newest Screen Test videos, find out whom they consider to be the royals of fashion, Hollywood, and more. Julianne Moore declares it’s all about Meryl Streep for film, and “Tom Ford, certainly,” for fashion. Adam Driver names Mark Ruffalo, Iman anoints Yves Saint Laurent, and Mary J. Blige gets personal about Michael Jackson. Greta Gerwig’s royal pick? Fellow cover star Claire Danes. Go to Video.wmag.com to watch them all.
W IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT ©2015 CONDÉ NAST. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 44, NO. 8. W (ISSN 0162-9115) is published monthly (except for combined issues in December/January and June/July) by Condé Nast, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: Condé Nast, 1 World Trade Center, New York, NY 10007. S. I. Newhouse, Jr., Chairman; Charles H. Townsend, Chief Executive Officer; Robert A. Sauerberg, Jr., President; David E. Geithner, Chief Financial Officer. Jill Bright, Chief Administrative Officer. Periodicals postage paid at New York, NY, and at additional mailing offices. Canadian Goods and Services Tax Registration No. 123242885RT0001. POSTMASTER: SEND ALL UAA TO CFS (SEE DMM 507.1.5.2); NON-POSTAL AND MILITARY FACILITIES: send address corrections to W Magazine, PO Box 3711, Boone IA 50037-0711. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to W Magazine, P.O. Box 37711, Boone, IA 50037-0711, call 800-289-0390, or e-mail WMGcustserv@cdsfulfillment.com. Please give both new and old addresses as printed on most recent label. Subscribers: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are dissatisfied with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks after receipt of order. Address all editorial, business, and production correspondence to W Magazine, 1 World Trade Center, New York, NY 10007. For reprints, please contact reprints@condenast.com or 717-505-9701 ext. 101. For re-use permissions, please contact permissions@condenast.com or 800-897-8666. Visit us online at www.wmagazine.com. To subscribe to other Condé Nast magazines on the World Wide Web, visit www.condenastdigital.com. Occasionally, we make our subscriber list available to carefully screened companies that offer products and services that we believe would interest our readers. If you do not want to receive these offers and/or information, please advise us at P.O. Box 37711, Boone, IA 50037-0711 or call 800-289-0390. W IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ART WORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS, PHOTOGRAPHS, AND TRANSPARENCIES), OR ANY OTHER UNSOLICITED MATERIALS. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ART WORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS, UNLESS SPECIFICALLY REQUESTED TO DO SO BY W IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED MUST BE ACCOMPANIED BY A SELF-ADDRESSED STAMPED ENVELOPE.
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SCREEN TESTS: EVAN COHEN; DUNN WEARS EQUIPMENT BLOUSE. DANES WEARS VALENTINO GOWN. MONROE WEARS PRADA SWEATER AND SHIRT. FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015
NOW ON WMAG.COM
NOW ON WMAG.COM MORE MAFALDA The German princess Mafalda von Hessen (“Extremely Cultivated,” page 148) is a true royal—with style to match her pedigree (that’s her, below, in her garden). Visit Wmag.com for tips on getting the über-chic model–turned–fashion designer’s elegant off-duty look (hint: You can start with her newly launched collection, right) and see more photos of her exquisite Roman abode, Villa Polissena.
ON THE STREETS OF FASHION WEEK wmag.com/fashion
W’s street-style photographer Adam Katz Sinding is hitting New York, London, Milan, and Paris Fashion Weeks to report on what everyone who’s anyone is wearing to the shows (recently, it’s been all about short, judging from the photos above). See the models, editors, celebrities, and uninvited guests in daily posts on Wmag .com. (And follow @Wmag on Instagram for live fashion updates.)
INSTA-FASHION wmag.com/fashion
The photographer Richie Talboy (@OkRichie), the art director Lucas Lefler (@Lucas_Lefler), and W’s Accessories Editor, Nora Milch (@WmagNora), have teamed up on an exclusive W magazine Instafashion story—featuring the best looks and accessories of the season straight off the runway (right). Follow @Wmag to get a first peek at all the timely photos—they put the glam in Instagram.
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DIGITAL EDITIONS wmag.com/services/tablet
W is available on your favorite e-reader. Download current issues of the magazine for Kindle Fire, Nook Tablet, Google Play, iPad, and Zinio.
MORE MAFALDA FASHION: BENOIT PEVERELLI; STYLED BY SILVIA GABRIELLI; VON HESSEN WEARS MAFALDA VON HESSEN BLOUSE AND SKIRT; HER OWN BOOTS. MODEL WEARS MAFALDA HOODED TUNIC, TROUSERS, LEGGINGS (ON SHOULDER), AND BOOTS. ON THE STREETS OF FASHION WEEK: LE 21EME; INSTA-FASHION: RICHIE TALBOY; STYLED BY NORA MILCH; CREATIVE DIRECTION: LUCAS LEFLER; FASHION: CLOCKWISE, FROM TOP LEFT: ALTUZARRA DRESS AND EARRINGS. STELLA MCCARTNEY DRESS AND SHOES. MARNI DRESS, BELT, AND BRACELET. JASON WU DRESS, EARRINGS, BRACELET, AND SHOES. TIBI SWEATER AND PAIGE NOVICK FOR TIBI EARRINGS. FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015
wmag.com/people
STEFANO TONCHI Editor in Chief
ARMAND LIMNANDER Executive Editor
LYNN HIRSCHBERG Editor at Large
ALIX BROWNE Features Director
EDWARD ENNINFUL Fashion and Style Director
JANE LARKWORTHY Beauty Director
RICKIE DE SOLE Fashion Market and Accessories Director
CLAUDIA MATA Jewelry and Accessories Director
KARIN NELSON Features Editor
FAN ZHONG Associate Editor
DIANE SOLWAY Arts and Culture Director
SANDRA BALLENTINE Beauty Editor at Large
ART & PHOTO
GIOVANNA BATTAGLIA Contributing Fashion Editor
ERIN SIMON Bookings Director
GIANLUCA LONGO Contributing European Editor
CAROLINE GROSSO Market Editor NORA MILCH Accessories Editor NATASHA CLARK Fashion Credits Editor TINA HUYNH Associate Jewelry Editor SAM WALKER Associate Accessories Editor RYANN FOULKE Assistant Fashion Editor SARAH ZENDEJAS Assistant Fashion and Market Editor MIA ADORANTE Assistant Beauty Editor
DIGITAL
OPERATIONS ROSEANN MARULLI Associate Managing Editor
SUE WILLIAMSON Digital Editor ZACHARY ETHEART Community Manager
JOHAN SVENSSON Design Director
CAROLINE WOLFF Photography Director
SAM MILNER Senior Market Editor and Manager
SARAH LEON Senior Digital Editor
EMILIA PETRARCA Associate Digital Editor
DIRK STANDEN Digital Creative Director
FASHION & BEAUTY
FEATURES JENNY COMITA Senior Features Editor at Large VANESSA LAWRENCE Features Writer
REGAN A. SOLMO Executive Managing Editor
ESMÉ RENÉ Senior Photo Editor
LINA WAHLGREN Art Director
TIFFANIE GRAHAM Photo Research Editor
HANNA VARADY Senior Designer
JESSY PRICE Associate Photo Editor BIEL PARKLEE Assistant Bookings Editor EVENTS & PR AUDRA ASENCIO Special Projects Director
JENNIFER MURRAY Production Director
ROBIN AIGNER Copy Chief
KIRSTEN ROHRS SCHMITT Research Chief
KELLY McDONOUGH Production Manager
COREY SABOURIN Copy Editor
KRISTIN AUBLE Research Editor
ADRIANA STAN Public Relations Director
SHARLYN PIERRE Researcher FRANCINE SCHORE Business Manager GILLIAN SAGANSKY Assistant to the Editor in Chief
LUCY KRIZ
Publisher, Chief Revenue Officer RISA ARONSON Associate Publisher TANYA AMINI Advertising Director KIMBERLY MICHOS Executive Director, Luxury and Retail
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RAYLENE SALTHOUSE Executive Director, Beauty
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INTEGRATED MARKETING CELIA CHEN Executive Director, Partnerships and Events HEATHER H. GUMBLEY Executive Director, Integrated Marketing RACHEL SWANSON Executive Director, Marketing and Research ANTHONY CANDELA Associate Director, Integrated Marketing ALISON JAVORA Integrated Marketing Director SARAH SALVATORIELLO Creative Director ALEXA AGUGLIARO Associate Manager, Integrated Marketing MICHELLE BONDARCHUK Special Events Manager NATASHA BULLARD Senior Marketing Research Manager CHRISTINA FERNANDES Marketing and Business Associate ABBY SILVERMAN Designer BUSINESS CERENE C. JORDAN Director of Finance and Business Operations ELIZABETH DEIGNAN SCHOTTLANDER Advertising Services Director LAURA LAFON Executive Assistant to the Publisher, Chief Revenue Officer TAYLOR RAE SCHIFFMAN Advertising Coordinator
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ANNA WINTOUR Artistic Director
Condé Nast is a global media company producing premium content for more than 263 million consumers in 30 markets. www.condenast.com www.condenastinternational.com Subscription Service 800.289.0390. No part of W may be reproduced in any form or by any means without prior written consent from Condé Nast. For reprints, please e-mail reprints@condenast.com or call Wright’s Media, 877.652.5295. For reuse permissions, please e-mail cncollection@condenast.com or call 800.897.8666.
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EDITOR’S LETTER
AS HILLARY RODHAM CLINTON MAKES HER BID TO BECOME
Above: Stefano Tonchi, king for a day, photographed by Steven Klein, 2015, surrounded by W royalty: October issue cover stars Greta Gerwig, Claire Danes, Julianne Moore, Adam Driver, Jourdan Dunn, and Allison Williams (clockwise, from top, left; all covers available at newsstands).
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the first female president of the United States, the status of women is getting people increasingly fired up, not only in small liberal circles but also nationwide. And while politics may not exactly be W ’s bailiwick, the conversation is just as heated in Hollywood and the art world, where the inequality between women and their male counterparts can be readily gauged in compensation figures and auction results. So, not incidentally, our October issue is a celebration of fantastic women—women who have carved out positions of influence for themselves in an array of fields. Risk-taking, adventurous, aristocratic, challenging, unapologetic…these are just some of the ways to describe them. Take the Honorable Daphne Guinness, the descendent of one of the most prestigious British aristocratic families. In “We Are Such Stuff. As Dreams Are Made On…” (page 198), the photographer Nick Knight casts Guinness as a latter-day Prospero, melding epic Shakespearean drama with the over-the-top glamour of the New Romantics and London’s famed Blitz club. Needless to say, Guinness parties up quite a storm. After serving as muse to countless British designers, she is now, at 47, throwing herself into a career as a musician. For more on that, check out Wmag.com. The model Edie Campbell, another posh Brit who is making waves, traveled to Rome with the photographers Inez van Lamsweerde and Vinoodh Matadin to play the heroine in our haute couture story, “When in Rome” (page 180). Campbell channels fellow eccentric Veruschka to re-create the magic of 1960s Italian alta moda. (It’s a topic that’s very close to my heart. “Bellissima: Italy and High Fashion, 1945–1968,” the show I curated last December for the MAXXI Museum, in Rome, is currently on view at Milan’s Royal Villa of Monza and will travel to the United States in February.) Elsewhere in the issue, W ’s Arts and Culture Director, Diane
Solway, meets another woman possessed of great family lineage: Diana Widmaier-Picasso, Pablo’s granddaughter. Having earned her scholarly chops as an art historian, Widmaier-Picasso is working on an exhibition that explores the 20th-century master’s legacy in contemporary art—not that we need to be reminded about just how influential Picasso’s work remains today (“Picasso Baby,” page 194). As Widmaier-Picasso’s co-curator, Didier Ottinger, points out in the profile, “Diana could ride on the name in her passport—but she doesn’t.” Which brings us to our cover story. “The New Royals” (page 163) is W’s annual survey of women whom we believe represent a standard of excellence in film, fashion, society, music, and more. (This year we decided to include a couple of men in our lineup—how’s that for tokenism?!) As Editor at Large Lynn Hirschberg notes, our definition of “royal” is self-created in every sense. Royalty is not about class or breeding but about talent, drive, and strength of character. This year’s list includes the actress Julianne Moore and the supermodel Iman, as well as new contenders, like the indie darling Greta Gerwig and the social powerhouse Indre Rockefeller. For me, this story conjures the spirit that I admired so much in my days in London in the ’80s, when provocateurs like designers Vivienne Westwood and Stephen Jones and performance star Leigh Bowery dressed up as royals, crowns and all, but lived the most transgressive and provocative lives imaginable. The only rules they followed were their own.
Stefano Tonchi, Editor in Chief
COVERS: INEZ AND VINOODH; TONCHI: STEVEN KLEIN
Women Who Rule
MOST WANTED Louis Vuitton sweater, blouse, and pumps. For stores, prices, and more, go to Wmag.com/where-tobuy-october-2015.
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1. LOUIS VUITTON SKIRT Price upon request, 866.VUITTON
Falling for It WHAT’S ON OUR WISH LIST THIS MONTH.
“I’m a romantic at heart, so it’s a given that I’d fall for this season’s lace trend. But by adding leather, Louis Vuitton’s Nicolas Ghesquière has toughened up this delicate skirt—and made it undeniably modern.” 2. WES GORDON BLOUSE $950, neimanmarcus.com
“A bow blouse with a bit of lace? The perfect top, in my opinion.” 3. MONIQUE PEAN BRACELET $52,160, moniquepean.com
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“Monique has a wonderful way of making precious stones look anything but.” 4. BALENCIAGA BAG $2,750, similar styles at Balenciaga, New York, 212.206.0872
“Because everything gets a bit darker in autumn—including my wardrobe—it’s nice to carry a light, off-white bag. Plus, this one will work well any time of the year.” 5. LAURENCE DACADE SANDALS $1,140, Bergdorf Goodman, New York, 800.558.1855.
“Running around the city all day, as I do, I appreciate a shoe that’s both sturdy and chic.” Rickie De Sole, Fashion Market and Accessories Director »
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HAIR BY BRAYDON NELSON FOR R + CO AT JULIAN WATSON AGENCY; MAKEUP BY JEN MYLES FOR CHANEL; MODEL: LOUISE PARKER AT THE SOCIETY MANAGEMENT; SET DESIGN BY KOREY WHITE AT 11TH STREET WORKSHOP; PHOTOGRAPHY ASSISTANTS: EMILIO G. HERNANDEZ, DANIEL JARAMILLO; FASHION ASSISTANT: MALAIKA CRAWFORD; HAIR ASSISTANT: NERO; SET DESIGN ASSISTANT: ANDRES GAITAN; 2, 3, 4: TIM HOUT, STYLED BY JOHN OLSON; 5: COURTESY OF THE DESIGNER
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6. ELLERY LOOK Top, $4,900, skirt, $690, pants, $990, elleryland.com
“Pairing a fanciful top with sharply tailored pants, as the Australian designer Kym Ellery did, is a fresh idea.” Caroline Grosso, Market Editor 7. MY DOG HIKES mydoghikes.com
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“@RuEnninful—my Instagramming Boston terrier—can’t get enough of this service, which takes him to the country when I have to travel solo. Ru loves escaping the New York bustle and catching up with his crew on the trails.” Edward Enninful, Fashion and Style Director 8. CELINE SHOES $3,200, Céline, New York, 212.226.8001
“I love how this otherwise masculine pump is offset by ultrafeminine crystal-and-pearl embellishments.” Nora Milch, Accessories Editor 9. DICE KAYEK dicekayek.com
“It’s a wonder that this Paris label, which was launched more than two decades ago by a pair of Turkish sisters, is not better known Stateside. The latest couture presentation, inspired by the 1970s notion of dressing up, was a total knockout.” Sarah Zendejas, Assistant Fashion and Market Editor 10. ERDEM DRESS $3,695, bergdorfgoodman.com
“This frock was my favorite from Erdem’s collection, which was inspired by the idea of a privileged, wayward fashionista. It’s both ladylike and rebellious.”
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Sam Milner, Senior Market Editor and Manager
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“I’m not a serious enough audiophile to explain all the tech wizardry inside this Phantom speaker. But I can tell you that the sound—and good looks—blew me away, as it likely did Kanye West and Karl Lagerfeld, who both ordered it.”
