JOIE DE ENTRÉE VIVRE Karolina Kurkova
Vivienne Westwood Kiesza Georgia May Jagger Lake Bell Christian Louboutin Gabriella Crespi Oscar de la Renta Heston Blumenthal Odile Gilbert San Francisco’s secret societies
CONTENTS
Fashion, fame and friends… inside the mind—and wardrobe— of an heiress.
Daphne Guinness —122—
Isabelle Adjani —136—
Tony Duquette —146—
Kristin Scott Thomas —154—
SS15 Runway Report —172—
Jason Wu —189—
Monthly musings by international fashion critic, Contributing European Editor, Godfrey Deeny.
FRO N T ROW
169
Fashion Dispatch —171—
BE AU TÉ
225
The Prince of Pucci —192—
Haughty Couture —198—
Silver Linings —210—
Talk —228—
Beauty Brief —230—
Pass The Salt —232—
Burlesque beauty Dita von Teese channels B-grade glamour.
Lip Service —238—
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Autopsie Anatomique —244—
Beauty Dispatch —226—
The Edit —235—
Confidential: David Mallett —236—
D I REC TO RY
257
FINI —258—
Remembering
OSCAR With Oscar de la Renta’s death at age 82, an era ends, one where beauty, creativity and etiquette went hand in hand. How did a young Dominican become the most courted American fashion designer in the world, sought after by first ladies, socialites and movie stars?
WORDS
Patrick Cabasset
“A
garment should be reserved, not in conflict with the character of the person who wears it. Between clothing and personality, there must be an agreement,” said Oscar de la Renta in L’Officiel in 1984. He added: “(A woman) chooses one designer rather than another because between them and her, there is a resemblance somewhere, a secret complicity.” Far from listening to the noise of trends, his classicism suited his socialite clientele such as Marella Agnelli, Marie-Hélène de Rothschild and Hélène Rochas. After being introduced to the Kennedy clan by Dominican diplomat, racecar driver and playboy, Porfirio Rubirosa, de la Renta was soon designing impeccable gowns for the first ladies of the United States, from Nancy Reagan to Hilary Clinton via Laura Bush and even, more recently, Michelle Obama—a woman usually attracted to the world of young designers. He even managed to seduce red carpet queens Sarah Jessica Parker, and Penelope Cruz, not to mention crafting the the ivory tulle dress Amal Alamuddin wore at her Venice wedding with George Clooney. A LEGEND BEGINS
Born in Saint-Domingue in 1932, to a patrician family—his father worked in insurance—Oscar de la Renta grew up surrounded by six sisters and quickly developed a taste for art. Wanting to become a painter, he moved to Madrid when he was barely 19 years old. But in post-war Spain, his new-found freedom introduced him to the social scene of cafes and flamenco clubs. He admitted to being tempted by a career as a dancer before meeting, and taking an apprenticeship with, Cristóbal Balenciaga. Determined to move forward, de la Renta wanted to move to Paris, a request denied by his mentor—but that didn’t stop the young designer from taking a train to the
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French capital where he soon found employment with Antonio del Castillo at Lanvin in 1961. From there, he tried his chances in New York, first at Elizabeth Arden, who wanted to create their own couture collections, then at fashion house Jane Derby. When Derby died in 1965, de la Renta took over the business and renamed it in his name. His style, classic and at the same time dramatic, is coveted: blouses worn over long dresses, rich colour, embellishment and romance. His popularity soars with the “Gypsy” collection of 1967, his Parisian training delivering a precise aesthetic that assured his future. Unmoved by his own success, de la Renta’s sense of humour was as strong as his business. From 1993 to 2002, he took over the artistic direction of Balmain in Paris. While his clients always appreciated his good taste and refined style, he was often overlooked by a media intent on chasing the spectacle of the new: “Never confuse what happens on a runway with fashion,” he once said. “The runway is a show. It becomes fashion when a woman wears the garment.”
Previous pages: Kate Moss in Oscar de la Renta; the designer in New York in 2013. Top left: With Carolina Herrera and Ralph Lauren, 2014. Above: Russian rock couture dresses for Balmain, 1997.
Never confuse what happens on a runway with fashion. The runway is a show. It becomes fashion when a woman wears the garment.
