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CON TEN TS NOV EMBER 2021

PHOTOGRAPH: JOSH SHINNER. ILLUSTRATION: AMY BLACKER

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130 Phoebe Dynevor breaks the mould 184 Kim Jones on the future of Fendi From 66 Fashion masterpieces: sculptural shapes, bold prints and high-voltage shine & shimmer

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190 F E AT U R E S 130

FIRED UP This month’s cover star, the Bridgerton actress Phoebe Dynevor, explains her admiration for the ceramicist Clarice Cliﬀ, who she portrays in her debut feature-ﬁlm role

NEW RENAISSANCE MAN Fendi’s artistic director Kim Jones on following in the footsteps of Karl Lagerfeld, and the eternal allure of couture MARGARET QUALLEY IS LEARNING TO LET GO The American actress and former ballet dancer recalls performing opposite her mother Andie MacDowell and reveals how relinquishing control has been a wonderfully freeing experience

Harper’s Bazaar

CONTENTS FA S H I O N

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TABLEAUX VIVANTS Exquisite portraits of artful colour and radiant painterly perfection PARTY SPIRIT If you have a head for hedonism you need a dress to match – hit the town in a sparkling gown S T Y L E

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THE CRUISE REPORT Take a front-row seat for this season’s dramatic cruise-collection shows MY MOODBOARD Ian Griﬃths of Max Mara on celebrating the brand’s 70th anniversary with regal elegance MY LIFE, MY STYLE At home in Walthamstow with the Mother of Pearl founder Amy Powney DRESSING IN LIMBO Laia Garcia-Furtado considers how a personal tragedy was reﬂected in the clothes she chose to wear PRACTICAL MAGIC A phone case that doubles as a lipstick holder – how spellbinding is that? SMALL WONDERS Miniature marvels that pack a punch GIVING BACK, THE ITALIAN WAY How Italy’s leading labels have done their bit during the pandemic TRUNK SHOW Louis Vuitton marks its bicentenary with 200 reinventions of a classic case AC C ES S O R I ES

DAZZLE IN DARKNESS Ebony evening bags, pastel-pink stilettos and a ﬂuﬀy shearling backpack… J E W E L L E RY

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STRONG TIES Tiﬀany’s golden tribute to the glamour of New York IN THE MIX Pile up a glittering mélange of diamond bangles

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WO R K

HOT DESKING Light up the oﬃce with bright bursts of warm colour CAN WE BUILD CAREER CONFIDENCE? Lady Hale, the ﬁrst female president of the Supreme Court, on her vision of soft feminism and the power of bug brooches

PHOTOGRAPH: ERIK MADIGAN HECK. SILK CHIFFON AND FEATHER DRESS, £2,410, EMILIO PUCCI. GOLD AND CRYSTAL EARRINGS, £80, MARGAUX STUDIOS. ROSE GOLD, DIAMOND AND QUARTZ RING, £4,250, DIOR JOAILLERIE

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CONTENTS TA L K I N G

P O I N T S

From 115 TO SEE AND BE SEEN The cultural highlights of the month, including Claudia Schiﬀer on the heady Nineties, Bernardine Evaristo on the power of individualism and Bob Marley’s daughter on the new stage show based around his music

Ana Flavia wears Chanel in ‘Party spirit’

B E AU T Y 202

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B A Z A A R

THE THRILL OF THE NEW Why perfumers have spent the pandemic unearthing a panoply of unusual, exotic fragrance notes THE FEMALE GAZE Mask-wearing has made us all more conscious of our eyes – we present the latest, greatest ways to brighten the windows of the soul ES C A P E

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RHAPSODY IN BLUE Alex Preston revels in the ancient culture, delicious cuisine and glorious landscape of Sicily TRAVEL NOTEBOOK The gallerist Phoebe Saatchi Yates shares her insider tips for an art-lover’s trip to Turin R E G U L A R S

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EDITOR’S LETTER CONTRIBUTORS HOROSCOPES November in the stars. By Peter Watson FLASH! A bubbly party for Yayoi Kusama and friends at Tate Modern WHY DON’T YOU… make a splash with a graﬃti-inspired reimagining of a Louis Vuitton classic?

YOU CAN DOWNLOAD DIGITAL ISSUES VIA READLY OR APPLE NEWS+

COVER LOOKS Above left: Phoebe Dynevor wears wool and silk top, £2,900, Louis Vuitton. Above centre (subscribers’ cover): wool and silk dress, £3,900, Louis Vuitton. Styled by Cathy Kasterine. Hair by Dayaruci at the Wall Group. Make-up by Georgina Graham at MA+ Group. Manicure by Ami Streets. Photographs by Josh Shinner. Above right (Bazaar Art cover): Lick your teeth, they so clutch (2021) by Rachel Jones

PHOTOGRAPH: JEM MITCHELL

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.COM/UK FASHION

BEAUTY

CULTURE

TRAVEL

BRIDES

BAZAAR AT WORK

Head girl O N L I N E N OW AT

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Published on 7 October

LYDIA SLATER Editor-in-chief, Harper’s Bazaar and Harpersbazaar.com/uk Acting luxury creative director PHILIPPE BLANCHIN Executive editor, print FRANCES HEDGES Executive editor, digital SARAH KARMALI Acting deputy editor HELENA LEE Editorial business director CONNIE OSBORNE Workflow director CARLY LEVY FASHION Group luxury fashion director AVRIL MAIR Bookings director CHLOE RIDLEY Acting bookings director KIAAN ORANGE Bookings assistant WHITNEY HARRISON Fashion editors ROSIE ARKELL-PALMER, HARRIET ELTON, GEORGIA MEDLEY, TILLY WHEATING Senior fashion co-ordinator SOPHIE CHAPMAN Senior fashion assistant HOLLY GORST Fashion assistants GRACE CLARKE, LOIS ADEOSHUN Fashion-cupboard managers GAL KLEIN, GEORGIA RODI Contributing fashion editors MIRANDA ALMOND, LEITH CLARK, CHARLIE HARRINGTON, CATHY KASTERINE FEATURES Talent director LOTTIE LUMSDEN Acting features editor CHARLOTTE BROOK Acting commissioning editor MARIE-CLAIRE CHAPPET Features writer BROOKE THEIS Contributing literary editor ERICA WAGNER BEAUTY AND HEALTH Group luxury beauty director KATY YOUNG Acting beauty director EVIE LEATHAM Beauty editor JENNIFER GEORGE Senior beauty assistant MEG HONIGMANN Beauty assistant HANNAH THOMPSON Senior contributing editor, beauty HANNAH BETTS EDITORIAL PRODUCTION Group chief sub-editor/production editor DOM PRICE Deputy chief sub-editors JOSH BOLTON, OLIVIA M CREA-HEDLEY Sub-editors YASMIN OMAR, CYNTHIA PENG ART Art director LISA BARLOW-WRIGHT Art editor ZOYA KALEEVA Acting art editor LAUREN JONES Acting senior designer AMY BLACKER Designers EMILY LORD, SONIA RUPRAH PICTURES Acting photography director SIÂN PARRY Picture editor LIZ PEARN Deputy picture editor GEMMA ROBERTS WEBSITE Digital fashion editor AMY DE KLERK Digital beauty director BRIDGET MARCH Senior social media manager AMY BREWSTER Digital writer JESSICA DAVIS Beauty e-commerce editor ROBERTA SCHROEDER CONTRIBUTING EDITORS LISA ARMSTRONG, RAVINDER BHOGAL, HELENA BONHAM CARTER, MARISSA BOURKE, LAUREN CUTHBERTSON, ELIZABETH DAY, SOPHIE ELMHIRST, TERESA FITZHERBERT, LUBAINA HIMID, ANNA MURPHY, JULIE MYERSON, JULIET NICOLSON, ANDREW O’HAGAN, JUSTINE PICARDIE, HANNAH RIDLEY, ELIF SHAFAK, SASHA SLATER, PETER WATSON CONTRIBUTING PHOTOGR APHERS RACHEL LOUISE BROWN, REGAN CAMERON, SOPHIE CARRÉ, HARRY CORY WRIGHT, TOM CRAIG, HARRY CROWDER, GEORGIA DEVEY SMITH, BETINA DU TOIT, BOO GEORGE, PAMELA HANSON, EMMA HARDY, ERIK MADIGAN HECK, OLIVER HOLMS, JESSE JENKINS, QUENTIN JONES, KENSINGTON LEVERNE, OLIVIA LIFUNGULA, ALEXI LUBOMIRSKI, KELLY MARSHALL, JEM MITCHELL, RICHARD PHIBBS, AGATA POSPIESZYNSKA, JOSH SHINNER, PHILIP SINDEN, DAVID SLIJPER, KRISTIN VICARI, ELLEN VON UNWERTH, PAUL ZAK Harper’s Bazaar ISSN 0141-0547 is published monthly (12 times a year) by Hearst UK c/o Express Mag, 12 Nepco Way, Plattsburgh, NY, 12903. Periodicals postage paid at Plattsburgh, NY. POSTMASTER: send address changes to Harper’s Bazaar c/o Express Mag, PO Box 2769, Plattsburgh, NY 12901-0239. Harper’s Bazaar is distributed by Frontline Ltd, Peterborough (01733 555161). Sole agents for Australia and New Zealand: Gordon & Gotch (Australasia) Ltd. Agents for South Africa: Central News Agency Ltd. Copyright © Hearst Magazines UK, November 2021, Issue No 11/21. We regret that any free gifts, supplements, books or other items included with the magazine when it is sold in the UK are not available with copies purchased outside the UK.

Published on 7 October

JACQUELINE EUWE Chief luxury officer Executive assistant to the chief luxury officer NATASHA MANN Luxury sales director SHARON DAVIES-RIDGEWAY Director of luxury fashion CHARLOTTE HOLLANDS Luxury fashion client manager SARAH SHEPHERD Watches and jewellery client manager OLIVIA HORROCKS-BURNS Luxury client manager EMILY MILLS Head of luxury, agency LOUISA PATEY Group brand manager JESSICA DAY Head of client sales OLLIE LLOYD Head of fashion and beauty SARAH TSIRKAS Head of finance and motors PETE CAMMIDGE Director of travel DENISE DEGROOT Head of agency sales, UK and global BEN CHESTERS Regional business director DANIELLE SEWELL Head of classified LEE RIMMER Head of digital RYAN BUCKLEY Executive creative director MARK M CAFFERTY Senior connect director BETHANY SUTTON Events partnership director MICHELLE PAGLIARULO Hearst Live manager CONNIE FFITCH Head of live operations MADOLYN GROVE Event manager KATRINA SEN Head of media planning LUCY PORTER Acting heads of media planning AYESHA JINA, WENDY MEEKINGS Senior media planning manager KATHRYN FAIRBAIRN Production director JOHN HUGHES Production manager GRETA CROAKER Senior advertising production controller PAUL LOCKETT Chief consumer revenue officer REID HOLLAND Circulation and subscriptions director JAMES HILL Digital marketing and CRM director SEEMA KUMARI Head of product and promotions AOIBHEANN FOLEY Head of subscriptions JUSTINE BOUCHER Director of PR and communications EFFIE KANYUA PR and communications manager VINNIE NUZZOLESE HEARST UK Interim chief executive officer, Hearst UK/President, Hearst Europe SIMON HORNE Chief operating officer, Hearst Europe GIACOMO MOLETTO Chief international brand officer MATT HAYES Chief commercial officer JANE WOLFSON Chief commercial operations director GIANLUCA ENA Chief people officer, Hearst Europe SURINDER SIMMONS Digital development director MATT HILL Finance director, Hearst UK JULIEN LITZELMANN Business strategy director, Hearst UK ROMAIN METRAS Director of operations, Hearst UK SOPHIE WILKINSON Hearst Magazines UK, the trading name of the National Magazine Company Ltd, House of Hearst, 30 Panton Street, London SW1Y 4AJ (www.hearst.co.uk; www.harpersbazaar.com/uk).

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EDITOR’S LETTER

Right: Phoebe Dynevor in this month’s cover story (page 130). Below: Simone Rocha looks in ‘Tableaux vivants’ (page 142).

£12,300 Cartier £5,850 Cartier

£1,850 Dolce & Gabbana

£1,460 Salvatore Ferragamo

As a pre-teen, I was addicted to antique fairs, and spent many happy hours (and most of my pocket money) picking up the brooches, books and bric-a-brac that caught my magpie eye. Most of this treasure-trove was dross, of course; but on one occasion, I struck gold. Rootling around in an East Sussex junk shop, I spotted a tiny china coffee cup of jaunty angularity and vibrant pattern. It turned out to be by Clarice Cliff, and sparked £1,085 off a fascination for the works of this brilliant ceramicist. But Salvatore until now, I knew almost nothing about Cliff’s life, her empowFerragamo erment of her largely female workforce, or how her business instincts helped make her world-famous. Cliff’s inspiring story is told in a new film, The Colour Room, with Phoebe Dynevor E D I TO R ’ S playing the lead, so it felt particularly timely to ask the star to C H O I C ES grace the cover of our November Art issue. ) Those of you who have bought your copy in the UK What is one to wear when attending will also have the Bazaaar Art supplement, dedicated to the plethora of art events that take celebrating the achievements of women artists past and place this month? Ferragamo’s gloriously present. Inside, our guest editor Lubaina Himid writes on vibrant tiered skirt, with its scarf print the power of artistic collaboration, Marina Abramovic in contrasting scarlet and fuchsia explains her obsession with Maria Callas, Tacita Dean shades, is a fashionable masterpiece, explores heaven and hell through dance, and we examine offset with black and stylishly the baffling, yet increasingly influential, phenomenon of simple accessories. collectible digital art… From a selection Cartier

£595 Manolo Blahnik

From a selection Breguet

Lydia Slater

PS: We’ve made it even easier to get Harper’s Bazaar delivered to your door – to order single copies including Bazaar Art, simply visit www.magsdirect.co.uk/harpersbazaar (postage and packaging are free), or for details of how to subscribe, turn to page 106. Plus, you can download digital issues via Readly or Apple News+.