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Fan Zhong, Associate Editor 12. GIORGIO ARMANI $150, rizzoliusa.com
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“If you can’t make it to Milan to visit Armani/Silos, the designer’s newly opened museum, this book offers something even better: a VIP tour of his 40 years in fashion, conducted by Mr. Armani himself.” Alix Browne, Features Director 13. ASSOULINE BOOK STAND $4,900, Assouline Interiors, New York, 212.888.0199
“As someone who owns a lot of books, I could use a place to showcase a really special one. This lacquered stand is from the publishing house’s great-looking new furniture line, which offers everything you need to build a perfect library.” 13
Karin Nelson, Features Editor
14 14. DOLCE & GABBANA BAG $4,795, select Dolce & Gabbana stores, 877.70.DGUSA
“This bejeweled box bag will bring some fantasy into my daily life.” Sam Walker, Associate Accessories Editor 15. BOTTEGA VENETA EARRINGS $820, 800.845.6790
“I’m eager for the weather to get cold so I can wear chunky sweaters with large earrings, like these delicate wovenmetal ones.” Claudia Mata, Jewelry and Accessories Director »
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10, 14, 15: TIM HOUT, STYLED BY JOHN OLSON; 6, 8, 9, 11, 13: COURTESY OF THE DESIGNERS; 12: COURTESY OF RIZZOLI
11. DEVIALET SPEAKER From $1,990, en.devialet.com
MOST WANTED
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“I’ve always had a weakness for motorcycle style, but some occasions call for a little more refinement. These lace-up stilettos are elegant but have plenty of attitude too.” Vanessa Lawrence, Features Writer 17. Isabel Marant Sweater $765, Isabel Marant, New York, 212.219.2284
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“Everyone is on the hunt for the perfect cozy fall sweater. The artfully placed buttons on this one do the trick for me.” 20 23
Caroline Wolff, Photography Director 18. Tiffany & Co. Watch $3,500, tiffany.com
“The nontraditional orientation of this watch is making my head spin—in a good way!” Tiffanie Graham, Photo Research Editor
“If you’re looking for Italian treasures but don’t have time to jump on a plane, check out Artemest.com, where you’ll find jewelry, furnishings, and artistic objects by renowned artisans. One recent score was this Pietro Russo feather table.” Armand Limnander, Executive Editor 20. Alessandra Rich Dress $3,125, forwardbyelysewalker.com
“With its combination of different kinds of lace, this frock looks more daring than dainty.” Lina Wahlgren, Art Director 21. Marc Jacobs Bag $1,450, marcjacobs.com
“I’m not usually a fan of ladylike accessories, but this Marc Jacobs purse is cool enough to make me reconsider. The silver studs give it a youthful twist.” Esmé René, Senior Photo Editor 22. Chloé Jacket $1,795, Chloé, New York, 212.717.8220
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“With its chic fitted silhouette, this corduroy blazer is just the thing to take my summer dresses into fall.” Gillian Sagansky, Assistant to the Editor in Chief
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23. John Hardy Earrings $350, johnhardy.com
“I’ve been craving bolder jewelry, and these silver stunners are at the top of my list.” Tina Huynh, Associate Jewelry Editor 24. Rag & Bone Top $395, rag-bone.com
“This lovely camisole will soften up my standard leather jacket–and–pants uniform.” Regan Solmo, Executive Managing Editor
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16, 17, 21, 22: TIM HOUT, STYLED BY JOHN OLSON; 18, 24: TIM HOUT, STYLED BY MAI FUJIWARA; 19, 20, 23: COURTESY OF THE DESIGNERS
19. Pietro Russo Table $7,800, artemest.com
GIO’S JOURNAL
“Natalie Massenet, the founder of Net-a-Porter, had a blow-out birthday party in Positano, Italy. These For Restless Sleepers by Francesca Ruffini pajamas were just the thing for the crack-of-dawn flight I took to get there— and looked perfect with my monogrammed Anya Hindmarch bag [above].”
Horsing Around
FOR W’S GLAMOROUS GLOBE-TROTTER, GIOVANNA BATTAGLIA, IT’S A FAB, FAB WORLD. “On my first ever holiday in the Hamptons, I signed up for polo lessons [above, center]. Of course, the only things I did not pack in my seven suitcases were a pair of riding boots and proper pants, so I rushed out to buy them. Now I’m obsessed with both the sport and the outfit!”
“I spotted this amazing antique leotard [above] in a costume store in Stockholm. It reminded me of Léon Bakst’s beautiful, provocative designs for the Ballet Russes [right].”
“These turquoise Miu Miu earrings look so lovely with the fabric flowers I used for a photo shoot [below]— it’s like they were made for each other.” “At the opening of Dasha Zhukova’s Garage Museum of Contemporary Art, in Moscow, the trees surrounding the main building were wrapped in a polka-dot fabric [right] by the artist Yayoi Kusama. I felt like I was in a scene from Alice in Wonderland.”
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“In the Hamptons, I used seashells I’d collected to make a self-portrait— and posed next to it in my Marysia bikini [below].”
BAKST DESIGN: LEON BAKST/VICTORIA AND ALBERT MUSEUM; ALL OTHERS: COURTESY OF GIOVANNA BATTAGLIA
“Midsummer parties are a Swedish tradition. Everyone makes a crown of fresh flowers in specific colors [above]. I think the emojis add a nice touch.”
CULTURAL CALENDAR
Leading Ladies
Legends of the Fall ARTS AND CULTURE DIRECTOR DIANE SOLWAY’S MUSTS FOR OCTOBER. 88
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Grace Jones and Patti Smith, two rock royals from the disparate kingdoms of disco and punk, come out with exciting memoirs this season. The provocative Jones, a former Studio 54 fixture, has penned I’ll Never Write My Memoirs (Gallery Books), a spirited romp through her rise from Jamaican schoolgirl to New York sensation. Along the way, we catch glimpses of her extreme party antics; taboo-shattering persona (her lover, Jean-Paul Goude, photographed her oiled and naked long before his photo of Kim Kardashian “broke the Internet”); and infamous divadom (clad in forest green Azzedine Alaïa, with Andy Warhol on her arm, she waltzed into Maria Shriver and Arnold Schwarzenegger’s wedding while they were both kneeling at the altar). “I am disco, but I am also Dada,” she writes of her dual desire for art and artifice. Smith, on the other hand, carries no such shield. Unvarnished and intimate, tender and frank, as a musician, artist, and writer, she presents a singular self. In this follow-up to Just Kids, her acclaimed early-days memoir of life on the edge with the photographer Robert Mapplethorpe, she picks up not where she left off, as a young wife to her great love, the musician Fred “Sonic” Smith, but in the present. In M Train (Knopf), she invites us to ride along with her over the course of a year. “I offer my world on a platter filled with allusions,” she writes. As she ventures to the places the mind goes when one is alone—dashing back to the past and then to the kitchen to feed the cat— and travels the world to commune with artists long gone, we’re reminded how lucky we are that she’s still here, and still working. marnie hanel »
JONES: ADRIAN BOOT; JONES COVER: COURTESY OF SIMON AND SCHUSTER; SMITH: FRED SMITH; SMITH COVER: COURTESY OF RANDOM HOUSE
Right: An argument between Grace Jones and Jean-Paul Goude prompted this moment in her 1983 video of “Living My Life,” which he directed. Below: Patti Smith, photographed by her husband, Fred, on a trip to French Guiana to celebrate their first anniversary, 1981. Inset: Smith’s and Jones’s memoirs.
CULTURAL CALENDAR
Works featured in “Hippie Modernism: The Struggle for Utopia,” clockwise, from right: Clay Geerdes’s Untitled, 1972; Corita Kent’s Yellow Submarine, 1967; Ira Cohen’s Jimi Hendrix, 1968.
With Keira Knightley, Juliette Binoche, and Nina Arianda all tackling meaty stage roles this fall, New York theater fans may have more reason than usual to gloat. Knightley makes her Broadway debut in Thérèse Raquin (Roundabout Theater Company’s Studio 54), based on the Emile Zola novel about a young woman trapped in a loveless marriage who dives into a dangerous liaison with her husband’s childhood friend. Binoche, meanwhile, takes on a contemporary version of Sophocles’s Antigone (Brooklyn Academy of Music). The title character, one of the great heroines of Greek drama, forsakes country for blood ties in her quest to bury her dead brother after he’s been decreed a traitor. Were this a horse race, I’d put my money on Arianda, best known for her breakout 2012 Tony Award–winning performance in David Ives’s simmering Venus in Fur. This season, she stars as May in Sam Shepard’s Fool for Love (Manhattan Theater Club’s Samuel J. Friedman Theater), about two former lovers holed up in a seedy motel hashing out their tangled hold on each other. For Arianda, the production offers the chance to explore “what it’s like to know and feel unconditional love—the good and the bad of it,” she says. The stamina required to play the emotionally bruising role is something she admits she’s still grappling with. “How do you rebound from where you have to go every night? How do you come home and leave it behind?” Audiences will likely ask themselves the same thing about her gut-kicking performance. d.s.
Hip Hippies “The revolution wasn’t televised, it was printed,” says Andrew Blauvelt, the curator of a new exhibition about visionary ideas in art, design, and architecture from the 1960s and early ’70s. In its exploration of counterculture, “Hippie Modernism: The Struggle for Utopia,” running October 24 through February 28, 2016, at Minneapolis’s Walker Art Center, brings together designs for alternative communities, underground publications, and student-protest posters. Many of the mind-expanding prototypes on view anticipate the themes of ecology, recycling, immersive environments, and audience participation so prevalent in the art world today. Evelyn Roth’s Family Sweater, 1974, is made from the wool of salvaged sweaters reknit into an extravagant single garment that can be worn by four people at once. Helen and Newton Harrison’s Portable Orchard, 1972–2015, fills a gallery with 18 citrus trees grown in hexagonal wooden containers. “One of the goals of the early-20th-century avant-garde was to integrate art into everyday life,” Blauvelt says. And that, he argues, is where the hippie meets the modernist. hilarie m. sheets
From left, Treacy’s hat tricks: Naomi Campbell, photographed by David LaChapelle for Tatler, 2003; a Bruce Weber shot for L’Uomo Vogue, 1995.
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Head Trip
Clockwise, from top: Juliette Binoche and Samuel Edward-Cook in Antigone; the cast of Thérèse Raquin; Sam Rockwell and Nina Arianda in Fool for Love.
Over the years, the fantastical creations of Philip Treacy, fashion’s maddest hatter, have tested the limits of the improbable. He has put a telephone atop Lady Gaga, a Campbell’s Soup can on Naomi Campbell (get it?), and a peacock on Emma Watson that was almost as tall as the actress herself. With photographs by the likes of Nick Knight, Irving Penn, and Bruce Weber, a new book, Philip Treacy: Hat Designer (Rizzoli) pays delightful homage to the work of an artist whose injection of wit and imagination made an anachronistic craft modern again. fan zhong »
UNTITLED: CLAY GEERDES; YELLOW SUBMARINE: PHOTOGRAPH BY JOSHUA WHITE/COURTESY OF CORITA ART CENTER, IMMACULATE HEART COMMUNITY, LOS ANGELES; HENDRIX: PHOTOGRAPH FROM THE MYLAR CHAMBER/COURTESY IRA COHEN ARCHIVE, LLC; ANTIGONE: JAN VERSWEYVELD; FOOL FOR LOVE: T. CHARLES ERICKSON; THERESE RAQUIN: COURTESY OF ROUNDABOUT THEATRE COMPANY; HEAD TRIP, FROM LEFT: DAVID LACHAPELLE, BRUCE WEBER
Triple Threat
CULTURAL CALENDAR Remembrance of Things Past
ESKIMO CURLEW: FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/PORTLAND ART MUSEUM, PORTLAND, OREGON; GOBBA, ZOPPA E COLLOTORTO: FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/THE ART INSTITUTE OF CHICAGO; HEART OF A DOG: COURTESY OF CANAL STREET COMMUNICATIONS; DON’T WAIT FOR ANYTHING: JOHN GIORNO/COURTESY OF THE ARTIST AND ALMINE RECH GALLERY; GIORNO POETRY SYSTEMS: COURTESY OF GIORNO POETRY SYSTEMS; GOD IS MAN MADE: COURTESY OF THE ARTIST AND ELIZABETH DEE NEW YORK; CONSOLE: COURTESY OF CARPENTERS WORKSHOP GALLERY
Heart of a Dog, the New York artist and musician Laurie Anderson’s
debut feature film (in theaters October 21), is at first glance a loving ode to her rat terrier, Lolabelle (the two are seen in a still from the film, below), who died four years ago. It starts with a dog’s-eye view of their daily walk (greeting West Village neighbors, like the artist Julian Schnabel), music recitals (Lolabelle played piano), and studio time (she also paw-painted), but the movie eventually goes wide. Anderson explores her state of mind after September 11, critiques America’s surveillance state, and delves into memories of loss— though she doesn’t mention her late husband, Lou Reed, by name. The filmmaking is a little haphazard, but its homemade quality, with occasional childlike animations and Anderson’s deadpan voice-over, has the intimacy and emotional pull of a confession. f.z.
Word Up The poet and artist John Giorno didn’t achieve the prominence of some in his early-1960s circle—Robert Rauschenberg and Andy Warhol, to name but two—but he was an influential Pop and conceptual artist, best known for coaxing more than a million people into calling his Dial-A-Poem phone number and for being the subject of Warhol’s landmark 1963 film Sleep. Now, at 78, he’s finally getting a full retrospective: “Ugo Rondinone: I [Heart] John Giorno,” at Paris’s Palais de Tokyo, beginning October 21 (through January 10, 2016). Conceived by Rondinone, Giorno’s companion of 18 years and a major artist in his own right, the exhibition lovingly charts how Giorno gave verse his own unique spin, from recordings of Giorno Poetry Systems (with assists from the likes of the musician Patti Smith and the photographer Robert Mapplethorpe) to witty text paintings (Prefer Crying in a Limo to Laughing on a Bus). Also on view will be eight Warhol films starring Giorno, some never shown until now. Although Giorno has exhibited worldwide, “this show is on another scale for me. It’s my life’s work, as seen by Ugo,” he says of the poetic tribute. ted loos
Inter Stella
Works by John Giorno, above, from top: Don’t Wait for Anything, 2012; the 1975 album cover for Giorno Poetry Systems, featuring William S. Burroughs and Giorno; God Is Man Made, 2015.
In 1964, a 20-something Frank Stella famously said of his art, “What you see is what you see.” More than a half-century later, with the sweeping “Frank Stella: A Retrospective,” at the Whitney Museum of American Art (October 30 through February 7, 2016), in New York, the American pioneer of minimalist painting stands by his tautology. “When I make my work, I have no way of knowing what the viewer will see,” says Stella, 79. “You have to learn to live with that.” Beginning in the period prior to his signature “Black” paintings, massive canvases covered in black house paint in thinly separated stripes, the exhibition will showcase the breadth of Stella’s creative output as he transitioned from abstraction to minimalism and sculpture. His ability to make the darkest shades seem bright, his explosive color palette, his riotous forms, and his marriage of sculpture and painting are just some of the hallmarks of this brilliant, still ongoing career. charles curkin
Just Innovate On September 24, Pin-Up magazine founder, Felix Burrichter, makes his debut as a curator, at New York’s Swiss Institute, with “Pavillon de l’Esprit Nouveau: A 21st Century Show Home” (through November 8). Named for Le Corbusier’s installation at the 1925 Paris Exposition des Arts Décoratifs, Burrichter’s show focuses on designers who are rethinking fabrication, like Robert Stadler (right, his marble and aluminum console), Joris Laarman, and Max Lamb. kat herriman
Frank Stella works, from top: Gobba, Zoppa e Collotorto, 1985; Eskimo Curlew, 1976.
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HAIR BY HIRO + MARI FOR SACHAJUAN AT BRYAN BANTRY; MAKEUP BY PEP GAY AT STREETERS LONDON; DIGITAL TECHNICIAN: ROBERT CASS; PHOTOGRAPHY ASSISTANT: ROY BEESON; FASHION ASSISTANT: BRYAN VILLALOBOS
WHO’S NEXT
Lutz wears Boss jacket; Dior earrings.
SC R E E N S I R E N
Matilda Lutz
Growing up in Milan, Matilda Lutz was almost cripplingly shy. “My mother told me acting classes would help me to just talk to people,” says Lutz, 23. “But the thought of being in front of them, acting—I wanted to kill myself!” Now, more than a few Hollywood starlets would kill to be in her place. Next month, Lutz will lead Rings, a reboot of The Ring, the $400 million horror franchise that starred Naomi Watts. Lutz recalls her terror after seeing the original, which came out in 2002 and featured a deadly VHS tape (in the update, it’s a viral video). “I remember that little girl,” she says of the film’s creepy antagonist. “And now there’s a picture on my phone of her strangling me!” In Rings, which hits theaters—appropriately enough—on Friday, November 13, Lutz, whose American father and Italian mother are former models, plays a college student whose father dies suddenly, unleashing a flood of ghoulishness. “She’s not the typical American teen,” Lutz says. “She’s kind of a loner.” But it’s clear that the actress who plays her has gotten over her early timidity. Lutz aced the litmus test of any horror starlet worth her ketchup splatter—the movie scream—off the bat. “The first time I screamed on set, the producer was like, ‘Wow! We thought we were going to have to spend hours on that.’ ” fan zhong » Portraits by STEVEN PAN Styled by JESSICA DOS REMEDIOS
Chic Happens THE NEW GENERATION OF TASTEMAKERS PROVES THAT STYLE AND TALENT GO HAND IN HAND.
