evhrvtjjycxct by Lawrence Ambrocio

JANUARY 2019

JENNIFER ANISTON NO LOOKING BACK

on in a snap

NEW

SNAPSCARA

™

off in a snap

Easy On/Easy Off Mascara

Not clumpy. Not ﬂaky. Not tough to take off.

on in a snap

NEW

SNAPSCARA

™

off in a snap

Easy On/Easy Off Mascara

Not clumpy. Not ﬂaky. Not tough to take off.

on in a snap

NEW

SNAPSCARA

™

off in a snap

Easy On/Easy Off Mascara

Not clumpy. Not ﬂaky. Not tough to take off.

+888.214.6858 | AUDEMARSPIGUET.COM

TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

THE VALLÉE DE JOUX. FOR MILLENNIA A HARSH, UNYIELDING ENVIRONMENT; AND SINCE 1875 THE HOME OF AUDEMARS PIGUET, IN THE VILLAGE OF LE BRASSUS. THE EARLY WATCHMAKERS WERE SHAPED HERE, IN AWE OF THE FORCE OF NATURE YET DRIVEN TO MASTER ITS MYSTERIES THROUGH THE COMPLEX MECHANICS OF THEIR CRAFT. STILL TODAY THIS PIONEERING SPIRIT INSPIRES US TO CONSTANTLY CHALLENGE THE CONVENTIONS OF FINE WATCHMAKING.

MILLENARY IN WHITE GOLD

AUDEMARS PIGUET BOUTIQUES: NEW YORK | BAL HARBOUR SHOPS | BEVERLY HILLS | LAS VEGAS | BRICKELL

CA L E N DA R

The late French jeweler Jean Schlumberger conjured gemstone fantasies and counted Jackie Kennedy Onassis among his fans. He also fought in the Battle of Dunkirk. Drawn to Beauty: The Art and Atelier of Jean Schlumberger, at the Museum of Fine Arts in St. Petersburg, Florida (through March 10), examines the artist’s life from his early years in Paris to his tenure at Tiffany & Co. and beyond. (Diana Vreeland Trophée de Vaillance clip, 1941; diamonds, enamel, amethyst, ruby, platinum, and gold; mfastpete.org)

VISIT Before the V&A’s sweeping Dior exhibition opens next month, head to the Denver Art Museum, where the ﬁrst major U.S. retrospective on the French couturier is currently on view. Dior: From Paris to the World boasts more than 200 couture garments and runs through March 3. (denverartmuseum.org)

READ Two forays into experimental storytelling: Anna Burns’s 2018 Man Booker Prize– winning novel, Milkman, explores the way societal trauma impacts individuals via the tale of a woman pursued by a paramilitary ﬁgure in 1970s Northern Ireland. And in All the Lives We Ever Lived, Katharine Smyth elegantly weaves together her thoughts on the death of her father and Virginia Woolf’s To the Lighthouse.

LISTEN A 2016 video of Pharrell Williams being blown away by Maggie Rogers singing her track “Alaska” made the then NYU student a viral star. She’s since signed with Capitol Records, released “Alaska” as a single (it now has 64 million–plus listens on Spotify), put out an EP, and headlined a North American tour. Her ﬁrst full-length album, Heard It in a Past Life, arrives January 18 and sets the whirlwind of her past few years to danceable beats.

SHOP In one of his ﬁrst acts as Burberry’s creative director, Riccardo Tisci tapped the inimitable Vivienne Westwood for a capsule collection marrying British prep with punk. See: Burberry’s classic checks on Westwood’s subversive platform heels. The coolest part? Proceeds beneﬁt the rain-forest charity Cool Earth. (Vintage check platforms, Vivienne Westwood x Burberry, $890, us.burberry.com)

Milkman: courtesy of Graywolf Press; All the Lives We Ever Lived: courtesy of Crown; Rogers: Olivia Bee; remaining images: courtesy of the designers

SEE

J A N U A R Y

NO.401

V O L U M E X X X I V

N U M B E R 5

MODEL ANOK YAI IN VALENTINO TOP, $4,900, AND VALENTINO GARAVANI EARRINGS, $425.

26 THE FEED 30 EDITOR’S LETTER

44 LOOKING FORWARD

Jenna Blaha reports on the latest tech trends

32 NINA’S EDIT

47 SOURCE MATERIAL

34 NEW ARRIVALS

Three high-fashion brands with low eco-footprints. By Naomi Rougeau

Three standout seasonal pieces to kick-start your spring wardrobe

Front Row 41 GETTING PERSONAL

Designers pay sartorial tribute to their heritage. By Naomi Rougeau

48 TRENDS

Swan Lake styling and a jeweled jubilee

Accessories 53 ROLL WITH IT

Forget blending

in: Highlighterhued luggage aims to stand out

Add a dash of wearable sunshine

54 SEEING RED

Shops

Mozambique’s red-ruby treasures 55 SILVER STREAK

Is this metallic shade the new gold standard? 56 PLAYING TO THE GALLERY

Dior enlists today’s great women artists. Naomi Rougeau reports

57 SOLAR FLAIR

59 24-HOUR PARTY PEOPLE

Four industry darlings on their aesthetic inspirations

Beauty 65 NIGHT MOVES

Full speed ahead! Seven hacks for on-the-go beauty. By Sam Neibart

70 ELLE INTERNATIONAL BEAUTY AWARDS 2019

The votes are in: Introducing the 14 best creams, sprays, and magic elixirs 72 THE FIRSTTIMER’S GUIDE TO FAST FIXES

Lasers, microblading, Botox: Four fearless staffers sign up 76 PRO PICKS

Skin experts share their favorite face oils. By Sam Neibart

82 THE PRODUCTIVITY TRAP

How attainable are day-in-the-life diaries? Writer Kat Stoeffel sounds off

Culture 85 CREATIVE RESISTANCE

Meet seven artworld bigwigs addressing today’s hot topics. By Molly Langmuir 90 DOUBLE VISION

Tune in: Two breakout

singer-songwriters to know now. By Allie Jones 92 OUT OF THE BAG

“Cat Person” author Kristen Roupenian scratches through humanity’s darkest impulses in her debut story collection. By Haley Mlotek 94 WOMEN IN HOLLYWOOD

Glenn Close reflects on The Big Chill, Fatal Attraction, and more. By Brianna Kovan

Yai: Max Papendieck; for details, see Shopping Guide

18 CALENDAR

NOW VISIBLY PLUMP SKIN AND REDUCE WRINKLES. NEW

DE R M I NT E N S I VE S

[1.5% HYALURONIC ACID SERUM]

FRAGRANCE FREE

PARABEN FREE

COLORANT, DYE FREE

MINERAL OIL FREE

OUR HIGHEST CONCENTRATION: SKIN LOOKS YOUNGER & SMOOTHER IN 1 WEEK

BUILT ON DECADES OF L’ORÉAL RESEARCH Revitalift Derm Intensives Products were validated in partnership with an advisory panel of dermatologists who performed a: • Thorough review of independent clinical testing protocols and results • Comprehensive screening of ingredients to uphold strict formulation standards ©2019 L’Oréal USA, Inc.

BECAUSE YOU’RE WORTH IT.TM

HERE’S WHAT WOMEN ARE SAYING*. / L’Oréal invited women to try Revitalift Triple Power. See why they love it. / *Women were cast and compensated in an interview panel using Revitalift Triple Power Moisturizer for 2X a day for 14 days.

My skin actually looked younger and I couldn’t believe it. Andrea W.

It was like an investment in me… makes my skin feel revitalized. Veronica A.

You’ll see a difference in your skin... I saw it in my own skin and I was a huge skeptic. Jennifer C.

SKEPTICAL?

HERE’S THE ANTI-AGING CREAM WOMEN CAN TRUST.

T R I P L E P OW E R [ FORMULA WITH HYALURONIC ACID ] IMMEDIATELY, SKIN IS HYDRATED. IN ONE WEEK, SKIN IS VISIBLY FIRMER & WRINKLES ARE VISIBLY REDUCED.

TAKE THE

REVITALIFT

CHALLENGE / SEE WHY OVE ER 20 00,00 00 WOMEN N HAVE TRIED AND CONTINUE TO LOVE REVITALIFT. / SEE RESULTS OR YOUR MONEY BACK, GUARANTEED*

BECAUSE YOU’RE WORTH IT.™

VISIT REVITALIFT.COM ©2019 L’Oréal USA, Inc. *Money back guarantee, up to $29.99 (sales tax will not be refunded). Restrictions apply. For details, call 1-800-630-5585. Valid only on purchase of a Revitalift Triple Power or Derm Intensives product made between 1/1/18 and 12/31/19 with original receipt. Must be postmarked by 1/31/20. Limit 1 refund per person and per household.

V O L U M E X X X I V

N U M B E R 5

JENNIFER ANISTON IN TOM FORD TANK, $2,150, AND JACQUES MARIE MAGE SUNGLASSES, $850.

Perspectives 96 SAVING VICE

How do you inject corporate stability into a company known for its bad-boy culture? Enter Vice CEO Nancy Dubuc. By Carrie Battan 102 ALYSSA MILANO’S LONG MARCH FOR JUSTICE

Writer Molly Lambert sits down with the actress and activist 104 HE FORGOT TO LIE

After her father is diagnosed with Alzheimer’s disease, Sascha Rothchild finds a man consumed by secrets 106 THE ELLE WOMAN

Joyce Carol Oates reflects on President Trump, Nazi Germany, and her new dystopian novel. By Sophie Brickman 108 ASK E. JEAN

Relationship hell? E. Jean Carroll to the rescue!

The Well 112 SPRING FLING

Two breakout models unveil the season’s winning looks. Photographed by Max Papendieck. Styled by Charles Varenne 130 AT EASE

To celebrate a spate of new projects, Jennifer Aniston invites writer Carina Chocano to her midcentury Los Angeles home. Photographed by Zoey Grossman. Styled by Alison Edmond 136 HIS & HERS

Break down the gender binary, one masculine

coat at a time. Photographed by Tom Schirmacher. Styled by Charles Varenne

End Notes 144 ELLE TRAVEL

Véronique Hyland reports from Peru’s Alpaca Fiesta 146 HOROSCOPE 147 SHOPPING GUIDE 148 ELLECONOGRAPHY

The Cover Look Jennifer Aniston wears a brass chain-mesh dress and brass star pendant necklace from Saint Laurent by Anthony Vaccarello, a hat from Stetson, and a rose gold and diamond ring and rose gold ring from De Beers. For Aniston’s makeup look, try Hydro Boost Hydrating Tint, Nourishing Brow Pencil, Hydro Boost Plumping Mascara in Black, and Revitalizing Lip Balm SPF 20 in Healthy Blush. All, Neutrogena. Photographed by Zoey Grossman (styled by Alison Edmond; hair by Chris McMillan at Starworks Artists; makeup by Gucci Westman for Westman Atelier; manicure by Miwa Kobayashi; produced by Michelle Hynek at Crawford & Co Productions).