PHOTOGRAPHS: EMMA HARDY, ERIK MADIGAN HECK, JOSH SHINNER, LICK YOUR TEETH, THEY SO CLUTCH (2021) BY RACHEL JONES

LIFE IN COLOUR

CONTRIBUTORS

A N A F L AV I A Originally from the Brazilian city of Salvador de Bahia, Flavia now lives in London and, this issue, stars in our fashion story ‘Party spirit’. In 2016, she won the title of Ford Models’ Super Model of the World. Art is… ‘essential for the world we live in.’ A masterpiece you’d love to own ‘Anything by

B E R N A R D I N E E VA R I S TO

PHOTOGRAPHS: JOSH SHINNER, COURTESY OF BERNARDINE EVARISTO, ANA FLAVIA, ERIK MADIGAN HECK

Page 119 In 2019, the British writer became the first Black woman to win the Booker Prize for her novel Girl, Woman, Other. Evaristo has published eight books in forms ranging from fiction to verse and, this month, she releases her first non-fiction work, Manifesto. In ‘Talking Points’, she writes about the impact of creativity on her life. Art is… ‘how we express ourselves.’ A masterpiece you’d love to own ‘Kara Walker’s sculpture,

Fons Americanus – the scale of it in size and theme is astonishingly epic.’ Which gallery would you love to be locked in overnight?

‘Tate Modern – in solitary communion with the great artists.’ Your most treasured piece of art ‘A gorgeous,

Afro-futurist, Yoruba-style screen print by my artist nephew Charlie Evaristo-Boyce, who experiments with our shared Nigerian heritage.’

Frida Kahlo. I love the power of femininity she brought through in her work.’

P H O E B E DY N E VO R

Which gallery would you love to be locked in overnight?

Page 130

‘Musée d’Orsay in Paris. It is my favourite place to visit.’ Your most treasured piece of art ‘My books. They teach

me to see the world diﬀerently.’ Page 168 ¯

E R I K M A D I GA N H E C K

Page 142 The acclaimed artist, based in both Connecticut and New York, is a regular contributor to Bazaar. In 2013, he became one of the youngest photographers to receive the prestigious ICP Inﬁnity Award. A frequent fashion collaborator, whose clients include Van Cleef & Arpels, he describes his work as ‘painting through photography’, a style he brings to the arresting images in our shoot ‘Tableaux vivants.’ Art is… ‘an aim at touching the sublime.’ A masterpiece you’d love to own ‘Portrait of a Young Man

Holding a Roundel by Botticelli, which I helped Sotheby’s bring to market earlier this year. It sold for $92 million!’ An artist you would most like to meet ‘Anish Kapoor. I ﬁnd

his simple approach to sculpture groundbreaking.’

Our cover star shot to global fame with her role as Daphne in the Netflix period drama Bridgerton. This year, the 26-year-old makes her feature-film debut in The Colour Room, playing the artist Clarice Cliff. In ‘Fired up’ she talks to Lydia Slater about acting, art and overnight stardom. A masterpiece you’d love to own ‘I think it would be either

a Joan Miró, or one of Picasso’s ﬁnal paintings.’ An artist you would most like to meet ‘Clarice Cliﬀ.

I’d ask her where she got her balls from.’ Which gallery would you love to be locked in overnight?

‘The New York Guggenheim.’ Your most treasured piece of art is ‘A beautiful portrait of

me by Claire McCarthy, the director of The Colour Room. Is it weird to choose a picture of myself?’

CONTRIBUTORS S O F I A R O M AY

L A DY H A L E A woman of innumerable achievements, Lady Hale was the ﬁrst ever female president of the British Supreme Court and the UK’s most senior judge until her retirement last year. Her penchant for arachnid brooches has earnt her pop-culture icon status and informs the title of her upcoming memoir Spider Woman, which she discusses in this month’s ‘At Work’.

C E D E L L A M A R L E Y

‘The Sistine Chapel. I could spend hours, speechless, observing the pieces there.’

The dancer, singer, actress and writer is currently the director of the Jamaica-based Bob Marley Foundation, which provides aid and funding for social projects across the island. In ‘Talking Points’, she shares the stories that will be told in Get Up, Stand Up!, the eagerly anticipated West End musical of her father’s life.

A masterpiece you’d love to own ‘I think what would give

Your most treasured piece of art ‘A picture I took of a path in

A masterpiece you’d love to own ‘The Mona Lisa. The

lasting pleasure is anything by Vermeer, particularly Girl with a Pearl Earring.’

Falaises d’Etretat, France. I saw it while I was working there and it really caught my eye.’

mystery, the beauty, its history… it’s priceless.’

An artist you would most like to meet ‘David Hockney.

We’re both from Yorkshire. I would love to catch up over a cup of tea.’ Which gallery would you love to be locked in overnight?

‘That sounds a bit too spooky to me!’ Your most treasured piece of art ‘A sculpture of a heron in

my garden. When the sun hits the copper it’s beautiful.’ Page 112 ¯

A masterpiece you’d love to own ‘Deimos by Dragan Bibin,

because it gives me a mysterious, abstract feeling.’ Which gallery would you love to be locked in overnight?

A MY P OW N E Y

Page 77 A champion of sustainability, the creative director of Mother of Pearl has recently expanded the hugely popular fashion brand to include homeware. In ‘My life, my style’, she invites us into her east-London home to discuss her new life as a mother and her dedication to tackling climate change. A masterpiece you’d love to own ‘A Caravaggio. His use

of light is incredible.’ An artist you would most like to meet ‘Prince. Just to be

in his presence for a few hours would be amazing.’ Which gallery would you love to be locked in overnight?

‘Tate Britain, to soak up history and put things into perspective.’ Your most treasured piece of art ‘Any scribbles by my

16-month-old.’

Page 142 ¯

An artist you would most like to meet ‘Michelangelo

– he did it all.’ Which gallery would you love to be locked in overnight? ‘The Louvre.’ Your most treasured piece of art ‘A beautiful sculpture by the

Jamaican artist Gene Pearson. He had a way of capturing Black beauty, dignity and strength like no other.’ Page 118 ¯

PHOTOGRAPHS: COURTESY OF CEDELLA MARLEY, LADY HALE, AMY POWNEY, SOFIA ROMAY. WORDS BY MARIE-CLAIRE CHAPPET

The Argentinian model, who has just turned 21, already has several fashion weeks under her belt, having walked for Burberry, Rochas and Phillip Lim. An art aﬁcionado, she is also an amateur photographer who couldn’t resist turning the camera on the Bazaar crew in our shoot ‘Tableaux vivants’.

THE

Edited by AVRIL MAIR

CRUISE report

PHOTOGRAPH: MYRTO PAPADOPOULOS/COURTESY OF DIOR

Settings rich in history and scenic beauty formed the backdrop for these exquisite collections – featuring goddess gowns, magical monochromes, out-of-this-world ensembles and timeless trends

Dior

The Panathenaic Stadium in Athens, built in about 330 BC, is the only sports venue in the world entirely created of marble. It’s also where the opening ceremony of the ﬁrst modern Olympic Games was held in 1896. So far, so much history – but Maria Grazia Chiuri showed a collection here that riﬀed on both sportswear and ancient-Greek heritage, while making both feel utterly up to date and focused only on freedom of movement. The goddess gowns were, of course, a standout – one asymmetric dress rippled like liquid silver – but then poking from beneath its skirt, a pair of white trainers…

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Set in the Carrières de Lumières at Les Baux de Provence – a giant series of stone quarries whose pale, austere beauty led Jean Cocteau to stage his ﬁlm Testament of Orpheus here – Virginie Viard’s show was stripped back. Her collection was graphic, minimal (as far as Chanel gets in that regard, given the handbag-chain chokers and logo lip-piercings) and mostly monochrome. Its slick linearity packed a punch: this was Viard at her most modern, the clothes carrying the weight of their heritage lovingly but lightly.

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PHOTOGRAPHS: COURTESY OF CHANEL/WITH SPECIAL THANKS TO THE JEAN COCTEAU COMMITTEE

CRUISE REPORT

Chanel

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CRUISE REPORT

Louis Vuitton

PHOTOGRAPHS: GETTY IMAGES

Nicolas Ghesquière loves a destination with architectural signiﬁcance: from Rio to Tokyo, his resort shows have been a world tour of design futurism. The pandemic may have put a stop to travel, but this location – Axe Majeur, a sculpture park outside Paris conceived by the late Israeli environmental artist Dani Karavan – still felt like another step in his vision. The collection was inspired by space tourism (could there be anything more optimistic right now?) and was bold and upbeat, joyfully exuberant – out of this world.

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CRUISE REPORT

PHOTOGRAPHS: COURTESY OF MAX MARA/KEVIN TACHMAN, ALESSANDRO GAROFALO, ALBERTO MADDALONI, GETTY IMAGES

If there’s a more singular show location than the newly-reopened Mezzatorre hotel on the island of Ischia, then we’ve yet to see it. It’s a destination so picturesque that it was once owned by the film director Luchino Visconti and inspired the writing of Truman Capote; that MaxMara’s designer Ian Griffith created a collection more than capable of holding its own in this setting says it all. With Marella Agnelli, the last of Capote’s glorious Swans, as Griffith’s muse, his clothes reflected an elegance that transcends seasonality. Cashmere kaftans, jersey gowns and cape-backed coats… this was timeless refinement, captured with an expert eye.

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STYLE

The Max Mara A/W 21 moodboard and looks from the collection

MY MOODBOARD Max Mara’s Ian Griffiths on the regal inspiration for the brand’s 70th-anniversary collection

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PHOTOGRAPHS: COURTESY OF MAX MARA, IMAXTREE, PIXELATE

‘I wanted to celebrate the triumph of female energy and intelligence,’ says Max Mara’s creative director, Ian Griffiths, of the A/W 21 collection, which marks the brand’s 70th anniversary. ‘I think of the Max Mara woman as queen of her own kingdom, and that led me to think about the iconic style of the Queen in off-duty mode,’ he says. ‘Just a single image of Her Majesty in a waxed jacket and a kilt sparked off a world of ideas.’ The result was a blend of British country attire and Italian elegance in a wardrobe of suede padded cloaks with equestrian detailing, thick socks and hiking boots, headscarves and oversize knits adorned with the date 1951, when Achille Maramotti first launched the brand. www.harpersbazaar.com/uk

STYLE

MY LIFE, MY STYLE How growing up off-grid inspired Amy Powney to bring sustainable luxury to the high street – and her home By LUCY HALFHEAD Photographs by KENSINGTON LEVERNE

Amy Powney in her living-room. All clothes throughout are from her own Mother of Pearl label

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STYLE Left: Powney in her dining-room with her cockapoo, Roxy. Right: a moodboard in her garden oﬃce. Bottom: a wall hanging from A New Tribe

‘Y

ou have to think about clothes in the way you think about your food,’ says Amy Powney, the creative director of Mother of Pearl. ‘Where’s it been grown, where’s it been spun and what impact does that have on the environment?’ Powney, who celebrates her 15-year anniversary at the brand this month, has won plaudits for her ecofriendly, classic pieces with bold prints and pearl details. Even Gwyneth Paltrow is a fan. Most recently, the label has unveiled a homeware collection with John Lewis. ‘Yes, it’s a mass operation, so when it comes to sustainability, they’re turning a ship around, but they are genuinely keen to learn and make changes, and as a trusted household name their voice can amplify our message,’ she says. ‘Whether a dress or a bed sheet, chances are it’s come from a ﬁeld, but people just don’t see that.’ 78 |

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Powney was born in Lancashire, where her ordinary childhood took an unexpected twist just after she turned 10. ‘My parents watched The Good Life too much on TV and decided they were going to build their own house,’ she explains. ‘We ended up living completely off-grid in a caravan for five years.’ Looking back, she credits this experience with an outlook that has underpinned her whole life: ‘We couldn’t just flick a switch for light or turn a tap on for water, so I think it really made me question where everything comes from.’ At this point, Powney admits that fashion wasn’t on her radar. ‘I grew up in the Nineties, so my only desire was to have an Adidas three-stripe tracksuit and some Kickers,’ she says. What she did know was that she wanted to study art, so instead of doing A-levels she enrolled on a vocational course, before a foundation year at Kingston School of Art. ‘Initially, I thought about costume design, but when I looked into it, it was just cutting period garments and corsetry,’ she says. ‘Then I read that Jean Paul Gaultier had done the costumes for The Fifth Element and it clicked that fashion might give me a broader outlook.’ Things began to take shape quickly; Giles Deacon was a guest lecturer at Kingston and she was asked to go and intern with him, alongside another young design hopeful called Christopher Kane. ‘Giles was so creative, and it was thrilling,’ she says. ‘That was my real initiation into what fashion could be and I fell in love with it.’ Powney joined Mother of Pearl – a niche label set up by Maia Norman – fresh out of college in 2006, working her way up the ladder from intern to creative director. ‘Maia gave me the reins from such a young age, which was an amazing opportunity, but it was all trial and error,’ she says. ‘It’s not been an easy journey, but it was great because you learn harder when you’ve made the mistakes yourself.’ www.harpersbazaar.com/uk