PHOTOS JEAN GUICHARD/GAMMA-RAPHO, LOUIS FAURER CONDÉ NAST ARCHIVES, PETER LINDBERGH/THE LIGHTHOUSE/VOGUE, BRUCE WEBER VOGUE, CONDÉ NAST
-Oscar de la Renta
A G E N T L E M A N O F TAS T E
The designer’s eye was also applied to the decoration of his homes, two houses in the Dominican Republic, Casa del Campo and Punta Cana—extensively photographed in magazines—a property in Kent, Connecticut, where he died, and also homes in New York. Punta Cana brought together friends and family for relaxed summer gatherings, a colonial house that regularly hosted Bill and Hillary Clinton or Nancy and Henry Kissinger. De la Renta’s philosophy of wealth still resonates today: “Luxury for me is not to buy expensive things. It is to live so as to appreciate things.” An enthusiast of art and French culture, he first married fashion editor and designer Françoise de Langlade in 1967. After her death in 1983, the designer charmed philanthropist Anne
France Engelhard, known as Annette, daughter of a mining magnate and ex-wife of a renowned investment banker. The pair married in 1989, becoming inseparable. For eight years, Oscar de la Renta struggled against cancer. Still, his illness did not affect the health of his business, growing 50% despite the difficult economic climate. After a 50-year career, he still showed at New York fashion week last September. He is survived by his wife Annette, son Moises, three sisters, three step-children and nine grandchildren. And, of course, his fashion house. Just days before his death, de la Renta anointed former Nina Ricci designer Peter Copping as his heir, a new creative director entrusted with the brand that bears his name. An honour, no doubt, but an extraordinarily hard act to follow. Vale.
An Elizabeth Arden coat, 1963.
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RETROSPECTIVE
1950s
B
asking in the worldwide success of couture’s most successful names, like Christian Dior and Yves Saint Laurent, L’Officiel championed the art of grace throughout the 1950s. Dior’s wasp-waisted ‘Bar Suit’ sculpted a new vision of femininity that would become the most iconic style of the decade as the magazine featured voluminous circle skirts, silk gloves and dainty hats on statuesque, chignon-bearing models. L’Officiel celebrated Pierre Balmain’s exuberant silhouettes in association with the re-emergence of the ‘Little Black Dress’ as bell-shapes became the mark of chic cocktail wear. Perfect grooming emanated from every element of the publication, from its clipped black image borders to its elegant masthead. The optimistic palette of lyrical abstract paintings by artists like Joan Miró resonated in L’Officiel’s bold cover backgrounds and parfum advertisements of the decade, as companies like Coty, Guerlain and Roger & Gallet evoked the spirit of femme élégante through heady floral blends. A decade still inspiring designers and women alike.
FROM LEFT: Pierre Balmain on issue no.355-356 October, 1951; Hubert de Givenchy, no.375-376 June, 1953; Christian Dior covers no.401-402 September, 1955. Pierre Balmain on issue no.419-420 March, 1957. OPPOSITE: Beach dress by Gres, shantung by Jacque Leonard, no.363-364 June, 1952.
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ENTRÉE A nomadic childhood and a culturally rich upbri n g i n g have g iven model, act ress and philanthropist E L I S A S E D N A O U I
a keen sen se of her place i n t he world— and a desire to change i t . Face
model CITIZEN
E
Louis Bompard & Daisy Donnelly
lisa Sednaoui is a true citizen of the world. Born in Rome to a French-Egyptian father and Italian mother, the model-turned-actress spent her formative years in Luxor before moving to Paris. Accompanying her fashion editor mother on shoots and rubbing shoulders with the fashion elite from a young age means she counts Karl Lagerfeld and godfather Christian Louboutin among her closest friends. Naturally, those porcelain features and exquisite cheekbones soon found their way in front of the camera. “I started at 15. Modelling just fell in my lap suddenly so I wasn’t prepared for it like you really should be,” admits the now seasoned professional who stars in our shoot on page 114. These days the 27-year-old divides her time between Milan, Paris, New York and London alongside the man she married last May, gallery owner Alex Dellal—brother of model Alice and shoe designer Charlotte —and their toddler, Jack. Aside from the ability to speak five languages fluently, her itinerant childhood provoked in Sednaoui a tangible sense of social responsibility and an instinct to contribute to the greater good. The Elisa Sednaoui Foundation (elisasednaoui.org) provides access to creative learning for underprivileged children. Launched in 2013, in a region close to her heart, the pilot program in Luxor promotes tolerance and develops a sense of community through art workshops.
PHOTOGR APHY
The foundation was conceived after Sednaoui turned her hand to directing. Filming a documentary, she returned to the troubled country where she grew up. “I went with my childhood friend to meet several families, collect their testimonies and discover their vision of everyday life and the future,” she says. “I learned a lot about a country that I thought I knew and it confirmed a theory that I had always had quietly—that in order to evolve, you do not necessarily have to become westernised. “In what are stupidly called ‘developed countries’, it is too often thought that to ‘develop’, other countries must follow the same pattern and go against the grain of their history, their culture and traditions. I do not agree with that. Western sexual liberation, for example, did not solely bring good things in the end, at least not everywhere. There are certainly other models to follow if you want to evolve. For me, the first thing is to strengthen your roots and your singularity before wanting to be like everyone else.” That’s something Sednaoui could not be accused of—she refuses to be labelled and isn’t about to lock herself into a single career path. She determinedly takes on only those projects that ignite her passion. “I can’t be just a model or an actress. I need both,” she says. “And I need to direct and take care of my organisation. This is very important to me and if one of these roles demanded that I stop another one, it would mean it’s not for me.”