Aniston: Zoey Grossman; for details, see Shopping Guide

J A N U A R Y

NO.401

SMOOTHING TREAT 1 MINUTE HAIR MASK

GOT A MINUTE?

GET SMOOTH HAIR FAST. DISCOVER FRUCTIS TREATS 1 MINUTE HAIR MASK WITH AVOCADO EXTRACT. BURSTING WITH SUPER FRUIT, LOADED WITH NOURISHMENT. 1 MINUTE IS ALL IT TAKES TO GET SUPER SMOOTH HAIR.

NOURISH DRY HAIR

REPAIR DAMAGED HAIR

PROTECT COLOR VIBRANCY

STRENGTHEN WEAK HAIR

FIND YOURS AT GARNIERUSA.COM *What does 98% naturally derived mean? We consider an ingredient to be naturally derived if it is unchanged from its natural state or has undergone processing yet still retains greater than 50% of its molecular structure from its original plant or mineral source. This formula consists of 98% naturally derived ingredients. The remaining ingredients constitute 2% of the formula to ensure its sensoriality and preservation.

THE FEED

OLIVIA PALERMO

MAHANY PERY

ZINA CHARKOPLIA

EVANGELIE SMYRNIOTAKI

Fair and

SQUARE @ELLEmagazine

@elleusa

ELLE Magazine (US)

Tyler Joe

ADUT AKECH BIOR

Cher Horowitz is back! Splashy plaids deliver ’90s nostalgia to winterwear. Track the Clueless trend at ELLE.com.

NINA GARCIA Editor-in-Chief STEPHEN GAN Creative Director EMMA ROSENBLUM Executive Editor LEAH WYAR ROMITO Chief Beauty Director, Hearst Magazines

MARTIN HOOPS Executive Design Director

ALIX CAMPBELL Chief Photography Director, Hearst Magazines

ALEXANDRA PARNASS Executive Editorial Director, Luxury Beauty

JOANN PAILEY Fashion and Market Director MELISSA GIANNINI Features Director

ERIN HOBDAY Executive Managing Editor KATIE CONNOR Deputy Editor

ALEXIS WOLFE Accessories Director

JENNIFER WEISEL Entertainment Director

VÉRONIQUE HYLAND Fashion Features Director

LAURA SAMPEDRO Deputy Managing Editor

FASHION

Senior Market Editor SARAH ZENDEJAS Associate Market Editor KIA GOOSBY Credits Editor CAITLIN MULLEN Assistant Editor STEPHANIE SANCHEZ Assistants ROSIE JARMAN, KARISSA MITCHELL FEATURES

Fashion Features Editor NAOMI ROUGEAU Strategic Projects and Technology Editor JENNA BLAHA Staff Writer MOLLY LANGMUIR Associate Editor BRIANNA KOVAN BEAUT Y

Assistant Beauty Editors TAYLORE GLYNN, SAM NEIBART Beauty Assistant AMA KWARTENG ART AND DESIGN

Deputy Art Director KATELYN BAKER Design Assistant JULIANNA DANIELSON International Coordinator MONIQUE BONIOL PHOTOGRAPHY

Deputy Photo Director CARY GEORGES Photo Editor LAUREN BROWN HEARST PHOTOGRAPHY GROUP

Directors DARRICK HARRIS, JAMES MORRIS, JUSTIN O’NEILL Deputy Director FIONA LENNON Senior Editor LAUREN HECHEL Associate Editors SARAH ECKINGER, CORI JAYNE HOWARTH, LARISA KLINE, IGNACIO MURILLO, CASSANDRA TANNENBAUM Assistant AMY COOPER COPY AND RESEARCH

Copy Chief TERRI SCHLENGER Research Chief BRENDÁN CUMMINGS Copy Editor MARGARET WILLDEN Associate Research Editor LAURA ASMUNDSSON PRODUCTION

Operations Director CHRIS WENGIEL Operations Account Manager DIANE ARLOTTA Premedia Account Manager ISABELLE RIOS Digital Imaging Specialist REBECCA IOVAN Editorial Business Director CAROL LUZ Editorial Business Manager KATE REMULLA Assistant to the Editor-in-Chief ALEXANDRA CLEMENT ELLE.COM

Digital Director LEAH CHERNIKOFF Deputy Editor JESSICA ROY Style Director NIKKI OGUNNAIKE Features Director KATHERINE STOEFFEL Senior Editor ESTELLE TANG Senior Beauty Editor KRISTINA RUDOLFO Senior Writer R. ERIC THOMAS News Editor ALYSSA BAILEY Social Media and Entertainment Editor EMILY TANNENBAUM Writer/Producer CHLOE HALL Producer ALYSHA WEBB Market Editor JUSTINE CARREON Staff Writer MADISON FELLER Assistant Editor NERISHA PENROSE Associate Art Director MIA FEITEL Photo Editor YOUSRA ATTIA Lead Video Producer ANGEL LENISE Senior Video Editor KAMERON KEY After Effects Artist ALINA PETRICHYN DP/Editors JIMMIE ARMENTROUT, MARIO DE ARMAS Contributing Editors E. JEAN CARROLL, ALISON EDMOND WORLD’S LEADING FASHION MAGAZINE • 45 INTERNATIONAL EDITIONS

Argentina • Australia • België • Belgium • Bulgaria • Canada • China • Croatia • Czech Republic • Denmark • Finland • France • Germany • Greece • Holland • Hong Kong • Hungary • India • Indonesia • Italy • Japan • Kazakhstan • Korea • Malaysia • Mexico • Norway • Oriental • Poland • Portugal • Quebec • Romania • Russia • Serbia • Singapore • Slovenia • South Africa • Spain • Sweden • Taiwan • Thailand • Turkey • Ukraine • United Kingdom • USA • Vietnam PUBLISHED BY HEARST COMMUNICATIONS, INC.

President and Chief Executive Officer STEVEN R. SWARTZ Chairman WILLIAM R. HEARST III Executive Vice Chairman FRANK A. BENNACK, JR. Secretary CATHERINE A. BOSTRON Treasurer CARLTON CHARLES HEARST MAGAZINES DIVISION

President TROY YOUNG President, Marketing and Publishing Director MICHAEL CLINTON Chief Content Officer KATE LEWIS Senior Vice President, Chief Financial Officer DEBI CHIRICHELLA Hearst Magazines Chairman DAVID CAREY Publishing Consultants GILBERT C. MAURER, MARK F. MILLER Founding Editor RÉGIS PAGNIEZ For information on reprints and e-prints, please contact Brian Kolb at Wright’s Reprints, 877-652-5295 or bkolb@wrightsreprints.com. ELLE is published by Hearst Communications, Inc. All correspondence should be addressed to: 300 West 57th Street, New York, NY 10019. The ELLE trademark and logo are owned by Hachette Filipacchi Presse (France), a Lagardère Active Group company. ELLE® is used under license from the trademark owner, Hachette Filipacchi Presse. Copyright © 2019. Printed in the United States of America. ELLE SUBSCRIPTION CUSTOMER SERVICE: Visit service.elle.com. ELLEAROUNDTHEWORLD.COM

EDITOR’S LETTER BELOW, FROM LEFT: ARTIST OLGA DE AMARAL DESIGNED BAGS FOR DIOR’S LADY ART SERIES; MODEL ANOK YAI.

he tendency to diminish a woman’s achievements based on her life choices isn’t exclusive to men. In this month’s cover story, Jennifer Aniston points out that it’s women who all too often undermine her professional success by focusing on her personal life instead. “That’s part of sexism,” she tells writer Carina Chocano. “Maybe those women haven’t ﬁgured out that they have the power, that they have the ability to achieve a sense of inner happiness.” A year ago, I became the editor-in-chief of ELLE. Shortly thereafter, Maria Grazia Chiuri asked, “Why have there been no great women artists?” as part of her spring collection for Dior. The heady question (originally posed by historian Linda Nochlin in her 1971 critique of the art world) was printed on a bateau-neck striped top and took direct aim at sexism in the art industry. The fact that the question still resonated nearly 50 years later inspired me to feature more women artists in these pages. Artists like my fellow Colombian Olga de Amaral. I ﬁrst encountered De Amaral’s work years ago, at the beginning of my career. Her largescale metallic tapestries left such a lasting impression that I saved for many years to be able to afford a very small piece of my own. I’m delighted that De Amaral, now in her eighties, is among the 11 female-only

creators whom Chiuri handpicked for the latest Lady Dior Art series (“Playing to the Gallery,” page 56). Female artists can only reach their full potential with the support of people in power—be they curators, gallerists, collectors, fashion designers, or editors. In “Creative Resistance” (page 85), we highlight some of the tastemakers who are bravely challenging the status quo. Then again, sometimes pushing the boundaries can go too far. In “Saving Vice” (page 96), we check in with the media behemoth’s CEO, Nancy Dubuc, as she implements change at the unconventional company. Lastly, I’m excited to kick off 2019 with two of the biggest models of the moment. In “Spring Fling” (page 112), Grace Elizabeth and Anok Yai present the season’s most dynamic looks. The young up-and-comers hail from very different backgrounds, but together they’re a reminder that true greatness is achieved when we work with, and celebrate, each other.

@ninagarcia

ninagarcia

@ninagarciaofficial

De Amaral: Gregg Bleakney; Yai: Max Papendieck

THE GREATS

2019 GOALS: SKIN BLISS “When my skin feels good, I feel good. Healthy, conﬁdent. That’s why my morning routine includes AVEENO® Daily Moisturizing Lotion. Because feeling good in your skin is what it’s all about.”

Nature’s Goodness + Real Science AVEENO® Daily Moisturizing Lotion and Body Wash give you 2X the nourishment when used together. Our prebiotic oat formula goes beyond basic hydration to rebalance skin’s natural moisture, leaving it soft and healthy looking. That’s skin bliss.

NINA’S EDIT

CLOCK SPEAKER, AURABOX, $65, STORE.MOMA.ORG

MULTICOLOR STONE AND GOLD NECKLACE, MARIEHÉLÈNE DE TAILLAC, AT MARIEHÉLÈNE DE TAILLAC, NYC

ALTERNATE DIAGONALS OF MARCH 2, 1964 (TO DON JUDD), BY DAN FLAVIN

KAIA GERBER AT VALENTINO SPRING 2019.

Illuminated ELLE’s editor-in-chief finds inspiration in digital artist Jon Rafman’s transportive runway for Balenciaga and a slew of incandescent extras.