Working for a smaller company appealed to Powney from an ethical point of view. ‘I’d read the book No Logo by Naomi Klein, which describes the terrible things happening in sweat shops,’ she says. ‘There wasn’t really a conversation back then about the impact of fashion, but I’d have felt guilty if I’d gone to a big business.’ However, by the time she took over as creative director in 2016, the company’s own growth meant demands from sales agents were high. ‘They wanted four collections, not two, they wanted bags, shoes… at the end of that year, I worked out I’d designed 700 products and I thought Left: with her daugther Niamh in this is ridiculous. So I decided to the master bedroom. planet and my daughter’s life.”’ change everything.’ Above right: Powney purchased her Today, Mother of Pearl is a a collection of two-bedroom Victorian house scaled-back operation that is cited photography books in Walthamstow six years ago, as one of the world’s top five and prints in the living-room and today she shares it with sustainable brands. In addition, her husband Nick Prendiville, a new concepts like the Full Circle rental service allow Powney to support visual merchandiser, their daughter Niamh customers to keep garments in their lifespan a cockapoo called Roxy and Margot the cat. for as long as possible without ending up in ‘The family that lived in it before were super landfill. ‘Someone said to me, “Aren’t you sweet, but it was so old and dated, and the worried how that’s going to affect your kitchen was pretty grim,’ she says. After a sales?” and I was like, “To be honest, I’m full refurbishment, the open-plan space now more concerned about the future of the boasts London plane-wood cabinets, and

‘I’m more concerned about the future of the planet and my daughter’s life than my sales’

Powney’s kitchen

www.harpersbazaar.com/uk

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Left: Powney in her garden oﬃce. Above: an embroidery hoop. Right: the master bedroom, featuring bedding from the Mother of Pearl x John Lewis collection

Throw, £180 Mother of Pearl

Left: an Alexandria Coe line drawing in the bathroom. Right: Niamh’s room

whole time – when you have your own brand it’s a very fortunate thing – and if I’m on the high street I do tend to navigate towards COS because they oﬀer recycled fabrics and I feel quite happy about buying from them.’ She also recommends Rothy’s who make skater shoes and trainers out of recycled ocean plastic, and praises Otiumberg and Monica Vinader for sustainable jewellery. ‘It’s not about stopping shopping, it’s about considering your purchases.’

Canvas, from a selection Tycjan Knut

Ring, £235 Otiumberg

AMY’S WORLD £210 Monica Vinader

Bowls, £56 for a set of four Denby

‘Nick with baby Niamh’ Daybed, about £2,575, Dinesen

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£395 Mother of Pearl Jacket, about £60 The Simple Folk

‘Best buddies’ Vase, from a selection Alison Lousada

Bracelet, £220 Otiumberg

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Candle, £55 Evermore

www.harpersbazaar.com/uk

HAIR AND MAKE-UP BY AMY BRANDON, USING NARS. PRODUCTION BY RACHEL LOUISE BROWN. PHOTOGRAPHS: COURTESY AMY POWNEY

a marble island and splashback designed by the Brixton-based firm Pluck. She describes the furniture as ‘a real mixed bag – we’ve got expensive pieces and we’ve got Ikea’. Her favourite is a chrome Cloud sofa in the living-room by the Danish brand &Tradition, with whom she has collaborated at Copenhagen Fashion Week. ‘We’ve also just bought some beautiful work by the artist Tycjan Knut – he came round and created them especially for us.’ Her understated attitude is also reflected in her wardrobe. ‘I’m a bit like Mark Zuckerberg who puts the same outfit on every day because he believes that it’s one less thing to process,’ she says laughing. ‘Genuinely, I wear Mother of Pearl the

Artwork by K YOUNG

STYLE

DRESSING in LIMBO For Laia Garcia-Furtado, fashion was always a source of joy. But when the pandemic and a miscarriage uprooted her sense of self and style, what to wear became a larger, more profound question

DOUBLE FIGURE (2019) BY K YOUNG © K YOUNG COLLAGE, IMAGE COURTESY K YOUNG COLLAGE AND THE RAVESTIJN GALLERY, AMSTERDAM

got married in the summer of 2019, and my husband and I saved all year for a honeymoon the following summer that would take us to Morocco, Portugal and Spain. We would see the desert and drink lots of wine. I would buy too many swimsuits, giant scarves to wear as pareos, and at least one absolutely ridiculous bucket hat. We would also try to get pregnant. We thought it would be funny because that’s what you’re supposed to do! It didn’t take long before we realised the honeymoon was not going to happen, so then we decided to try to make a quarantine baby. Trying to get pregnant is believing every month you may be pregnant. Suddenly my daily trawling through TheRealReal became slightly complicated: should I buy a pair of trousers that I would likely wear only a few times (if at all; I was not wearing trousers in lockdown)? Or should I buy oversize silhouettes that I could wear when I became pregnant? Or is buying pregnancy clothes before you are actually pregnant a psychotic and cursed thing to do? I think about clothes a lot. For me, fashion has always been about self-expression. Even in lockdown, I was trying to ﬁgure out what my clothes – Skims bralettes, tracksuit bottoms – said about me (an obsession with 1990s sporty girls). I have written about fashion for most of my life, and when the pandemic brought the world to a stop, I was working as the features director at an art-and-fashion biannual, covering the catwalk collections in Paris. I was surrounded by so much beauty and inspiration (and a bit of disposable income), and my style was ﬁnally getting closer to the idealised version of myself that lived in my head. For a little while, I felt like a woman who had somehow managed to ‘have it all’. In October, I found out I was pregnant. Although we had been ‘trying,’ it still came as a shock, which gave way to an enveloping feeling of joy. Then, a question: what would pregnant me look like? I would lean into bold coloured dresses from Pleats Please by Issey Miyake, oversize button-down shirts paired with elastic-waist slim trousers from the Row, and, for formal occasions, vintage

Wearing something for ever implies having the same body for ever and, in less than a year, my sense of what could be for ever had changed www.harpersbazaar.com/uk

kitten-heeled Manolos. I was 36 years old, and this would be the first step into my next phase of adult dressing. After all, when reading those ‘What to wear at every age’ articles in fashion magazines, I always found myself drawn to the advice for women in their forties. I was ready! In November, I went to the doctor for a routine 10-week check and found out there was no longer a heartbeat. I knew miscarriages are not uncommon, and I knew they are especially common in the first 12 weeks of pregnancy, and yet I was not prepared for the grief, the feeling of desolation and the sense that my body was suddenly somehow a separate entity from myself. Later that week, I was laid off from my job. When it rains, it pours. Meanwhile, somewhere between the initial lockdown, the pregnancy and the miscarriage, I had gained weight. My clothes no longer fitted me. The number-one fashion rule is to invest in classic pieces you can wear for ever. But wearing something for ever implies having the same body for ever and, in less than a year, my sense of what could be for ever had changed. The doctor said the important thing was that we knew I could get pregnant, that the best way to move on was to get pregnant again. And so with my body in limbo, in a year in limbo, I started trying again. I realised I needed to accept myself the way I was at that moment. So what if I no longer fit into clothes I got in my twenties? They had served me well, and now they needed to go. I got rid of things that didn’t fit me and, with them, the notion that once the world went ‘back to normal’ and I lost all the weight I had gained, they would fit again. It was a lie and I knew it. Fashion brings me joy, and what’s the point of keeping things around that would make me depressed? Goodbye to the beautiful pair of blue wool flared trousers from the Row that made even the rattiest T-shirt seem like couture, goodbye to the Toga skirt with a silk scarf inset, and goodbye to the Christopher Kane body-con with the printed gorilla splashed across the chest. I bought a few things that have got me through this time, including a Chopova Lowena skirt that is absolutely the greatest item of clothing I’ve ever owned in my life and a pair of Margiela Tabi Mary-Jane loafers that make everything look cool. I know that they may not be mine for ever, but I am happy that, for now, they help me feel like myself. In a year when my sense of self has felt like it was scrambled beyond recognition, I’ve started to gather the blocks that will make up whatever newer, hopefully better, version of myself awaits – as a mother, or as a woman who is now kinder to her body and herself. November 2021 |

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STYLE

Practical MAGIC The sleek new multipurpose cases from Hermès are the ultimate in functional elegance, featuring individual compartments that hold a phone, earbuds, credit cards, and lipstick

FASHION EDITOR: AMANDA ALAGEM

Hermèsway phone cases, £1,750 each; Rouge Hermès lipsticks, £58 each, all Hermès

Photograph by RYAN JENQ Styled by JOCELYN CABRAL

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www.harpersbazaar.com/uk

STYLE

Small WONDERS Balance out a diminutive top-handle bag with sparkly cocktail rings

PHOTOGRAPHS: ALLIE HOLLOWAY. FASHION EDITOR: MIGUEL ENAMORADO. MANICURE: SHIRLEY CHENG FOR CHANEL

Bags, clockwise from above: £1,405, Chanel. £2,500, Dior. £675, Balenciaga. £370, Missoni. All rings, from a selection, Harry Winston

www.harpersbazaar.com/uk

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GIVING BACK, THE ITALIAN WAY The fashion industry in Italy has always been close-knit and familial, with a deep connection to the country and its people. But as the pandemic revealed, those ties are about more than clothes By ALISON S COHN Portrait by FRANCESCO BRIGIDA

From top: Brunello Cucinelli in his oﬃce. Cucinelli (centre) at the vaccination site in the Park of Beauty on the company’s campus in Solomeo, Italy

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www.harpersbazaar.com/uk

PHOTOGRAPHS, FROM LEFT (ALL COURTESY): GIORGIO ARMANI, BULGARI, ANNA CATALANO. OPPOSITE PAGE: COURTESY BRUNELLO CUCINELLI

STYLE

he Park of Beauty, Brunello Cucinelli’s Edenic 250-acre redevelopment project in the valley surrounding his Solomeo, Italy, headquarters, features a stadium for youth football, hiking trails, lush vineyards, golden wheat fields and silvery expanses of alfalfa leading to a stone monument with the inscription ‘Tribute to Human Dignity’. And this April, it also came to host a vaccination site that has distributed more than 30,000 Pfizer courses. ‘It’s in difficult moments that you need to be creative,’ Cucinelli says. When northern Italy became a Covid-19 epicentre in February 2020, he was uniquely positioned to help his local community. Cucinelli, whose 100-year-old father Umberto laboured as a farmer and later as a cement-plant worker, has spent the past four decades transforming the Umbrian hamlet two hours north of Rome into a vibrant hub of cashmere production that now employs most of its residents. ‘I remember asking, “Dad, what was the best day of your life?”’ Cucinelli recalls. ‘He said 8 May 1945, because that’s when they announced the end of the war. But I have to say the best day of my life was 9 November 2020, when we heard the news that Pfizer had developed a successful vaccine candidate.’ Even before Italy went into a two-month lockdown in March of last year, Cucinelli had set up his own test-and-trace corps, which visited the homes of symptomatic employees to perform tests on all family members, and delivered food and supplies to those required to self-isolate. According to Cucinelli, the company has seen only 26 positives among its local staff of 1,200 (at the time of writing). He also donated unsold merchandise to charities globally through the Brunello Cucinelli for Humanity programme and worked with contacts in China to source 600,000 masks and 11 ventilators for the regional hospital in Perugia. ‘Now is the time for a new social contract,’ Cucinelli says. ‘I think we need to rediscover a balance between profits and giving back. This pandemic has reaffirmed our belief in not turning our back on humanity.’ Cucinelli has always given back to his community. But the Covid-19 crisis galvanised the entire Italian fashion industry into urgent action, with houses and companies using their resources and connections to help manufacture PPE, source ventilators and set up vaccination centres. In fact, nearly two years into the pandemic, many of them have stepped up to offer ongoing humanitarian aid and support for medical researchers fighting the virus. ‘I am a man of decision and action,’ says Giorgio Armani, who was the first designer to stream his show without an audience on 23 February 2020, two days after several Covid-19 cases were detected in a small town near Milan. ‘I have never been one to take my time talking about things when it is clear that steps need to be taken. So when I saw what was happening, I couldn’t sit back; I had to do something. And fast.’