WHO’S NEXT P R I N T STA RS
Material Girls
S I ST E R AC T
Taissa Farmiga
Since falling into acting when her older sister, Vera, enlisted her to play her younger self in the 2011 film Higher Ground, Taissa Farmiga has been operating on pure instinct. “I’m just winging it, man—don’t tell anyone,” says the 21-year-old New Jersey native. “I keep getting jobs…so it’s working out, I guess!” Her string of recent projects has provided a fashion education alongside a cinematic one. She learned how to walk in heels while shooting a club scene for Sofia Coppola’s 2013 indie The Bling Ring, discovered her love of Saint Laurent through the costumes on the set of the FX series American Horror Story: Coven, and reveled in the grungy comfort of ’90s flannel and Dr. Martens while fleeing a machete-wielding villain in this month’s slashersend-up film The Final Girls. “Trying to find my characters’ style has helped me find my own,” says Farmiga, who favors simple black and lacy looks on the red carpet from Honor, Elie Saab, and Alberta Ferretti. “My philosophy is, if I’m feeling good, then that’s it!” vanessa lawrence
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L I K E M OT H E R, L I K E DAU G H T E R
Gene Pool
What’s greater catnip to celebrity followers and paparazzi than a gorgeous movie star? A star who is accompanied by her equally gorgeous—and nearly identical—daughter. Above, from top: Vanessa Paradis and her look-alike 16-year-old daughter, Lily-Rose Depp, appeared in the fall 2015 Chanel haute couture show; Uma Thurman’s 17-year-old, Maya Thurman-Hawke, is as statuesque as her mother; Reese Witherspoon and her 16-year-old progeny, Ava Phillippe, have hit Valentino dinners and Los Angeles streets seeming like sisters; and Julianne Moore and her 13-year-old similarly flame-hair offspring, Liv Freundlich, have enjoyed many an outfit-coordinated shopping excursion in New York. And these young ladies are following in their mothers’ footsteps in more ways than one: Depp is fronting the new Chanel eyewear campaign solo (echoing Paradis’s modeling for the house), and Thurman-Hawke struck a pose on this year’s CFDA red carpet in a Zac Posen gown, sans maman. How quickly they grow up. v.l. »
LANCASTER: SLOAN LAURITS, STYLED BY SAM WALKER; PHOTOGRAPHY ASSISTANT: GERMANO CHU; LANCASTER WEARS CALVIN KLEIN COLLECTION TOP AND SKIRT; GUTIERREZ: GRANT GREENBERG; HEMINGWAY: COURTESY OF MAX MARA; FARMIGA WEARS ALTUZARRA DRESS, LOUIS VUITTON EARRINGS, CHLOE BANGLE; LIV FREUNDLICH AND JULIANNE MOORE: DAVID X PRUTTING/ BFANYC.COM; WITHERSPOON AND PHILLIPPE: INSTAGRAM.COM/AVAPHILLIPPE: THURMAN AND THURMAN-HAWKE: BILLY FARRELL/BFANYC.COM; DEPP AND PARADIS: COURTESY OF CHANEL
Having long served as muses to designers, artistically inclined It girls have lately been picking up extra work making prints for them. After discovering Alice Lancaster (near left) on Instagram, Calvin Klein women’s creative director, Francisco Costa, tapped the Brooklyn painter for his resort 2016 collection. Variations of her figurative drawings cover a white cashmere T-shirt dress, a two-tone leather skirt, and a black leather trenchcoat. The Guatemalan New York– based illustrator Marcela Gutiérrez (top, left), who started out handpainting showpieces for Alexander McQueen, applied her watercolors to Isa Arfen’s spring 2015 collection. And the Los Angeles illustrator and model Langley Fox Hemingway (bottom, left), the self-professed “weird person” in her famous family, has collaborated with Sportmax on the brand’s latest Carte Blanche collection, which features T-shirts, dresses, and sweatshirts embellished with her nature-inspired doodles. karin nelson
WHO’S NEXT A RT Y P R OVO CAT E U R
Petra Collins
E U R O STA R
Lou de Laâge When the director Mélanie Laurent sat down to write Breathe, a psychological drama that was recently released in the U.S., she kept a photo of the 25-year-old actress Lou de Laâge on her desk. “Mélanie wanted someone who looked angelic but was a devil behind it all,” says de Laâge, a classically trained French theater actress, who plays Sarah, the antagonist in a destructive relationship between two high school best friends. “She is a manipulative narcissist but very well dressed!” When it comes to her own style, de Laâge epitomizes the effortless Parisian chic that is the stock and trade of brands like Vanessa Bruno, Isabel Marant, and agnès b. But then, such wicked beauty as hers doesn’t require much conjuring. De Laâge quips, “Eyeliner and a touch of lipstick—it’s discreet and not overwhelming.” gillian sagansky
MODELS OF THE MOMENT
The Tomboys With her strong cheekbones and shaved head, the French model Tamy Glauser (top, far right) was booked for Jean Paul Gaultier, Rick Owens, and Givenchy shows within the first year of her modeling career. A visa snafu set her back for a bit, but she’s making a big return this fall, both on the runways and in the pages of the September issue of W. Erika Linder (bottom) made her modeling debut in 2011 dressed as Leonardo DiCaprio in Candy magazine. She also posed as a guy for a Tom Ford beauty campaign last year, but the Los Angeles–based Swede can go girlie too, as she proved in Louis Vuitton’s fall and resort presentations. Londoner Harmony Boucher (top, near right), a former frontwoman for the electro-rock band Vuvuvultures, likes to play it fast and loose, whether she’s making music or modeling. One minute she can appear über feminine, as she did in a flower-filled shoot for CR Fashion Book last year; the next, adorably boyish, as evidenced by her turn in the Gucci fall 2015 men’s show. k.n. »
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COLLINS: SELF-PORTRAIT BY PETRA COLLINS, STYLED BY VANESSA CHOW; HAIR BY BRAYDON NELSON AT JULIAN WATSON AGENCY FOR R+CO; MAKEUP BY MARLA BELT AT STREETERS LONDON; PHOTOGRAPHY ASSISTANT: TYRA MITCHELL; FASHION ASSISTANT: MARTIN HAMERY; HAIR ASSISTANT: BRITTANY MROCZEK; COLLINS WEARS STELLA MCCARTNEY DRESS, TEN BRA, DOLCE & GABBANA BRIEFS, PROENZA SCHOULER SANDALS; DE LAAGE: ERIC GUILLEMAIN/H&K/CPI SYNDICATION; GLAUSER: MICHAEL DUMLER; LINDER: BOBBY WHIGHAM; BOUCHER: VANESSA JACKMAN
In becoming an artist, Petra Collins (below) took a time-honored path: move to a cool city, form a gang, turn the gang into a scene, turn the scene into a movement. The 22-year-old Canadian photographer came to attention through the online magazine Rookie, her generation’s Sassy, and since her move to New York from Toronto in 2013, she has stood as a central figure in a posse of downtown girls who are making art that advocates a sexual-but-not-sexy brand of feminism. The devil-may-care attitude and casual nudity in her pictures brings to mind the work of the photographer Ryan McGinley (with whom Collins once worked). Collins’s female subjects— unretouched and unapologetic about their bodies—represent “real” girls rather than an aspirational ideal. Although she shot a recent Levi’s campaign featuring the model Erin Wasson and the rocker Joan Jett, Collins seems more enthused by a project she did this summer with London’s Annin Arts, which involved a billboard-size image she took of a friend from high school. “She’s half-black, very curvy, lots of pimples—I was so excited!” Collins says. “There’s this new trend on Instagram where girls post ugly selfies with zits, cellulite, whatever. It’s cool.” f.z.
WHO’S NEXT
A RT A N D CO M M E R C E
Gallery Gals JIAJIA FEI
ANDREA NEUSTEIN A young art dealer about town like Andrea Neustein (right), the director of Miguel Abreu gallery, on New York’s Lower East Side, needs to be fast, chic, and adaptable. Which is why Neustein—whose aesthetic role models are “fictional, sexually active, financially solvent older women” like Rosalind Russell in the 1958 film Auntie Mame—asked her designer friend Lucinda Trask to make her a one-look-fits-all uniform that’s as suitable for handling large artworks as it is for going out to dinner. “I wore this every day to work and to fairs and drinks in May and June,” Neustein says. “I’m not sure anyone even noticed.”
SONNY RUSCHA GRANADE The manager at Hannah Hoffman’s Los Angeles gallery takes after her father, the artist Ed Ruscha, who is something of an art-world style icon. “He cleans up nicely in a suit with sneakers and his signature bolo tie,” Sonny Ruscha Granade (below), 27, says. “I admire how unfussy he is.” She favors young designers that also have a low-key West Coast vibe, like Raquel Allegra and Apiece Apart, and has no patience for the high-strung look of trendy gallerinas. “You’ll never catch me in heels taller than two or three inches.”
FABIOLA ALONDRA You can spot the 31-year-old art-book publisher, who worked at Richard Prince’s Fulton Ryder shop and with the late bookseller John McWhinnie and who now runs Manhattan’s 303 Gallery’s new publishing venture, 303 In Print, by her waist-length mane. Fabiola Alondra (left) likes to describe it using the words of Walt Whitman—“the beautiful uncut hair of graves.” It’s the perfect finishing touch to her sui generis style, which she sums up as part goth and part “vintage chilanga,” slang for the well-to-do of Mexico City, where she was raised. f.z.
M U S I C M AV E N S
Kali Uchis and Soko Perhaps not since the heyday of Jim Morrison has Los Angeles been quite so cool. And now, as then, talent is flocking to the City of Angels. The R&B singer Kali Uchis (above, right), 22, arrived from Colombia via Virginia and released a debut EP, Por Vida, earlier this year. Her colorful 1960s doo-wop sound and style are influenced by low-rider culture—think of her as a souped-up West Coast Amy Winehouse. The 29-yearold French-born pop star Soko (above, left), whose breakout album, My Dreams Dictate My Reality, hit in the spring, is a dark counterpart to Uchis. Her fatalistically inclined synth-rock owes a lot to the ’80s, as does her mix-and-match rocker-girl look: a little vintage, a lot of attitude. f.z. A RT Y P R OVO CAT E U R
India Salvor Menuez
A preternaturally poised creature on the New York scene, the performance artist and actor India Salvor Menuez, 22, cofounded the Luck You art collective (currently on hiatus) when she was just 16 and has matured into an exotically pale muse for the Eckhaus Latta designers Mike Eckhaus and Zoe Latta, who often include her in their shows; the French auteur Olivier Assayas, who cast her in his 2013 film Something in the Air; and the artist John Currin, who painted her repeatedly for his latest show of portraits, at Gagosian gallery in Los Angeles. (Leonardo DiCaprio was also smitten: He bought one of the Currins and, rumor has it, asked for the number of the scantily clad girl depicted.) While Menuez’s own work as an artist is fluid when it comes to gender—and not exactly short on nudity—she likes to affect a certain Lolita girlishness that belies her serious consideration of the world around her. “I can’t believe I’m 22 and still all, like, pink and rainbows!” she says, rolling her eyes. “I don’t really know what that’s about.” f.z.
FEI: BIEL PARKLEE; NEUSTEIN: BIEL PARKLEE, HAIR AND MAKEUP BY JACQUELYN GRUBBS FOR PARLOR BY JEFF CHASTAIN; NEUSTEIN WEARS ROSIE ASSOULIN SUIT, LADY GREY NECK CUFF, BIBI VAN DER VELDEN RING, HERMES BRACELET, HER OWN TANK TOP AND SHOES; GRANADE: VANESSA KOWALSKI; GRANADE STANDS IN FRONT OF MATT SHERIDAN SMITH’S PATTERN PORTRAIT (CYCLIST), 2014; ALONDRA: NICK BLUMENTHAL, STYLED BY SARAH ZENDEJAS; ALONDRA WEARS ISABEL MARANT SKIRT, HER OWN SWEATER, LOUIS VUITTON PUMPS; UCHIS: ROGER KISBY/ GETTY IMAGES; SOKO: PHOTOGRAPHED BY CHRISTOPHER HENCH, STYLED BY ASHLEY FURNIVAL; HAIR BY CANDICE BIRNS FOR FOR DAVINES AT THEONLY.AGENCY; MAKEUP BY JEFFREY BAUM FOR DIOR AT ATELIER MANAGEMENT; SOKO WEARS DISCOUNT UNIVERSE OVERALLS FROM VFILES NEW YORK, ALEXANDER WANG TURTLENECK, HER OWN EARRING; MENUEZ: PORTRAIT BY PETRA COLLINS, STYLED BY VANESSA CHOW; HAIR BY BRAYDON NELSON AT JULIAN WATSON AGENCY FOR R+CO; MAKEUP BY MARLA BELT AT STREETERS LONDON; PHOTOGRAPHY ASSISTANT: TYRA MITCHELL; FASHION ASSISTANT: MARTIN HAMERY; HAIR ASSISTANT: BRITTANY MROCZEK; MENUEZ WEARS SIMONE ROCHA DRESS, ERES BRA AND BRIEFS, JIL SANDER BOOTS; FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015
The associate director of digital marketing at New York’s Guggenheim Museum can pull off some outrageous looks (just scroll through her Instagram, @vajiajia). But for the most part, Jiajia Fei (left), 28, sticks to what she calls “museum-nerd chic”—minimalist pieces by Isabel Marant or Helmut Lang—accentuated by statement eyewear, a snakeskin briefcase, and her bowl cut, which she has touched up herself every two weeks for the past seven years. “It’s a part of who I am,” Fei says. “I can’t possibly have any other hairstyle.”
Power Dressing
HE PUTS STARS IN SPECTACULAR CLOTHES. NOW THE STYLIST BRANDON MAXWELL IS DESIGNING THEM, TOO.
TO SAY NOTHING OF HIS MOST FAMOUS CLIENT, LADY GAGA,
Above: Brandon Maxwell; two looks from his debut collection.
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the stylist Brandon Maxwell, 31, has always been surrounded by confident, fashion-driven women. His grandmother ran a highend boutique in Longview, Texas, where he hung out after school, putting together head-to-toe looks. (“I grew up under a clothing rack,” Maxwell says, only half-joking.) His mother, meanwhile, was a fixture on the charity-gala circuit. “She’d go out with these big earrings and her shoes dyed to match the dress, and I thought she was the most beautiful thing I’d ever seen.” These proclivities for knock-’em-dead fashion clearly rubbed off on Maxwell: As a child, he would outfit his sister in extravagant ensembles constructed from bed sheets, nipped in at the waist with one of his father’s cummerbunds. It’s a silhouette that he would reference decades later in his first collection, which he presented at the famed restaurant Mr. Chow last month during New York Fashion Week. “This line is something I dreamed about my whole life,” he says. Comprised mainly of lean black suits with structured, triple-layer pleating and blush-colored crepe gowns, the 30-piece lineup offers timeless, luxurious clothes for women with places to go. It is, needless to say, inspired by and geared toward the kind of tough cookies Maxwell knows and loves. A pair of leggy alligator-skin trousers takes its cue from the flares that the photographer Inez van Lamsweerde, a close friend of Maxwell’s
since their time working together with Gaga, was wearing on the first day they met. “The women around me don’t shy away from dressing,” Maxwell says. “They use their wardrobe as armor.” For those with less bravado—and smaller bank accounts—the pants also come in crepe. Maxwell studied photography at St. Edward’s University, in Austin, went on to assist a slew of influential stylists, and got his big break when Gaga hired him as her fashion director, in 2012. He has since been credited with refining her look, replacing the outlandish meat dresses with glamorous gowns, occasionally of his own design. He created much of the wardrobe for her recent Cheek to Cheek tour with Tony Bennett, as well as the jawdropping sequined number she wore to the Grammys—efforts that prompted The Hollywood Reporter to name him one of this year’s 25 most powerful stylists. It was with Gaga’s encouragement that he launched his own line. While he is the first to admit that he loves a head-turning showpiece, Maxwell stresses that the clothes in his collection are meant to be worn in real life. The horsehair padding around the waist of many of his jackets may be dramatic, but it is there to hold the wearer in, flatter her figure, and make her feel strong. “Women are everything to me,” he says. “I’m so excited to get to know my customer, and to have my clothes see her through the good times and the bad.” karin nelson
Photographs by INEZ AND VINOODH
STYLED BY BRANDON MAXWELL; HAIR BY CHRISTIAAN; MAKEUP BY AARON DE MEY AT ART PARTNER; MANICURE BY DEBORAH LIPPMANN AT THE MAGNET AGENCY; MODEL: GRACE HARTZEL AT NEXT MANAGEMENT. PRODUCTION BY THE COLLECTIVE SHIFT. STUDIO MANAGER: MARC KROOP. STUDIO PRODUCER: JEFF LEPINE. LIGHTING DIRECTOR: JODOKUS DRIESSEN. DIGITAL TECHNICIAN: BRIAN ANDERSON. CREATIVE MOVEMENT DIRECTOR: STEPHEN GALLOWAY. PHOTOGRAPHY ASSISTANT: JOE HUME. FASHION ASSISTANTS: HEATHER DUNPHY, RACHEL IWANIEC, DIEGO LAWLER, ANIDA QERIMAJ; HAIR ASSISTANT: TAKU SUGAWARA. MAKEUP ASSISTANT: TAYLER TREADWELL
STYLE SETTER
DOLCE VITA 1.Camilla (left) and Carolina, in Carolina’s dining room. 2. A bust of Pericles in the Cucinelli family home. 3.Carolina’s English bulldog, Brumilde. 4.A bust of Marcus Aurelius in the Cucinelli home. 5. and 6. Looks from the Brunello Cucinelli fall 2015 collection. 7. The town of Solomeo sits atop a rolling hill. 8. Vases in Carolina’s home. 9. A view of Solomeo. 10. Books abound in the Cucinelli family home.