EMBROIDERED-TWILL SKIRT, PRADA, $3,680, SIMILAR STYLES AT MODAOPERANDI.COM

MULTICOLOR SAPPHIRE AND ROSE GOLD WATCH, CHOPARD, CHOPARD.COM

VALENTINO SPRING 2019 SUEDE AND GLITTER PUMP, CHRISTIAN LOUBOUTIN, $795, CHRISTIANLOUBOUTIN.COM

AuraBox clock speaker: MoMA Design Store; Garcia: courtesy of the subject; Alternate Diagonals of March 2, 1964 (to Don Judd): Bryan Chan/Los Angeles Times/Getty Images; remaining images: courtesy of the designers; for details, see Shopping Guide

NINA GARCIA ON THE RUNWAY OF BALENCIAGA’S SPRING 2019 SHOW.

THE

SHOE

At this season’s Oscar de la Renta show, the house’s signature billowy ball gowns and fit-and-flare dresses made way for caftans and sarong-style draped frocks. Worldly, elegant Roman sandals finished off the haute bohemian looks—just the inspiration needed for booking your first vacation of 2019. Leather sandal, Oscar de la Renta, oscardelarenta.com.

Oscar de la Renta sandal: courtesy of the designer; for details, see Shopping Guide

NEW ARRIVALS

FAST AS THE LEXUS HYBRID LINE Climb into the sumptuous cabin of the RX 450h or RX 450hL. Rev its 308-total-system-horsepower1 3.5-liter V6. Bury the pedal. And smile. Switch it to Sport mode. Sink deeper into its 10-way poweradjustable driver’s seat. Grip its leather-trimmed steering wheel tighter. And smile. Pass a gas station. And another. And another. And smirk. Because when you choose the efficiency of a hybrid and get all the performance and luxury you want in return, it’s smart as h too. The Lexus Hybrids. There’s more to h than just hybrid. INSTANT ACCELERATION2 LUXURIOUS INTERIOR

COMPARABLY PRICED TO GAS MODELS2

RX 450h

Options shown. 1. Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. 2. Comparing 2018 Lexus Gas models and 2018 Lexus Hybrid models. Excluding special orders on the 2018 GS Hybrid. ©2018 Lexus

THE

B AG

With its bold, brassy riveting; weighty chain strap; and dainty tea rose turn-lock closure, Coach’s new Parker shoulder bag is catnip for whimsy lovers and sophisticates alike. Crocodile-embossed shoulder bag, Coach, $450, coach.com.

Coach shoulder bag: courtesy of the designer; for details, see Shopping Guide

NEW ARRIVALS

PROMOTION

HOST MINDY KALING SARAH PAULSON, KEIRA KNIGHTLEY, MIA FARROW, LADY GAGA, ANGELA BASSETT, SHONDA RHIMES, CHALIZE THERON AND YARA SHAHIDI

ELLE CELEBRATED THE 25TH ANNUAL WOMEN IN HOLLYWOOD EVENT at the Four Seasons Hotel in Beverly Hills on October 15, presented by CALVIN KLEIN, L’Oréal Paris and Hearts On Fire, with a special thanks to Moët & Chandon, Lexus and HP. ELLE brought together Hollywood’s most stunning and accomplished talent for a celebratory awards ceremony hosted by Mindy Kaling.

ANITA HILL

CHLOË GRACE MORETZ AND JAMEELA JAMIL

SARAH PAULSON AND SANDRA BULLOCK

JENNIFER LOPEZ AND ALEX RODRIGUEZ

Tiffany & Co. is reviving several of iconic French jeweler Jean Schlumberger’s witty nature-inspired creations as part of its Legendary Designs series. The crowning glory: the midcentury Fringe necklace, now in diamonds and lush green tsavorites. Gold, platinum, diamond, and tsavorite necklace, Tiffany & Co. Schlumberger, tiffany.com.

Tiffany & Co. Schlumberger necklace: courtesy of the designer; for details, see Shopping Guide

N E C K L AC E

JENNIFER LOPEZ AND LADY GAGA

NINA GARCIA ELLE, EDITOR-IN-CHIEF RONAN FARROW AND MIA FARROW IN THE INSTAGRAM STUDIO

ELLEN POMPEO

VANESSA HUDGENS IN THE INSTAGRAM STUDIO COLE SPROUSE, ROWAN BLANCHARD, SASHA LANE, YARA SHAHIDI AND DEBBY RYAN

MOLLY SIMS AND JULIETTE LEWIS

LENA WAITHE KEIRA KNIGHTLEY AND JAMES CORDEN

NATHALIE EMMANUEL, AJA NAOMI KING, ROWAN BLANCHARD

ANGELA BASSETT AND QUINCY JONES

Christopher John Rogers model: Revivethecool

Getting Personal

CHRISTOPHER JOHN ROGERS’S SPRING 2019 SILK ORGANZA AND FEATHER EVENING GOWN.

As global fashion becomes increasingly homogenized, an exciting new crop of emerging talents channels pride of place and heritage into thoughtful design. By Naomi Rougeau

or decades, mining archival images of, say, Jackie O in Capri could provide sufficient creative fodder for a compelling ready-to-wear collection. But these days, and this season in particular, many burgeoning designers favor a far more personal approach, rooted in individual heritage. For his debut spring 2019 show in New York, Baton Rouge native and SCAD graduate Christopher John Rogers aimed for “a Southern ‘Sunday best’ moment” and drew upon his childhood memories of church fashion. “My grandmother always wore a green suit with a green pump, hat, and bag,” Rogers says, noting the effort required to match perfectly. “With monochrome dressing, you really have to pay attention to the cut of things.” Before he was aware that fashion design was a viable career option, Rogers experimented with garbage bags, creating folds on a dress form as he tried to decipher the construction process. (“Little did I know at the time that those folds were called darts,” the now 25-year-old says, laughing.) Shoestring budget be damned, Rogers brought his ﬁrst collection to life using bargain-basement dead-stock fabrics that he whipped up into bicolored suits and voluminous eveningwear confections. Exaggerated hats from Brooklynbased milliner Malchijah Hats made the Southern gospel aesthetic sing. In London, a melting pot of references informed the work of Supriya Lele, who charmed buyers and editors with her artful blending of British and Indian staples for spring. (In just its second season, her work is already sold at Browns and Opening Ceremony.) Trench coats deftly draped with saris represented the identity struggles that Lele experienced growing up as the child of Indian immigrants in the West Midlands. Meanwhile, Chinese-Vietnamese designer A Sai Ta of Asai toyed with outerwear by cropping overcoats into Mao-inspired silhouettes and offered a tongue-in-cheek nod to tourists with Burberry-esque plaid, hanfuinspired blouses. Ta’s Mandarin collars and traditional cheongsam shapes (broken down into armorlike segments) were offset by ofthe-moment ﬂuorescent tie-dye treatments. And dinner-plate dragon prints were as suited to floaty ensembles as they are to the usual Ming porcelain. When considered collectively, these up-and-comers’ inspirations cast new light on the well-worn concept of personal style. To be fashion forward, one must look back.

Christopher John Rogers model: Revivethecool; Supriya Lele model: Stuart Wilson/BFC/Getty Images; Asai models: Ian Gavan/BFC/Getty Images; Asai runway: Tristan Fewings/BFC/Getty Images

CLOCKWISE FROM LEFT: SPRING 2019 LOOKS FROM CHRISTOPHER JOHN ROGERS (CHRISTOPHERJOHNROGERS .COM), SUPRIYA LELE (SUPRIYA LELE.COM), AND (LAST TWO IMAGES) ASAI (ASAITA.CO.UK).

The All-New Corolla Hatchback

C O N S E R VA T I O N

Source Material With unexpected and reworked fabrications, a trio of talents reclaims the mantra “Make do and mend” for luxury fashion. By Naomi Rougeau

1. PAOLINA RUSSO The inventive use of sports gear as “fabric” helped this recent Central Saint Martins grad win the school’s prestigious L’Oréal Professionnel Young Talent Award. For her BA collection, the Canadian subbed out traditional satin and lace for deconstructed soccer cleats and balls, hockey helmets, and other gym-class staples to deliver over-the-top corsetry more suitable for the stage than the field. Solange Knowles has already slipped into one of Russo’s pieces. Perhaps the designer’s lifelong style icon, Gwen Stefani, will be her next convert. (paolinarusso.com)

Paolina Russo model: Pablo Di Prima; Courrèges runway: Filippo Fior/Imaxtree.com; Yves Salomon coat: courtesy of the designer

2. COURRÈGES “I’m not an eco-warrior. This is more about making common sense sexy again,” says Courrèges’s new creative director, Yolanda Zobel, of her decision to phase out vinyl from the French house synonymous with slick midcentury design. Over the years, much of that sheen was achieved through the use of synthetics, but Zobel’s debut collection marked a reset. To use up the brand’s remaining stock of less-than-eco-friendly textiles, Zobel crafted practical ponchos and rain gear labeled with countdown-style numbers—a prelude to the brand’s plasticfree future. Says Zobel, “This has always been a future-focused brand.” (courreges.com)

3. YVES SALOMON For nearly a century, Yves Salomon has stood out among furriers for its bold use of color and such groundbreaking designs as intarsia shearling and nearly weightless knitted mink. Now the French house is making headlines with its sustainable Pieces collection, which repurposes fur remnants and dead-stock items into artfully patchworked outerwear. Salomon fans and perennial trendsetters Alexa Chung and Rihanna will surely approve. (yves-salomon.com)

CLOCKWISE FROM TOP: A SPRING 2019 LOOK FROM PAOLINA RUSSO; COURRÈGES SPRING 2019; A PATCHWORK FUR COAT FROM YVES SALOMON’S FALL 2018 PIECES CAPSULE.

FRONT ROW

DIOR

4 1. PRINTED-COTTON HOODIES, BOTH, ACNE STUDIOS, $410 EACH, ACNESTUDIOS.COM 2. OSTRICH FEATHER POUCH BAG, ATTICO, $1,198, THEATTICO.COM

SWAN Lake

4. OSTRICH FEATHER– EMBELLISHED VELVET SLINGBACK, ROGER VIVIER, $1,150, ROGER VIVIER.COM

Prima ballerina–worthy feather embellishments dance a pas de deux with ballet-inspired staples.

5. FLOCKED-TULLE SKIRT, KHAITE, $1,900, KHAITE.COM 6. BROWN PEARL AND DIAMOND SWAN CLUTCH, SILVIA FURMANOVICH, SIMILAR STYLES AT MODA OPERANDI.COM 7. FEATHEREMBELLISHED SATIN PUMP, GIAMBATTISTA VALLI, $1,310, SIMILAR STYLES AT MODA OPERANDI.COM 8. FEATHER EARRING, LOEWE, $350, LOEWE.COM

Attico pouch bag and Loewe earring: Moda Operandi; remaining images: courtesy of the designers; for details, see Shopping Guide

3. FEATHER TULLE GOWN, RYAN LO, $1,020, MODAOPERANDI .COM

is a trademark owned by HACHETTE FILIPACCHI PRESSE SA, Paris, France.