A Giorgio Armani billboard in Milan thanking health-care workers for their service www.harpersbazaar.com/uk

Soon after Italy went into lockdown, Armani made a €2,000,000 donation to hospitals in Milan, Rome, Bergamo, Piacenza and Versilia, enabling them to make urgent purchases of ventilators and PPE. The Armani Group also kept its Italian production plants open during Italy’s lockdown, producing more than 30,000 medical overalls for distribution to hospitals and health facilities. The lights stayed on at one of Prada’s domestic factories as well; it manufactured 80,000 medical overalls and 110,000 masks. Co-CEOs Miuccia Prada and Patrizio Bertelli and the thenchairman Carlo Mazzi made a donation to add six intensive care units (ICUs) at three Milan hospitals. Last October, the house also raised more than £360,000 for the Unesco Covid-19 Global Education Coalition through a Sotheby’s auction of fashion-show ephemera including Rem Koolhaas sculptures and a catwalk look worn by Gigi Hadid. Meanwhile, Bottega Veneta chose to directly fund scientific research, providing €300,000 to create three two-year scholarships at universities in Rome, Padua and Naples. ‘We recognise that supporting the medical professionals who are saving the lives of others must be our priority during this time,’ said the creative director Daniel Lee. And Bulgari endowed fellowships for vaccine research at the University of Oxford’s Jenner Institute and the Rockefeller University in New York. ‘In times like this, it is important to be united and support however we can all those who are in the front lines, fighting every day to save hundreds of lives,’ said Donatella Versace, who, with her daughter Allegra, made a €200,000 donation to fund an ICU at a Milan hospital. Gucci made a donation of €2,000,000 in support of two crowdfunding campaigns for the World Health Organisation and Italy’s Civil Protection Department, calling for help from the #guccicommunity. Valentino made a €1,000,000 donation to a hospital in Rome as part of its #ValentinoEmpathy campaign. (In August, Valentino’s creative director Pierpaolo Piccioli wrote on Instagram: ‘Vaccination is not a choice. It’s a civil responsibility. You can’t be free to choose to respect others.’) Moncler likewise helped set up a giant vaccination hub inside Milan’s Generali Square Garden. This past spring, Armani’s show space, the Tadao Andodesigned Armani/Teatro, was filled with nurses putting shots in arms instead of models striding down a catwalk. ‘I must say that the response of the fashion industry to this situation has been fast and rational,’ reflects Armani. ‘Everybody has done their job in order to help. And it is great to see this. The fashion system can be full of egos sometimes. This time, we acted in unison. And this is, I believe, the most important lesson: we must stay strong and united. Because it is only by sticking together that we will come through this terribly difficult time.’

Sandra Nakandakari, a Bulgari Women & Science fellow, in her lab at the Rockefeller University

A Prada factory worker sewing masks

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TRUNK SHOW In the 19th century, the Parisian luggage-maker Louis Vuitton founded a modern luxury brand infused with the spirit of travel. To mark the 200th anniversary of his birth, the house has created Louis 200, a collection of its signature trunks reinterpreted by 200 artists, creatives and cultural ﬁgures. The trunks are currently on view at Louis Vuitton stores globally and will be auctioned at Sotheby’s in December. The company will also be donating a total of €2,000,000 to 15 arts-education organisations around the world By ALISON S COHN Photographs by SEBASTIAN LAGER

When Gloria Steinem sat down to write an essay for Louis 200, the feminist activist, organiser and author began where she always has throughout her six-decade career: with a yellow legal pad. ‘I start that way, and then once I’ve written a certain amount, I usually transfer it to what was the typewriter and now is a computer,’ she says. ‘There’s something about the physical connection of your hand and the page that to me is still more personal than passing your words through a word processor.’ This time, Steinem got to skip the transcription phase after the Louis Vuitton team suggested using her lined sheet of paper to wrap a scaled-down trunk. In her essay, which begins, ‘I’ve learned that baggage is biography’, Steinem recounts how a life spent on the road – from her early adventures backpacking in India after graduating from college to years spent travelling around the world for speaking engagements as a leading voice in the women’s rights movement – has taught her that, in many ways, we are what we carry. Her minimalist packing list consists of a daily uniform of black trousers and a top, and a change of belt to mix things up. ‘We as human beings had travelling cultures long before we had settled ones,’ says Steinem. ‘There were bands of people following the seasons and the animals. Travel is in our genes.’ 88 |

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PRODUCTION: AMÉLIE GROSSET AT KITTEN PRODUCTION; SET DESIGN: HENRI PIERRE LECLUSE

GLORIA STEINEM

Louis 200 trunk by Gloria Steinem

www.harpersbazaar.com/uk

STYLE

NIGO ‘The act of wrapping something demonstrates respect for the recipient,’ explains the Tokyo-based designer, DJ and cultural entrepreneur Nigo of the inspiration for his Louis 200 trunk, which comes with a custom logo slipcover. ‘It is a way of showing my respect for Louis Vuitton.’ The founder of the pioneering streetwear labels Bape and Human Made, Nigo teams with Louis Vuitton men’s artistic director Virgil Abloh

on drops of tweaked Americana staples, like a denim jacket in two diﬀerent stonewashed fabrics featuring the iconic LV Monogram and Damier Giant motif. For the Louis 200 project, Nigo decided to focus on the connections between Louis Vuitton and Japan. ‘The inﬂuence that Europe and Japan had on each other during the Azuchi-Momoyama [1568–1600] and Edo [1603–1868] periods was substantial,’ he says, pointing to the

similarities between Louis Vuitton’s Damier check and ichimatsu, a repeating pattern of alternating dark and light squares that in Japanese culture represents prosperity. Nigo took cues for his trunk from giftwrapped traditional Japanese sweets. ‘I created a cover with actual fabric and applied the print to it using a silk screen,’ he says. ‘The fabric is one used for the curtains of my atelier.’

Louis 200 trunk by Nigo

www.harpersbazaar.com/uk

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ACCESSOR IES

Li g

R K NE A D IN SS

s with Armani’s irresi w o stib ad h s ly g he t litt p er u ht

ing ven ge in bag

DA Z ZL

Edited by AVRIL MAIR

£4,050 Giorgio Armani

Photograph by PAUL ZAK Styled by HOLLY GORST

ACCESSORIES £1,190 Alexander McQueen

Earring (sold singly), £580 Prada

From a selection Fendi

£9,650 Chanel £1,095 Manolo Blahnik

About £930 Versace Necklace, £950 Alighieri

Cuff, £1,709 Dior

£1,255 Saint Laurent by Anthony Vaccarello £2,500 Prada £750 Prada £855 Giuseppe Zanotti About £215 Givenchy £350, Celine by Hedi Slimane

Earrings, £350 Louis Vuitton

Combine midnight shades of black and silver for an edge of mystique

Bag, from a selection Bottega Veneta

£1,200 Miu Miu

Ring, £325 Alighieri

£240 Tom Ford

£290 Alexander McQueen

£750 Gucci

Necklace, £1,205 Chanel

£715 Michael Kors Collection

£1,110 Chanel

£1,350 Louis Vuitton

PHOTOGRAPHS: PIXELATE

£820 Michael Kors Collection

Card-holder, about £250 Givenchy

£425 Shrimps

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www.harpersbazaar.com/uk

SECTION ACCESSORIES

A R K LE SP

E R V I OF L

ay ryd rings ve g ear ee atin till in

Bring a touch of splen dou with r to Miu Mi t u’s h sc

£390 Miu Miu

www.harpersbazaar.com/uk PAUL ZAK

Scarf, £80 Lescarf

Hairclip, £95 Simone Rocha

Earrings, £1,130 Sophie Bille Brahe

£3,425 Chanel

£1,090 Alexander McQueen

Keyring, £190 Celine by Hedi Slimane £895 Manolo Blahnik

£1,125 Gianvito Rossi

Belt, £1,335 Chanel

£365 Saint Laurent by Anthony Vaccarello

£3,900 Louis Vuitton

£605 Aquazzura Earrings, £590 Alexander McQueen

Pastel heels and soft silky scarves to guarantee you’re perennially pret ty in pink £495 Malone Souliers

Hairclip, £225 Erdem £225 Miu Miu

£940 Versace

£90 Vivienne Westwood

Earring (sold singly), £365 Bea Bongiasca £1,400 Prada

About £1,195 Givenchy

Bracelet, £540 Alexander McQueen Earrings, £240 Givenchy

PHOTOGRAPHS: PIXELATE

£310 Andrea Wazen

£655 Bottega Veneta

www.harpersbazaar.com/uk

£970 Saint Laurent by Anthony Vaccarello

£1,200 Celine by Hedi Slimane

£365 Vivienne Westwood

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Electrify the da n bring ceflo or ing in ba ck

WA LK O N PAUL ZAK

st wi

s boots, u o l u fab s ’ i nd e le with a cool m y F t s ode es i t rn Six

S P D L E INT D L I E G

ACCESSORIES

£1,350 Fendi

ACCESSORIES

£790 Giorgio Armani

£950 Celine by Hedi Slimane

Scarf, £500 Louis Vuitton Earring (sold singly), £420 Fendi

About £1,540 Givenchy £420 Dior

Necklace, £495 Completedworks

Bracelet, £775 Saint Laurent by Anthony Vaccarello

Necklace, £1,120 Chanel

Cuff, £1,709 Dior

£540 Alexander McQueen

£2,675 Saint Laurent by Anthony Vaccarello

£2,680 Louis Vuitton £472 Dior

£1,065 Chanel From a selection Jessie Thomas

£695 Manolo Blahnik

Pair glimmers of gold with pearly whites for a look of timeless glamour

£1,060 Michael Kors Collection

Belt, £180 Tory Burch

£3,685 Chanel

£425 Malone Souliers

Hairclips, £350 for three Celine by Hedi Slimane

Ring, £200 Louis Vuitton

From a selection Fendi

£365 Completedworks £350 Louis Vuitton

£780 Valentino Necklace, £1,366 Dior

£835 Chanel

About £680 Givenchy

www.harpersbazaar.com/uk

PHOTOGRAPHS: PIXELATE

£2,147 Dior

JEWELLERY

Edited by AVRIL MAIR

Photographs by KYOKO HAMADA Styled by HAIDEE FINDLAY-LEVIN

FASHION EDITOR: AMANDA ALAGEM

Knot necklace; bangle, both from a selection, Tiﬀany & Co

STRONG TIES

Inspired by the spirit of New York City, Tiffany’s new Knot collection is the perfect combination of artful and audacious

JEWELLERY

IN THE MIX Pile on an elegant assortment of diamond and metal bracelets Photographs by THOMAS SLACK Styled by ALEXANDRA ASSIL

THIS PAGE: VINTAGE TROUSERS, PRINGLE OF SCOTLAND AT PAUMÉ LOS ANGELES (WWW.PAUMELOSANGELES.COM). OPPOSITE: VINTAGE TANK TOP, HELMUT LANG AT ARTIFACT NEW YORK (WWW.ARTIFACTNEWYORK.COM)

All prices throughout, from a selection. Bangles and bracelets, all Harry Winston

Bracelets, all Bulgari

Bracelets, all Cartier

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OPPOSITE: VINTAGE SHIRT, CHLOÉ AT PAUMÉ LOS ANGELES (WWW.PAUMELOSANGELES.COM). FASHION EDITOR: AMANDA ALAGEM

JEWELLERY

THOMAS SLACK

Bracelets, all Van Cleef & Arpels

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S t yl e Necklace, from a selection; earrings, £1,910, both Cartier

Wallet, £290 Fendi

SI E W ILL

U L ZA K PA

otograph by Ph

£440 Pomellato

Mug, £125, Hermès

£20 Cross

Aqua Celestia Cologne Forte, £95 for 35ml Maison Francis Kurkdjian

Sisleÿa L’Intégral Anti-Âge, £350 Sisley

Notebook, £89 Smythson

Poppy Lip Shine, £58 Hermès

Lip brush, £68 Hermès

Scarf, £385 Hermès

HOT DESKING

£8,060 Omega

Brighten up your working week by mixing punchy colours and playful prints with elegant ofﬁce classics

£4,200 Hermès

- REPORT-

Q: CAN WE BUILD CAREER CONFIDENCE? A: ‘F Lady Hale, the former President of the Supreme Court, on the power of standing out in male-dominated workplaces By MARIE-CLAIRE CHAPPET

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or each day we were in court, I carefully selected a different dress and brooch,’ says Lady Hale, who today is wearing a bold patterned top one assumes was chosen with equal care for our Zoom interview. ‘Yet all anyone ever focused on were Lord Sumption’s ties!’ She laughs, humorously incensed. After all, who wears a brooch better than Spider Woman herself? This all took place in 2017, when Lady Hale presided as a judge over the landmark case brought by Gina Miller, questioning the legality of Britain leaving the EU without an act of Parliament. It is nothing new for a woman who has had to fight to be noticed throughout her career in the male-dominated world of law. Hale retired in 2020 from her position as the most senior judge in the United Kingdom. Nevertheless, her career has been marked by a series of firsts. She was the first woman to be appointed to the Law Commission, the first female Lord of Appeal www.harpersbazaar.com/uk

AT WORK Lady Hale in 2019

in Ordinary, the first female President of the Supreme Court. Like other female pioneers, such as Margaret Thatcher and Kamala Harris, she has carried the inescapable burden of representation. (She notes wryly that her male peers were surprised that she and her fellow female judges ‘didn’t all think the same’.) When she was called to the bar in 1969, after graduating top of her class, there were so few female barristers that it sparked a discussion about whether they should be allowed to wear the traditional wig. Female advocates were only able to wear trousers in 1995. ‘It seemed to be that one was able to pretend to be a man from the waist up, but not from the waist down,’ Hale observes, amusingly. ‘Initially I was not, as a woman, permitted to even dine or drink at the barristers’ mess. It sounds trivial, but cumulatively, these restrictions are not trivial at all. Being barred from sharing the camaraderie of the barristers out on circuit is quite a statement.’ Such discrimination became both the backdrop and driver of her career. She has often fought to better the lives of other women, all while being the lone woman in the room. Indeed, her new memoir Spider Woman elaborates on moments of her imposter syndrome. These range from her experience as the only girl to have passed the 11-plus from her primary school in Bolton-on-Swale, North Yorkshire, right up to the moment she announced the judgment of the Supreme Court’s great prorogation case in September 2019, which brought her global attention. Her book details her struggle to silence her own inner critic. ‘I beat that voice by working as hard as I could and ignoring any outside noise,’ she explains. ‘Ultimately, you also have to enjoy what you do, because then you’ll work at it to be the best you can be at it. That’s the best way of defeating the feeling of being an imposter.’ It was Hale’s late husband, the lawyer Julian Farrand, who first suggested she wear the irreverent animal brooches that have now become her trademark. They were originally intended to ‘cheer up a drab outfit’ but she cannot be unaware of the branding — accidental or otherwise — it has latterly afforded her. If she must be the one woman in the room, she may as well stand out. Today, Hale exudes a quiet self-belief in her ability, brought about by her historic achievements. Instead of indulging in her anxieties or the very real misogyny she has faced, she has simply let her hard work speak for itself. ‘My self-confidence has been an evolution over my lifetime,’ she says. ‘Every time I have achieved something, I have built upon it brick by brick. As a girl I would never, ever have believed myself capable of becoming President of the Supreme Court.’ Lady Hale calls herself a ‘soft’ feminist and has many opinions on women in the workforce. She believes remote work is a doubleedged sword — allowing freedom but also removing the visibility of female employees — and declares how the phrase ‘working fathers’ should be used more widely, as motherhood is still, unjustifiably, holding women back. She has a daughter, Julia, and explains how,

though giving up work was never an option, she was privileged to afford childcare. Although she has often been the first woman, she is determined to ensure she is not the last. ‘When I joined the Supreme Court, it was years before we got another woman. I did worry about whether I was putting them As the new President off! But I have done everything of the Supreme Court in I can to encourage women to 2017, with Lord Mance think of themselves in the judiciary. I was instrumental in setting up the UK Association of Women Judges, a great support network. I hope my example means it doesn’t seem so strange now to see a woman in that position.’ At 76, there is something infectiously optimistic about Hale, twinned with a gleeful irreverence. One imagines it is this combination that has armed her against criticism. ‘Whenever anyone or anything has tried to put me down, I just sail on regardless,’ she says, smiling: the Spider Woman’s true superpower. ‘Spider Woman: A Life’ by Lady Hale (£20, Penguin) is out now.