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FOR CAMILLA AND CAROLINA CUCINELLI— SCIONS OF THE BRUNELLO CUCINELLI FASHION EMPIRE—HOME IS WHERE THE HAMLET IS. BY ALEXANDRA MARSHALL
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When you arrive at the tiny hilltop village of Solomeo to meet sisters Camilla, 33, and Carolina Cucinelli, 25, you feel as though you’ve landed in the Umbrian version of Camelot. For the past three decades, the medieval hamlet in the heart of Italy has been restored by their father, Brunello Cucinelli, who grew up in the area. After he and his high school sweetheart, Federica, transformed a line of cashmere sweaters into a fashion empire, Cucinelli started what has become a painstaking “urban” renewal: organizing tailoring and masonry schools, and overseeing the repair of buildings “that had fallen into total degradation,” says Camilla, who co-chairs the Brunello Cucinelli design department. “We’ve had workmen around pretty much all our lives.” One hopes they didn’t knock into Annunciation to Abraham, the Baroque oil painting by Artemisia Gentileschi in Carolina’s apartment. The artwork was a gift from Dad, similar to one Camilla received when she left home—to move 100 yards down the street. Carolina, who earned a fashion degree in 2010 and currently creates accessories for Cucinelli, and her boyfriend, Alessio Piastrelli, the head of leather buying at the company, now live next-door to Camilla and her husband, Riccardo Stefanelli, who heads up sales. Life in a village of 500 inhabitants is beautiful, say the sisters: No one locks their doors, jasmine abounds, and everybody knows your name. »
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Photographs by JAMES MOLLISON Styled by VIVIANA VOLPICELLA
PHOTOGRAPHY ASSISTANT: GIORGIO SCHIRATO; FASHION ASSISTANT: MARIANGELA FILIPPIN; 5, 6: COURTESY OF CUCINELLI; FASHION: 1: CAMILLA AND CAROLINA WEAR ALL BRUNELLO CUCINELLI.
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CHLOÉ
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Paternal Instincts Both Camilla and Carolina are devoted to their father. He didn’t push them into the family business, but the sisters never considered doing anything else. When she was little, Carolina used to create Barbie looks out of atelier scraps and hang them in armoires she made out of biscuit tins. She can rattle off the most minute factoids from every ledger, including how many employees eat daily at the company cantina (350) and what will be planted in the organic orchards next year (walnuts, cherries, apricots, persimmons). They are their own best clients: Carolina pairs paper bag–waist Cucinelli trousers with sneakers; Camilla goes for masculine Cucinelli brogues and high-waters. If either daughter is unfaithful, stylewise, it’s with Lanvin, The Row, and maybe a Chanel accessory. The only conspicuous piece of jewelry between them is Carolina’s 1950s Vacheron Constantin watch— a present from…guess who?
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1: CAMILLA AND CAROLINA WEAR ALL BRUNELLO CUCINELLI. BRUNELLO AND FEDERICA WEAR THEIR OWN CLOTHING. 4, 5, 8, 9, 11, 12, 13: COURTESY OF THE CUCINELLI FAMILY; 14: CAMILLA AND CAROLINA WEAR ALL BRUNELLO CUCINELLI. VITTORIA WEARS HER OWN CLOTHING. FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015
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1. Camilla, Carolina, Federica, and Brunello, dining alfresco in Solomeo. 2. A bust of Plato inside the Cucinelli family home. 3. Carolina’s Artemisia Gentileschi painting was a gift from Dad. 4. Camilla’s first communion celebration, with Carolina, 1991. 5. An Apple poster in Carolina’s house. 6. The clan in 1998. 7. The rooftop of a small church, taken from Camilla’s house. 8. Crafts at Solomeo’s annual Renaissance fair. 9. Crowds at the fair. 10. Doll clothing designed by Carolina when she was a child.
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11.A shot of the Santa Monica Pier, from Carolina’s 2014 trip to the States. 12. Carolina made pastries for her boyfriend’s grandmother. 13. A snap of Venice Beach, from Carolina’s trip. 14. The sisters, with Camilla’s daughter, Vittoria, in the vegetable garden.
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Family Style Their homes are a reflection of the luxuriously down-to-earth Cucinelli aesthetic: whitewashed walls, terra-cotta tile floors, exposed beams, and Molteni sofas in muted tones. The nearest town is Perugia, where Camilla went to university to study literature, but most of their time is spent in Solomeo, enjoying intimate dinners for friends and family. If the weather gets too hot, there is always Brunello’s pool, flanked by busts of Sophocles, Eros, and Apollo. And once a year the town comes alive when Solomeo celebrates the olden days by throwing a 10-day version of a Renaissance fair, complete with fire jugglers and acrobats. Camilla and Carolina, in period costumes, serve roast goose.
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SCENE SETTER
Secret Weapon
THE DANISH ARTIST THOMAS POULSEN, BETTER KNOWN AS FOS, IS CELINE’S MAN BEHIND THE SCENES.
PHOEBE PHILO’S TENURE AT CELINE HAS BEEN SHAPED BY
a series of quirky, esoteric associations, from Juergen Teller (who shoots the campaigns) to Isa Genzken (whose 2013 Museum of Modern Art retrospective was backed by the French house). And when conceiving the Céline flagship in London, her hometown, Philo treated the project like a site-specific commission, tapping the Danish artist Thomas Poulsen, better known by the opaque moniker FOS, to oversee the furniture and decor for the space. Poulsen’s architectural aesthetic and penchant for socially engaging environments made him a natural fit for the increasingly concept-driven French house. “Usually when brands collaborate with other designers, they want to dictate everything they do,” says Poulsen, who was given carte blanche. “Phoebe trusted me to do what I wanted.” Rather than relying on a grand centerpiece or radical palette, the design for the boutique hinges on the dynamic sense of balance Poulsen creates by juxtaposing unlikely elements and materials. To encourage exploration, he broke up the shop into small vignettes: In one corner, his towering Street Lamp, an elegant wood-andbronze light fixture anchored in a mound of rough concrete, holds court; in another, a monumental terra-cotta planter introduces a touch of earthiness to the otherwise streamlined setting. Overhead,
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spindly wire chandeliers illuminate the mixed-marble floor, which, at first glance, looks like planks of exotic wood. Resplendent in their luxurious execution, Poulsen’s offerings provide a rich ecosystem that complements Céline’s rotating collections. Philo was so happy with the results, she asked the artist to adapt his concept for the New York store as well. Poulsen, who grew up in Copenhagen, where his grandfather owned a modernist-furniture shop, is almost too well versed in the history of design and is careful to delineate between solution-based projects like his work for Céline and his art. He coined the term “social design” to encapsulate his distinctively humanistic practice, which ranges from experimental video to low-income housing to a floating bar he created for the 2011 Venice Biennale as a satellite space for the Danish pavilion. “Design and art have different laws,” Poulsen says. “Design needs to flat-pack, resist wear, address a function. Art needs to present something that hasn’t been seen.” Next up is the Céline spring 2016 runway show this month in Paris, which Philo invited Poulsen to reimagine. Poulsen—who is no stranger to performance—talked about his instinct to bring the backstage infrastructure to the forefront. “As an artist, I have a wish to intervene in a certain way,” he says. “I want you to hear the sounds of the models being prepared. I want what is normally hidden to come to the surface.” Aside from some hints about a free-range photographer pit and a cabinet of curiosities based on his custom jewelry vitrines, the artist is careful not to disclose too much. As his pseudonym suggests, he puts a premium on privacy. He doesn’t participate in social media and is virtually unsearchable online. Operating behind the scenes, Poulsen gives his viewers the space to draw their own conclusions. “I have a website, but it hasn’t been updated since 2003,” he says. “Everyone is constantly looking at their phones. I prefer to engage with reality.” kat herriman
LONDON STORE: COURTESY OF CELINE; TABLE: COURTESY OF ETAGE PROJECTS; KOØJE: ANDERS SUNE BERG, COURTESY OF THE ARTIST, KUNSTHAL CHARLOTTENBORG, MAX WIGRAM; FOS: PAW GISSEL/COURTESY OF THE ARTIST AND MAX WIGRAM; OSLOO: COURTESY OF THE ARTIST AND MAX WIGRAM; LOOK: COURTESY OF CELINE
Clockwise, from top: The Céline store in London, featuring FOS pieces; a FOS table made of bronze, brass, and glass; Poulsen’s Koøje, an installation at Kunsthal Charlottenborg, in Copenhagen, 2015; a 2011 portrait of Poulsen; Osloo, 2011, part of the Danish Pavilion at the 54th Venice Biennale; a Céline fall 2015 look.
TASTE BREAKERS
Totally DISsed A POST-INTERNET ART COLLECTIVE IS OUT TO REMAKE THE WORLD IN ITS OWN DISTORTED IMAGE. FAN ZHONG REPORTS.
I N T H E W I N T ER O F 2009 , T H E A RT I S T RYA N T RE CA RT I N
was living in Miami, in a house so overrun with energetic young friends—all of whom were working on and romping through his videos—that an RV had to be parked on the lawn, a tent pitched in the backyard, and mattresses lined up in the driveway to accommodate everyone. Among this happy extended family were Solomon Chase, 31, and David Toro, 35, two recent art school grads who, having seen their freelance work on fashion shoots dry up with the recession, were excitedly incubating, and talking up, their own publication, which they called, in a sort of defiance of everything else out there, DIS. “I just assumed they meant a regular print magazine or PDF,” recalls Trecartin, the poster boy for the current generation of artists reared on, and working in the patois of, the Internet. “I was like, Okay, whatever.” But after receiving his first assignment for DIS, a fashion editorial in collaboration with Buntah, a coder, and modeled by virtual characters from the video game the Sims, Trecartin realized that Chase and Toro were thinking bigger. “They wanted to encourage transactions between people who have no reason to collaborate. They were bending the concept of what a magazine is.” DIS isn’t, in fact, a magazine. What DIS is, however, remains open to question. It has been described by artists, critics, fans, and its own contributors as “a social network,” “a wormhole,” “a
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cultural reparations racket,” “a kind of 21st-century end game of counterculture,” and “an incredible hub of context invention.” Artforum went so far as to suggest that the creators of DIS may one day prove to be “the most important artists of the decade.” DIS is, or may turn out to be, all those things. But it might be simpler to think of it as a virtual incarnation of that overstuffed house in Miami—an online space where a bunch of like-minded cohorts can riff and egg one another on, which is how most important artistic movements tend to start. On a hot afternoon this past July, the DIS team—Chase, Toro, along with cofounders Lauren Boyle, 31, and Marco Roso, 42, who are married—convened at an unassuming Chinatown bar near their office in New York. The collective, which had started out with seven members (Patrik Sandberg, S. Adrian Massey III, and Nick Scholl were also there at the beginning), was taking a breather from a hectic workday. Like almost every day for the past few years, the DIS crew was juggling five or six projects at once. Since launching Dismagazine.com, in 2010, with the Labor Issue, they have assumed multiple roles, acting as artists, retailers, image purveyors, and marketing creatives, sometimes simultaneously. Last year, they were tapped to be curators of the 2016 Berlin Biennale, an honor usually reserved for those who are already well established in the institutionalized art world. “People who know us from the magazine, which has a youthful facade, think we’re going to be younger,” Chase says. “With the biennial, it’s the opposite: People expect older. ” The core members of DIS are, in fact, all over 30, but they have a youthful mind-set, stimulated by their many contributors, who include forward-thinkers like the designers Telfar Clemens and Hood by Air’s Shayne Oliver (see Oliver in “The Royals,” page 163), as well as the artists Josh Kline and Simon Denny. “There are so many people involved that we say the magazine has a revolving cast,” Chase says. More than merely a
Portrait by LOGAN JACKSON
PORTRAIT: HAIR BY BRAYDON NELSON AT JULIAN WATSON AGENCY; MAKEUP BY KAT REYES FOR CHANEL; PHOTOGRAPHY ASSISTANT: TIM SCHUTSKY; OTHER IMAGES: COURTESY OF DIS
Clockwise, from left: A DIS portrait, with David Toro, Solomon Chase, Lauren Boyle, Marco Roso; “shoe layering,” a DIStaste style option; The Island (KEN), an installation at the New Museum 2015 Triennial; images from a Kim Kardashian look-alike contest at Art Basel Miami Beach, 2011; “Competing Images,” a 2012 photo project.
TASTE BREAKERS
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Clockwise, from above, left: A still from Emerging Artist, 2013; an intentionally watermarked image from the MoMA “New Photography 2015” show; Hood by Air salad bowl, for DISown; Shoulder Dysmorphia, a “style suggestion”; Simon Fujiwara’s Gay Wedding Ring, for DISown.
Apple, Vita Coco, Kmart, Under Armour, Target, Whole Foods, and, of course, DIS. It was the punch line to a joke about the banality of step-and-repeats, and unabashed corporate sponsorship, but also a brilliant opportunity for self-promotion. That same year, DIS created another franchise, DISimages, a stock agency like Getty—except, of course, weirder. (Boyle has expressed the desire to create a stock image to represent “the public apology,” so that the next time a shamed politician has to make a speech, DISimages will be prepared.) “DIS images are shot in a very generic style, but they are also very confrontational,” says Roxana Marcoci, a senior curator at the Museum of Modern Art (MoMA) who has included DIS among the 19 artists and collectives in “Ocean of Images: New Photography 2015,” which opens in November. “The pictures are odd; they’re unsettling; they provoke in ways that make you look twice.” DIS is participating in the MoMA show in more ways than one. The museum has commissioned the collective to create the publicity campaign as well. Shortly after our meeting, Roso flew to Vienna to shoot Conchita Wurst, the Austrian singer and drag queen who became famous overnight after winning Eurovision 2014. Wurst will feature heavily in the ads, a new symbol of what Marcoci calls “the age of the image”—someone whose work you may not know but whose face you have definitely seen. Despite its appropriation of a commercial aesthetic, DIS’s main demographic is still a subsection of art world observers who get the conceptual joke. It will be interesting, therefore, to see just how popular DIS can make the Berlin Biennale. The collective is aiming directly at the masses and, to that end, plans to strategically install artwork in hugely trafficked, touristy public spaces all over the city: soccer stadiums, shopping malls, corporate headquarters, memorial sites. DIS has commissioned the Prancing Elites, a male cheerleading squad from Alabama that has a reality show on Oxygen, to get the word out on the streets of Berlin next summer, and has recruited an old friend, the DJ Ashland Mines (who was in that house in Miami in 2009, during DIS’s infancy), to create an album of anthems that will be the Biennale’s de facto soundtrack. Says Boyle, disarmingly, “What if you could get a biennial stuck in your head?”
FOCUS. PAUSE. CONNECT., 2015: DIS/COMMISSIONED BY THE MUSEUM OF MODERN ART, NEW YORK; OTHER IMAGES: COURTESY OF DIS
“They provoke in ways that make you want to look twice,” MoMA’s Roxana Marcoci says.
culture nanny, DIS has cultivated a strong artistic vision, blithely merging the worlds of art and fashion with mass media and commerce. (If DIS has a patron saint, it might very well be Kim Kardashian; it even staged a Kim look-alike contest at Art Basel Miami Beach, in 2011.) Last year it opened DISown, a temporary retail installation at the Red Bull Studios, in New York. “ ‘DISown—Not for Everyone,’ is an exhibition posing as a retail store,” the press release cautioned. “Or maybe it’s the other way around. As Karl Lagerfeld for H&M is a diffusion line for fashion, DISown is a diffusion line for art.” Inside the bright white pop-up shop—a mini–department store, really—there was a feeling of familiarity coupled with a discomfiting sense of the uncanny. There were furnishings (a beanbag by the artist Bjarne Melgaard); unisex clothing (a sweatshirt by Trecartin, jeans by the artist Korakrit Arunanondchai); home wares (Hood by Air salad bowl, anyone?); even a branded shopping bag not unlike Ikea’s famous blue Frakta carryall, only this version came in white, with the DIS logo. Many artists, when approached by a mass brand like Red Bull, might seek to downplay the association as much as possible, but DIS embraced it enthusiastically. “We wanted to do something as commercial as the space,” Chase says. “Using existing aesthetics and structures, only for another purpose—that’s the definition of all our different platforms.” Or, as Roso broke it down, it was “an attempt to connect a critical thought with Ikea.” DIS is not the first group of artists to apply critical thought to mass commerce; it was also an obsession of spiritual predecessors like the pre-Internet artist collective Bernadette Corporation. But what makes DIS radical is how it interprets those thoughts into the language of retail, throws in a flair for service and utility, and pushes Internet buttons (click-bait images, LOLs) to create something you might want to consume on an everyday basis. Regarding DIS’s contribution to the New Museum’s recent triennial—a kitchen island that doubled as a bath, created in collaboration with Dornbracht, a high-end German manufacturer of bathroom and kitchen fixtures— Trecartin, who co-curated the exhibition, says, “It exists as a design object but has a functional utility. It’s a poetic merger of ideas.” The piece was installed, appropriately enough, in the lobby, next to the museum shop. With DIS, every idea, no matter how esoteric, becomes accessible, humorous, and immediate. The video installation it created for “ProBio,” a 2013 exhibition at New York’s MoMA PS1 curated by Kline, starred three very pregnant women who caressed their swollen bellies under gauzy lighting, while a soothing voice-over proclaimed, “The world is waiting/For someone/ The next artist/The next genius/The next legend/The world is waiting for something/To fill their white cubes…” A critique of the art world’s preoccupation with youth, the piece was called Emerging Artist. And at the closing party for Trecartin’s 2011 “Any Ever” exhibition at MoMA PS1, DIS sent out models sheathed in full-body zentai suits covered with the logos for
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Silver Streak THE MODEL AND ASPIRING DESIGNER SOFIA RICHIE POLISHES HER LOOK. 9. Hermès bracelet. 10. Pierre Hardy shoes. 11. Richie, at New York Fashion Week, 2015. 12. Khaleesi from Game of Thrones, who inspired Richie’s locks. 13. Mugler skirt. 14. Calvin Klein Collection dress. 15. Richie and her mom, Diane, 2005. 16. Alexander Wang turtleneck; Jennifer Fisher ring and cuff. 17. Lagos rings. 18. Richie, at age 3, helping wash the car. 19. A favorite read, Chanel: A Woman of her Own, by Axel Madsen. For stores, prices, and more, go to Wmag.com/where-tobuy-october-2015.