“I can’t be just a model or an actress. I need both. I also need to direct and take care of my charity.”
22
Laurence Ellis
PHOTOGRAPHY BY LAURENCE ELLIS. STYLING BY AUDREY TAILLÉE
WORDS
Jacket, dress and pants by Chanel Earrings, pendant and rings by Chanel Fine Jewellery
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FRONT ROW
P R A D A
‘A
ntique’ seems to be the best word to describe Miuccia Prada’s spring summer collection. Although usually in the fashion industry, with its relentless pursuit of the new, antique is quite possibly the worst thing that can be said about a show. Not this time. One can’t but help remain captivated by the modernity of the Italian designer who took over the family-owned business in 1978 and keeps proving, season after season, to be better at shaping the future of fashion than the many, much younger creative minds around. Mrs. Prada has chosen to stake everything on a mix of very disparate fabrics: ancient and elaborate brocades, heavy damasks and rich flocking created especially for the label are combined with cotton and raw canvas given a modern twist. The contrast between flashy and modest, rich and poor, delivers unexpected results. The outerwear looks familiar yet unusual. Stitches are visible on dresses and outwear as if they actually shaped them, gauze cloth creeps out of the seams as decoration, materials are cut up and patchworked together. They seem unfinished, but, most importantly, they keep us gazing. Coats, double and single breasted, feature unlikely colour combinations, frayed hems and raw-edged seams. Dresses are often constructed with clashing panels: cotton frocks with brocade shoulders and bodices. The entire collection was an exercise in style that draws on elements and trends from recent decades, but far from interpreting them literally—Miuccia Prada would never be so obvious—everything is deconstructed, destroyed and then rebuilt in a contemporary language. And thus, the Prada collection emerges as a reflection of society, arguably the finest interpretation of modern elegance to be seen on the runways of Milan this season.
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LE STYLE
N
PHOTOGRAPHY: JOHN RINTOUL
ot all fairytales belong to the past. It just so happens that the modern-day Cinderella has decided the time has come to give her fabled wardrobe a fresh and elegant update. While unique, the practicalities of glass slippers just don’t cut it nowadays: on the comfort scale, well, let’s just say it’s little surprise she might wish to sling them off the moment the clock strikes midnight, if not before. Enter Burberry Prorsum, offering the dainty feet of a budding princess the radiance to which they are entitled... just in something a little more practical and cutting-edge. Plexiglass is appearing more and more on the catwalk and rendered here in British Racing Green—a nod to the brand’s English heritage—the refined, sculptural heel does for the wedge what the stiletto does for the high heel: presents possibly the sleekest, sexiest take on its particular genre of footwear. Topped off with minimal calfskin strap detailing, the simplicity of the silhouette is utterly beguiling in its pared back sophistication. Prince Charming could never resist even if he tried. ELENA LEONI
Perfectly CLEAR 41
LE STYLE
Acid
T
ROCKS
PHOTOGRAPHY: JOHN RINTOUL
here’s something about acid yellow that just begs for a life in the fast lane—there’s no room for coquettish motives when this attention-seeking tone comes into play. The perfect shade of choice for the Balenciaga woman, it seems—ever abiding by a strict code of urban athletica—she’s navigating her way around a concrete jungle in aerodynamic, tech-like silhouettes, and the Cross Pumps (parlourx.com.au) in goatskin with elastic straps call for a muse on a mission. A fast-paced attitude requires the right heel to keep up, one built for speed— and these were born ready to put the pedal to the metal. EMMA READ
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Multiple
CHOICE Lisa Jouvin
PHOTOS: DR
STYLING
LE STYLE
The camera PENTAX
The bag FENDI
The City Guide LOUIS VUITTON
The shoes MIU MIU
Retro-chic Q-S1 in muted shades or primary brights?
The ‘3 Baguette’ in leather and metal or crocodile and metal?
North America, South America, Asia or Europe?
Lurex, satin and metal pumps or mules?
The earrings GIVENCHY BY RICCARDO TISCI Magnetic stone clasp with crystals in aqua, amber or red?
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Multiple
CHOICE STYLING
Lisa Jouvin
LE STYLE
The sunglasses CHRISTIAN DIOR
The watch CARTIER
The bag MIU MIU
The shoes JIMMY CHOO
‘So Real’ frames in tortoiseshell, black, white or green?
Is it time for a ‘Tank Solo’ in steel or yellow gold, leather strap or steel?