FRONT ROW

TRENDS

1. CRYSTALEMBELLISHED SATIN HEADBAND, PRADA, $1,100, SIMILAR STYLES AT MODA OPERANDI.COM 2. MULTICOLOR CRYSTAL AND BRASS HANDBAG, ROSANTICA, $1,040, SIMILAR STYLES AT MODA OPERANDI.COM

Rock on with oversize jewels in every form, whether printed or clustered on accessories.

3. SUNGLASSES, JIMMY CHOO, $870, JIMMYCHOO.COM

4. SILK SKIRT, CHRISTOPHER KANE, $995, CHRISTOPHER KANE.COM 5. JEWELEMBELLISHED SANDAL, MIU MIU, $1,200, MIUMIU.COM 6. HAND-DYED SYCAMORE AND EUCALYPTUS VENEER JEWELRY BOX, LINLEY, DAVIDLINLEY.COM

7. PARAÍBA TOURMALINE AND CERAMIC RING, SUZANNE SYZ ART JEWELS, SUZANNESYZ.CH 8. GEMSTONEEMBROIDERED CREPE DRESS, $3,995, CHRISTOPHER KANE, CHRISTOPHER KANE.COM

5 6 50

9. SWAROVSKI CRYSTAL AND ACRYLIC EARRINGS, RACIL, $420, THEMODIST.COM

Prada headband and Rosantica handbag: Moda Operandi; remaining images: courtesy of the designers; for details, see Shopping Guide

Bling

CHRISTOPHER KANE

ACCESSORIES

Styled by Nicole Chapoteau; manicure by Kelly B for Zoya; model: Milena Majewska at Parts Models; for details, see Shopping Guide

EMBROIDERED JUMPSUIT, BELT BAG, $1,500, BRACELETS, WATCH, DUFFELS, $2,810 EACH, SNEAKERS, $1,090, ALL, LOUIS VUITTON. PHOTOGRAPHED BY JOSHUA PESTKA.

ROLL With It Industrial designer Marc Newson’s sporty, citrus-hued carry-ons for Louis Vuitton offer an instant upgrade to your travel experience.

THE MONTEPUEZ RUBY MINE IN MOZAMBIQUE.

ACCESSORIES GEMFIELDS RUBY AND WHITE GOLD EARRINGS, NIKOS KOULIS FOR GEMFIELDS x MUSE, AT BERGDORF GOODMAN, NYC

MOZAMBICAN RUBIES, ALL, GEMFIELDS, GEMFIELDS.COM

Seeing RED lizabeth Taylor was perhaps best known for her diamonds, but she nurtured a parallel passion for rubies. Her third husband, Mike Todd, once surprised her in a swimming pool with a gift box containing a suite—a necklace, earrings, and bracelet—featuring both stones. (In true A-lister style, she donned them straight from the pool.) Later, Richard Burton concealed a ruby ring in her Christmas stocking so cleverly that she nearly missed it. Modern-day versions of Liz would do well to check out Gemﬁelds’ latest offering of rubies responsibly sourced from Mozambique’s Montepuez mine (where the company has established two mobile health clinics serving 20,000 locals). A new special collection made in collaboration with Muse Showroom sees 21 designers—including Nikos Koulis and Joana Salazar—creating delicate but bold earrings perfect for ringing in the new year. Wear them à la Taylor, swanning around the Mozambique resort &Beyond on Vamizi Island. —Véronique Hyland

E 54

&BEYOND RESORT ON VAMIZI ISLAND.

Montepuez mine: Barry Haden; pool: courtesy of Vamizi Casamina; remaining images: courtesy of the designers; for details, see Shopping Guide

GEMFIELDS RUBY, BLACK CHALCEDONY, MORGANITE, AND GOLD EARRINGS, JOANA SALAZAR FOR GEMFIELDS x MUSE, MUSExMUSE.COM

1. POLYESTER AND POLYURETHANE BELT BAG, OFF-WHITE C/O VIRGIL ABLOH, $682, OFF---WHITE.COM 2. LEATHER SANDAL, BALMAIN, $1,050, SIMILAR STYLES AT MODAOPERANDI.COM 3. BRASS AND PLASTIC EARRING, PACO RABANNE, $150, AT BLAKE, CHICAGO 4. LEATHER AND METAL HANDBAG, CHANEL, AT SELECT CHANEL BOUTIQUES NATIONWIDE 5. LEATHER BELT, ISABEL MARANT, $460, MODAOPERANDI.COM

Balmain sandal, Off-White c/o Virgil Abloh belt bag, and Isabel Marant belt: courtesy of Moda Operandi; Saint Laurent by Anthony Vaccarello sunglasses: courtesy of BPCM; remaining images: courtesy of the designers; for details, see Shopping Guide

6. SUNGLASSES, SAINT LAURENT BY ANTHONY VACCARELLO, $420, YSL.COM

SILVER

Streak Polish off a pared-down ensemble with mod extras in sterling and platinum finishes.

7. CRYSTAL AND SILVER KEY CHAIN, $2,700, BRACELET, $1,600, BOTH, AMBUSH, AMBUSHDESIGN.COM 8. CROCODILEPRINTED LEATHER BOOT, FENDI, $1,590, FENDI.COM

ACCESSORIES

Playing Gallery to the

Dior enlists an all-female lineup of artists to reinvent the brand’s iconic Lady Dior bag. By Naomi Rougeau

Olga de Amaral Polly Apfelbaum

Mickalene Thomas

De Amaral: Gregg Bleakney; Thomas and Apfelbaum: Peter Ash Lee

t’s been more than a year since Dior artistic director Maria Grazia Chiuri opened her spring 2018 show with a Breton-stripe top that posed the question, “Why have there been no great women artists?” That moment set the tone for Chiuri’s tenure at the house, as she has gone on to produce collections inspired by Georgia O’Keeffe and Niki de Saint Phalle. For the latest iteration of Dior’s Lady Art Project—a venture that taps creatives to transform the cannage-stitched top-handle made famous by Princess Diana— Chiuri handpicked 11 female artists to reimagine the classic handbag. Among them: American artist Mickalene Thomas, who looked to her “Tête de Femme” series, focusing on the personal style of women in her own life, for inspiration. “What would they be excited to carry?” asked Thomas, who took elements from her two favorite pieces in that series and arranged them collage-style, using patent leather, silk, sequins, and Swarovski crystals to mimic the textures of her original oil, acrylic, and silkscreen. Painter and sculptor Polly Apfelbaum created a metal compass rose charm in reference to Dior’s childhood summers by the ocean at Granville and an abstract rose print inspired by the ﬂoral paintings of Italian futurist Giacomo Balla. Meanwhile, Colombian artist Olga de Amaral gilded petal-like strips of canvas for a shimmering, waterfall effect. “Women in the arts are still ﬁghting for recognition on many levels,” Thomas has said. “I’m hoping...there won’t be a need to have the conversation about [gender]. We’re just artists, right? Hopefully, that will be the conversation.”

1. PRINTED BOOT, BALMAIN, $2,500, BALMAIN.COM 2. TOURMALINE AND DIAMOND EARRINGS, IRENE NEUWIRTH, BARNEYS.COM 3. EMBOSSEDLEATHER HANDBAG, CHLOÉ, $1,720, AT CHLOÉ, NYC

Ana Khouri ring and Etro bag: courtesy of Moda Operandi; remaining images: courtesy of the designers; for details, see Shopping Guide

4. SUNGLASSES, TOM FORD, $475, TOMFORD.COM 5. SILK POUCH BAG, ETRO, $385, AT SELECT ETRO BOUTIQUES NATIONWIDE 6. MULTICOLOR SAPPHIRE, DIAMOND, AND GOLD RING, ANA KHOURI, SIMILAR STYLES AT MODAOPERANDI.COM 7. PYTHON CLUTCH, NANCY GONZALEZ, $1,250, AT NEIMAN MARCUS STORES NATIONWIDE

Solar FLAIR Combat the winter chill with add-ons that pack a tropical punch.

New York – Boston – Cambridge – Palo Alto us.marimekko.com

24-HOUR PARTY PEOPLE Model in dress: Sonny Vandevelde; for details, see Shopping Guide

Whether you’re planning an evening in or a night out, we’ve got the essentials for a successful celebration.

BEADED DRESS, BROCK COLLECTION

SILK BROCADE SLIDE, SANTONI, $825, SANTONISHOES.COM

SHOPS

FLORAL ARRANGEMENT, FLEUROTICA, $200, FLEUROTICAFLOWERS.COM

BONE CHINA PLATE, MISSONI, $99, BLOOMINGDALES.COM ONE-SHOULDER BLOUSE, BEAUFILLE, $465, SIMILAR STYLES AT MODAOPERANDI.COM

VISCOSE TOP, KHAITE, $480, SIMILAR STYLES AT MODAOPERANDI.COM

BONE CHINA PLATE, MISSONI, $99, BLOOMINGDALES.COM

BRASS EARRINGS, CHLOÉ, $600, AT CHLOÉ BOUTIQUES NATIONWIDE

MURANO GLASS TUMBLER, LAGUNA B, $395 (FOR SET OF FOUR), EXCLUSIVELY AT MODAOPERANDI.COM

MURANO GLASS TUMBLER, LAGUNA B X CABANA, $159, CABANAMAGAZINE.COM VELVET PANTS, RAG & BONE, $425, RAG-BONE.COM TABLETOP, CABANA

T H E I N S P I R AT I O N

WHO: Clare de Boer WHAT: Co-owner and one of the chefs of buzzy West Village brasserie King

(kingrestaurant.nyc) HOW SHE ENTERTAINS: “I adore the process of beautifying my home and cooking a meal for people I love. It’s the reason I opened a restaurant. I often get more dolled up at home, as I don’t have to brave the subway or the elements.”

WOOL-BLEND DRESS, MARINA MOSCONE, $1,890, SIMILAR STYLES AT MODAOPERANDI.COM

Cabana tabletop: Moda Operandi; De Boer: courtesy of the subject; remaining images: courtesy of the designers; for details, see Shopping Guide

Everything you need to set the stage for an unforgettable meal.

insurance and you could save.

geico.com | 1-800-947-AUTO | Local Office

Some discounts, coverages, payment plans and features are not available in all states, in all GEICO companies, or in all situations. Boat and PWC coverages are underwritten by GEICO Marine Insurance Company. Homeowners, renters and condo coverages are written through non-affiliated insurance companies and are secured through the GEICO Insurance Agency, Inc. Motorcycle and ATV coverages are underwritten by GEICO Indemnity Company. GEICO is a registered service mark of Government Employees Insurance Company, Washington, DC 20076; a Berkshire Hathaway Inc. subsidiary. © 2018 GEICO

SHOPS

GLASS RINGS, ALL, JANE D’ARENSBOURG, $135 EACH, JANEDARENSBOURG.COM

STERLING SILVER EARRINGS, SASKIA DIEZ, $215, SASKIADIEZ.COM

JAIME KING IN MIU MIU.