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my sister: She’s superbohemian,” says the model Sofia Richie of her older sibling, Nicole. “I try to pull off things from her closet, but it’s not a look I can rock.” Establishing your own identity is hard when your father is the music legend Lionel Richie, your mother is the former fashion designer Diane Alexander, and your sister is a style icon to many. But 17-year-old Sofia is giving it her all. Though she says that as a child she was a tomboy who loved soccer, she also took voice lessons, which may come in handy. “I’m sure that one day I’ll dabble in the music world and hopefully make a little mark.” But, for now, her focus is fashion. Inspired by her mom’s passion for clothes, Richie hopes to start a line based on her classic-meets-grunge aesthetic. She’s immersing herself in the industry through modeling gigs (she is the face of Material Girl’s fall campaign) and front-row appearances at Diane von Furstenberg and Tommy Hilfiger. “As a teenager, I might not be taken seriously in the fashion world. Waiting is important.” Wise beyond her years. vanessa lawrence
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Portraits by AMI SIOUX Styled by JESSICA DE RUITER Edited by SAM MILNER
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HAIR BY CAILE NOBLE FOR SERGE NORMANT AT JED ROOT; MAKEUP BY GEOFFREY RODRIGUEZ FOR CHANEL; DIGITAL TECHNICIAN: CLAY RASMUSSEN; PHOTOGRAPHY ASSISTANT: ADAM TORGERSON; FASHION ASSISTANT: FIONA PARK; 2. COURTESY OF THE DESIGNER; 3, 8, 15, 18: COURTESY OF RICHIE; 11: GILBERT CARRASQUILLO/GC IMAGES/GETTY IMAGES; 12: MACALL B. POLAY/HBO/COURTESY OF EVERETT COLLECTION; 19: COURTESY OF HOLT PAPERBACKS; 5, 7, 9, 10, 14, 15, 18: TIM HOUT, STYLED BY JOHN OLSON
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SCENEMAKER
Coffee Talk THE ARTIST AND IMPRESARIO ANDRE SARAIVA SERVES UP A NEW HOT SPOT.
André Saraiva, outside his new space, in Manhattan’s Chinatown.
Photograph by PETER ASH LEE
PHOTOGRAPHY ASSISTANT: CHRIS PARENTE
GORD ON MAT TACLARK, AN ART IST KNOWN FOR SI T ESP ECI FIC P ROJECTS,
loved to cook as much as he loved making art, and he didn’t always bother to make a distinction between the two. In 1971 he opened Food, a short-lived restaurant in New York’s SoHo, managed and staffed by artists, with an open kitchen that turned the creation of each meal into a performance. “It’s my favorite work of his,” says André Saraiva, who started his career as a graffiti artist but has similarly never limited himself to just one medium. Born in Sweden and based in Paris and New York, Saraiva is a man of many endeavors and is known to approach each one as something of an experiment. At La Mercerie d’André, a retail venture he launched in Paris in the late ’90s, people could purchase his paintings by the meter from large rolls. Le Baron, the nightclub he opened in Paris in 2004, featured furniture by the artist Sophie Calle and DJ stylings by the electronic duo Daft Punk. The two guys behind Kolkoz, a French art collective, moonlighted as its doormen. “I always saw it as an art piece rather than a nightclub,” Saraiva says, sitting in his Chinatown studio. Just up the block, on Forsyth Street, he is in the midst of another creative venture: Cafe Henrie, a coffee shop–cum–cultural salon, where arty types can gather and exchange ideas. “There is no art movement without a place where people can come together and talk,” says Saraiva, who is also at work on a commission for a 20,000-square-foot ceramic mural in Lisbon, Portugal; an art show in Guadalajara, Mexico; the opening of a second Paris location of his Hôtel Amour; a book with Rizzoli; and a film based on the stories told to him by girls he’s met on Tinder. “Also, I needed a place to get my coffee in the morning.” Housed in a former hotdog-cart garage, the cafe was designed, with the help of the architect Brett Robinson, to resemble—if only slightly—an austere administration office. Perforated boards line the walls, as do industrial-looking Jean Prouvé benches, which Saraiva has been collecting for some time. In true Saraiva fashion, he has enlisted a coterie of illustrious friends to contribute: The artist Tom Sachs designed a banquette; the photographer Petra Collins, a neon sign for the bathroom. The ceramic mugs and espresso cups were custom made by Peter Shire, an original member of the Memphis Group. Plans for art shows and nontraditional happenings, such as a reading by the writer Glenn O’Brien and a food performance by the artist Rirkrit Tiravanija, are under way. “I want people to come for an espresso,” Saraiva says, “and end up staying all day.” karin nelson
WHAT’S HOT
The Holey Grail
YOUR QUEST FOR THE ULTIMATE FALL BAG ENDS HERE. Prada bag. For stores, prices, and more, go to Wmag.com/ where-to-buy-october-2015.
Photograph by ANDREW BETTLES Edited by RICKIE DE SOLE
WHAT’S HOT
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Lapel Art THINK OF A JACKET AS A BLANK CANVAS, AND TAKE THE OPPORTUNITY TO MAKE A STATEMENT — THE BOLDER THE BETTER.
1. Prada brooch and jacket. 2. Marni brooch and coat. 3. Calvin Klein Collection brooch and peacoat. 4. Louis Vuitton brooch and peacoat. 5. Bally brooch; Escada coat. For stores, prices, and more, go to Wmag .com/where-to-buyoctober-2015.
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MANICURE BY HOLLY FALCONE FOR CHANEL AT KATE RYAN INC. PROP STYLIST: DYLAN AUMAN. PHOTOGRAPHY ASSISTANT: MICHAEL ORTIZ. FASHION ASSISTANT: MADELEINE ISSA
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WHAT’S HOT
THE GILDED AGE
LUCREZIA BUCCELLATI USHERS IN A NEW ERA AT A VENERABLE JEWELRY HOUSE.
Left: Lucrezia Buccellati, wearing pieces from the Opera collection. Above: Opera Eternelle rings, in yellow and white gold, $4,400 each.
Portrait by MATTHEW KRISTALL Styled by ETHEL PARK
ART HOUSE Beginning with the photographer Philip-Lorca diCorcia in 2005, Bottega Veneta’s Tomas Maier has worked with a retinue of big-name artists—Tina Barney, Nobuyoshi Araki, Jack Pierson, David Armstrong, and Larry Sultan included—to create ad campaigns that transcend their commercial purpose. Bottega Veneta: Art of Collaboration, out this month from Rizzoli, compiles the images into one formidable vision of the always elegantly subdued brand. k.n. » 140
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Below: The cover of Bottega Veneta: Art of Collaboration features Robert Longo’s fall 2010 ad. Right: An image from the spring 2011 campaign, shot by Alex Prager.
BUCCELLATI: HAIR BY BRAYDON NELSON FOR R + CO AT JULIAN WATSON AGENCY; MAKEUP BY DANIELLE LIBRIZZI. PHOTOGRAPHY ASSISTANT: CARLOS MONINO. FASHION ASSISTANT: MARIE MANLEY. HAIR ASSISTANT: NERO; BUCCELLATI WEARS STELLA MCCARTNEY TOP; BUCCELLATI NECKLACE, RING, AND BRACELETS. FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015. RINGS: TIM HOUT; FASHION: ART HOUSE, FROM LEFT: COURTESY OF RIZZOLI; ALEX PRAGER
AT JUST 26, LUCREZIA BUCCELLATI HAS
the enormous task of steering her family’s century-old Milanese jewelry house in a more youthful direction. But it’s a job she seems to have been born to do. “They thought my brother would take over,” says the newly appointed co–creative director, who is the first woman to design for the company in four generations— and the only Buccellati based in New York. “But I was the one who was always sketching and playing with stones. I fell in love with the jewelry world.” She has already introduced a diamond-encrusted iPhone case, but it is the Opera collection, created with her father, Andrea, that best represents the brand’s contemporary image. Inspired by Renaissance motifs and made using classic techniques, the sinuous pieces are pure Buccellati—but with more accessible price points. “I like to wear a couple of the bracelets with a cuff my grandfather designed,” she says. “That, to me, is modern.” karin nelson
WHAT’S HOT
Jackets Required
THE MONCLER PUFFER IS A FASHION STAPLE—AND, THIS SEASON, AN ARTISTIC INSPIRATION FOR SOME OF THE WORLD’S TOP PHOTOGRAPHERS. Paolo Roversi, Brigitte Lacombe, and Bruce Weber, the man Ruffini credits with giving him the photo bug. All were asked to interpret the brand’s Maya duvet jacket, an iconic style for the past 60 years, and the results are as diverse as the group itself: Guido Mocafico, who is known for his striking still lifes, covered the jacket in its own plush down, and provocateur Steven Klein presented
Rad Hatter TA S YA VA N R E E , A PA I N T E R , P O E T, film director, and photographer who is exhibiting a series of black and white horse portraits at Los Angeles’s Chateau Marmont next month, garners as much attention for her wardrobe as for her work. In fact, it was her signature look—a laid-back assemblage of androgynous pieces paired with one of the 50 hats she’s amassed over the years—that prompted Stetson to collaborate with her on a design. Available this month on the website for the
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150-year-old Western-wear hatmakers, the wide-brimmed felted style comes in bone, steel gray, and black. “I love how masculine it is in size,” says van Ree, who took cues from a vintage favorite in her collection, “but also how feminine it is in its curves.” k.n. » Tasya van Ree in one of her hats for Stetson. Inset: Another version of her design ($200 each).
it as the victim of a crime. “Great masters create works that bare their souls and stop time,” Ruffini says. “I wanted to harness that power.” k.n. Below, clockwise, from top right: Images from “Art for Love,” by Alasdair McLellan, Mikael Jansson, Guido Mocafico, Craig McDean, and Steven Klein.
JACKETS REQUIRED, CLOCKWISE FROM TOP LEFT: STEVEN KLEIN; ALASDAIR MCLELLAN; MIKAEL JANSSON; GUIDO MOCAFICO; CRAIG MCDEAN; HAT: JOSEPHINE SCHIELE; VAN REE: ANAIS & DAX PHOTOGRAPHY
MONCLER CHAIRMAN AND CEO REMO
Ruffini is as passionate about photography as he is about puffer jackets. The two come together in his latest project, “Art for Love,” an auction in support of amfAR, the foundation for AIDS research, on Paddle8.com through September 29. The works are by 32 of Ruffini’s favorite photographers—among them David Bailey, Peter Lindbergh,
WHAT’S HOT
Extremely Cultivated
PRINCESS MAFALDA VON HESSEN SOWS THE SEEDS OF READY-TO-WEAR. German princess Mafalda von Hessen, the great-granddaughter of Vittorio Emanuele III, a former king of Italy, has a very green thumb. It’s something she inherited from her grandfather, Landgraf Philipp von Hessen, who designed the impressive fountains and greenery at Villa Polissena, the estate on the outskirts of Rome where the princess resides. Even when she is not tending to the gardens, she is nevertheless influenced by them. About her new eponymous ready-towear line, she says, “You plant the seeds and then watch a little tree grow.” Fashion, like flora, has long fascinated her. After earning a master’s in design at New York University, von Hessen, 50, worked for Tirelli, the Roman costume house, and Patrick Kinmonth, the opera director and designer. She has also modeled, served as a style ambassador for Giorgio Armani, and—less glamorously—teamed up with a German home-shopping network to hawk clothes. “It was a short marriage,” she notes of the latter. Her collection, which is available at Mafaldavonhessen.com, was motivated by a need for clothes that a “country person” like herself can also wear in the city. For fall, there are slim suede trousers, velvet blouses, and napa-leather tunic tops—all in a mix of rich, bucolic colors like chocolate brown, burnt orange, gold, and, of course, forest green. “I can’t help but be inspired by my environment,” she says. k.n.
In the Closet B E F O R E S H E PA S S E D AWAY, I N 2 0 1 1 ,
the actress Elizabeth Taylor granted the artist Catherine Opie, with whom she shared an accountant, access to photograph her Bel Air, Los Angeles, home and all the diamonds, designer clothes, stuffed
animals, and celebrity memorabilia that filled it. Opie spent six months shooting some 3,000 images, the best of which are collected in 700 Nimes Road (Prestel), a visual biography of the legend told through her belongings. k.n.
Elizabeth Taylor’s shoe closet, a photograph from 700 Nimes Road, by Catherine Opie.
CREME DE LEMAIRE A FRENCH LABEL IS SLOWLY RISING TO THE TOP. “ I D O N ’ T B ELI EV E I N T H E M O D ER N
From left: Christophe Lemaire and Sarah-Linh Tran, wearing designs from the Lemaire collaboration with Uniqlo; looks from Lemaire’s fall 2015 collection.
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legend of the multitasking designer,” says Christophe Lemaire, sitting in his loftlike Paris studio. “If you are interested in producing something essential, and of high quality, you need time.” Fortunately for Lemaire—and for his fans—the French designer can now fully devote himself to the discreetly elegant clothes for which he’s known. Last year, he stepped down as artistic director of women’s wear at Hermès, a position he had held since 2010, to focus on his 24-year-old brand, now known simply as Lemaire. Working with Sarah-Linh Tran, his partner in both business and life, Lemaire has launched e-commerce and introduced pre-collections. And this month the label will
debut a collaboration with the megabrand Uniqlo full of chic basics like cashmere knits and casual wool pants for men and women, bringing Lemaire and Tran’s nofuss, intelligent designs to a whole new audience. “Our philosophy,” Lemaire says, “is just to make good clothes that you want as much as you need.” alice cavanagh
Portrait by KIRA BUNSE
VON HESSEN: PHOTOGRAPH BY BENOIT PEVERELLI; STYLED BY SILVIA GABRIELLI; HAIR BY ASTOR HOXHA AT CLOSE UP MILANO; MAKEUP BY ARIANNA CAMPA AT CLOSE UP MILANO. PHOTOGRAPHY ASSISTANT: RODOLPHE BRICARD. FASHION ASSISTANT: PATRICIA VILLIRILLO. VON HESSEN WEARS MAFALDA VON HESSEN BLOUSE AND SKIRT; HER OWN BOOTS. VON HESSEN MODEL WEARS MAFALDA VON HESSEN COLLAR, BLOUSE, SKIRT, SOCKS, AND BOOTS. FOR STORES, PRICES, AND MORE, GO TO WMAG.COM/WHERE-TO-BUY-OCTOBER-2015; IN THE CLOSET: CATHERINE OPIE/COURTESY OF REGEN PROJECTS, LOS ANGELES/LEHMANN MAUPIN, NEW YORK AND HONG KONG; LEMAIRE FALL 2015: CATWALKING/GETTY IMAGES (3)
AMONG H ER MANY AT T RI BU T ES, T H E
Mafalda von Hessen at home (seated), with a model wearing a look from her line.
SOFT FOCUS
KARL LAGERFELD UNLEASHES HIS FIRST HAUTE FOURRURE COLLECTION.
IN HIS DIZZYING 50 YEARS AS FENDI’S CREATIVE DIRECTOR,
Karl Lagerfeld has done just about everything there is to be done with fur—and then some. His furmutations, if you will, have included Eskimo fur (1970), roof-tile fur (1978), ravioli fur (1982), wavy fur (1988), dreadlock fur (1993), polka-dot fur (2000), splatter-effect fur (2013), and 3-D fur (2013). But while each Fendi collection is a feat of technical brilliance in its own right, Lagerfeld had never officially designed an haute fourrure collection—until now. “There is no better place to show our incredible furs than during haute couture,” he said with virtuosic bravura of the Fendi presentation, which took place in Paris in July. “I am not talking about the price, but the style and the level.” Clearly, the collection, which consists of 36 offerings in lynx, fox, mink, and, most sumptuous of all, sable, has been a long time coming. “When I met the five Fendi sisters in the 1960s,” Lagerfeld reminisced, “they were known in Rome for their expensive furs, which were very heavy and bourgeois, typical of those times. ‘Fendi’ and ‘fun’ have the same initial. That’s why I put the two letters together [for the logo] in less than five seconds: the double F, meaning Fun Furs.” It was a radical notion at the time to reinvent a rather staid status symbol—which Lagerfeld dryly remembered as “a present a wealthy woman received from her husband”—by injecting a sense of playfulness and provocation. Sure enough, “the bourgeois furs disappeared, and Fendi became a modern house that created a revolution in the way fur was seen, made, handled, and worn.”