Leather ‘Madras’ in yellow, grey, blue, pink, camel or black?
‘Ari’ pumps in printed jacquard, leather or denim?
The earring DELFINA DELETTREZ Gold and pearl earrings in glitter or enamel?
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LE STYLE
Jewellery BOX
CALL TO ARMS Adopt an arresting attitude in cuffs designed to dazzle. STYLING
Emily Minchella
TOP, LEFT TO RIGHT: Chopard bracelet in white gold with diamonds; Louis Vuitton cuff in white gold with tsavorite garnet, onyx and diamonds; Tiffany & Co bangle in platinum with diamonds and black lacquer. BOTTOM, LEFT TO RIGHT: Cartier bracelet in yellow gold with jade nephrite, chrysoprase, onyx and diamonds; Chanel Jewellery cuff in white gold with diamonds and carved onyx; Dior Fine Jewellery cuff in yellow gold and diamonds. OPPOSITE: Bulgari bracelet in rose gold with pearl and pavĂŠ diamonds.
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LE STYLE
59
LE STYLE
Jewellery BOX
O FF T HE CUFF When it comes to this statement piece du jour, we’re all ears. Emily Minchella
Top row, left to right: ‘Rose Garden’ ear cuff in white gold with grey diamonds, Élise Dray; ‘Serenity’ white gold ear cuff with diamonds, emeralds and briolettes, Van Cleef & Arpels; Earrings in white gold with marquise and brilliant diamonds, Piaget Bottom row, left to right: Ear cuff in gold with black and white diamonds, AS29; ‘Phoenix’ ear cuff in white gold with diamonds and opals, Aaron Jah Stone; ‘Aura’ earrings in white gold with diamonds, Delfina Delettrez Opposite: ‘Phenomena Crest’ earrings in white gold with brilliant cut diamonds and two pear-cut diamonds, De Beers
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PHOTOS: DR
STYLING
LE STYLE
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JOIE DE VIVRE S h e ’s a n a c t r e s s , w r i t e r a n d d i r e c t o r. The multi-talented L
A
K
E
B
E
L
L
takes a moment out from overachiev ing to ponder the next steps in her q uest for world domination. Talk
L A SUPE WORDS
Frédérique Dedet
PHOTOGR APHY STYLING
Alexei Hay
Vanessa Bellugeon
K E RIOR 67
JOIE DE VIVRE
“ The world of voiceovers is fascinating —there’s a bitterness there that hardly anyone knows about.”
A
rranging to meet for coffee in Williamsburg, the hipster Brooklyn neighbourhood with stunning views of the Manhattan skyline where she moved with husband Scott Campbell, Lake Bell is make-up free and wearing black jeans and a loose fitting, lightweight sweater. Rather than picking at a salad with dressing on the side as one might expect, she’s just polished off a huge burger and fries. One of the benefits, she explains with a huge smile, of being pregnant with her first child. At 35, the Manhattan-born actress is enjoying a break in her career after the success of In A World..., her directorial debut. The movie, which she also wrote, produced and starred in, won the Best Screenplay award at the Sundance Film Festival. It tells the story of the rivalry between a father, the king of movie trailer voiceovers and his daughter, a hapless vocal coach. The film is both clever and funny and Bell plays to perfection a 30-year-old underachiever stifled by a narcissistic father. “I’ve always been fascinated by the world of voiceovers, a job that has such bitterness which hardly anyone knows about,” she says. It’s been a very busy year. Bell shot two films as an actress—Million Dollar Arm and The Coup, in which she co-starred with Owen Wilson and Pierce Brosnan—and also got married. “Everything went very fast, seven months after we met we were engaged. We got married in New Orleans because my husband was born in Louisiana. It was magical, surrounded by family and friends [and superstar bridesmaids Cameron
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Diaz and Jennifer Aniston]. Scott was planning on becoming a biochemist but instead he became the tattoo artist to the stars, owner of the famous Saved Tattoo in Williamsburg, and exercising his talents on Heath Ledger, Orlando Bloom, Helena Christensen, Penelope Cruz...” He’s now a recognised artist who exhibits his work around the world. Does Bell have a tattoo? “No, I admire Scott’s,” she laughs. “In fact, it’s a bit like living in Brooklyn and gazing at Manhattan.” Raised on the Upper East Side, Bell attended Manhattan’s exclusive Chapin school for girls (which boasts an illustrious alumnae including
Previous page: Lake Bell wears a dress by Gucci Left: On the cover of New York magazine in 2013, Bell was painted by husband Scott Campbell Above: Bell wears a dress by Michael Kors
JOIE DE VIVRE
Right: Bell (in Marchesa) and Campbell on their wedding day, New Orleans, June 2013 Make-up: Vincent Oquendo Hair: Cecilia Romero Photography assistants: Greg Marinaccio, Paolo Stagnaro, Daren Thomas Styling assistant: Eleonore Jalou
Jackie Kennedy and Queen Noor of Jordan among others) before following her mother to Florida as a teenager. She found her calling during summers spent with family in Provence. To entertain her mother and her friends, she would tell jokes, act and put together skits—and her vocation was born. It was her parents’ reservations—her father is a property developer and her mother the great interior designer Robin Bell—that led her down a more academic road and she agreed to go to Skidmore College in upstate New York. She lasted a year before leaving for drama school in England.