Necklace, £725 Dinny Hall

or expressi f s e ng ec

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Scarf, £165 Emily Carter at Liberty

Brooch, £145 Susan Caplan Vintage

From a selection Fendi

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T A PPROV R U

PHOTOGRAPHS: AGATA POSPIESZYNSKA, AVALON, I-IMAGES

‘Every time I have achieved something, I have built upon it brick by brick’

Brooch, £185 Etro

Brooch, £225 Susan Caplan Vintage

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TALKING POINTS

Edited by CHARLOTTE BROOK

PHOTOGRAPH: HANA YILMA GODINE/COURTESY OF FRIDMAN GALLERY

‘Preparation for Wedding 2’ (detail) (2020) by Hana Yilma Godine

TO SEE AND BE SEEN

Hana Yilma Godine’s vivid compositions star in Somerset House’s dynamic 1-54 art fair. Plus: Claudia Schiffer recalls the wild 1990s; a Bob Marley musical brings reggae rapture to the London stage; and Bernardine Evaristo glories in creative individualism

Left: Schiﬀer (second from right) with fellow models backstage at Versace A/W 94. Right: Stella Tennant backstage at Valentino A/W 96. Below: Schiﬀer working on her new book

BOOKS

GOLDEN YEARS A

t shows, it was insane: like being a rock star, to the extent that security was even employed to guard my underwear, which was constantly disappearing while I was on the runway. My very ﬁrst show was for Karl [Lagerfeld] at Chanel. It was the pivotal moment in my career, and transformed me from a shy teenager into a supermodel. Then there were the Versace shows, when we’d walk to a Prince track, with hundreds of photographers lining the catwalk and Gianni [Versace) sitting there on the front row. I grew up with a lot of Eighties pop music, like Nena’s ‘99 Luftballons’, Pet Shop Boys, George Michael and Elton John, and I worked to their music on photo-shoots. My favourites – Elton’s ‘Rocket Man’, ‘Tiny Dancer’ and ‘Your Song’ – are timeless. The book is dedicated to the late Stella

AT I V E VA L

A trio of nove ls UES

Crossroads, by Jonathan Franzen Charting the lives of the dysfunctional Hildebrants, this is the ﬁrst part of a new trilogy. Out now (£20, Fourth Estate).

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Tennant, who I will remember for her elegance and plucky character. Her rise was meteoric – she became the face of Chanel in 1996 and spearheaded a new era of individualistic models. Stella was the perfect name for a quintessentially British, beautiful star. She shone brightly, and will be missed. Of course, previous eras had famous models – Lauren Hutton, Twiggy, Penelope Tree and Iman to name a few – but as supermodels, we became symbols of a self-made success, in an era that championed female ambition and that was also fuelled by sex. In the Nineties, there was also a merging of ﬁelds across fashion, music, art and entertainment, and that made the era dynamic and exciting. It was a watershed decade in which the impossible became possible. ‘Captivate!’ by Claudia Schiﬀer (£49.99, Prestel) is published on 19 October.

| November 2021

Left: Schiﬀer (right) with Cindy Crawford in 1992. Below: Naomi Campbell, Christy Turlington and Linda Evangelista in 1990

FICTION

ns of family life explo re the trials and tribulatio

Oh William! by Elizabeth Strout Strout’s recurrent heroine Lucy Barton reconnects with her husband Will. Published on 21 October (£14.99, Viking).

Are We Having Fun Yet? by Lucy Mangan A funny and frank tale of harassed motherhood. Published on 14 October (£16.99, Souvenir Press). www.harpersbazaar.com/uk

PHOTOGRAPHS: © DOUG ORDWAY, © ARCHIV ANGELICA BLECHSCHMIDT, © CLOUDY FILM LIMITED 2021, BRUCE WEBER FOR REVLON, ROXANNE LOWIT, HANA YILMA GODINE, PREPARATION FOR WEDDING 1 (2020), COURTESY OF FRIDMAN GALLERY, TURIYA MAGADLELA, INCOSI YE NGAMLE (THE FORTUNE BABY) I, II & III (2019), COURTESY OF KALASHINKOVV GALLERY, FEBRUARY JAMES, WATER ME AND CALL ME ROSE (2021), COURTESY OF THE ARTIST AND LUCE GALLERY, LULAMA WOLF, IZNYAYA ZILLHONA EMHLAMBENI - THE ANCESTORS ARE HERE WITH US IN EARTH (2021), COURTESY OF THK GALLERY, SUE WILLIAMSON, MRS. NTLABATI (1981), ETCHING SCREEN PRINT, 65 X 50 CM. ARTIST PROOF EDITION. COURTESY OF GALERIE DOMINIQUE FIAT, JEROME GALLAND FOR PARFUMS CHRISTIAN DIOR

As she launches her new book, Claudia Schiffer recalls the music, fashion, thrills and glamour of the Nineties

TALKING POINTS The textile revolutionary: Turiya Magadlela, Kalashnikovv Gallery ‘Magadlela uses textiles, especially those long associated with women, to present her personal experiences in work that is reﬂective and powerful.’

ART

The collagist: Hana Yilma Godine, Fridman Gallery ‘Yilma Godine’s compositions are beautiful celebrations of people, particularly women, inspired by her childhood in Addis Ababa as well as recent travels in the US and Europe.’

The portraitist: February James, Luce Gallery ‘Although James’ work is

LEADING LIGHTS

autobiographical, she allows viewers to project themselves onto her portraits. She asks the question:

Visionary avant-garde artists from Africa and beyond illuminate Somerset House 1-54, the ﬁrst leading international fair for contemporary art from Africa and the diaspora, launches its ninth edition at Somerset House this month. Featuring everything from textiles and paintings to installations and canvases, the fair covers a diverse range of styles, techniques and subject matter. Here, its founder, Touria El Glaoui, picks ﬁve female artists to look out for at this year’s stellar showcase. 1-54 (www.1-54.com) is at Somerset House from 14 to 17 October, and online until 31 October. The minimalist: Lulama Wolf, THK Gallery ‘The morphing shapes and characters on Wolf’s canvases are a demonstration of the conversation she is having with themes and

HOME,

techniques from across Africa.’ The political polymath: Sue Williamson, Galerie Dominique Fiat ‘Williamson explores the social injustices in apartheid South Africa through installations and photographs that, by exposing the past, force the viewer to think of the country’s present.’

what are you, as a viewer, imposing on the work – and vice versa?’

HOME T E

EXHIBITIONS Christian Dior’s Provençal house, Le Château de La Colle Noire, opens to the public from 15 October to 1 November to celebrate the relaunch of the iconic Miss Dior scent (www. missdiorexhibition.com).

www.harpersbazaar.com/uk

THEATRE

RHYTHM OF LIFE

Bob Marley’s joyous legacy is celebrated in an upliﬁting musical. By Brooke Theis

‘T

ruth, love, prosperity – these things resonate with anyone who listens to Bob Marley,’ says the reggae singer’s daughter, Cedella, who has helped curate the soundtrack of a musical about her father’s life. Get Up, Stand Up! will feature Marley’s bestloved hits, while tracing his journey from a rural farm in Jamaica to sharing his gospel of unity on the world stage. ‘Dad’s message is still as relevant as it was 40 years ago,’ says Cedella. A Grammy-winning singer in her own right, Cedella has given unlimited access to her father’s catalogue for the project, and the tracks will span the Sixties to the Eighties. This encompasses his experimentation with scat, the love songs, and what she refers to as ‘the militant era’ of the epochal album Exodus, which he recorded at Island Studios in Notting Hill after leaving Jamaica in 1976 following an attempt on his life. ‘London was a very important place for my dad,’ she says, ‘it just feels right to light up the city with hope and positivity.’

Above: Bob Marley in 1979

Spearheaded by the deputy artistic director of the National Theatre Clint Dyer, and the Billy Elliot and Rocketman writer Lee Hall, the cast comprises a company of ‘real musicians, with real, beautiful voices,’ says Cedella. ‘It’s about the music and the passion and the culture – when you leave, you should be singing,’ she adds, laughing. When I ask what she thinks her father would make of his story becoming a musical, she beams, exclaiming triumphantly, ‘He would be like, “From Trench Town to the West End!”’ ‘Get Up, Stand Up!’ opens on 1 October at the Lyric Theatre, London.

Above: Marley’s daughter Cedella. Left: his wife, Rita, with their children in 1992

FOOD & DRINK

SIMPLE PLEASURES I have a special fondness for spaghetti aglio, olio e peperoncino and cook it often for myself alone. The aroma brings back glorious moments. In my second year at Saint Martin’s School of Art in 1956, the artist Eduardo Paolozzi was my teacher. One day he invited three of us students to lunch at his studio in a Hampstead garden. He showed us how he used melting wax to cast his bronze sculptures, and he cooked. We were mesmerised as he pushed a big bundle of spaghetti into boiling water with his massive ﬁst, chopped and fried lots of garlic and chilli in olive oil, and then tossed the pasta with the sauce and the parsley he had asked us to chop. Many years later, when my two older

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children went to camp and I ﬂew to Sicily with my youngest, Anna, our hotel turned out to be a venue for weddings, and I was allowed to watch the cooks prepare banquets. I saw them make galantines of goose and pheasant pâtés, pasta pressed into timballi and encased in tortiera (puff pastry), rice shaped into

Claudia Roden in her London kitchen

gattòs (cakes), meat medaglioni in delicate marsala sauces, sweet and sour caponatas and cassatas decorated with bright green marzipan and candied fruit. The buffet centrepiece was always a stuffed peacock with shimmering blue and green tail plumage. A monumental cake made of cardboard covered with white fondant icing, copied from a book of Carême’s designs, was wheeled out to shouts of joy, then brought back in to the kitchen as trays of fondant-coated sponges were prepared to send out. The cooks then made spaghetti aglio, olio e peperoncino for themselves. That is all they wanted to eat. ‘Med: A Cookbook’ by Claudia Roden (£28, Ebury) is out now. www.harpersbazaar.com/uk

PHOTOGRAPHS: GETTY IMAGES, COURTESY OF CEDELLA MARLEY AND BERNARDINE EVARISTO, SUSAN BELL, ALAMY

Claudia Roden on how uncomplicated cooking can bring the greatest joy

TALKING POINTS BOOKS Jaeger-LeCoultre’s new hand-painted

SHAPE YOUR DESTINY

Hidden Treasures watch collection celebrates Van Gogh’s Sunset at Montmajour, View of Lake Leman by Courbet, and

The author Bernardine Evaristo on the motivating power of invention

Klimt’s Portrait of a Lady. From a selection (www.jaeger -lecoultre.com)

FASHION

ARTFUL ADORNMENTS Wearable wonders inspired by paintings and sculpture

The shapes of Barbara Hepworth’s sculptures prompted Jessica McCormack to embed oval-cut diamonds in satin-smooth pebbles of cloudy-blue chalcedony for her latest collection, On the Rocks. From £3,500 (www.jessica mccormack.com).