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Call his latest innovation moonlight fur. “For the first time, we used a special treatment that gives a silver metallic effect to the fur while still keeping it soft,” Lagerfeld said. “We also produced handmade embroideries in the haute couture ateliers in Paris, such as Maison Lemarié and Maison Hurel.” Naturellement. Devotees of Lagerfeld’s other great platform, Chanel (where during Couture Week, his romance with silver also played out), are already familiar with the designer’s deep respect for the workrooms and their elite craftsmanship. “Patrimony and heritage must stay alive,” he insisted, referring to the petites mains of both France and Italy. “It is fascinating how Fendi’s artisans need to train for almost 10 years before starting to cut a garment. They create works of art.” But, like anniversaries, favorite pieces are a subject Lagerfeld declines to discuss. “I don’t have one,” he sniffed. “That’s in the next collection. The story continues, realized always with an eye on the future.” lee carter
COURTESY OF FENDI (4)
His Wildest Dreams
Clockwise, from above: Karl Lagerfeld, in his Paris studio, with a model in an Haute Fourrure coat; an Haute Fourrure cape in sable, mink, fox, and feathers with duchesse embroidery; a Fendi artisan at work; models at the Paris show.
WHAT’S HOT
The Cat’s Meow
A BAG YOU CAN REALLY COZY UP TO? PURRFECTION! Graff ring; Fendi bag and dress.
Photographs by EMMA TEMPEST Styled by MICHELLE CAMERON
WHAT’S HOT
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1. Sonia Rykiel bag; Van Cleef & Arpels bracelet; De Beers ring; Joseph sweater and skirt. 2. Nancy Gonzalez bag; (right wrist, from left) Harry Winston bracelet, Graff bracelet; Harry Winston ring; (left wrist) Van Cleef & Arpels bracelet; Max Mara dress. 3. Balenciaga shoes; Fendi dress. 4. Gucci slippers; Harry Winston bracelet; De Beers ring; Stella McCartney coat. 5. Michael Kors Collection bag; Van Cleef & Arpels ring; Alexander Wang turtleneck; Max Mara skirt. For stores, prices, and more, go to Wmag .com/where-to-buyoctober-2015.
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HAIR BY BRAYDON NELSON FOR R + CO AT JULIAN WATSON AGENCY; MAKEUP BY ASAMI TAGUCHI FOR GIORGIO ARMANI BEAUTY AT FRANK REPS; MANICURES BY HOLLY FALCONE FOR CHANEL AT KATE RYAN INC. MODELS: MARIAH MORRISON AT NEXT MANAGEMENT, JANA KNAUEROVA AT WILHELMINA MODELS. SET DESIGN BY LAUREN BAHR FOR ANNE KOCH STUDIOS. DIGITAL TECHNICIAN: NICK BEAN. PHOTOGRAPHY ASSISTANTS: PAUL STROUSE, ANDREW BOYLE. FASHION ASSISTANT: KYLE HAYES. HAIR ASSISTANT: NERO
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Curly Cues
The fact that bangs are back is not news. For several seasons, we’ve watched as models went for supershort Amélie styles and actresses adopted heavy Jane Birkin drapes. But short or long, bangs have always played it stick straight—until now, anyway. At the fall shows, top catwalkers made waves with their loose, brow-grazing fringe. To create the softly coiled coif here, the stylist Romina Manenti added volume with Oribe Dry Texturizing Spray before finger-combing in a dab of Aquage Detailing Creme and defining the curls with a large-barrel iron. Varying the size of the sections, Manenti explains, keeps the locks from looking stiff and unnatural. “I was thinking of Jennifer Beals in Flashdance,” she says. What a feeling. jane larkworthy Tiffany & Co. earrings. Beauty note: Thanks to Dior Prestige La Crème, a vibrant complexion rounds out this curly look. For stores, prices, and more, go to Wmag.com/where-to-buy-october-2015.
Photograph by DIEGO UCHITEL Styled by SAM TRAINA
HAIR BY ROMINA MANENTI AT HOME AGENCY; MAKEUP BY LISA HOUGHTON FOR DIOR AT TIM HOWARD MANAGEMENT; MANICURE BY ERI HANDA FOR DIOR AT MAM-NYC. MODEL: ANTONINA PETKOVIC AT THE SOCIETY MANAGEMENT. DIGITAL TECHNICIAN: HUGO ARTURI. PHOTOGRAPHY ASSISTANTS: SEAN O’NEIL, BASIL FAUCHER. FASHION ASSISTANT: LINDY CORLEY
LOOK OF THE MONTH
JANE’S ADDICTION Sweet Charity If you ask me, we should be supporting the fight against breast cancer all year long—not just in October. But with the arrival of Breast Cancer Awareness Month comes a bounty of chic products that raise funds for the cause. (Read: guilt-free shopping.) This year, I’m most excited about two beauty-accessory hybrids: the Estée Lauder Evelyn Lauder and Elizabeth Hurley Dream Pink Collection (near right, $34, esteelauder.com), three mini-lipsticks in a pink bag, and a Lisa Hoffman rose quartz–accented necklace, which has tiny beads imbued with her fragrances (above, right, $65, lisahoffmanbeauty.com). Of the seven scents, I recommend her beachy white floral, Kerala Ashok Garden.
Hot Chocolate
Serge Normant cuts my tresses, but he’s not the only guy in my hair’s life. I’ve long adored the Paris colorist Christophe Robin for his masks and shampoos, and now I’ve fallen for his Regenerating Hair Finish Lotion (below, right, $48, sephora.com), which uses hibiscus vinegar to remove residue from the scalp and hydrate color-treated locks. I also can’t do without Kevin Murphy Free Hold Styling Creme (below, bottom, $25, kevinmurphy.com.au), which keeps flyaways at bay with carnauba wax and yerba mate. And then there’s hair guru Michael Gordon (founder of Bumble and bumble), whose Isle of Roses Rose Hair Oil (below, $50, isleofrosesnyc.com) is my new secret weapon. “Most people don’t wash their hair every day,” Gordon says. “Using an oil this light freshens up that five-day-old blowout.” Five-day-old blowout? Moi?!
Great Taste WHAT W’S BEAUTY DIRECTOR, JANE LARKWORTHY, IS HOOKED ON THIS MONTH. On the Menu Everyone’s a foodie these days, including, it seems, perfumers. The list of notes in these new scents reads like the offerings at a farm-to-table restaurant (at right, from left): Bulgari Au Thé Bleu ($160, bulgari.com): Oolong tea dominates this gender-neutral scent, which gets its herbal quality from lavender and shiso leaves. Jimmy Choo Illicit ($112, macys.com): Ginger and bitter orange add a kick to this honey-amber concoction. Marc Jacobs Decadence ($120, sephora.com): Perfumer Annie Buzantian relied on juicy Italian plum to give this scent its come-hither quality. Iris, Bulgarian rose, and liquid amber also make the ingredients list. Burberry My Burberry Eau de Toilette ($98, us.burberry.com): Peach and lemon flowers lend fruity brightness to a sophisticated sweet pea–and-peony brew. Comme des Garçons Floriental ($130, newyork .doverstreetmarket.com): Plum liqueur pops up in this resiny blend, joined by pink pepper, vetiver, and labdanum.
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Green Goddesses I loved the hip music-fest vibe of the Atelier Versace fall 2015 show, which extended to the carefree hair and makeup (right). Pat McGrath used generous amounts of pale moss shadow that, from certain angles, gave the models a glint in their eyes, and Guido Palau adorned their natural waves with crowns of leaves. Time to book Coachella!
STILL LIFES: TIM HOUT; ILLUSTRATION: SINE JENSEN; MANE MEN: SOLVE SUNDSBO; LARKWORTHY AND TOSI: COURTESY OF LARKWORTHY; GREEN GODDESS: INDIGITAL
My Mane Men
When it came time to introduce their new Cocoa Body Exfoliant (below, $45, fresh.com), the folks at Fresh had a wickedly delicious idea. They got Milk Bar chef Christina Tosi (left), aka the creator of the Compost Cookie and Cereal Milk ice cream, to teach some very lucky beauty editors how to make her famous chocolate malt cake truffles. Now every time I use the scrub, my stomach starts to growl.
Glam Rocks
STEFFIE NELSON GOES DEEP INTO THE LATEST CRYSTAL CRAZE.
EVERY FRIDAY NIGHT, A GROUP OF LOCAL ARTISTS, CHEFS,
screenwriters, fashion designers, and indie celebrities like the French singer Soko file into the Sweat Spot, a dance studio in the Silver Lake neighborhood of Los Angeles, for a crystal meditation session. As they enter, Mark Phillips, the co-owner of the nearby crystal shop Spellbound Sky, offers each person a stone, the properties of which will dictate the evening’s theme—anything from developing self-love, with rhodochrosite, to transforming negative energies, with black tourmaline. Phillips originally held these events in his vine-covered storefront, but the space quickly proved insufficient. “We were sending people away,” he recalls. The Sweat Spot’s owner, the choreographer Ryan Heffington, is a friend and customer. So far, nobody’s been shut out, but major astrological occurrences, like a recent lunar eclipse, do tend to pack the house. Of course, crystals are not an unfamiliar accessory in “Hollyweird.” When Stevie Nicks drawled seductively about seeing “crystal visions” in Fleetwood Mac’s 1977 hit “Dreams,” she helped inspire the L.A. stereotype of a New Age witchy woman who speaks in affirmations and always has a cleansing quartz on
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hand, as if it were a bottle of Purell. Today, however, a fresh crop of healers, gallerists, designers, and collectors are making crystals stylistically, if not socially, acceptable. The jewelry designer Adina Mills works out of a studio in Landers, a community in the Mojave Desert, where she has been crafting her chunky geode cocktail rings and crystal-wand power pendants for years. Her unique sculptural pieces are sold at chic boutiques like Roseark, in West Hollywood, and Maryam Nassir Zadeh, in New York, and she counts Lena Dunham among her fans. Many modern practitioners, like Phillips and his partner, Martin Anguiano, who opened Spellbound Sky after leaving the fashion industry as designers for brands like Guess and Nu Collective (which may account for their stylish clientele, including Alexa Chung, Cara Delevingne, and Nicola Formichetti), were “reborn” as crystal healers, and have found that Los Angeles embraces reinvention. Then there’s Sameer Reddy, who had been a journalist in New York and Berlin before developing a healing modality that incorporates tarot, Reiki Tummo, and crystals. “I’d always felt like I should live in L.A.,” he says, noting the city’s cultural openness. Since March, he’s been happily ensconced in Laurel Canyon, where he sees clients in a jewel box– like treatment room on the top floor of his house. When Azalea Lee, a former wardrobe stylist, decided to make a line of metaphysical fine jewelry featuring one-of-a-kind gems, she took a handson healing course in Hawaii with Katrina Raphaell, whose trilogy of books on crystals is widely credited for instigating the 1980s boom. Last fall, Lee opened Place 8 Healing, an all-white aerie overlooking downtown L.A., where she sells rare crystals and conducts healings that she says can be surprisingly visual. An image of another time or place might very well be from a past-life encounter, she suggests matter-of-factly. (Indeed, Lee believes that her own knowledge of this “crystalline power” came from a former life in Atlantis.) “I can totally understand when people are like, ‘Where did you get this information?’ ” Lee says with a hearty laugh. “To me, if you can walk out feeling happier, who cares if it’s hippie-dippie woo-woo stuff?” Despite their New Agey–ness, stones have served as tools and talismans for millennia. Their medicinal use dates back to ancient Egypt, where lapis lazuli, malachite, and red jasper were thought to pull disease from the body. Turquoise is sacred to some Native Americans, for whom the “fallen sky stone” is a protector and aid, and the Chinese value jade for everything from blood purification to generating abundance. With more than 4,000 varieties, there is a mineral for every need, and Spellbound Sky encourages newbies to browse. “We want everybody to get in on the energy,” Phillips says. And while the current market has created a niche for “crystal curators” who put a premium on size and provenance, Spellbound’s Anguiano points out that small crystals—many priced at $5 or less—are perfect for meditation or carrying with you “to access the energy at all times.” It doesn’t seem likely that Apple will be offering an amazonite-studded watch anytime soon or, for that matter, a How Is My Energy? app. But Elder Statesman creative director and CEO Greg Chait might have had the right idea when he slipped tiny moonstones and fluorites into his last holiday collection “just to see what would happen.” Chait doesn’t wear his spirituality on his sleeve, but his quartz-dotted boutique in West Hollywood reveals a man who knows his way around a gem show. “What I like about it all,” he says, “is you can’t prove that it doesn’t work.”
Photograph by HORACIO SALINAS
HAIR AND MAKEUP BY TINNA EMPERA FOR CLOUTIER REMIX; MODEL: ANNA NEVALA AT NEW YORK MODEL MANAGEMENT; CRYSTALS FROM SPECIES BY THE THOUSANDS
HEAL THYSELF
I
n the world of W, being royal is about accomplishment, creativity, and a certain flair. It is an earned title rather than an accident of birth; a pedigree born of talent, hard work, and charisma. For our second annual Royals issue, we have brought together a cast that shines in the intertwined fields of Hollywood, society, music, and fashion. In each category, we’ve crowned a classic and a new Royal: two people at different points in their lives who embrace the same standard of greatness and originality in their area of expertise. This year we salute Julianne Moore, who won the best actress Oscar for Still Alice, an independent film about a woman with early-onset Alzheimer’s disease. Like Moore, who will star as a lesbian cop determined to defend her relationship with her longtime partner in Freeheld this fall, Greta Gerwig, our new indiecinema Royal, has consistently played the kinds of complex parts that only exist outside the Hollywood mainstream. From her early days as the leading lady of mumblecore to Mistress America, in which she appears as a motormouth eccentric, Gerwig is a passionate advocate for onscreen reinvention. Similarly, Claire Danes has become the standard bearer for excellence in television. Her riveting work on Homeland has opened the door for new Royals like Allison Williams, who is both infuriating and compelling on HBO’s Girls. And while horror, as a genre, has long been marginalized as camp, Halloween heroine Jamie Lee Curtis and, now, Maika Monroe, of It Follows, have elevated the form with their inspired performances. For the first time, we decided to invite men to the Royals party—chief among them, Benicio Del Toro, who won an Oscar in 2001 and is having a comeback of sorts with the thriller Sicario. And then there’s Adam Driver, who in December will wield a light saber as the dark Kylo Ren in Star Wars: The Force Awakens. Driver and Del Toro bring something enigmatic and challenging to every role. On the fashion front, you can’t get more royal than the models Iman and Jourdan Dunn or the designer Anna Sui. Iman has the carriage of an ancient goddess, and Sui has always stayed true to her eclectic, time-traveling sense of style. Meanwhile, the designer Shayne Oliver of Hood by Air has a sartorial philosophy that questions every preconceived notion of gender. Like true royalty, he doesn’t concern himself with any dictates but his own. Great talent knows no boundaries: The singer Mary J. Blige may be the first Royal from Yonkers, New York, and the singer Jillian Harvey named her band Lion Babe after a trip to South Africa. Representing Houston is Lynn Wyatt, a woman whose social standing is undeniably global—as is that of the fashion maven Indre Rockefeller, who is launching her own lifestyle brand next year. As Wyatt rightly points out, “The mirror never lies. If you have character, it will always come through.” By our definition, character is the essence of royalty. These 16 individuals vividly illustrate what is possible when personality and passion come together. »
THE ROYALS INDIE QUEEN, POP PRINCESS, SOCIETY DOYENNE… LONG MAY THESE RULE BREAKERS REIGN. BY LYNN HIRSCHBERG PHOTOGRAPHS BY INEZ AND VINOODH STYLED BY EDWARD ENNINFUL
ALLISON WILLIAMS NEW ROYALTY: TELEVISION
“I might be the one who has the most sex on Girls. I’m like an old pro now. These actors come on the show and they’ve never had sex scenes, and I’m like, ‘I’ll take care of you, honey. I’ll treat you right.’ It’s weirdly easy at this point: Maybe I should be in 24-hour therapy, working on what real love is and what simulated love is.” Louis Vuitton jacket and sweater; Fernando Jorge ring. Hair by James Pecis for Oribe; makeup by Yadim for Maybelline.
CLAIRE DANES CLASSIC ROYALTY: TELEVISION
“My parents had no concern about my psychic well-being, and they subjected me to every- and anything in the culture. When I was a teenager, I went to the premiere of Showgirls with my mother. It doesn’t get more inappropriate than t h a t , b u t I s u r v ive d . I d o t h i n k t h e re ’ s something to be said for letting kids decide what they’re ready for and what they aren’t.” Burberry Prorsum dress; Elena Votsi necklace; Cartier bracelet. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: Dew it up with Lancôme Trésor Perfumed Body Cream.
IMAN CLASSIC ROYALTY: MODELING
“When I came to the United States, everyone thought I was Somali royalty. They said, ‘She’s a princess,’ and all that. On my second day here, I met Diana Vreeland, and she looked at my earlobes. ‘I’ve never seen such small earlobes,’ she said. ‘Those are the sign of royalty.’ That stuck with me.” Halston Heritage gown; (from top) Van Cleef & Arpels ring from FD Gallery, New York; H. Stern ring; Custom Fabric Flowers by M&S Schmalberg rose flowers. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: Treat a wild mane to David Mallett Hair Serum.
JOURDAN DUNN NEW ROYALTY: MODELING
“I was signed as a model when I was 14, and I didn’t know how to walk in heels. M y m o m b o u g ht m e t h e s e k i n d of stripper heels and said, ‘If you can walk in these, you can walk in anything.’ I practiced in my house while doing the dishes so I’d learn to be stable, but, truthfully, I never really learned.” Emilio Pucci gown; Lisa Eisner Jewelry choker, cuff, and ring. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: Grin and bare it with Maybelline Color Sensational the Buffs lipstick in Truffle Tease.