Returning to Los Angeles four years later, Bell landed roles in TV series such as ER, Boston Legal and The Practice, a regular stint on How To Make It In America as well as romcoms with Ashton Kutcher and Meryl Streep before embarking on her screenwriting career. Today she is embracing her latest role as new mother to daughter Nova born in October—but she’s itching to get back in the director’s chair. Her next project, a comedy adapted from a US bestseller, The Emperor’s Children, begins shooting later this month. Be it love, family or work, it seems Bell’s philosophy is: why wait? 69
CONTENTS
EN TRÉE
31
Edito —24—
Karolina Kurkova —32—
Vivienne Westwood —34—
Choice: Georgia May Jagger —36 —
L E S T YL E
49
From fragrance to footwear to homewares, the last word in chic.
Christian Louboutin —38—
Oscar de la Renta —42—
Odile Gilbert —46—
Le Style —50—
Bijoux —56—
Wardrobe Multiple Choice —64—
Le Style —66—
Le Sac —72—
J O I E D E VIVRE
All the essential indulgences of a life well lived: art, culture, travel.
Short & Sharp —79—
The Art of Fragrance —82—
Pop Art Portfolio —84—
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A retrospective excursion through the 93 year heritage of L’Officiel.
L’O FFI CI EL JA N UA RY 2015
Joanna Murray-Smith —92—
16
Voyage —94—
The Story of ‘O —100—
ENTRÉE Petra Palumbo Short & sharp: Banks Next big things Retrospective: 1948
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RETURN OF THE
A
G
E
IN SHOW BUSINESS, STAYING THE COURSE—AND MAINTAINING ONE’S SANITY—IS A LOT EASIER SAID THAN DONE. SHARON STONE KNOWS THIS BETTER THAN ANYONE. AFTER MORE THAN 30 YEARS, SHE’S STANDING STRONG AND PREPARING TO RECLAIM THE SPOTLIGHT.
WORDS
Matthew Paroz
PHOTOGR APHY STYLING
Jack Waterlot
Amy Mach 83
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SEXUALITY DOESN’T BELONG TO THE YOUNG ... AND THAT SHOULDN’T BE A PROBLEM. 87
PHOTOGRAPHY: COURTESY OF MICHAEL KORS BY INEZ & VINOODH
FRONT ROW
H e ’s o n e o f t h e m o s t recog nised desig ners on the planet and certainly among the richest, but for M I C H A E L K O R S the road
to the top has been far from smooth. Profile
WORDS
Louis Bompard & Daisy Donnelly
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FRONT ROW
Above: Michael Kors ready-to-wear spring/summer 2015, New York.
108
FRONT ROW
T
he path Michael Kors has taken to reach the pinnacle of the fashion world is just like the man himself: complex. A flamboyant figure with a year-round tan, the billionaire businessman brought his brand back from the brink after declaring bankruptcy in 1993 and now claims to be on a mission to make his glamorous lifestyle accessible to anyone and everyone, with luxury lines that are chic, wearable and created without smoke and mirrors. Learning the basics of Parisian elegance at Céline, his style is proudly all-American and he recently celebrated the opening of his first Chinese flagship in Shanghai with a runway show called ‘Jetset’. So how did the kid from Long Island go on to achieve worldwide recognition and success on a global scale? Born Karl Anderson Jr in 1959, the
put together his first show, described by Women’s Wear Daily as a “classic luxury sportswear collection that is both chic and minimalist”. This style, of course, became his trademark. In spite of climbing a ladder made of positive press clippings and obsessive clients, Kors faced bankruptcy in 1993, forcing him to shelve his business until 1997. That same year, Bernard Arnault approached him to overhaul the Céline label. “It was the early days of global fashion, this trend that is still going today where everyone wants everything faster,” says Kors. “I knew how to design quickly, because I didn’t get bogged down with the intellectualism that some designers of the time were fond of.” He breathed new life into the house by strengthening its foundations. “Whenever things went wrong, I would wonder whether my clothes were not ultimately too simple, whether I should