VISCOSE BLOUSE, ALEJANDRA ALONSO ROJAS, $625, RTWCHARLESTON.COM

SUEDE HANDBAG, MCM, $850, MCMWORLDWIDE.COM

COTTON-BLEND JACKET, 6 MONCLER NOIR KEI NINOMIYA, $1,070, MONCLER.COM

Cocktail Party

Retro-futuristic details ensure that you leave a lasting impression.

PASTILLE DRESS, PACO RABANNE, $1,290, SHOPBOP.COM

SMARTWATCH, MICHAEL KORS ACCESS, $350, MICHAELKORS.COM

T H E I N S P I R AT I O N

WHO: Colby Mugrabi WHAT: Founder of art-centric digital digest Minnie Muse (minniemuse.com) HOW SHE PREPARES: “My muses are always eccentric older women; Peggy

Guggenheim is my forever fashion icon. And I never leave home without my business cards and a handful of Minnie Muse pins. I always know it’s been a successful night when I come home without any pins left.”

MARABOU FEATHER– EMBELLISHED MULE, MIU MIU, MIUMIU.COM

These two pages: King: courtesy of Miu Miu; Mugrabi: David X Prutting/BFA/Shutterstock; Gerber: Splash; Tordini and Ambrosio: courtesy of the subjects; remaining images: courtesy of the designers; for details, see Shopping Guide

RHODIUM-PLATED EARRINGS, MOUNSER, $225, MOUNSER.COM

GLITTER TULLE DRESS, REDVALENTINO, $1,275, REDVALENTINO.COM

RHODIUM-PLATED NECKLACE, KENDRA SCOTT, $120, BLOOMINGDALES.COM SEQUIN CREPE DRESS, 16ARLINGTON, $920, NET-A-PORTER.COM

Dance Party Channel Me Decade glamour in discoball metallics made for shimmying.

LEATHER BOOT, SAM EDELMAN, $180, SAMEDELMAN.COM

WOOL-BLEND COAT, GUESS, $198, GUESS.COM

RHINESTONE FRINGE EARRINGS, & OTHER STORIES, $29, STORIES.COM

SEQUIN-EMBELLISHED JUMPSUIT, TOPSHOP, $190, TOPSHOP.COM

KAIA GERBER IN ISABEL MARANT. SWAROVSKI CRYSTAL– EMBELLISHED SANDALS, AMINA MUADDI, $915, NET-A-PORTER.COM

VISCOSE CLUTCH, ESCADA, $995, AT ESCADA BOUTIQUES NATIONWIDE

CUBIC ZIRCONIA BRACELET, PANDORA JEWELRY, $55, PANDORA.NET

SEQUIN DRESS, ATTICO, $2,156, NET-A-PORTER.COM SEQUINEMBROIDERED DRESS, BCBGMAXAZRIA, $298, BCBG.COM

T H E I N S P I R AT I O N

WHO: Giorgia Tordini and Gilda Ambrosio WHAT: Designers of must-have Milanese eveningwear brand Attico (theattico.com) THEIR PERFECT EVENING OUT: “When in Milan, it’s always drinks at the Hotel Prin-

cipe di Savoia before dancing at Plastic or Apophis Club,” Ambrosio (right) says. When stateside, Tordini (left) loves “hanging out at the Sunset Tower in L.A. while drinking a martini and soaking up the Hollywood glamour.” 63

BEYOND LONGWEAR, FRESH WEAR. BECAUSE YOU’RE WORTH IT.™

DUCKIE THOT LUMA GROTHE

NEW UP INFALLIBLE TO 24HR FRESH WEAR

OUR MOST LIGHTWEIGHT, BREATHABLE LONGWEAR. FOUNDATION STAYS FRESH HOUR AFTER HOUR.

BUILDABLE BREATHABLE TEXTURE

IN 30 SHADES Earn rewards. Join now at: lorealparisusa.com/worthitrewards

P OW E R POUT For a complete look in minutes, try a bold lip like Rosie HuntingtonWhiteley’s. “It’s instantly glamorous without trying too hard,” says Fenty Beauty global makeup artist Priscilla Ono. A classic bullet lipstick offers easy application and touch-ups straight from the tube. Try Maybelline New York Color Sensational Lipstick in Red Revival ($7) or Fenty Beauty Mattemoiselle Plush Matte Lipstick in Ma’damn ($18).

Night Moves

Huntington-Whiteley: Donato Sardella/Getty Images

Spend less time getting ready and more time having fun with these superquick beauty hacks. By Sam Neibart

BEAUTY B EYON D T H E PA L E

shadow pencil (we like Sisley Phyto-Eye Twist in Deep Black, $50; above right) and blend out the pigment to a hazy ﬁnish with a brush or your ring ﬁnger. Top with false lashes to “make your eyes stand out more” against the darker shadow, Ono says.

T U R N U P T H E VOLU M E FOR ADDED SHEEN, APPLY A LIGHT-REFLECTING, WASHOFF PRODUCT, LIKE ST. TROPEZ ONE NIGHT ONLY FINISHING GLOSS ($25).

Multitask during your evening prep with the help of a throwback—hot rollers. To use them in a modern way, place the roller at the roots and wrap strands around it, rather than starting your roll at the ends. “That’s what gives you a more broken-up wave,” says Dove celebrity hairstylist Mark Townsend. Let rollers cool while you apply your makeup, then brush out hair with a ﬂat brush and spritz with a ﬂexible-hold hair spray, like Dove Strength and Shine Flexible Hold Hairspray ($6).

Model in dress: Gotham/GC/Getty Images; eye makeup model: Andreas Rentz/amfAR/Getty Images; reclining model: Pixel Stories/Stocksy; remaining images: Jeffrey Westbrook/Studio D

Before you show some skin, London-based tanning expert James Read recommends a head-to-toe hit of selftanner (such as his James Read Tan 1 Hour Tan Glow Mask Face & Body, $44). Using a tanning mitt, apply a thin layer of tanner in circular motions. After 10 to 15 minutes, follow with a second coat to catch any spots you missed on the ﬁrst pass.

LESS TEXTURE* MORE COLOR BECAUSE YOU’RE WORTH IT.™

*vs. Colour Riche Original lipstick

NEW

LIP INK

SIGN YOUR LIPS WITH STATEMENT COLOR. BARE LIP SENSATION. LASTING MATTE IMPACT. Earn rewards. Join now at: lorealparisusa.com/worthitrewards

BEAUTY USE A BRUSH WITH SYNTHETIC BRISTLES, LIKE SHISEIDO NANAME FUDE MULTI EYE BRUSH ($28), TO PROPERLY DISTRIBUTE AND BLEND CREAM OR LIQUID EYE SHADOWS.

EY E CA N DY

POSH P E DIC U R E Los Angeles manicurist Jenna Hipp recommends taking advantage of boot season and applying callus and cuticle hydrators before putting on your socks (she’s a fan of Provision Manifest Body Oil, $75). That way, when it’s time for open-toe shoes, your feet will be soft, moisturized, and ready for center stage. Coordinate your pedi and mani for a luxe effect: “Matching red toes and nails feels so rich and completely

ST Y L E ON L O C K

A BRIGHT, BALANCED RED, SUCH AS ESSIE LACQUERED UP ($9), LOOKS GREAT ON ALL SKIN TONES.

For an updo that holds all night, opt for a tight bun like Laura Harrier’s. To keep every hair in place, Townsend advises combing wispy ﬂyaways at the hairline and back of the neck using a mascara spoolie coated with Oribe Rock Hard Gel ($42; above). Then mist generously with a strong-hold hair spray. Townsend likes TRESemmé Tres Two Freeze Hold Hair Spray ($5).

Eye: Pascal Le Segretain/Getty Images; Harrier: Bertrand Rindoff Petroff/Getty Images; feet: Marc Philbert (styled by Deborah Dutrain); nail polish spill: Jeffrey Westbrook/Studio D; eye shadow swipe: Jon Paterson/Studio D; remaining images: courtesy of the brands

“At night, you want something that’s going to pop, especially under party lights,” says Ono of gilded lids. For a dramatic look that lifts the face, apply glitter in a winged shape. Take a cue from the showstopping eyes at Valentino (left) and try Urban Decay Liquid Moondust Eyeshadow in Zodiac ($22; far left) for a gorgeous emerald. If you want a subtler hint of sparkle, line the top lid with glitter, stopping at the corner of the eye. Finish with inky black mascara, such as CoverGirl Lash Blast Active Mascara ($8).

BROWS FOR DAYS UP ENHANCED TO 48 HOURS BECAUSE YOU’RE WORTH IT.™

BEFORE

NEW

UNBELIEVA-BROW LONGWEAR BROW GEL

WATERPROOF. NO SMUDGE. SWEAT RESISTANT.

FILL IT SHAPE IT COMB IT HOLD IT

Earn rewards. Join now at: lorealparisusa.com/worthitrewards

E L L E I N T E R N AT I O N A L

BEAUTY AWARDS 2019 Editors from ELLE’s 45 worldwide editions voted on their favorite new products. Here, the best of the best.

BASE HIT

NATURE LOVER

Runway tested and available in 40 shades, the “lightweight, serum-like” Dior Backstage Face & Body Foundation “melts into skin to cover up pesky marks,” says ELLE India’s Mamta Mody.

HEAVEN SCENT

“This floral chypre perfume is addictive,” says ELLE Germany’s Barbara Huber of Chloé Nomade, a spirited blend of oak moss, freesia, and mirabelle plum. “It is fresh yet very sensual.”

KISSY FACE

“Applying this lipstick while looking at the mirror housed in the lid makes me feel like the most glamorous, luxurious version of myself,” says ELLE Canada’s Victoria DiPlacido of Guerlain Rouge G de Guerlain lipstick, available in 31 colors and 15 case options.

Thanks to ingredients such as prickly-pear flower enzymes and juniper fruit, cleanbeauty favorite Tata Harper Clarifying Cleanser “helps keep pores clean and fights acne,” says ELLE US’s own Alexandra Parnass.

CLEAN SWEEP

SKIN SAVER

Prop styling by JoJo Li at Hello Artists

According to ELLE België’s Laure Vandendaele, Lancôme Advanced Génifique Hydrogel Melting Mask is perfect “if your skin needs a pick-me-up. The probiotic extracts give an instant glow and leave the skin looking plump, smooth, and refined.”

If you’re a newbie on the natural beautyproducts scene, ELLE Portugal’s Carolina Adães Pereira suggests starting with L’Oréal Paris Professionnel Source Essentielle Nourishing Shampoo, which is formulated with 80 to 100 percent naturally derived ingredients and is silicone-free: “You’ll be converted.”