Inspired by a visit to Tate Britain, Sarah Burton has transposed William Blake’s 1824 illustrations for Dante’s Inferno onto ruffled gowns. From a selection (www.alexander mcqueen.com.) KIM PARKER

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reativity has been at the core of my life ever since I started reading stories as a small child, which fired up my imagination. I progressed from reading stories to acting in plays at my local youth theatre in south-east London, a lovely creative space where children were allowed to express themselves. From there I went to drama school, where I learnt the skills to create theatre, which I pursued once I left. By my early thirties, having left theatre behind, I focused on writing books myself. Creativity and rebellion are intertwined for me. As a writer, I’ve never wanted to replicate or follow what already exists, but to do my own thing. My outsider status as a mixed-race child in a white suburban area sowed the seeds of rebellion in me. When your childhood home is attacked on a regular basis by thugs who smash in your windows, you know you’re not welcome in the neighbourhood. By my mid-teens, I’d decided that I didn’t actually want to fit in. I used to knit and crochet my own unique multicoloured tops, coats, socks, scarves and bags, because I wanted to make a visual statement that I was not interested in fitting into the mainstream. Instead of wallowing in self-pity and feeling rejected, I chose an alternative path through life and found the creative communities to which I did belong, among people who also did not fit in. Creativity is the oxygen in the air waiting for us to harness it. We engage with it all the time, whether it’s baking a cake, planning the layout of a room, working out to a new exercise routine, or making clothes, as I did. It can save us from the numbing effects of conformity, and lead us on to pathways where life can be a lot more interesting by not following the crowd. We are all born as individuals who then have to slot into most of society’s conventions, which is, of course, necessary (we don’t want any more sociopaths roaming the streets), but only to a point. I will always advocate for a creative life for those who feel – or perhaps felt years ago but ignored it – the hunger to express and do things differently. It’s never too late to transform old patterns and find more fulfilment in following the creative muse. ‘Manifesto’ by Bernardine Evaristo (£14.99, Hamish Hamilton) is out now.

Above: Bernadine Evaristo wearing clothes she made herself, aged 18. Right: on a school trip, aged 12

TALKING POINTS

urntcoat, Sarah Hall’s sixth novel, is a story depictions of the practice of art. of a mother and a daughter; a story of lovers Edith is a land artist, ‘which is a very “masculine” form of discovering each other in the most chalart’, Hall says, referring to the lenging of circumstances. Edith Harkness, Sarah Hall austere materials, large scale her narrator, makes monumental sculptures; her late and heavy lifting the discipline mother, Naomi, was a writer whose books now have often involves. ‘So how does she achieve that? What a cult following. Edith takes a lover, Halit, a chef as is her background? And it seemed to me that living sensual as his cooking. All should be well — until all the in the Lake District is one of the things that would world is both stilled and ravaged by a virus. Hall’s ficdo it, because you’re encountering sculptures of tional illness is more deadly than Covid-19; the rock, you’re in this physical landscape. That reader feels both the shock of recognition and seemed a good use of the intimate knowthe sense of having had a narrow escape. ledge that I have of that place.’ Hall began writing in March 2020, FICTION As to her direct gaze on the panimmediately after the first lockdown demic, she admits to wondering was announced. ‘It was a kind of whether readers may have had too strange first-responder feeling. “Oh, much, or suffered too much, from God, what’s going on? What can I the virus to wish to turn to it do?” We were all so scared and in the realm of fiction. ‘That’s uncertain – I think I was just lookthe main question that I have,’ ing to ground myself among all In her pandemic-inspired book, she says. ‘I know people want to that anxiety. Work has always escape.’ But she sees the book, been grounding for me; no matter Sarah Hall weaves a dark tale of life, rightly, as more than a reflection of the trauma or difficulty or compassion and human connection present circumstance. ‘It’s a kind promise in my career, I’ve always of symbolic questioning uncertainty,’ managed to get the work done.’ By ERICA WAGNER she says. ‘And an investigation of morOne of our most accomplished noveltality. How do you live with the knowledge ists, Hall was born in the Lake District of your death, what do you make of your time, – where she has just returned after a spell in how do you live?’ Norwich, to take up a professorship at the University We live despite what we must suffer: despite what we know is at of Cumbria. Her debut novel, Haweswater, won the 2003 Commonwealth Writers’ Prize for Best First Novel. She has since been the end of the road. ‘Love grows in the rich darkness,’ Hall writes. shortlisted for the Booker Prize and last year became the first Like Edith’s work, Hall’s is embedded in the land, flowering from writer to win the BBC National Short Story Award twice, for her where she has grounded herself. ‘timeless and unsettling’ story ‘The Grotesques’. Haunting intensity ‘Burntcoat’ by Sarah Hall (£14.99, Faber and Faber) is published is her trademark and it permeates Burntcoat, with its striking on 7 October.

THIS MORTAL COIL

YOUNG-ADULT BOOKS

PHOTOGRAPHS: OLIVIA LOMENECH GILL, RICHARD THWAITES, PH MONTSE GARRIGA GRAU/ PHOTOFOYER AND PROJECT BY ESTUDIO MORGAN

SNAKES ALIVE! Meet the girl behind the myth in a bold new take on Medusa Immerse yourself in Jessie Burton’s poetic, powerful reclamation of Medusa’s story, her debut young-adult novel, which is brought dramatically to life through magical illustrations by the British artist Olivia Lomenech Gill. CB ‘Medusa’ by Jessie Burton (£14.99, Bloomsbury) is published on 28 October.

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Placemats, £118 for four, Mrs Alice

Cushion, £265, De Le Cuona

Chandelier, from a selection Cox London Cushion, £258 Taller Marmo

Candle, £170 The London Candle Store Candle holders, from £22 Anthropologie

Mirror, from a selection Cox London

£499 La Redoute

INTERIORS Chair, from a selection Pierre Yovanovitch

Cabinet, £3,100 Paolo Moschino for Nicholas Haslam

FRESH CREAM

Side table, £595 Soho Home Rug, £265 La Redoute

Rich ivory and milky-white tones to lighten your home as the nights draw in Compiled by MARISSA BOURKE Vase, £1,116 Jean Roger

Sofa, from a selection Invisible Collection

Screen, £299 La Redoute

Plate, £115 Astier de Villatte

Coffee table, £1,298 Anthropologie

£550 The Conran Shop

Bowl, £46 Mrs Alice

Cabinet, £7,400 Paolo Moschino for Nicholas Haslam

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HOROSCOPES The future revealed: your essential guide to NOVEMBER By PETER WATSON

SCORPIO

TAURUS

Others may think you’re too fond of the sound of your own voice if you allow a Mercury-Mars alliance to convince you that you’re an expert in just about every ﬁeld. Authoritative Saturn will intervene, bringing you down to earth with a bump. Remember, you’re dealing with people who rate modesty far higher than arrogance. 30th – giving a stranger a helping hand enriches your life.

Promise yourself that a minor spat with somebody close won’t become more serious. The two of you have coped with a number of stressful situations recently. Perhaps there hasn’t been enough time to pause, take some deep breaths and start again. Recalling all the reasons that you’re together can be therapeutic. 13th – accepting another’s failings enhances both your lives.

SAGITTARIUS

GEMINI

Trust your instincts with regard to somebody’s strength of character rather than allowing the prejudices of a group of individuals to cloud your judgement. Eventually, you’ll ﬁnd yourself in a position of great inﬂuence within the territory concerned. Let everyone see that you’ll stand no nonsense from mischief-makers. 17th – dramatic developments bring out the best in you.

In spite of your planning, disruptions will present themselves. Blue-sky thinking will be encouraged by the Sun connecting with Neptune. But as it’s also confronting Jupiter, a critic will assume the right to point out where you’re going wrong, whether you are or not. Remind yourself how clever you can be within certain territories. 16th – decision-making is made easier by a kind, caring soul.

CAPRICORN

CANCER

Much as you might want to take care of a vulnerable individual you mustn’t encourage total dependency on you. Explain that you’re there to help, but also mention the other areas of your life to which you’re committed. Perhaps you should question your motives regarding any tendency to encourage others to lean on you. 20th – a surprise message heralds a change of fortune.

Talk of an escapist or romantic venture will appeal. But make sure others entering a judgemental phase don’t manage to spoil everything by continually mentioning the costs involved. You don’t want to end up in the red but nor, on the other hand, should you be forced to remain in one place against your will. 21st – ridding yourself of emotional clutter brings contentment.

AQUARIUS

LEO

Normally you would welcome the opinions of loved ones where your activities are concerned. However, with the Sun challenging Uranus you’ll resent the interference of those who pontiﬁcate without considering the impact on someone such as yourself. If tempted to put them right, do so without driving them away. 29th – chance encounters work in your favour.

While you may dream of spending time with someone special, you will be reminded of your ongoing responsibilities elsewhere. Prove to onlookers that you’re capable of mixing business and pleasure without anybody feeling abandoned. You mustn’t allow your reputation to suﬀer by being distracted at the worst possible time. 2nd – something lost is replaced a thousand-fold.

PISCES

VIRGO

News about to arrive might create shockwaves among peers or associates but you’ll see how to take the heat out of the situation. In doing so you’ll impress ﬁgures of authority who’ll realise they have underestimated your strengths and talents. Does this mean you should be part of their team? Not unless it suits you. 18th – self-esteem empowers you to confront old demons.

Restoring certain friendships to what they once were will feel good. However, this cannot be done at the expense of relatives craving more of your attention. Capitalise on the Sun and Mercury entering the family sector of your chart, which should make you more aware regarding the needs of those you love the most. 19th – an unexpected arrival generates excitement.

ARIES

LIBRA

Quite why loved ones and friends constantly question your handling of a ﬁnancial or business matter will be beyond you. Perhaps they think that you lack the skills to do a good deal. Or is it simply that they want to protect you? If so, that’s nice but perhaps you should tell them there really is no need. 5th – a lavish contribution adds meaning to something banal.

Scrutinise the ﬁner details of a contract or arrangement to avoid ending up out of pocket. You could also be drawn towards another area that has a lot to oﬀer creatively or artistically. And that too will require you to keep a close watch on your outgoings. Why part with money you don’t really have? 1st – loving gestures spur you on to great achievements.

21 April – 21 May

24 October – 22 November

23 November – 21 December

22 May – 21 June

22 December – 20 January

22 June – 23 July

21 January – 19 February

24 July – 23 August

20 February – 20 March

24 August – 23 September

21 March – 20 April

24 September – 23 October

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GAME ON Winning looks come courtesy of Richard Mille this season, as the iconic watchmaker ups the style stakes with its elevated, sports-luxe aesthetic Photographs by DANIEL FRASER Styled by HOLLY GORST

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THIS PAGE: RM 72-01 Lifestyle Chronograph Red Gold, about £218,000 OPPOSITE: RM 07-01 Coloured Ceremic Pastel Blue, about £136,000

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HAIR BY LEWIS PALLETT AT 18 MANAGEMENT. MAKE-UP BY EMMA BROOM. SET DESIGN BY JULIA DIAS

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BAZAAR PROMOTION FOR RICHARD MILLE

RM 17-01 Tourbillon White Gold Snow Set, about £736,000

Richard Mille London, 4-5 Old Bond Street, London W1S 4PD

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21 20 R BE EM V NO ILLUSTRATION: AMY BLACKER

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RT ISS UE

FIRED up Phoebe Dynevor’s starring role in the frothy period drama Bridgerton catapulted her to global fame during the last lockdown. Now, the actress and Louis Vuitton ambassador is taking on her first film role, playing Clarice Cliff, the ceramicist who brought art deco to the masses. She talks to Lydia Slater about feminism, faking confidence and the pressures of sudden fame Photographs by JOSH SHINNER Styled by CATHY KASTERINE

Phoebe Dynevor wears wool and silk dress, £3,900; gold and diamond ring ( just seen), £3,800, both Louis Vuitton

he night before our interview, Phoebe Dynevor found herself re-reading her diary entries for last December, when Bridgerton first aired. ‘I had literally put: the show’s out, some people like it, and I’m arguing with my brother again,’ she laughs. ‘I thought it was just another project. I didn’t think anyone was going to care. We were all in lockdown, stuck at home and nothing changed.’ But of course, Bridgerton was very far from being ‘ just another project’. Based on the Regency romances of Julia Quinn and produced by Shonda Rhimes, the piquant period drama featured a talented, multi-racial cast, designer costumes in fondant-fancy shades, a modern soundtrack, and a distinctly racy storyline following a high-society couple who fake an attachment, only to find themselves falling genuinely in love. Dynevor took the lead as the young Daphne Bridgerton – a ‘diamond of the first water’ – opposite Regé-Jean Page, whose smouldering performance as the Duke of Hastings has led to rumours that he will be the next 007. In the depressing gloom of last winter’s pandemic, Bridgerton was the only party we could all attend. The show shot to the number-one slot in more than 80 countries, became Netflix’s most-watched series ever and has already been renewed for another three seasons. Dynevor, meanwhile, found herself world-famous. ‘In the first season, people were saying to me, “You know this could be huge,” but you don’t ever believe that, and you will never understand what it feels like until it

‘There was a certain confidence Daphne had to have. I now channel it: if Daphne can fake it, then so can I…’

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happens to you. It’s quite out-ofbody and weird. ‘It was only when we started being able to leave the house again and there were photographers outside – which was really scary – that I realised if I went out in my pyjamas, there might be someone taking pictures,’ she confesses. One of the first to contact her was Daisy Edgar-Jones, whose starring role in Normal People had led to a similarly disorientating experience of sudden lockdown celebrity. ‘It’s quite niche,’ Dynevor jokes. ‘She reached out, and we FaceTimed the first week Bridgerton came out. I didn’t know her at all, but it was really lovely, because we were in a very similar position. It was us talking about it with each other and being able to relate.’ Today, comfortably ensconced at a booth in Notting Hill’s Electric House, Dynevor looks more than ready for her close-up should any paparazzi be lurking. She is dressed with casual cool in a black Alexa Chung jumpsuit that throws her Titian hair and the porcelain perfection of her skin into sharp relief. ‘I’ve always loved fashion, though I’m not good with brands,’ she says. ‘It could be from Zara, or a vintage shop.’ She is equally at home with high-end fashion, having been recently recruited as an ambassador for Louis Vuitton, whose avant-garde resort collection she wears for our photo-shoot. These are not easy clothes to carry off, but months of playing a Regency-era aristocrat have given Dynevor an enviable poise beyond her 26 years. ‘You have to stand up super-straight in those corsets and pull your shoulders back,’ she says. ‘There was a certain confidence that Daphne had to have, which means you can pull off anything. I now channel it: if Daphne can fake it, then so can I…’ www.harpersbazaar.com/uk