BENICIO DEL TORO CLASSIC ROYALTY: FILM
“Winning an Oscar is almost like a memory before it happens. It’s like real time moving really, really fast. It’s a great honor, but it’s a bizarre experience. It’s sort of like a beautiful s we a te r t h a t i t c h e s a l i t t l e b i t . ” Boss suit, shirt, and tie; Thomas Pink pocket square. Hair by Didier Malige; grooming by Yadim for Maybelline.
ADAM DRIVER NEW ROYALTY: FILM
“I loved being in the Marine Corps. I was there for a little over two years, and I wanted t o s t a y l o n g e r, b u t I g o t injured. So I came to New York and auditioned for Juilliard. It was very hard to explain my time at Juilliard to my Marine buddies: ‘Yeah, I wear pajamas all the time, and we give birth to ou rs elves. ’ It was h a rd to justify what we do as actors.” Frame Denim jeans; Gucci belt; Rolex watch from Fourtané, Carmel-by-the-Sea, California; Christian Louboutin boots; Driver’s own ring. Hair by James Pecis for Oribe; grooming by Jeanine Lobell for Dior at Tim Howard Management.
INDRE ROCKEFELLER NEW ROYALTY: SOCIETY
“ I wa s a p r o f e s s i o n a l b a l l e t d a n c e r b e fo r e I wo r ke d i n f a s h i o n , a n d I a lways re m e m b e r t h e m o m e n t t h a t the costumes would come out and we would be transformed. I grew up with costume ateliers being the most magical p l a c e s . I w o u l d g e t s we p t u p i n t h e romance of that make-believe world.” Delpozo dress; earrings from FD Gallery, New York; Van Cleef & Arpels bracelet from FD Gallery, New York; (right hand) David Webb ring; Aquazzura shoes; Rockefeller’s own ring (left hand). Hair by Didier Malige; makeup by Yadim for Maybelline. Beauty note: Eyes go disco with Chanel Les 4 Ombres Eyeshadow in Tissé Jazz.
LYNN WYATT CLASSIC ROYALTY: SOCIETY
“ M y favo r i te wo rd i s ‘ yo u ng . ’ I t h i n k yo u h ave to t r i ck t h e b o dy i nto d o i ng dif ferent things, otherwise it ages. So I took tae kwon do and became a black b e l t f i rst d e g re e wh e n I wa s 6 0 . W h e n they put the belt around me, I burst into te a rs . I t wa s t h e h a rd e st te st I ’ ve eve r t a ke n . M y n e x t c h a l l e n g e i s b ox i n g . ” Chanel pullover; Verdura ear clips; (from top) David Yurman ring, Bulgari ring. Hair by Didier Malige; makeup by Yadim for Maybelline.
GRETA GERWIG NEW ROYALTY: INDEPENDENT FILM
“ Whe n I was you ng, I was i nte rested i n ba llet , s o royalty to me was Gels ey Ki rkla nd a nd M i kh a i l Baryshnikov in Th e Nu tc ra cker. I ta ped it of f t he television and watched it over and over. Baryshnikov would lift her and throw her in the air, and it looked like she was going to float away. Gelsey had that big ’70s eye makeup, and it turned out that she was really sick and had a cocaine addiction. But I didn’t know that then. I just thought she was beautiful.” Luisa Beccaria dress; necklace from Stephen Russell, New York. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: For next-level lips, try Giorgio Armani Beauty Ecstasy Lacquer in Four Hundred.
JULIANNE MOORE CLASSIC ROYALTY: INDEPENDENT FILM
“To me, Tom Ford is royalty. I met him when I was nominated for an Oscar. I’d ju st had my son, Cal, and I had really big boobs and I didn’t feel like myself. Tom made me a beautiful dress, but I didn’t wear it because I felt like my boobs were too big. He didn’t care, and we’ve been friends ever since.” Burberry Prorsum dress; David Webb necklace. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: Put fire in your eyes with L’Oréal Paris Infallible Smokissme Powder Eyeliner Pen in Taupe Smoke.
ANNA SUI CLASSIC ROYALTY: FASHION
“ Fa s h i o n roya l t y i s A n i t a Pa l l e n b e rg and Keith Richards. Every collection I do, no matter if it’s folkloric or preppy, I’m always thinking, Is this cool enough for Ke ith a nd A n ita ? W he neve r I h ave s p a re t i m e , I s e a rch t h e I n te r n et for new pictures of them. Recently, I saw a photo taken in the ’70s in a nightclub in Rome, and she had on an outfit I’d never s een before. It was fa ntast i c. T h at one outfit could inspire a n e nt i re s e as on . ” Sui’s own Anna Sui clothing and own jewelry. Hair by Didier Malige; makeup by Yadim for Maybelline.
SHAYNE OLIVER NEW ROYALTY: FASHION
“ D e s i g n -wi s e , I d o n ’ t h ave a ny boundaries when it comes to gender. My friends wear bras—and they ’re men. Men’s wear is not glamorous, and women’s wear is, so why not mix the two together? W hen men wear my clothes, they say, ‘I can rock a d ress a nd st i l l feel h a nds ome. ’ O nce you get t h at vi b e goi ng, t he style just falls into place naturally.” Hood by Air blazer, pants, and boots; Stetson hat; Chloé sunglasses; De Beers earrings; David Yurman cuff; (right hand) David Webb ring; Oliver’s own necklace, chain bracelet, and ring (left hand). Hair by James Pecis for Oribe; grooming by Yadim for Maybelline.
MAIKA MONROE NEW ROYALTY: HORROR
“ I n It Follows , I pl ay a g i rl who h as a d e mon t h at she t ra n s fe rs du r i ng s ex . T he movie has wre a ked h avo c on my rom a nti c l ife. No b oys h ave talked to me since. Now when I start d at i ng s omeon e, I tel l t h e m , ‘ Yo u don’t need to see that movie. It’s fine.’ ” McQ jacket; Saint Laurent by Hedi Slimane dresses; Dolce & Gabbana earrings. Hair by James Pecis for Oribe; makeup by Jeanine Lobell for Dior at Tim Howard Management. Beauty note: Liven up cheeks with Clé de Peau Beauté Powder Blush Duo in Cherry Blossom.
JAMIE LEE CURTIS CLASSIC ROYALTY: HORROR
“I auditioned for Halloween many times in a ve r y s m a l l of f i ce wit h Joh n Ca r p e nte r. I ’ m su re h avi ng t he d aughte r of Ja net Leigh, the star of Psycho, as the lead brought some attention to the film. Actually, I’ve never seen Psycho all the way through. I am p ro b a b l y t h e wo r s t p e r s o n t o wa t c h anything scary with—I require knowing everything that’s about to happen, and when it’s going to happen. I scare easily.” Brock Collection coat; Kiki de Montparnasse camisole; Graff earrings, and ring (in mouth); Black, Starr & Frost bracelet. Hair by James Pecis for Oribe; makeup by Yadim for Maybelline.
“The first thing I recorded was an audition tape made in a karaoke booth at the Galleria mall, in Westchester. I sang ‘Caught Up in the Rapture,’ t h e Anita Baker hit. I wasn’t nervous; I had sung that song in front of the mirror over and over. I sent the tape to on ly one p erson : A ndre H a rrell at Uptown Records. He heard it, came t o my h o u s e i n Yo n ke r s , a n d s a i d h e wa n te d to m a ke m e a st a r. ” Marc Jacobs gown; Diane von Furstenberg by H. Stern earrings. Hair by Kim Kimble for K2 Beauty at Celestineagency.com; makeup by D’Andre Michael for U.G.L.Y. Girl Cosmetics. Beauty note: Give lashes some heft with Clinique Chubby Lash Fattening Mascara.
CREATIVE MOVEMENT DIRECTOR: STEPHEN GALLOWAY. MANICURES BY DARIA HARDEMAN FOR DEBORAH LIPPMANN. ALLISON WILLIAMS AND MAIKA MONROE’S WIG COLOR BY RACHEL BODT AT HOME AGENCY; PRODUCTION BY THE COLLECTIVE
MARY J. BLIGE CLASSIC ROYALTY: MUSIC
SHIFT AND JEFF LEPINE. STUDIO MANAGER: MARC KROOP. LIGHTING DIRECTOR: JODOKUS DRIESSEN. DIGITAL TECHNICIAN: BRIAN ANDERSON. PHOTOGRAPHY ASSISTANT: JOE HUME. FASHION ASSISTANTS: RYANN FOULKE, DENA GIANNINI
JILLIAN HERVEY NEW ROYALTY: MUSIC
“The f irst record I bought with my own money was Lauryn Hill’s T h e M i s ed u cat i o n of L a u r y n H i l l . I listened to it every day, and I would sing it in the shower. No one ever told me I should be a singer. I knew I loved singing, but it was my secret for a long time. For years, I stuck to the shower.” Zac Posen jacket and skirt; H. Stern earrings; Fernando Jorge ring; Falke tights; Emilio Pucci pumps. Hair by James Pecis for Oribe; makeup by Yadim for Maybelline. For stores, prices, and more, go to Wmag.com/where-to-buy-october-2015.
When in Rome
The iconic sites. The epic couture. It all can go straight to a girl’s head. Photographs by Inez and Vinoodh Styled by Edward Enninful Chanel Haute Couture dress; Eloise Corr Danch headpiece (throughout); Chanel Fine Jewelry earrings, cuff, and ring; stylist’s own gloves (throughout).
Dior Haute Couture dress and necklace; Dior Fine Jewelry rings. Beauty note: Colossal curls start with Julien Farel Magnifique Fortifying Serum.
Giambattista Valli Haute Couture gown and shoes; De Beers bracelet and rings. Beauty note: For statuesque limbs, try Becca Luminous Body Perfecting Mousse.
Valentino Haute Couture gown; Buccellati necklace, bracelet, and ring. Beauty note: Eyes pierce the dark with Yves Saint Laurent Couture Kajal in Noir Ardent.
Giorgio Armani PrivĂŠ dress; Chopard earrings; Pasquale Bruni necklace; Verdura bracelets; (from top) Munnu the Gem Palace ring, Chopard ring. Beauty note: Get shoulders as smooth as marble with Caress Daily Silk Silkening Body Wash.
Fendi Couture cape; Elie Saab Haute Couture gown; Giampiero Bodino earrings; David Webb ring. Beauty note: Who needs a fountain of youth when there’s Make Up for Ever Ultra HD Invisible Cover Stick Foundation?
Hair by James Pecis at D+V Management, makeup by Lisa Butler for Make Up for Ever at the Collective Shift, manicure by Isabella Avenali. Model: Edie Campbell at DNA Model Management.
PRODUCTION BY THE COLLECTIVE SHIFT. LOCAL PRODUCTION BY MM PRODUCTIONS. STUDIO MANAGER: MARC KROOP. STUDIO PRODUCER: JEFF LEPINE. LIGHTING DIRECTOR: JODOKUS DRIESSEN. DIGITAL TECHNICIAN: BRIAN ANDERSON. PHOTOGRAPHY ASSISTANT: JOE HUME. FASHION ASSISTANTS: RYANN FOULKE, DENA GIANNINI. HAIR ASSISTANT: SARAH PALMER
Schiaparelli Haute Couture dress; Bulgari necklace; Vhernier ring. For stores, prices, and more, go to Wmag.com/ where-to-buy-october-2015.
PHOTOGRAPHY ASSISTANTS: CLEMENT VAYSSIERES, VICTOR PICON
Diana Widmaier-Picasso, at the Picasso Museum in Paris. Behind her is Pablo Picasso’s Reclining Nude, 1967. “Right now it’s my favorite of all of his works,” she says. “The scale is just so overwhelming, and you don’t really know if it’s a man, a woman, an animal or a human form. It’s so erotic. The presence is so strong that it just makes me feel like Picasso’s still alive.”
Picasso Baby
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IN A NEW SHOW IN PARIS AND AN UPCOMING NOVEL, PABLO PICASSO’S GRANDDAUGHTER IS EXPLORING HIS LEGACY FROM ALL ANGLES. DIANE SOLWAY MEETS DIANA WIDMAIER-PICASSO. PHOTOGRAPHS BY FRANCOIS HALARD
n 2007, Diana Widmaier-Picasso was asleep at home in Paris when she and her thenboyfriend, the fashion photographer Gilles Bensimon, were awakened by strange noises. Bensimon went downstairs to investigate and found nothing out of place, so the couple went back to bed. The next morning, they discovered that thieves had made off with several works by Diana’s grandfather, Pablo Picasso. Among the missing pieces were Maya With Doll, an iconic childhood portrait from 1938 of Diana’s mother, who is the daughter of Picasso and his mistress and muse Marie-Thérèse Walter. The burglars were apprehended six months later, by which time Widmaier-Picasso had learned that she’d been robbed by the best art thief known to the French authorities. “The one in charge was called Goldfinger,” she told me recently in Paris, laughing at the absurdity of the moniker. When she relayed the drama to Woody Allen this past spring at Larry Gagosian’s birthday party in New York, she recalls, Allen was so amused by the anecdote “that afterward people were asking me, ‘How did you get Woody Allen to laugh like that?’ ” Allen knows a great story when he hears one—the burglary and its aftermath are, in fact, the subject of Widmaier-Picasso’s first novel, to be published by Simon & Schuster next year. “It’s a thriller about the recovery of works by a major artist who happens to be my grandfather,” she says. “So it’s personal.” That’s not surprising: Perhaps inevitably, the personal and professional have long been inextricably linked in Widmaier-Picasso’s life. A Sorbonne-educated art historian who specialized in Old Master drawings at the start of her career, she has spent the past 12 years compiling the first complete scholarly inventory of her grandfather’s 2,000 sculptures. She never met him—the modern master died in 1973, the year before she was born—but to understand his process, she’s been trying to get inside his head. She expects to publish the first of a projected four volumes in the next two years. At the moment, however, Widmaier-Picasso is focused on “Picasso.mania,” a sweeping survey of her grandfather’s impact on contemporary artists that she’s co-curating with Didier Ottinger, the chief curator and assistant director of the Pompidou Center, and the Picasso Museum’s Emilie Bouvard. Opening this month at the Grand Palais in Paris, it will be the most wide-ranging museum exhibition to present works by Picasso in tandem with sculptures, films, paintings, and installations made by contemporary artists he inspired. Widmaier-Picasso helped secure many of the key loans, which include pieces belonging to her mother and other family members, as well as others from private collections and the holdings of the Pompidou and the Picasso Museum in Paris. Of the 414 works, 101 are by Picasso; the rest are by Jasper Johns, Georg Baselitz, Thomas Houseago, and Frank Stella, and many others, a number of whom Widmaier-Picasso interviewed for a series of films that will open the show. It is highly unusual in France for a family member to help curate a major show of an artist’s oeuvre, Ottinger notes, and it’s a testament to Widmaier-Picasso’s hard-won scholarly chops. “She could ride on the name in her passport, but she doesn’t,” he says. “She’s a real art historian. She does the work.” “In our family, you cannot escape Pablo Picasso,” notes Widmaier-Picasso’s brother, Olivier, a TV producer whose Picasso, Birth of the Icon, about his grandfather’s popular image, will air on French TV on October 25, the artist’s birthday. “But Diana has learned to live with him in an interesting way. She’s found her niche. This exhibition was not gifted to her; she had to prove she was able to do it.” »
Clockwise, from top: Pablo Picasso and his daughter Maya, on the Côte d’Azur, 1952; Picasso and Maya, in Paris, 1944; Picasso’s Bust of a Woman (Marie-Thérèse), 1931; Diana Widmaier-Picasso’s grandmother, Marie-Thérèse Walter, photographed by Pablo Picasso, 1930; WidmaierPicasso, at home in Paris; Picasso’s Maya With Doll, 1938.