BEAUTY

SUPER PUMPED

Alice Bursuc of ELLE Romania swears by Chanel Le Volume Révolution de Chanel mascara: “It coats every single lash, gives a visible lift—so eyes seem bigger and wide open—and has a watery formula that feels light on lashes.”

WAVE RUNNER

ELLE Denmark’s Anne Pedersen is obsessed with Kérastase Aura Botanica Eau de Vagues, which uses sugar—not salt—to create a beachy effect without the crunch: “It’s a light, texturizing mist that makes me look like the hot surfer girl I’ve always wanted to be.”

OVERNIGHT SENSATION

Editors make La Prairie Platinum Rare Cellular Night Elixir part of their evening ritual, and for good reason: “Upon awakening, you’ll find that fine lines are less visible, and the skin appears very relaxed and refreshed,” says Krisztina Gurics of ELLE Hungary.

HYDRATION HIT

BLOCK PARTY

Made with organic almond milk, The Body Shop Almond Milk Body Yogurt absorbs so quickly and easily, “you don’t even notice that you’re wearing it,” says Younji Jung of ELLE Korea, who also notes the moisturizer is vegan and cruelty-free.

ELLE Argentina’s Arlette Barrionuevo calls Vichy Idéal Soleil Solar Protective Water SPF 30 Hydrating “the product I’ve been waiting for: a highfactor sunscreen, with a super-refreshing texture that’s absorbed immediately and resists water and perspiration.”

QUICK FIT

HAIR HELPER

According to ELLE Australia’s Janna Johnson O’Toole, “Everything you love about Sisley’s legendary skin care”— potent, active botanicals—is now in Hair Rituel by Sisley Regenerating Hair Care Mask, “a strengthening hair mask that leaves strands ultrashiny.”

INSTANT REFRESH

After using La Mer The Moisturizing Cool Gel Cream, “I felt as though my complexion was cleaner and more luminous, like when I step out of a professional facial,” says Angélique Martel of ELLE Québec.

Praising its “very comfortable texture,” ELLE China’s Helena Hu calls Elancyl 2-1 Slim Design Slimming Oil a “breakthrough two-in-one firming oil that works wonders on cellulite and stretch marks.”

PHOTOGRAPHED BY JEFFREY WESTBROOK.

SKIN SMARTS

the firsttimer’s guide to

FUZZ BUSTER

L A S E R H A I R R E MOVA L

FA S T FI X E S

We asked four staffers to ROAD TEST some popular, possibly intimidating BEAUTY TREATMENTS. Here, they REPORT ON the before, during, and all-important after.

Laser hair removal isn’t new, but the technology has dramatically improved. The theory is simple: Pulses of laser light target the pigment in a hair follicle; the pigment absorbs the light and in the process damages the follicle, which prevents hair from growing back. “Someone with dark hair will get the best results,” explains Christian Karavolas, owner of Romeo & Juliette Laser Hair Removal in New York. COST: $500 to $700 per session for full legs; six treatments are usually recommended, spaced six to eight weeks apart. WHAT I EXPECTED: I can certainly take a little pain in the name of vanity, but the idea of a laser systematically zapping the entire surface area of my legs had me in a cold sweat. WHAT IT’S ACTUALLY LIKE: I’d chosen Romeo & Juliette because I had heard the name whispered in fashion circles—particularly in connection to Victoria’s Secret Angels, who I figure must know a thing or two about the subject. Lo and behold, the first person I see in the waiting room looks like an off-duty Angel. I take that as a good sign. I fill out a detailed questionnaire about my skin and health history, and then I’m led to a treatment room. The technician evaluates my skin, hands me a pair of safety goggles, and uses a red marker to divide my legs into quadrants from thigh to ankle. “Are you ready?” she asks sweetly before turning on the laser (the Synchro REPLA:Y Excellium 3.4). The first zaps feel hot and shocking, but once I realize it isn’t all that bad, I zone out. The technician asks me every couple of minutes if I’m okay, and honestly, I am. The whole thing is over in 25 minutes. When I sit up and look at my legs, though, my stomach drops: They are completely hairless (yay!), but they are also covered with bright red splotches. The tech assures me this is perfectly normal. She’s right: Within the hour, my legs look fine. And did I mention hairless? THE RESULTS: Even after one session, I see a significant decrease in hair growth. After a few more, I stop shaving altogether. To be honest, I feel jubilant about the whole thing. Freedom from my razor! I can’t believe that I waited this long to do it. —Alexandra Parnass WHAT IT IS:

SMOOTH, HAIRLESS SKIN CAN BE YOURS WITH THE FLASH OF A LASER.

Model: Julia Noni/Trunk Archive

BEAUTY

Research is the reason D AV I N A , DIAGNOSED IN

2012

For years, I was an avid runner—inspiring my two daughters to persevere even when the road gets tough. And then a breast cancer diagnosis knocked me off my feet. Thankfully, researchers funded by the Breast Cancer Research Foundation have invested years of study into finding more options for patients like me. So when it came time for treatment, I chose the best path for me and my family. Soon, I was hitting the pavement once again—this time to fundraise for research. Research is the reason my kids can still cheer me on.

See more reasons for research and share yours at BCRF.org

SKIN SMARTS

THE MILLENNIAL LASER

CLEAR + BRILLIANT

An intro-level skin-resurfacing laser that works on all skin tones. Clear + Brilliant uses heat to poke fractional, invisible columns into your face. These micro-injuries stimulate new collagen, which treats early signs of aging—including ﬁne lines, sunspots, enlarged pores, and dullness. “It emits the same energy as alternative treatments, but in a smaller, more shallow dose, so there’s less recovery time,” says Anne Chapas, MD, the New York City dermatologist who performed my treatment. COST: $300 to $500 per session, depending on your provider. WHAT I EXPECTED: I went in wanting to even out my skin tone and restore the glow I’d lost from age, stress, and polluted Manhattan air. I’ve had laser hair removal done, so I was anticipating that familiar rubber band– snap feeling (spoiler alert! I was wrong). WHAT IT’S ACTUALLY LIKE: The appointment lasts 30 minutes, but half of that time is spent getting frosted with numbing cream and waiting for the effects to kick in. The laser treatment itself takes less than ﬁve minutes, as Chapas makes quick passes over each section of my face. The sensation is hot, somewhere between getting poked by a tattoo gun and accidentally tapped by a curling iron. I leave with a face that feels and looks as though I fell asleep on the beach sans SPF. It takes about two hours for the intense redness to fade, and 24 for the swelling to go down. Over the next few days, my skin has the texture of low-grit sandpaper. THE RESULTS: On day five, the magic happens. I wake up as smooth as a baby seal, with a radiance I’ve only ever been able to fake with makeup. My pores even look smaller. As for my dark spots, I don’t notice any improvement, but I was told that pigmentation issues typically require four to six treatments to resolve. —Maddie Aberman WHAT IT IS:

BOSS BROWS

M IC R OB L A DI NG WHAT IT IS: A semipermanent tattooing process

that creates the look of full brows. The practitioner, wielding a disposable microblade, etches ﬁne, superﬁcial cuts into the skin, then deposits pigment to mimic the appearance of real hairs. The effects last between one and three years—a dream for a natural blonde like me, who’s been spending 10 minutes each 74

morning ﬁlling in my light, sparse arches. COST: Starts at about $700. At her New York City studio, Piret Aava (eyebrowdoctor.com) charges $1,500, which includes a touch-up. WHAT I EXPECTED: I’m ink-experienced—I have 13 tats total, and I’m not too proud to admit that every single one of them hurt. But I had no idea what it would feel like to get a tattoo so close to my eyes. And I was worried about the possibility of going from patchy brows to boxy, asymmetrical ones.

without scabbing isn’t a thing. Mine is minimal, though for about a week, my look is more Groucho Marx than Lily Collins. But now, thanks to my microblading fairy godmother, I wake up with the full, neat brows of my dreams—no pencils or pomades required. —Kate Foster LINE LIMITER

B O T OX

An injectable neurotoxin (Botulinum toxin type A) that temporarily paralyzes muscles to reduce the appearance of wrinkles. COST: Depends on the doctor and the number of locations treated, but anticipate spending at least $600 for a small area, like crow’s-feet, and around $1,000 for a large one, such as the neck. WHAT I EXPECTED: When I’m not smiling or laughing, I look like Grumpy Cat. I have what are called “11 lines” between my brows and several horizontal forehead creases. I’m hoping a few shots of Botox will make me appear less like a feline meme. WHAT IT’S ACTUALLY LIKE: “You definitely have some forehead lines and 11s,” conﬁrms NYC dermatologist Macrene Alexiades, MD, PhD. “How do you feel about your crow’s-feet?” “Do it all!” I tell her. The nurse applies some numbing cream. Alexiades tells me to hold the nurse’s hand, and prick, prick, prick goes the needle into my eyebrow muscles. I feel just a little pinch and drop the hand-holding. As Alexiades works, she explains that she administers Botox in two sessions, since it takes about a week for results to fully take effect. I’ll be returning a week later for a follow-up, when she can determine the areas that need more attention (which helps results last up to six months, instead of the usual four). The nurse tells me not to exercise, bend over, or lie down for the next four hours to help the Botox settle into the treated area. I’m so diligent about keeping my head up that I trip on a step while leaving Alexiades’s office. THE RESULTS: I didn’t want an ice-block forehead, so that means I still have some lines, though they’re much more faint. I can still move my brows up and down. I was expecting my face to feel tight and stiff, but it feels basically the same as before. The overall effect is very natural—I look more relaxed, refreshed, and happier. Good-bye, Grumpy Cat. —Carol Luz WHAT IT IS:

NO MATTER YOUR SKIN TONE, TODAY’S LASERS CAN TREAT IT.

WHAT IT’S ACTUALLY LIKE: The session is a lot like

going to the dentist: You’re reclining in a comfortable chair with a bright light shining on your face, and you’re experiencing an entirely tolerable amount of pain. First, Aava mixes several samples of taupe pigment—lighter or darker, cooler or warmer—then paints a streak of each above my right brow. Mirror in hand, I decide with Aava which hue meshes best with my hair color and skin tone. After outlining my brows with pencil to map out the most ﬂattering shape for my face—and dousing the area with numbing cream—Aava picks up her blade. And…phew! It’s a scratch-like sensation that’s no more uncomfortable than threading. For the next 45 minutes, my eyes water only two or three times as she etches tiny incisions along my brows and inserts the pigment. THE RESULTS: Turns out, cutting your face

Models: Muriel Liebmann/The Licensing Project (pictured, from left: Fitz at The Lions LA; Milan Dixon at Photogenics LA; Lindsay Conway at Nous Models)

BEAUTY

EXTRA

JANUARY 2018

V I S I T E L L E . C O M / E L L E E X T R A F O R M O R E FA S H I O N - F O R WA R D I N F O .