THIS PAGE: embroidered wool dress, £8,500; knitted cardigan, £1,200; leather boots £1,350, all Louis Vuitton. OPPOSITE: wool and silk dress, £3,900; leather boots, £1,350, both Louis Vuitton

JOSH SHINNER

THIS PAGE: silk and cotton coat, £3,500; leather boots £1,350; gold and diamond ring, £3,800, all Louis Vuitton. OPPOSITE: wool dress, £3,500; gold and diamond earrings ( just seen), £7,200; matching bracelet ( just seen), £11,000, all Louis Vuitton

JOSH SHINNER

She is mid-way through filming the second series, in which Daphne, now the Duchess of Hastings, and a mother, has a more peripheral role and the focus is on her brother Anthony Bridgerton’s romantic adventures. ‘She’s matured,’ says Dynevor. ‘It’s so much fun to play, because she knows herself and she’s saying it how it is.’ To the fans’ outspoken disappointment, however, Page will not be appearing. ‘Everyone has their own way of going about their career, and that was his choice, and I think it was a really smart choice for him.’ Does she miss him? ‘Of course! Me and Regé went through so much together, and I’ll always have that with him. It was quite an incredible experience for both of us, and we got to lean on each other through it, so yes, it is odd not having him in season two.’ Meanwhile Dynevor’s own career is going from strength to strength, with the imminent release of her first film, The Colour Room, a biopic of the ground-breaking ceramic artist Clarice Cliff, whom she plays. Born in the Victorian era into a working-class Staffordshire family, Cliff broke the mould with her vibrant art deco designs, rising to fame and fortune and empowering her largely female workforce along the way. ‘My dad loves her and has a few of her pieces,’ says Dynevor. ‘I didn’t know much about her, I just knew her designs. Her story absolutely fascinated me – a woman coming from a working-class background, working up to running a whole pottery. It was an incredible achievement, so it was exciting to me to be able to play a character like that, particularly after Daphne, because in almost every way, they are polar opposites. Daphne comes from privilege and all she knows is how to present herself and what that will do for her. Clarice came from nothing and had no self-awareness, but she knew exactly what she wanted.’ At the time, female artisans were expected to focus on a single skill, such as gilding or painting, for their entire working lives. Cliff, by contrast, mastered them all, one after the other, till she had a comprehensive understanding of her craft. ‘People thought she was mad, but she knew what she wanted, and that was what made her special.’ And Cliff was as exceptional a businesswoman as she was an artist, launching a line under her own name and collaborating with major artists of the day including Duncan Grant and Barbara Hepworth. Her most significant working relationship, however, was with Colley Shorter (played by Matthew Goode in the film), who owned the factory that employed her. ‘You could see it in a different way, but I think he genuinely really loved her for her eye,’ says Dynevor. ‘He married her after his wife died, a long way down the line, but they had a brilliant creative partnership that blossomed into something more. And part of the reason I loved her is that she had this huge gang of women workers, and she really wanted to build them up.’ It also matters to Dynevor that she is

‘People thought Clarice Cliff was mad, but she knew what she wanted, and that made her special’

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‘I’m full of anxiety. I have a fear of failure, letting someone down, contradicting myself’

THIS PAGE: frilled bralette, £1,800; knitted cardigan, £1,400; embellished wool and silk skirt, £2,900, all Louis Vuttion. OPPOSITE: print coat, £7,500, Louis Vuitton

JOSH SHINNER

telling a Northern success story. ‘My mum grew up in Oldham and was going to work at a cigarette factory till she decided to go to drama school, so there’s part of me that wants to represent the Northern working-class background,’ she says. Dynevor herself was brought up in the leafy suburb of Altrincham, south of Manchester, the eldest of three children born into a showbiz dynasty. Since 1986, her mother Sally has been a mainstay of Coronation Street, playing Sally Webster. Her father, Tim Dynevor, is a screenwriter for Emmerdale; her uncle is a producer, her paternal grandfather Gerald was a director, and her grandmother Shirley, formerly an assistant director, kept her spellbound as a child with her tales of working with Joan Littlewood. ‘It really does drive you, when you’re surrounded by that,’ says Dynevor. It’s not surprising that she never seriously considered an alternative career. She went to the independent Cheadle Hulme School where she says she never quite fitted in. ‘I was doing drama and I wasn’t sporty or cool… I think there’s definitely something to be said about being an outsider and getting into this industry – maybe it’s because you have something to prove?’ Dynevor began acting professionally herself at the age of 14, when she won a part on the BBC school soap Waterloo Road, about a Rochdale comprehensive, appearing alongside Jenna Coleman. (Oddly, years after she had left, Regé-Jean Page joined the cast to play a trainee teacher.) ‘I remember feeling like I went to two schools, one in Rochdale, and the other in Cheadle, so I was going back and forth and feeling quite confused about my real identity.’ She considered applying to drama school, but the roles kept coming: most significantly in Peter Moffat’s The Village, then in an adaptation of The Three Musketeers and subsequently as Martha Cratchit in the Charles Dickens mash-up Dickensian. Playing a gangster’s moll in the crime series Snatch took her to work in Spain, alongside Rupert Grint – she says dryly that ‘it was a real boys’ show, and it taught me a lot about the kinds of things I wanted to be doing and the characters I wanted to play in the future’ – and then she moved to LA, spending nine months auditioning, while guest-starring in the TV comedy-drama Younger. Eventually, discouraged by her lack of breakthrough success, she decided to return home, and booked a flight to Manchester. That was when she was asked to audition for Bridgerton; the flight left without her and the rest is television history. ‘It’s so funny how life works,’ she muses. ‘You’re always on the verge of giving up, and then something just sweeps you off.’ So while it may look to the outside world that she has shot to stardom overnight, she has been acting professionally for over a

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decade. ‘I knew that at some point, something would happen,’ she says. ‘I just never imagined quite the scale.’ Although her parents have taught her about the industry, she says nobody could have prepared her to cope. ‘I don’t think anyone knows how to handle that.’ Dynevor has spoken before about how, as Daphne, she had to descend a flight of stairs into a ballroom, crowded with staring guests; the scrutiny precipitated a genuine panic attack. How much harder must it be for her to find herself propelled into the global spotlight? ‘I worry about everything,’ she admits. ‘I’m full of anxiety. I have a fear of failure, letting someone down, contradicting myself.’ She talks thoughtfully about the pressures of fame on young women, citing Britney Spears, Amy Winehouse, Simone Biles and the Duchess of Sussex. ‘You see what it is for your mental health to be in the public eye,’ she says. How does she manage her anxiety? ‘Decaf coffee! And I meditate, I have a therapist, I walk every day. There are things I do to ground myself, because it’s quite hectic at the moment.’ There is another film, I Heart Murder, in the pipeline, alongside a recurrent role in the eagerly-anticipated British take on the French cult hit Call My Agent. Off-screen, Dynevor appears to lead a thoroughly simple life. Home is a flat in Hampstead, north London, which she describes as ‘tiny and sweet and everything I need.’ When she isn’t working, she likes to go for walks on the Heath, to cook plant-based meals, read, do yoga and go to the cinema on her own. ‘I’m a bit of a loner,’ she says. ‘I have always been very selfsufficient, which is why I live in the middle of nowhere when all my friends are in south London. Basically, I’m an old woman in a 26-year-old’s body.’ I wonder if she will ever start to enjoy the glittering fanfare that accompanies such celebrity – the parties, photo-shoots, endorsements and millions of Instagram followers? Certainly, she has started to use her visibility to speak out about the issues that matter to her, such as the environment. ‘If I have a platform, I may as well use it for good in any way I can,’ she says. ‘But the rest of it is just noise. ‘What I’ve started to realise about this industry is that the highs can be really high, but the lows can be really low, so it’s finding that middle ground and centring oneself. It’s really important for me and my sanity to work on projects that I love and develop characters that I think are really interesting – that’s the excitement for me.’ ‘The Colour Room’ (a Sky Original film) will be coming to cinemas, Sky Cinema and the streaming service Now later this year. November 2021 |

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THIS PAGE: wool and silk top, £2,900, Louis Vuitton. OPPOSITE: cotton jacket, £3,500; wool and silk skirt, £1,700; leather boots, £1,350, all Louis Vuitton. Hair by Dayaruci at the Wall Group. Make-up by Georgina Graham at MA+ Group. Manicure by Ami Streets. Stylist’s assistant: Crystalle Cox. Production by Rachel Louise Brown. On-set production by Lucy Watson Productions. Props by Jacki Castelli. With thanks to the Kiln Rooms (www.thekiln rooms.com)

JOSH SHINNER

TA B L E AU X V I VAN TS A gallery of masterpieces executed in silk, taffeta, tulle and velvet offer an unmissable exhibition of vibrant colour and dramatic form

Photographs by ERIK MADIGAN HECK Styled by LEITH CLARK

Silk-mix maxi-dress, £1,600; matching mini-dress, £895; wool rollneck jumper, £360; long-sleeve top, £450, all Patou

From left: Soﬁa wears velvet dress, £1,500; velvet and leather belt, £250, both Emporio Armani. Wool and velvet beret, £285, Stephen Jones Millinery. May wears velvet waistcoat, £590; velvet wide-leg trousers, £590, both Emporio Armani. Satin beret, £1,200, Stephen Jones Millinery

ERIK MADIGAN HECK

From left: May wears smocked dress, £3,400, Molly Goddard. Gold and crystal earrings, £80, Margaux Studios. Soﬁa wears smocked dress, £5,000, Molly Goddard. Satin sleeves, about £495, Giambattista Valli

ERIK MADIGAN HECK

Silk dress, £3,450; antique gold and black stone earring (sold singly), £750; antique gold and silver chain ring, £290, all Alexander McQueen

ERIK MADIGAN HECK

THIS PAGE: embellished dress, £1,710; silk collar, £165, both Philosophy di Lorenzo Seraﬁni. OPPOSITE: tulle dress, from a selection, Dior. Rose gold, diamond, carnelian and motherof-pearl ring, from a selection, Van Cleef & Arpels

ERIK MADIGAN HECK

From left: May wears net jacket, £1,200; embroidered cloqué skirt, £1,100; metal and crystal earrings, £275, all Simone Rocha. Soﬁa wears tulle jacket, from a selection; shirt-dress, £495; tulle skirt, £895, all Simone Rocha. Silver and silk brooch, £430, Tiﬀany & Co

THIS PAGE: wool suit, £1,800; matching gloves, £650, both Prada. OPPOSITE: embroidered tulle dress, from a selection, Dior

ERIK MADIGAN HECK

Tulle dress, from a selection, Dior

ERIK MADIGAN HECK

THIS PAGE: silk dress, from a selection, Chanel. OPPOSITE: puﬀer coat, about £600; matching hat, about £145, both Vivetta

ERIK MADIGAN HECK

THIS PAGE: cady lamé dress, £5,260; feather muﬀs, £3,430; embellished mesh pumps, £750, all Gucci. OPPOSITE: sequin and organza dress, £2,093; matching scarf, £225, both Ashish

ERIK MADIGAN HECK

THIS PAGE: satin top, £334; matching skirt, £468; matching gloves, £174, all Yuhan Wang. White and rose gold, ruby, garnet and diamond clip, from a selection, Van Cleef & Arpels. OPPOSITE: embroidered silk and polyamide dress, £7,770; metal and crystal earrings, £970, both Saint Laurent by Anthony Vaccarello

ERIK MADIGAN HECK

THIS PAGE: wool jumper, £790; embroidered skirt, from a selection, both Celine by Hedi Slimane. Body, stylist’s own. OPPOSITE: embroidered silk and wool dress, £7,550, Louis Vuitton

ERIK MADIGAN HECK

THIS PAGE: taffeta dress, about £4,345, Jason Wu Collection. White and rose gold, tourmaline, sapphire, amethyst and diamond ring, from a selection, Van Cleef & Arpels. OPPOSITE: silk dress, £1,765, Bora Aksu. Ribbon, stylist’s own. Hair by Daniel Martin at Bryant Artists, using Oribe. Make-up by Polly Osmond at Premier Hair and Make-Up, using Sisley. Manicure by Chisato at Caren, using Chanel Le Vernis in Washed Denim and La Crème Main. Stylist’s assistants: Tilly Wheating and Crystalle Cox. Set design by Ida Jacobsson-Wells. Omega velvets in Poppy, Mustard and Pacific by Linwood (www.linwoodfabric. com). Models: May Bell at Elite London; and Sofia Romay at Next Management London

ERIK MADIGAN HECK

PA R T Y S P I R I T A glittering promenande from the banks of the Thames across Soho to Mayfair leads to a thrilling, wild night out for a West End girl