Finding that niche was perhaps easier for her because she is not freighted with the dramas that afflicted her mother’s generation; Picasso had four children (three out of wedlock) by three different women who famously competed for his affection. “For any family that has to deal with patrimony, it’s complicated,” says Widmaier-Picasso, who is one of seven grandchildren. “But when works of art reflect the history of the family, it’s particularly difficult. I’m another generation. I never met him. I didn’t suffer from the trauma, so I like to focus on research and on the future of these works.” Despite her academic focus, Widmaier-Picasso, 41, hardly leads a hermetic life. On a sultry day in July, we’re sitting in her sprawling light-filled apartment in Paris’s 7th arrondissement with its panoramic views of Les Invalides and the Grand Palais. Though she bought the place three years ago, she is only just getting around to furnishing it with midcentury and modern classics by Pierre Paulin and Maria Pergay, and her collections of art books, prehistoric stones, and antiquities. For now, the walls are bare, save for a drawing given to her by her friend George Condo that is set on the floor. Two nights before she’d hosted a Bastille Day fete so friends like the jewelry designer Aurélie Bidermann could watch the fireworks exploding over the Eiffel Tower from her living room. Settled on a chic mocha wool and silk sofa, a nude pleated Azzedine Alaïa dress hugging her buxom curves, WidmaierPicasso is a study in monochrome, save for the pop of blood orange polish on her nails. The famously shy Alaïa is one of her closest friends, and she’s just back from the opening of his “Couture/Sculpture” exhibition at Rome’s Villa Borghese. “He’s one of the few designers who does everything with his own hands,” she says admiringly. “He’s an artist originally, you know.” Soon, she would be heading to Li Galli, the trio of islands off Positano once owned by Rudolf Nureyev, and to Ibiza and Mallorca. She has a beach house in the Hamptons, near her friend the artist Cindy Sherman’s. In New York, where she spends most of her time, she’s renovating a townhouse in Gramercy Park and is a fixture on the art world circuit, frequently hosting informal opening soirees. “She has a terrific sense of humor,” says Gagosian, who sees her regularly and financed her filmed interviews for “Picasso.mania.” “But when she’s working or trying to get me to do something, she’s extremely serious and relentless. It’s like she has two personalities.” The two met in 2003, when Widmaier-Picasso co-curated a show of Picasso’s sculptures at Gagosian’s uptown New York gallery, which represents the collections of several members of the Picasso family. In 2011, together with the Picasso biographer John Richardson, Widmaier-Picasso followed up with “Picasso and Marie-Thérèse: L’Amour Fou,” a revelatory exhibition she conceived about her grandparents’ relationship. Another close friend, the powerhouse Creative Artists Agency partner and art collector Beth Swofford, with whom Widmaier-Picasso serves on the board of MoMA PS1, describes her as “an intellectual who can dance.” Those meeting Widmaier-Picasso for the first time are struck by her resemblance to her grandfather. Picasso’s former intimates, however, tell her she looks like her grandmother, the fleshy catalyst for many of his groundbreaking sculptures and “juiciest paintings,” as the critic Jerry Saltz put it. Picasso was 45 and unhappily married to the former Ballets Russes dancer Olga Khokhlova when he spotted 17-year-old Marie-Thérèse Walter outside a Paris department store in 1927. She had no idea who he was. For the next 14 years, they carried on a passionate liaison in secret because Picasso’s wife refused him a divorce, even after Marie-Thérèse gave birth to Maya in 1935. As it happens, Maya is the topic of conversation when I arrive at her daughter’s apartment. Earlier in the day, the family had formally announced the launch of the Maya Picasso Foundation for Arts Education at 7 Rue des Grands-Augustins, where the Andalusian-born Picasso made his antiwar
PABLO AND MAYA PICASSO ON THE COTE D’AZUR AND IN PARIS, AND MARIE-THERESE: COURTESY OF MAYA WIDMAIER-PICASSO ARCHIVE; MAYA WITH DOLL: 2015 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS)/COURTESY OF MAYA PICASSO; UNTITLED (PICASSO): COLLECTION PARTICULIERE/COURTESY MAURIZIO CATTELAN’S ARCHIVE AND GALERIE PERROTIN; BABY: COLLECTION FRANCOIS PINAULT/ADAGP, PARIS 2015; HARLEQUIN: COLLECTION OF DAVID HOCKNEY © DAVID HOCKNEY; THE ORGY: GALERIE ANDREA CARATSCH, ZURICH, SUISSE/ADAGP, PARIS 2015; PODRIA PRESTARTE ALGO, PERO EN ESO NO TE HARIA NINGUN FAVOR, GALERIA LEYENDECKER, SANTA CRUZ DE TENERIFE: COURTESY OF GALERIE GISELA CAPITAIN/ESTATE OF MARTIN KIPPENBERGER, GALERIE GISELA CAPITAIN, COLOGNE
The resemblance to her grandfather is striking, but Picasso intimates say she looks like her grandmother, the fleshy catalyst for many of his juiciest works. masterpiece Guernica, in 1937. The building is owned by the city, which has agreed to let the foundation re-create Picasso’s studio in its original top-floor space. It will be accessible to art historians and artists, as will Maya’s rich archive of notebooks, sketches, and documents relating to her father’s output, along with her parents’ love letters and photographs. “It’s very charged for me,” Widmaier-Picasso says of the announcement. “My mother is so full of stories about seeing her father work there. He made a lot of drawings and paintings of her as a child. In the portraits, you can’t really tell if it’s her or her mother or her father; sometimes it’s all of them at the same time.” Unlike her mother, Widmaier-Picasso grew up in a home with siblings and two parents. They lived in Marseille and moved to Paris when Diana was 7. Her father, Pierre Widmaier, a former officer in the French navy, worked as a cruise ship captain and spent his free time sailing. Her mother was preoccupied with the settling of Picasso’s estate (he left no will) and with organizing exhibitions of her own collection. “There was a lot of confusion,” WidmaierPicasso says. “I needed to find my own world.” She studied music, theater, and then drawing, after a Sunday painter she was observing at the Louvre agreed to teach her how to copy Old Masters. Eventually she got master’s degrees in law and art history and went on to work in the Old Master drawings department of New York’s Metropolitan Museum of Art and at Sotheby’s in London and Paris. Over the years, she had watched her mother authenticate thousands of Picassos. Hearing Maya lament one day about the lack of reliable documentation for the Vollard casts—those ordered by Picasso’s dealer Ambroise Vollard, who never numbered or stamped the bronze sculptures— Widmaier-Picasso recognized that more thorough research needed to be done. Soon she was tracking down Picasso’s former models and unlocking the workings of his French foundries and the craftsmen who had aided him. Her resulting catalogue raisonné will represent an official and comprehensive history of his sculptures. As with any such document, it can help drive the artist’s market once it’s established precisely how many casts were made from an edition, and who owns them.
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idmaier-Picasso’s love affair with contemporary art was precipitated by her move to New York in late 2007 to live with Bensimon. When they broke up after two years, she resumed a relationship with an earlier paramour, David Thomson, the eccentric scion of Canada’s wealthiest family. “He was very important in my life, an intense person and remarkable collector,” she recalls of Thomson, who owns one of the finest troves of Old Master drawings and works by the British painter John Constable. But there were complications the second time around. He lived in Toronto and had four children by three different women. “His life was busy,” she adds with a laugh. In New York, her association with MoMA PS1 and its director, Klaus Biesenbach, gave her the kind of exposure to living artists she hadn’t known in Paris—and the opportunity to discover startling connections between modern and contemporary art. Biesenbach points to what he calls her “encyclopedic curiosity” about artists. “Diana wants to meet them all—and she gets answers out of people.” She soon began to add pieces by the likes of David Ostrowski, Sherman, and Condo to a personal collection that includes rare Old Master drawings and a few Picassos, purchased from dealers. She owns a bust and a drawing of her grandmother, a surreal plaster sculpture of an eye, and—her favorite—a bronze cast of Picasso’s left hand that belonged to her grandmother, who committed suicide four years
Picasso’s influence on contemporary artists, as seen in selected works from “Picasso.mania,” clockwise, from top, left: Maurizio Cattelan’s Untitled (Picasso), 1998; a poster for Martin Kippenberger’s exhibition “Podría Prestarte Algo, Pero en Eso No Te Haría Ningún Favor,” in Santa Cruz de Tenerife, Spain, 1985; George Condo’s The Orgy, 2004; David Hockney’s Harlequin, 1980; Thomas Houseago’s Baby, 2009–2010.
after Picasso died, in 1973. “His hand is so much smaller than I expected,” Widmaier-Picasso tells me. Its reach, however, continues to be gargantuan. Picasso is currently enjoying yet another moment: His 1955 painting Women of Algiers (Version 0) set an auction record when it sold for $179.4 million at Christie’s in May. On September 14, the Museum of Modern Art opened the first U.S. exhibition in 50 years devoted to Picasso’s sculpture, for which Widmaier-Picasso secured major loans and helped establish a precise chronology of Picasso’s work. She hopes her own “Picasso.mania” show will permit viewers to hit the refresh button on their ideas about Picasso, allowing them to see his contributions through the eyes of contemporary artists. Of those included, some—like Maurizio Cattelan and Jean-Michel Basquiat—were inspired by images of Picasso himself. Others, such as Johns, Frank Stella, and David Hockney, were informed by specific bodies of work: Hockney’s Polaroid montages riff on Cubism, and Johns’s 1985 series “The Seasons” alludes to two Picasso paintings: The Shadow, 1953, and Minotaur Moving His House, 1936. Visitors will exit through a wall crammed with “hystericized erotic paintings,” as Condo calls a series of works he made in the past 20 years, drawing on Picasso’s late period when, according to Condo, Picasso became obsessive on the subject of sex. Notes Widmaier-Picasso, “We thought it was the perfect finale.” Eroticism pulses in the room largely devoted to Pablo’s women at the Picasso Museum, where Widmaier-Picasso and I meet one afternoon. Standing next to Picasso’s phallus-nosed, monumental head of her grandmother, she describes the way the self-taught sculptor modeled the face of his lover in plaster and pushed the medium in new directions. “Everything is intertwined. The feelings, the touch and desire all gathered in a simple material— plaster,” she said. “It’s a new phase of his life, where he’s reinventing Cubism with round shapes, following the curves of Marie-Thérèse.” That day she had forgotten to arrange for a pass to the “family” museum— she usually visits when it’s closed—so she queued up to buy tickets. “And where are you from?” the woman at the register asked Diana. “Paris,” Diana answered in French, adding hastily, “and New York.” Then, turning to me, she said quietly, with a conspiratorial grin, “Also, Andalucía.”
WE ARE SUCH STUFF. AS DREAMS ARE MADE ON… THE HONORABLE DAPHNE GUINNESS STIRS UP A TEMPEST. PHOTOGRAPHED BY NICK KNIGHT STYLED BY SIMON FOXTON This page: Vivienne Westwood Gold Label corset. Opposite, top: Alberta Ferretti gown; Sorcha O’Raghallaigh headpiece. Middle: Daphne Guinness wears Giles jacket and dress. Alberta Ferretti gown. Bottom: Valentino gown; Philip Treacy London comb.
O BRAVE NEW WORLD, THAT HAS SUCH PEOPLE IN’T! This page: Moschino gown. Opposite: Gareth Pugh jacket; Alexander Wang skirt; L. Erickson comb; Roger Dubuis watch (throughout); Guinness’s own bustier, belt, bracelet, thigh-highs, and shoes.
HELL IS EMPTY. AND ALL THE DEVILS ARE HERE. This page, bottom, from left: Givenchy by Riccardo Tisci coat, shirt, and trousers. Givenchy Haute Couture by Riccardo Tisci dress, charm necklaces, and bracelet; Sorcha O’Raghallaigh crown; Alberto Juan antler necklace. Opposite, top: Rick Owens jacket and dress; Katarzyna Konieczka headpiece. Bottom: Balmain dress.
Alexander McQueen gown; Fred Butler rose. KTZ shirt (around waist) and collar (on him).
THIS THING OF DARKNESS I ACKNOWLEDGE MINE. This page, top: Craig Green trousers; Givenchy by Riccardo Tisci necklace. Bottom: Desi Santiago bodysuit, pants, and boots; David Samuel Menkes Custom Leatherwear collar. Opposite, top: Dsquared2 jacket and pants. Bottom: Hood by Air shirt and pants; Givenchy by Riccardo Tisci boots; Angels Costumes armored sleeve and gauntlet.
PHOTO CREDIT TK HERE PHOTO
OUR REVELS NOW ARE ENDED. THESE OUR ACTORS, AS I FORETOLD YOU, WERE ALL SPIRITS AND ARE MELTED INTO AIR… This page and opposite: L. Erickson comb; Guinness’s own cape and bodysuit. For stores, prices, and more, go to Wmag.com/where-to-buy-october-2015. Hair by Cyndia Harvey at Streeters; makeup by Isamaya Ffrench for Yves Saint Laurent Beauté at Streeters; IMMA/ MESS’s makeup and headpieces created by IMMA/MESS; manicures by Mike Pocock for MAC at Streeters. Models: the Honorable Daphne Guinness; IMMA/MESS; Mehdi Douache at 16MEN; Alex Farnworth at Select Model Management; Andreas Unruh; David Epstein; the Riddles. Set design by Andrew Tomlinson at Streeters.
PRODUCED BY GAINSBURY & WHITING PRODUCTIONS. DIGITAL TECHNICIAN: LAURA FALCONER. PHOTOGRAPHY ASSISTANTS: MARKN OGUE, BRITT LLOYD, GEORGE EYRES, ALEX BOARD. FASHION ASSISTANTS: RASHARN AGYEMANG, SUE-WEN QUEK, ALEX BLAGDEN. SET DESIGN ASSISTANTS: MARCUS THOMAS SHARP, MILO LIREN
WOW
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At Lancôme: 1. Julia Roberts, Isabella Rossellini, Lupita Nyong‘o, Penélope Cruz, Lily Collins, and Kate Winslet. 2.Petra Nemcova. 3.Lili Sumner, Anna Ewers, and Hanne Gabe Odiele. 4. Les Twins and Chrystèle Saint Louis Augustin. »
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Couture Week Fetes
Coinciding with the fall haute couture shows in Paris, Miu Miu created a one-night-only club to unveil a new perfume and its 2016 cruise collection. Buccellati toasted its Opera baubles the same night MAC and Giambattista Valli threw a Flower Obsession Ball to usher in their recent cosmetics collaboration. The next evening, Bulgari held cocktails for its Italian Gardens fine-jewelry pieces, while Lancôme rang in its 80th anniversary with a bash aptly dubbed the WOW Party.
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At Buccellati: 19.Anna Dello Russo, Maria Cristina Buccellati, and W’s Stefano Tonchi and Edward Enninful. 20. Elisa Sednaoui.
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12. Valery Kaufman, Giambattista Valli, and Julia Van Os. 13. Jessica Alba. 14.Marie-Ange Casta, Simon Buret, and Olivier Coursier. 15. Tina Leung, Hervé Van Der Straeten, and Susie Lau. At Bulgari: 16. A model. 17. Clotilde Courau. 18. Juliette Binoche, Amber Heard, and Michelle Rodriguez.
The Heat Is On
VANESSA LAWRENCE CHARTS THE RED-HOT GLOBAL PARTY SCENE.
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The Serpentine
Christopher Kane cohosted the annual Serpentine Summer Party in London, the centerpiece of which was the psychedelic SelgasCano-designed pavilion. 1. Spandau Ballet. 2. Hans Ulrich Obrist and Julia Peyton-Jones. 3. Kate Hudson. 4. Erdem Moralioglu and Erin O’Connor. 5. Sophie Hunter and Benedict Cumberbatch. 6. James Corden and Chiwetel Ejiofor. 7. Lara Stone, Poppy Delevingne, Christopher Kane, and Alexa Chung.
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LANCOME: 2. DAVID M. BENETT/DAVE BENETT/GETTY IMAGES, ALL OTHERS: COURTESY OF LANCOME; BUCCELLATI: COURTESY OF BUCCELLATI; MAC AND GIAMBATTISTA VALLI: COURTESY OF MAC AND GIAMBATTISTA VALLI; MIU MIU: 10. INSTAGRAM.COM/MAXIMSAP, ALL OTHERS: COURTESY OF MIU MIU; BULGARI: 18. COURTESY OF GETTY IMAGES, ALL OTHERS: DAVID ATLAN; THE SERPENTINE: COURTESY OF CHRISTOPHER KANE
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5. Elettra Wiedemann and a server. 6. Kylie Minogue performing. At Miu Miu: 7. Dianna Agron and Elizabeth Olsen. 8.Aymeline Valade. 9.Kate Moss, Franca Sozzani, and Marc Jacobs. 10.Daria Strokous. At MAC: 11.Naomi Campbell and Mark Ronson. »
Julia Roberts in Runaway Bride + ’70s Bianca Jagger + a Japanese kokeshi doll = Chanel’s wedding belle
FEELING HAUTE, HAUTE, HAUTE
THE COMBINATION OF HIGH AND LOW INFLUENCES MADE FOR A THRILLING COUTURE SEASON, SAYS ARMAND LIMNANDER.
Michelle Pfeiffer as Catwoman + a glass cake dome + Victor Vasarely’s 1960 Riu Kiu C = Fendi’s Op artiste
Iris Apfel + a hedgehog + a tinsel Christmas tree = Giambattista Valli’s glittery glamazon
Johnny Rotten + a peacock + Liza Minnelli = Armani Privé’s punk pixie
JEAN PAUL GAULTIER: CATWALKING/GETTY IMAGES; BLIND MELON’S BEE GIRL: COURTESY OF CAPITOL RECORDS; WINDMILL: MARA GALN/GETTY IMAGES; CHANEL: ANTONIO DE MORAES BARROS FILHO/WIREIMAGE/GETTY IMAGES; JAGGER: CONDÉ NAST ARCHIVE/CORBIS; DOLL: AMNACHPHOTO/GETTY IMAGES; RUNAWAY BRIDE: COURTESY OF PARAMOUNT PICTURES; FENDI: CATWALKING/GETTY IMAGES; CAKE DOME: COURTESY OF BRANDSMART USA; CATWOMAN: COURTESY OF WARNER BROS.; ARMANI PRIVE: CATWALKING/GETTY IMAGES; MINNELLI: RON GALELLA/WIREIMAGE/GETTY IMAGES; PEACOCK: RICK TAKAGI PHOTOGRAPHY/GETTY IMAGES; GIAMBATTISTA VALLI: DOMINIQUE CHARRIAU/WIREIMAGE/GETTY IMAGES; HEDGEHOG: CHRISTIAN ADAMS/GETTY IMAGES; TREE: COURTESY OF FACTORY DIRECT CRAFT; APFEL: JONATHAN LEIBSON/GETTY IMAGES; RIU KIU C: COURTESY OF THE ARTIST
INSPIRATION EQUATION A windmill + Blind Melon’s Bee Girl + a Wimbledon trophy = Jean Paul Gaultier’s buzzy babe