Photographed by Tyler Joe

TRANSFORM YOUR HAIR WITH THE POWER OF SILK Goldwell Kerasilk Style: styling products that leave hair flawlessly soft, shiny and healthy. The stylers combine luxurious formulas and innovative technology— the perfect balance between high-end styling performance and silky-feeling hair. Find a Goldwell Kerasilk Salon near you at Goldwell.us/salonﬁnder LUXURY HAIR CARE

JOIN THE CLUB. SHARE YOUR VOICE. Product Samples, Fashion and Beauty Surveys, Discussions and More.

SCAN TO SEE MORE

Learn more at ELLEinnercircle.com

ELLE x FLAT TUMMY CO New Year, New Tummy You know that health kick you’ve been putting off until the new year? Well ladies… it’s officially time and Flat Tummy Co has everything you need to start your year off right and get your tummy back to flat. So get ready to move LBS, reduce bloat and control hunger! Shop now at ﬂattummyco.com

A STAR IS BORN Look for the Digital Movie and on Blu-ray™ Seasoned musician Jackson Maine discovers—and falls in love with—struggling artist Ally. She has just about given up on her dream as a singer until Jack coaxes her into the spotlight. Learn more at facebook.com/StarIsBornMovie

BEAUTY

USE FACE OIL AS THE LAST STEP IN YOUR SKIN-CARE ROUTINE TO SEAL IN MOISTURE AND ACTIVE INGREDIENTS.

Pro Picks

Face Oil

NOUSHA SALIMI,

Los Angeles facialist who looks after Freida Pinto’s skin

“I use Olìe x Melissa Meyers RoseGlow Drops Daily Radiance Face Oil ($78) regularly for Reiki facials. It leaves skin dewy and moisturized, and it smells lovely. The fact that a portion of the proceeds goes toward charity is a bonus.”

DENDY ENGELMAN, MD, New York dermatologist who has worked with Sofía Vergara

“La Mer The Renewal Oil ($245) contains lime tea concentrate and jojoba seed oils to protect against environmental aggressors and soften ﬁne lines. It reinforces and strengthens the skin barrier as a result, helping acneprone, aging, dry, or inﬂamed skin.”

TERRI LAWTON,

Zoë Kravitz’s L.A.based facialist

“I have many clients from New York, London, and places with cold climates and low humidity. For them, I recommend Biologique Recherche Sérum T.E.W.L. ($178). It’s an oil that prevents dehydration by keeping moisture in the skin from evaporating.”

JOOMEE SONG-IRVIN,

Los Angeles facialist who often travels with Lady Gaga

“I adore the scent of Girl Undiscovered Stars Aligning Face Elixir Oil ($48). It imparts the radiance and hydration that we expect from an oil, but it’s also great at bedtime to lull you into a state of zen. And it doesn’t interfere with other products when you layer it.”

SHEREENE IDRISS, MD,

GUCCI WESTMAN,

“Marula oil is clinically proven to help reverse signs of aging. Drunk Elephant Virgin Marula Luxury Facial Oil ($72) is a favorite; it’s also rich in oleic and palmitic acids, which disrupt the superﬁcial skin layers to improve the delivery of other topicals.”

“I love Georgia Louise Vital Finishing Serum ($150). For me, as a makeup artist, skin is at the beginning and end of everything I do. To help foundation glide on smoothly, I’ll even leave a bit of the oil on my ﬁngertips while I apply it.”

New York dermatologist who perfects Mindy Kaling’s complexion

makeup artist whose clients include this month’s cover star, Jennifer Aniston, and Anne Hathaway

Model: Beth Rebibo/The Licensing Project; oil drops: Jeffrey Westbrook/Studio D; remaining images: courtesy of the brands

Don’t let winter weather rob you of your glow. RECLAIM YOUR RADIANCE with these expert-recommended oils. By Sam Neibart

SCIENCE OF BEAUTY

“My skin, hair and nails have never felt so fabulous!”

†

20 NUTRIENTS

DIETARY SUPPLEMENT

‡

THE ONLY BEAUTY VITAMIN IN THE WORLD SUPPORTED BY THE QUEEN’S AWARD FOR INNOVATION* Now at

and perfectil.com

*Queen’s Award For Enterprise In Innovation 2018 - awarded to Vitabiotics Ltd. London, UK for research and development of the Perfectil range. Available from selected Walgreens. ‡UK’s No1 beauty supplement brand for skin, hair and nails. Nielsen GB ScanTrack Total Coverage Unit Sales 52 w/e 08 Sept 2018. With biotin which contributes to the maintenance of normal skin, plus zinc which contributes to the maintenance of normal hair and nails†. †These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure, or prevent any disease.

BEAUTY E L L E N E S S

The Productivity Trap As the new year triggers a fresh wave of goal setting, KAT STOEFFEL takes a hard look at a genre aimed at illuminating how women “get it all done.”

Photographed by Allie Holloway; 2019 Kings Diary, Smythson, $320; sterling silver dish, Tiffany & Co., $550.

he evidence that I am inadequate had been mounting for women were, I resolved to turn over a new leaf. Using the trendy Bullet some time. But it reached a critical mass in October when Journal method, I tracked how many days a month I accomplished what an impressive young HSBC executive, Melania Edwards, I would tell an imagined audience I do every day: exercise, drink eight revealed to Business Insider what a day in her life looks glasses of water, maintain “Inbox Zero.” I also included unproductive like. According to Edwards, her morning routine begins but soulful things, like reading fiction. This only added to my sense of at 5:30 a.m. and includes meditation, green juice, and tennis. After a full inadequacy on the days when I was neither productive nor soulful. day of work—spread between San Francisco and Palo Alto—Edwards Once I’d tried my hand at productivity, morning-routine diaries enriches herself with classes at Stanford, yoga, and volunteer work. raised more questions than they answered. Can you really make a The travel time alone made me want to crawl back into bed. Edwards, smoothie—and it’s not the blending, it’s the chopping and dish washmeanwhile, relaxes by cooking dinner with her boyfriend and walking ing—in 15 minutes while doing a face mask? What if your sun salutation “down the tree-lined University Avenue, reflecting upon our key wins wakes up your kids? When do you wash your gym clothes, yoga mat, and and challenges and preparing for the eco-friendly Tupperware? adventures of the next day.” It’s possible that the spouses of Aspirational day-in-the-life diaries high-powered women deal with these have recently become ubiquitous. Prethings. But it seems more likely that senting the daily habits of successful the diarists pay people to help them, women, these articles are meant to and there’s nothing wrong with that. offer the key to unlocking your own (Though it’s worth asking what their future potential. They’re nothing new: employees’ work-life balance looks Male CEOs have been bragging to like.) Partners, nannies, housekeepers, business magazines about how early and corporate-account food delivery they wake up for years. Optimizationrarely get mentioned in articles about obsessed Silicon Valley spawned a cothow people stay productive. And so tage industry of largely male produca genre meant to demystify work-life tivity experts explaining how to get balance has made work-life balance more done, faster, in email newsletanother impossible ideal. ters and podcasts. But around the time What bothers me about dailywork-life balance became a national routine diaries is the causality implied: public debate, women’s media outlets If you were this productive, you would that once might have asked women be successful. I didn’t fail to be the perwhat they wore—outlets like Into the son I described in my Bullet Journal Gloss, The Cut, Coveteur, Teen Vogue, because I’m lazy. I failed because I was and, yes, ELLE—started asking powertired from commuting, grocery shopful or simply cool women about how ping, doing the dishes, picking up my they get things done. dry cleaning, and getting my winter The productivity-diary trend esboots resoled—and I don’t even have FOR MOST OF US, MAXIMUM PRODUCTIVITY IS HIGHLY ASPIRATIONAL. calated last summer, after Instagram kids, or sick parents, or a second job. launched the Questions Sticker feaFor most of us, I have come to believe, ture, allowing an influencer’s followers to ask her anything. One by one, maximum productivity is highly aspirational. Instagram stars responded with their daily fitness, beauty, and wellness I used to wonder how successful people got it done. Now I think I routines—“because you guys keep asking,” they often wrote. One said her should marvel at how much you can get done if you are already sucroutine begins at 5:30 a.m., with hot lemon water. The water is followed cessful, or at least rich. I should probably read morning-routine diaries by lighting a candle, scraping her tongue (10 times), meditation, tarot, the way I might approach an Architectural Digest spread. Not to shame yoga, dry brushing, making a vegetable stir-fry, and a bowel movement— people with nice houses, but also not expecting to learn how to rearrange all before looking at her phone. my living room. It’s just fun to think about. Maybe I’ve paid less attention to men’s productivity diaries because It must be nice to live near tennis courts, or a brisk 20-minute walk I’ve been socialized to judge other women. Maybe the question of how from the office. It must be easy to be productive when you work for a tech men get things done was less interesting to me because I always imagined company that feeds you dinner and does your laundry. It would be great a woman in the background, feeding and bathing the children so that he to have a wife, or a personal assistant, or a driver. Doing work must feel could “spend time” with them. But after seeing how productive other simple when somebody else does the work of being a person.

MIGHTY ON MAKEUP GENTLE ON SKIN Micelles are tiny, but mighty bubbles that gently lift waterproof makeup like a magnet without harsh rubbing. Is your makeup wipe this gentle? Paraben free Suitable for sensitive skin

GarnierUSA.com

Live the

Sweet Life NO SUGARS • NO CALORIES NO ARTIFICIAL SWEETENERS Life is busy; sometimes, it’s hard to ﬁt it all in. SweetLeaf® Stevia Sweetener gives you the taste you crave without added sugars or calories and no artiﬁcial sweeteners. Make one simple change to SweetLeaf today.

SweetLeaf’s award-winning family of products is available at your favorite health food stores, natural stores, supermarkets, and online retailers. Find recipes you’ll love at:

SweetLeaf.com CERTIFIED PALEO

CERTIFIED PALEO

Creative Resistance Meet the CURATORS, GALLERISTS, COLLECTORS, AND ARTISTS whose work sheds light on critical issues. By Molly Langmuir

CULTURE LAWSON IN A SELF-PORTRAIT TAKEN IN BROOKLYN THIS FALL.

THE PHOTOGRAPHER

Self-portrait: Deana Lawson. Top, skirt, Altuzarra. Pumps, Gucci. For details, see Shopping Guide.