and only exists because the designer wants to stand out from his or her peers. Finally, and this is surely the key to the brand’s extraordinary success and profits over the last ten years, Kors set out to bring to as many women as possible something that, by its very essence, shouldn’t be popularised: luxury and glamour. Frantically marking out the United States and the rest of the globe with boutiques, he can count 605 of them in 74 countries today (but notably had to wait until the year 2000, almost 20 years into his career, to open his first New York store). Merchandised on the most luxurious racks and decorated with the expected ostentation, Kors offers affordability when nearby stores are progressively increasing their price tags. And just so that everyone can have their share of the dream, he proliferates the collections —the runway showcase is quickly
“For me, ‘commercial’ is not a criticism. It means that it makes you want to buy it. I will not apologise for being realistic and concrete.” former child model was five when his mother Joan remarried and let him choose a first name that would go better with his new last name. Opting for Michael David Kors, his first foray into fashion was restyling his mother’s wedding dress by paring it right back and relieving it of all its ribbons and bows. In the late 1970s he moved to New York and enrolled at the Fashion Institute of Technology but, convinced that fashion could only be learnt through living, it wasn’t long before he dropped out. “My real school was Studio 54,” he proclaims today. His education really began with a job as a sales assistant at upmarket Manhattan boutique Lothar’s. Impressed by his window display, a buyer from nearby Bergdorf Goodman fell under his spell. When she discovered he had also designed the garments, she immediately ordered an entire collection for the department store. It was 1981 and Michael Kors the brand was born. After three years of hard work and thundering word of mouth he
make some extravagant creations,” he confesses. “Then quickly, I would tell myself, ‘But why would people go to Michael Kors for that?’ So I elected to reaffirm my style, by being proud of it, and supporting it.” Indeed, this style follows a doctrine he holds for all his collections, even to the one presented in a huge warehouse housing his private jet in Shanghai: sporty, sexy and glam. The sportswear he delivers has simplicity and versatility but of course, is never devoid of elegance. A preppy ease that annoys some. “For me, ‘commercial’ is not a criticism. It means that it makes you want to buy it. I will not apologise for being realistic and concrete.” The other strength of the Michael Kors label that resonates is its willingness to make the woman shine. That is why he names Halston and Yves Saint Laurent as examples to follow: for their “empathy”. Kors believes an adornment on a garment is utterly useless if it isn’t there make the woman more beautiful
accompanied by second line Michael Michael Kors, but also accessories, watches, jeans, jewellery, leather goods and even a range of make-up launched last year—and offers an infinite variety of bags and shoes. And yet, Michael Kors does not owe his success and his newfound place in the upper echelons of business (he debuted on Forbes’ billionaires list in 2014) purely to his imagination or his marketing skills—people have fallen in love with the man behind the brand. Joining Heidi Klum on the panel of Project Runway in 2004, his spontaneity, sharp wit and undeniable charisma made him a popular figure on the reality show for 10 seasons. Aside from becoming a household name, the ratings success set him up as a role model for the new guard, the antithesis of the image of the mysterious designer that he always refused to take on. When asked what advice he would give to young designers, he replies, pushing his dark glasses up his nose, “If you want to be happy, sell.” 109
Dress by Philipp Plein Scarf by Max Mara Ring by Aaron Jah Stone Clutch by Edie Parker
STYLING
Vanessa Bellugeon
PHOTOGR APHY
Jesse John Jenkins
BEAUTÉ Dispatch: Raising eyebrows Talk: Dorothée Gilbert Beauté brief Birthday beauties The Edit: Catwalk favourites Confidential: Melanie Grant Runway report
LE STYLE
The boots SAINT LAURENT by HEDI SLIMANE
The bag FURLA
Earrings DIOR
Glitter leather or suede and rhinestones?
‘Metropolis’ in leather or leather and sheepskin?
Metal and resin, palladium or gold?
The pumps CHRISTIAN LOUBOUTIN Patent leather or satin?
The clutch MARY K ATRANTZOU Leather and plexiglass consonants or vowels?