Photographs by JEM MITCHELL Styled by MIRANDA ALMOND

Crystal and mesh dress, from a selection; Lurex bag, £560; metal earrings, about £270; matching necklace, about £295; matching bracelet, about £160, all Versace

THIS PAGE: cloqué dress, £6,900; crystal ﬂats, £1,205, both Dior. White gold and diamond earrings; matching necklace; matching brooch, all from a selection, Van Cleef & Arpels. OPPOSITE: embroidered crepe bustier, £4,380; embroidered silk trousers, £10,550; embellished mesh heels, £750, all Gucci. Metal and diamanté earrings, £748, Lanvin

JEM MITCHELL

THIS PAGE: embroidered top, £2,430; embellished trousers, £6,190; suede boots ( just seen), £855, all Alberta Ferretti. White gold, beryl and diamond earrings, £5,900; white gold, amethyst and diamond ring, £1,200; white gold, tanzanite and diamond ring, £6,500, all Kiki McDonough. OPPOSITE: glitter jumpsuit, £9,740; mesh handbag, £8,080; metal and diamanté cuﬀ, £1,305; matching earrings, £585, all Chanel

JEM MITCHELL

THIS PAGE: chainmail dress, £11,250, Salvatore Ferragamo. Feather sandals, £1,045, Bottega Veneta. Gold, diamond and mother-of-pearl earrings, £5,250; matching ring, £2,700, both Dior Joaillerie. OPPOSITE: metal-embellished dress, £1,415; wool trousers, £230, both Sportmax. White gold, amethyst and diamond necklace, £14,000, Kiki McDonough

JEM MITCHELL

THIS PAGE: embroidered tulle dress, from a selection, Celine by Hedi Slimane. Embellished sandals ( just seen), £760, René Caovilla. Gold and diamond earrings; matching bracelet; matching cuﬀ; matching ring, all from a selection, Van Cleef & Arpels. OPPOSITE: ﬂeece top, about £850; matching trousers, about £650; silver and glass necklace, about £1,290, all Balenciaga

JEM MITCHELL

THIS PAGE: chainmail dress, from a selection; satin bra, £217; patent boots, £848; gold-plated earrings, £298; matching necklaces, £639 each, all Dolce & Gabbana. OPPOSITE: sequined silk dress, £8,500; stretch tulle boots, from a selection, both Burberry. White gold and diamond earrings, from a selection, Van Cleef & Arpels

JEM MITCHELL

THIS PAGE: leather and polyamide dress, £13,000, Louis Vuitton. PVC heels, £740, Aquazzura. White gold, diamond and emerald earrings; white gold and diamond ring, both from a selection, Van Cleef & Arpels. OPPOSITE: chenille top, £550; sequin skirt, £300, both Emporio Armani. White gold and diamond earrings; matching bracelet, both from a selection, Van Cleef & Arpels

JEM MITCHELL

SECTION

Embroidered jacket, £9,230; embellished waistcoat, £1,130; embroidered shorts, £1,935; tights, £165; patent heels, £660; metal and resin earrings, £1,160; metal and crystal choker, £1,255, all Saint Laurent by Anthony Vaccarello. Hair by Bjorn Krischker, using Leonor Greyl. Make-up by Natsumi Narita, using Nars. Manicure by Chisato at Caren, using YSL Beauty. Stylist assistants: Crystalle Cox and Nathalie Owen. With thanks to the Bentley Hotel, London. Production by the Production Factory. Model: Ana Flavia at Viva London

www.harpersbazaar.com/uk JEM MITCHELL

SECTION

NEW

The designer Kim Jones on reinventing romance in times of uncertainty and why it’s sometimes OK to do things by the book (if that book had been written by Virginia Woolf)

By Alexander Fury Portrait by Alexandre Guirkinger

PHOTOGRAPHS: ROBERT FAIRER/COURTESY OF FENDI

RENAISSANCE MAN

Rianne Van Rompaey wearing Fendi A/W 21 couture. Opposite: Kim Jones, the artistic director of Fendi womenswear and couture

restrictions – was showcased, like Jones’ other Fendi collections, via film. This one was shot at Pasolini’s old stompingground of Rome’s Cinecittà film studios, by the acclaimed Italian director Luca Guadagnino. Turlington again featured, alongside Jones’ close friend Kate Moss, her daughter Lila, and other boldface names such as Amber Valletta and Paulina Porizkova. Yet it was the clothes, with leathers patterned like Carrara or inlaid like pietra dura, that were the true stars. ‘I think I’ve nailed it,’ Jones told me after that show. He has. Born in London, Kim Jones is the son of a Danish mother and a British father. His dad’s unusual career as a hydrogeologist resulted in a peripatetic upbringing, and Jones never quite shook off the love of travel fostered by a childhood spent for periods in Ecuador, the Caribbean, and multiple African countries. After living in Paris for seven years while heading up menswear at Louis Vuitton, Jones returned to London a few years ago. His home is an oddly warm and inviting concrete monolith by the architect Gianni Botsford, with contents that manage, paradoxically, to be highly curated yet feel tactile and not precious (save, perhaps, for the Francis Bacon rug that hangs behind museum glass on one wall). He is a voracious collector of many things: clothes – he has a collection of pieces made and worn by Leigh Bowery; art – besides the Bacon, he has works by Henri Matisse and Peter Doig, George Condo and Rene Magritte; and a library of roughly 20,000 books. Those include breathtakingly rare first editions, and multiple copies

‘Fendi is a female-run brand, and I was very aware that I’m a man stepping into that’

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PHOTOGRAPHS: ROBERT FAIRER, BRETT LLOYD AND ADAM KATZ SINDING/COURTESY OF FENDI, ERIK MADIGAN HECK

he era of Zoom has almost counterintuitively provided us with rare moments of intimacy. For example, even though I’m in London and Kim Jones is in Paris, when I first connect with the designer, two days before his debut Fendi couture show in January, he’s not sequestered in a press room but in the middle of a fitting with Christy Turlington and her nephew James. Actually, at the precise moment I catch him, he’s eating lunch. For Jones, time right now has to be snatched where it can. Between overseeing the menswear collections for Dior in Paris and designing womenswear collections for Fendi in Rome, he has been working constantly, perpetually in transit between the two cities. Jones’ January couture collection ticked off a few significant firsts: his Fendi debut, his first couture outing and his first-ever womenswear collection. There’s also a consequential second: Jones is only the second outside designer to serve as artistic director in Fendi’s history after the late, great Karl Lagerfeld, whose tenure at the brand stretched an astounding 54 years, until his death in 2019. (Silvia Venturini Fendi was the house’s sole artistic director in 2019 and 2020.) Part of the inspiration for that Fendi debut was Orlando, Virginia Woolf ’s 1928 novel of a century-hopping and genderswapping poet inspired by her lover, the author Vita Sackville-West. Jones is obsessed with Woolf and the Bloomsbury group, the loose association of early-20thcentury British intellectuals and artists whose bohemian lifestyles and febrile creativity have been manna to fashion for decades. And Orlando was published just three years after Fendi was founded in 1925, while Jones highlights that many of the themes explored in the novel – gender fluidity and even the growing spectre of climate change – feel relevant today. He discovered links between the Bloomsbury group and Fendi’s Roman heritage in the form of a catalogue of paintings by Woolf ’s sister, the artist Vanessa Bell, that were executed in the gardens of Villa Borghese. Bell also reimagined Old Masters to hang on the walls of Charleston, her English country home. ‘All roads lead to Rome,’ Jones said. ‘You’re drawn there.’ Indeed. For his second couture collection in July, Jones was done roaming – rather, he seemed at home in Rome. The collection was a tribute to the Eternal City; to its mosaics and marbles, sculptures and architecture, all of which inspired embroideries and intricate fabric treatments. It was inspired, Jones said, by the city as seen through the films of Pier Paolo Pasolini, and – given Covid

Fendi couture A/W 21: shown via a ﬁlm by the director Luca Guadagnino, Jones’ show starred Christy Turlington (above) and Kate Moss (top right)

Fendi A/W 21: Jones’ ready-to-wear collection for Fendi (above right) featured in Bazaar’s September issue (left), photographed by Erik Madigan Heck

From left: Malgosia Bela, Maty Fall and Mariacarla Boscono wear Fendi A/W 21 couture

Below: Malika Louback wears the Fendi Cruise 22 collection

of Orlando, including one previously owned by the playwright Noël Coward. Jones also has Sackville-West’s copy, which is specially bound and bears her initials stamped in gold. Lagerfeld, of course, shared Jones’ insatiable appetite for collecting books. He was also the original designer multitasker, simultaneously serving as artistic director for Fendi and Chanel, as well as his own namesake brand. Jones has great respect for his predecessor, who attended Jones’ first show for Dior in 2018. Lagerfeld’s Fendi clothes were graphic and sharp, sometimes surreal and witty. The brand’s double F logo – created by Lagerfeld in 1965, his inaugural year there – stands for ‘fun furs’, and his most lasting legacy at the house was to add an ease to the construction of fur coats, to casualise and modernise them. In the public imagination, Fendi is probably best known for the rectilinear Baguette bag designed by Venturini Fendi in 1997. It became a bestselling staple in the late Nineties, leading to the company’s acquisition by LVMH in 2001. Today, the Baguette is once again wildly popular, riding a fashion wave of early-aughts Gen Z revivalism that Jones himself helped fuel with his revamp of the Dior Saddle bag three years ago. Nevertheless, there’s a romanticism to Jones’ vision of Fendi that stands in contrast to the modernism of his own past styles. His Autumn/Winter couture features vast crinolines frothed with ostrich fronds, drifts of romantic silk organza hand-embroidered with mother-of-pearl, coats crafted from lacy filigrees of leather. ‘The thing I want to do, looking at the archive of Fendi and then looking at it now, is to really lighten it,’ Jones said. Which, as it happens, is the approach Lagerfeld took in knocking the stuffing out of traditional fur coats. Jones’ couture crinolines, incidentally, may have heavyweight impact but in the wearing prove airy. ‘I want to lighten it so it fits life nowadays but still has that integrity and beauty,’ Jones said. The importance of family to Fendi, as a house run by three generations of Fendi women, is also crucial to Jones – underscored by his casting of Moss and her daughter Lila in both his couture shows. ‘For me, Fendi always stood for family,’ Jones said. ‘So when I joined, I wanted to bring the next generation in.’ A jeweller with her own line, Silvia Venturini Fendi’s daughter Delfina Delettrez Fendi has taken on the role of creative director for jewellery. She created Murano glass chandelier earrings, ear cuffs, and headpieces that punctuated Jones’ first couture collection; his second included necklaces and earrings hewn from real marble. Her mother, Venturini Fendi, who remains artistic director of accessories and menswear, designed minaudières in the form of pearl-encrusted books, or created from micromosaics that resemble Ancient Roman artefacts.

PHOTOGRAPHS: ROBERT FAIRER AND ALDO CASTOLDI/COURTESY OF FENDI

‘I think couture is a fantasy and something beautiful; ready-to-wear is a different way of working’

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‘It’s a female-run brand, and I was very aware that I’m a man stepping into that,’ Jones said. Indeed, it was five sisters – Silvia’s mother, Anna, Anna’s older sister, Paola, and their younger siblings, Franca, Carla, and Alda Fendi – who brought the house established by their parents to international prominence during the Italian post-war fashion boom and later enlisted Lagerfeld as designer. ‘I wanted to recruit all the women I admire and trust around me,’ said Jones, who has asked Moss to consult on accessories. ‘She has great taste,’ he said. Jones’ longstanding right hand, Lucy Beeden, has also joined Fendi. Jones’ vision for Fendi is still developing – but it’s coming into focus quickly, the way he likes to work. When we speak after his July couture presentation, he’s already planning next January’s, which, he hopes, will be in-person, intimate and up-close. Jones’ work for Fendi hasn’t suffered from being experienced primarily digitally for most of 2021 – his Spring readyto-wear show was the first shown physically, but they all translate perfectly to our modern reality of HD screens and e-commerce. Like his famous tech-savvy, Apple-loving predecessor Lagerfeld, Jones is plugged-in to the digital moment – back in June, he texted me previews of Guadagnino’s couture film, and even snippets of his forthcoming Spring collection. ‘The agility of it is something really interesting’ Jones says of Fendi. ‘And the savoir faire in the agility. Fendi is the fastest-moving I’ve ever worked.’ As Jones bounds boldly into Fendi’s future, he’s taking it step by step. ‘I’m looking at it very differently,’ he continued. ‘I think couture is a fantasy and something beautiful; ready-to-wear is a different way of working. And obviously there are some shapes we’ve done in couture that I thought would be very beautiful in ready-to-wear, so I’ve kept those. But I put them on a very different path,’ he said. ‘And I think that’s what I want to continue doing.’ November 2021 |

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MARGARET QUALLEY Photographs by DEIRDRE LEWIS Styled by SAMIRA NASR

is LEARNING to LET GO

All prices throughout from a selection. THIS PAGE: Margaret Qualley wears jacket; shirt; trousers; bow-tie, all Celine by Hedi Slimane. Shoes, Brother Vellies. OPPOSITE: dress, Dior. Socks (worn throughout), Falke. Shoes, Church’s

THIS PAGE: jacket, Giorgio Armani. Necklace, Harry Winston. Shoes, Church’s. OPPOSITE: cape; dress, both Chanel. Earrings, Bulgari High Jewellery

THIS PAGE: jacket; shirt; trousers, all Gucci. OPPOSITE: cape, Dolce & Gabbana. Bodysuit, Natori. Necklace, Harry Winston