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BEAUTÉ A l l ha il Queen Rose. The rega l flower is of f icia l l y i n bloom , at last reclaiming its rightful crow n as b e a u t y ’s most lu x u rious in g red ient. Now e v e r y t h i n g ’s coming up roses. Style
WORDS: KATRINA LAWRENCE. PHOTOGRAPHY: DOLCE & GABBANA SS15, LANCÔME. STILL LIFE: JOHN RINTOUL. MAIN IMAGE COMPOSITION: DANIEL CORDNER
REIGN OF THE
ROSE
R
ose, that most classic, yet sometimes clichéd, of flowers is having what you could call a beauty re-bloom. The crowning glory of the SS15 collections (literally: at Dolce & Gabbana, the fabled flower decorated models’ heads), it’s the flavour, and fragrance, of the season. The regal rose withered from grace in recent decades, when it became best known as the flower of choice for convenience stores—and harried husbands desperately seeking a last-minute anniversary gift en route home. Bundled with dried-out baby’s breath, wrapped in plastic and tied up with a crunchy bow, the rose had arguably sunk to its lowest point in an otherwise grand history. Fossilised wild roses prove that the flower dates back millions of years. But its role as a beauty legend began when Cleopatra, in preparation for a romantic rendezvous with Mark Antony, covered her bedroom floor in a lush carpet of red petals. With the Roman general’s every advancing step, the heady scent was released into the air until it was thick with lust. Centuries later, another alluring royal, Empress Joséphine,
made the rose her symbol. It might not have been her signature scent (the earthy Emperor Napoléon preferred eau de unwashed skin mingled with animalic musk), but Joséphine’s passion for the flower was on spectacular display in her gardens at the Château de Malmaison, which flourished with 250 species of rose, imported from all newly discovered corners of the modern world. The empress, who relied on heavy-handed doses of skinwhitening make-up and cheek rouge to make her appear younger than her years—not to mention fresh and fertile for the heir-obsessed spouse—would have done well to investigate the beauty benefits of what was right under her nose. The power flower has proven itself to have a multitude of skin benefits, thanks in part to the work of rose aficionado Terry de Gunzburg, who has infused the bloom’s extract —in the form of floral water, butter, oil and even crushed petals— into her skin and make-up line, By Terry, for the past 15 years. “It’s rejuvenating and anti-ageing, an antioxidant, it’s nourishing, smoothing and moisturising, it reduces puffiness, is skin-brightening and smells divine,” lists de Gunzburg, 161
ENTRÉE Miranda Kerr, K arlie K loss, A bbey Lee Kershaw... for 22 years has N E X T been catapulting s t a r s ont o t h e r u n w a y. M e e t t h e a g e n c y ’s l at e s t s i g n i n g s — t h e fa c e s of t h e f u t u r e . Spotlight
OLA RUDNICK A
19, Polish
The list of designers who have fallen in love with this lady in red speaks volumes for a burgeoning career: runways for Chanel, Dior and Louis Vuitton, plus a Prada campaign shot by Steven Meisel.
Next big
THINGS WORDS
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Louis Bompard & Léa Trichter-Pariente
BRUNA ROSA
20, Brazilian
After being spotted surfing near her home, this Brazilian beauty was fast-tracked to the heights of fashion, going from the beach to Anthony Vaccarello’s catwalk last March.
B I N X WA LTO N
19, American
DAPHNE SIMONS
It almost doesn’t seem right to refer to Binx as a “new face” because the Tennessee native seems to have been present on the catwalks for quite some time. She was the first non-white model to do a Céline campaign and she struck a pose in the boxing ring with Cara Delevingne for Chanel’s AW14 campaign.
Starting her career with an exclusive for one of the biggest shows of the season, namely Louis Vuitton by Nicolas Ghesquière, is usually a good omen. With a physique sculpted by years of athletics, it’s a safe bet Simons’ name—and face—will become familiar.
18, Dutch
E S M E R A L D A S E AY- R E Y N O L D S
17, American
A creative and offbeat spirit wrapped in porcelain skin, this beauty is also an illustrator. Inspired by Tim Burton’s universe, she works on various projects with Chanel and Louis Vuitton.
GR ACE HARTZEL
GEORGIA HILMER
While the rest of fashion might have lost the concept of the muse, that’s definitely not the case for Hedi Slimane. As the face of the Saint Laurent pre-collection campaign, Grace enjoys a strong relationship with the designer and is destined to go far.
If ever one wished to dispel the theory that models don’t eat, head to Georgia’s Instagram account. With a passion for cooking, this Manhattanborn beauty enjoys sharing every dish that comes out of her oven. Each as much a delicacy as the model’s striking face.
18, American
21, American
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R E T R O S P E C T I V E Postwar optimism saw Australia undergo a year of rapid growth. “She’s a beauty!” remarked Prime Minister Ben Chifley of the nation’s first locally made FX Holden car, while the advent of commercial television offered a window to the developments of Europe and beyond. This month, L’Officiel’s archives present a snapshot of post-rationing liberation in Parisian fashion, exploring a year perched elegantly on the cusp of the French style capital’s Golden Age of Couture…
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Alexia Petsinis
E
mancipated from the rigid shadows of wartime austerity, L’Officiel championed a new vision of femininity based on the identity of the ‘society woman’. Her elegant demeanour—expressed by a commingling of couture and perfume—was celebrated by depicting how she might deport herself in a social context. French actress Madeleine Sologne (opposite) epitomised this feminine ideal, featuring this year as an icon of refined glamour and effortless French style.
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“Of course it’s unacceptable that women are ever treated as less than human, but if it were happening to men I’d feel same. It’s a fight for mankind. Do we want to be proud to belong to this species or not?”
All fashion and accessories by Gucci
I
t’s a well-worn path to fame: from small screen soap opera to silver screen stardom… the trick, as Julianne Moore, Naomi Watts, Brad Pitt and Chris Hemsworth can attest, is not to stick around too long. In good company, then, Salma Hayek got her start in a Mexican telenovela (the title role in Teresa made her a star in her own country), but within two years she took herself to Hollywood, determined to make her mark in the heart of the film industry. Fast-forward 25 years and the actress is known to audiences the world over, although off screen she is Salma Hayek Pinault, mother to seven-year-old
Valentina, her daughter with husband François-Henri Pinault, CEO of the Kering luxury group, owners of esteemed brands such as Gucci, Balenciaga and Alexander McQueen. Not that being married to a French billionaire has caused the beauty to rest on her laurels—far from it. The 48-year-old actress, director and producer, who has Lebanese and Spanish ancestry (her given name is Arabic for ‘peace’), appears in a slew of new releases this year and took time out to talk about practical jokes, ageism, breaking free of stereotypes and her love of being under water… far from the world above.
’O Is it true that you love to dive?
the weight of things that weigh us down. No sadness, no pride. Everything is simple... Everything is different. Everything is beautiful and bright.
Oh, I have been diving for many decades… I first went with my father when I was 12. Sometimes it’s as if the deep calls me, like a powerful and strange addiction. I need be careful though, because I’ve already been treated in a decompression chamber before. But yes, I still dive. The last time was in Mexico, in Careyes. Diving is to experience another different world. The underwater world, of course, but also a world away from the one I lead on the surface. Underwater, I can finally assess who I am, I enter a new state where I am not stressed or anxious, which unfortunately is my natural state. I don’t think about all the things I haven’t done and that I’m supposed to do, about people that I may have made unhappy without knowing it... Underwater, I don’t feel
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’O And having to resurface is unbearable...
It’s funny you should say that—on land I’m claustrophobic and as soon as I start to breathe with the regulator, everything becomes so much easier.
’O You’ve recently made another dive: into a powerful
literary work, The Prophet by Khalil Gibran, which sold 100 million copies. You produced a beautiful animated film for the last Cannes Film Festival —what attracted you to the story? When I was young, the book was always on my
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There’s a new order in the fashion industry: the rise of social media has unleashed a different kind of power player, one with the authority to harness huge audiences... and set trends.
PORTFOLIO
T H E I N F L U E N C E R S
WORDS
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Matthew Paroz
Chiara
FER R AG NI IN FENDI
@CHIARAFERRAGNI 3.2M FOLLOWERS THEBLONDESALAD.COM — LOS ANGELES — ITALIAN MODEL AND JOURNALIST WITH HER OWN BRAND OF SHOES Dress and bag by FENDI Bracelets by SAINT
LAURENT BY HEDI SLIMANE (top) and CARTIER (bottom) PHOTO : TOM DE PEYRET
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Leila
YAVARI BY CÉLINE
@FILLEILAMIGNON 14.9K FOLLOWERS — MUNICH — FASHION DIRECTOR, STYLEBOP.COM, ERSTWHILE ACTRESS (ER, BROTHERS AND SISTERS, UGLY BETTY) Jumpsuit and shoes by CELINE PHOTO : TOM DE PEYRET
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HAIR AND MAKEUP CAMILLE ARNAUD,SILVER BRAMHAM, FEDERICO GHEZZI, KAREN PANOCH STYLING ASSISTANTS CHARLOTTE THOMMERET, LOLA TIRAND PHOTO ASSISTANTS PIOTR JAMROZIK, JAKUB KOZIEL, RAFAEL SILVA RACHEVSKY, HERVÉ THOMAS THANKS TO FORD MODELS, IMG, MDADN, NEXT
MA NFI ELD
Patricia I N VA L E N T I N O
@PATRICIAMANFIELD 134K FOLLOWERS THEATELIER.ME — MILAN — RUSSIAN BLOGGER BEHIND THE ATELIER
Jumper and jeans by
Patricia’s own bracelet
VALENTINO
PHOTO : TOM DE PEYRET
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E BONY Embrace masterful minimalism in a monochromatic palette enhanced with Japanese-inspired details.
IVORY
STYLING
Anne-Sophie Thomas
PHOTOGR APHY
Sascha Heintze
White top, black top, pants, pumps and lambskin ‘Diorama’ bag by Christian Dior
DREAMING of
DIOR PHOTOGR APHY
Vincent van de Wijngaard
STYLING
Mauricio Nardi
Coat, top, shorts and lambskin ‘Diorama’ bag by Christian Dior
LE STYLE
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