DEANA LAWSON Deana Lawson’s meticulously staged photographs often feature people she has only just met—sometimes clothed, sometimes nude— but they always convey a concentrated intimacy. “Observation is part of it, but it’s about love, too,” she says. “It’s a loving gaze.” Her work, which appeared in the 2017 Whitney Biennial and is on display through February 17 at Los Angeles’s The Underground Museum, explores the blurry distinction between what is composed and what is candid; how people communicate their identities visually and have identities imposed upon them; and how such matters are informed by class and race. The details speak volumes. “My whole mission, from the beginning, was to bring complexity or dimensionality to the representation of certain bodies—ones that, as [the critic] Greg Tate writes, have been ‘abandoned by the dominant social order,’ ” she says. For ELLE, she photographed herself at Essence, a Brooklyn bar and restaurant near her home. “To ﬁnd subjects for my photographs, I usually go to local bars and churches, or to soul food restaurants, so it felt natural for me to be working in that kind of environment,” she says. “Though it’s really hard being the subject—I can’t see myself when I’m posing.” Lawson also brought props—the rug and the curtains—to add a little personality. “I want my photographs to portray a heightened reality, in that they contain certain things that would exist regardless of whether I took the picture or not, and certain things that wouldn’t,” she says. “That interplay is what gives them their power.”

THE M U LT I M E D I A ARTIST

JUDY CHICAGO In late September, the pioneering feminist artist Judy Chicago posted an image on Instagram juxtaposing her painting triptych Three Faces of Man, which features a face displaying, respectively, shock, self-pity, and rage, with photographs capturing expressions made by Lindsey Graham, Brett Kavanaugh, and Chuck Grassley during Kavanaugh’s conﬁrmation hearings. She’d made the triptych in 1985 as part of her “PowerPlay” series exploring toxic masculinity, but the parallels were uncanny. “It seems to take decades for people to understand my work,” she says. Pieces from the series are now included in a major survey of Chicago’s career, aptly titled Judy Chicago: A Reckoning, which opened at the Institute of Contemporary Art Miami in December and is up through April 21. “It’s gratifying, because I put my faith in art history, and as other work that seemed important at the time is receding into the background, [mine] is coming to the foreground,” she says. Though it also means the issues she was dealing with then still resonate. “Patriarchy has been with us for a long time,” she says. “We’re engaged in a long historic struggle for equality, and we move forward and backward. And we’re in a period of moving backward again.” The ICA Miami show will also include spray-painted pieces from her “Car Hood” series, along with her needlepoint-focused Birth Project and test plates created for her controversial vulvafocused work The Dinner Party, produced from 1975 to 1978. “I learned about the potential power of art through The Dinner Party,” she says. “It taught me art could have an even bigger role than I ever imagined.”

ORANGE CIRCLE (2018), BY SUSAN CIANCIOLO, ONE OF DONAHUE’S ARTISTS.

T H E GA L L E RY OWNER

BRIDGET DONAHUE The roster at Bridget Donahue’s self-named gal- the artists I was preoccupied with. That’s what lery in New York’s Chinatown spans mediums, steers the programming.” generations, and price points—works sell from Which is, of course, a statement in itself. “My $3,000 to $150,000—but one common element artists have been aligned with resistance since is that, in an inversion of the art-world status quo, before Trump was elected, so I didn’t feel a seisthe majority of artists shown are women. Dona- mic change [after the 2016 election],” she adds. hue, who has earned a reputation as a forward- “Things have always been grim, and if we think it’s thinking innovator since opening the gallery in worse now, we’re kidding ourselves, you know? 2015, did not set out with the intent of tipping the But that also means that while a lot of other progender scales. “I’ll often be at a party and people grams have shifted in response to the changing will say, ‘Bridget runs an all-women’s gallery,’ and climate, we’ve kept a steady course. And many of I’m like, ‘Uh, no I don’t,’ ” she says. “I’m not trying our artists have kept their nose to the grindstone, to reject having a social agenda. I am a feminist, despite a lot of pressure to react. They’re inspiring and I think all of us should be. But these were just to me in that way.”

Chicago: Donald Woodman/Artists Rights Society (ARS), New York; plate: Alec Kugler; Birth Tear/Tear: Donald Woodman/ARS, New York/courtesy of the artist/Salon 94, New York/Jessica Silverman Gallery, San Francisco; Heaven Is for White Men Only: Donald Woodman/ARS, New York/collection of New Orleans Museum of Art; Donahue: Agaton Strom/The New York Times/Redux; Orange Circle: Gregory Carideo/courtesy of the artist and Bridget Donahue, NYC; Ludwig: Elizabeth Lavin

CLOCKWISE FROM TOP LEFT: A LIMITED-EDITION PLATE, AVAILABLE FOR SALE AT ICA MIAMI; BIRTH TEAR/TEAR (1985); HEAVEN IS FOR WHITE MEN ONLY (1973).

CULTURE

THE EXECUTIVE D I R E C T O R A N D C U R AT O R

JUSTINE LUDWIG

LUDWIG AT AMBREEN BUTT’S 2017 EXHIBITION, I AM ALL WHAT IS LEFT OF ME, AT DALLAS CONTEMPORARY.

Last June, Justine Ludwig, formerly the deputy director and chief curator at Dallas Contemporary, moved to New York to take the helm of Creative Time, a nonproﬁt that commissions large-scale, dialogue-prompting public art, like Kara Walker’s 2014 sugarcoated, sphinxlike sculpture, A Subtlety. “All the artists share a sharp attention to issues that affect us on a daily basis,” Ludwig says. “But what is really exciting about Creative Time’s projects is that they produce transcendent, gorgeous moments that make you want to get in close, and then suddenly you’re in too deep to not address the issue brought to the forefront.” Ludwig believes that public art has only become more essential, in part because of its ability to introduce complexity into concepts that might otherwise seem black and white. “In many ways, that’s the power of art,” she says. “That it embraces nuance.” When it comes to the way social media propagates awareness of such projects far beyond their immediate audience, though, she’s more ambivalent. “On the one hand, I love experiences that are individual,” she says. “But on the other, social media has done so much to democratize art. It can inspire a viewer to have a personal stake in a project. And as ridiculous as it might seem, when you hit a hashtag and see all these images of people experiencing the same work of art, there is a kinship.”

THE COLLECTOR AND PHILANTHROPIST

PAMELA JOYNER Pamela Joyner’s goal is nothing less than reframing art history. Joyner—a recipient of the W.E.B. Du Bois Medal from Harvard (along with Oprah Winfrey and Shonda Rhimes)—retired early from a career in finance in order to focus on building the collection she shares with her husband, Alfred Giuffrida, which now includes nearly 400 works of largely abstract art, most by artists of African descent. “Long-term practitioners in the field thought I was crazy,” she says. “But I made a conscious decision to try to move the institutional needle forward.” About 130 pieces are now on display at Joyner’s San Francisco home, but her larger intention is to elevate the position her artists hold in the art world by placing their work in museums and institutions and fostering scholarly attention. As part of this effort, she provided more than 70 works for a traveling exhibition titled Solidary & Solitary: The Joyner/ Giuffrida Collection, which opens at the University of Chicago’s Smart Museum of Art on January 29. “Certain voices simply will not be denied,” she says. “Visibility might be deferred, but some work is so critical to the culture that it will find its visibility. I’m there to help the process along.”

T H E I N S TA L L AT I O N AND PERFORMANCE ARTIST

TANIA BRUGUERA

CLOCKWISE FROM ABOVE: BRUGUERA; THE HEAT-SENSITIVE FLOOR SHE INSTALLED AT TATE MODERN; VISITORS TO THE INSTALLATION WERE STAMPED WITH A MASSMIGRATION STATISTIC.

Throughout her career, the Cuban artist Tania Bruguera has made work that is explicitly political. In 2014, she announced her intention to set up a microphone in a Havana square and invite Cubans to speak freely about their nation and its newly restored diplomatic relations with the U.S. (in response, she was arrested three times). Two years later, she declared that as part of a new satirical project, she planned to run for president of Cuba. And this past October, she installed an enormous, heat-sensitive ﬂoor inside Turbine Hall in London’s Tate Modern. When enough people lie down on the ﬂoor, the black expanse transforms, revealing a portrait of a Syrian refugee. “The image can only be seen

properly when you work with others, even those you don’t know,” Bruguera explains. “It needs a collaborative spirit, [which is also what’s needed] to achieve social change.” When asked what she might tell someone who believes that art and activism should remain separate, Bruguera doesn’t mince words: “Those who say that they are not interested in politics are precisely the ones from whom the politicians proﬁt, and artists are no exception. Art is a space where truth can be told, even when people are not ready to hear it. Art creates empathy and understanding where there is rejection and ignorance. Art has always reﬂected the times one lives in, and these are times for activism.”

Joyner (in front of Number 525 by Leonardo Drew, 2015): Ike Edeani; One Black Day: courtesy of the artist/Luhring Augustine, New York/Regen Projects, Los Angeles/Thomas Dane Gallery, London; Places to Love For: courtesy of Jack Shainman Gallery; Afternoon: collection of Pamela Joyner/The Art Institute of Chicago; Bruguera: Claudio Fuentes; hand: Hyundai Commission: Tania Bruguera/ Benedict Johnson; handprints: Hyundai Commission: Tania Bruguera/Andrew Dunkley; Bernstein: Allie Holloway/Studio D (hair and makeup by Yuko Mizuno at Rona Represents)

CLOCKWISE FROM NEAR LEFT: GLENN LIGON’S ONE BLACK DAY (2012); LYNETTE YIADOMBOAKYE’S PLACES TO LOVE FOR (2013); NORMAN LEWIS’S AFTERNOON (1969).

CULTURE

THE PA I N T E R

JUDITH BERNSTEIN When Judith Bernstein arrived in New York in 1967 at age 24, she knew she was an artist, but had no idea how to make a living as one. Raised in a New Jersey beach town, she’d gone to Penn State University and then to the Yale School of Art, where the dean told her, “We can’t place women”—meaning no university was likely to hire her. And that was before she began making paintings incorporating charged political imagery, bathroom graffiti, and figures like “Supercock”—a man flying through the air with a penis bigger than his body—not to mention charcoal drawings depicting forms that were part screw, part phallus. In New York, she moved into a live-work loft in Chinatown for $175 a month and helped establish the first all-female cooperative art space in the country, A.I.R. Gallery, which hosted her debut solo show in 1973. But in 1974, after one of her screw drawings was censored from a museum show in Philadelphia for “lacking redeeming social value,” her career stalled. Bernstein spent the following three decades cobbling together a living through adjunct teaching and rarely showing. “I was damn depressed,” she says. “But I’ll tell you, frankly, I knew my work was good. And I knew that eventually something would happen.” In 2008, after the gallerist Mitchell Algus gave her a solo show, her work ﬁnally began to draw interest. By 2015, New York magazine declared Bernstein “an art star at last,” and since then, her critique of the interplay of male ego, violence, sexuality, and power has only become more pertinent. Money Shot, her first show with her current gallery, the blue-chip Paul Kasmin, featured eight large Trump-focused works illuminated by a black light—which gave each painting an increasingly surreal cast as day turned to dusk. Today, Bernstein, 76, remains in that same Chinatown loft, sharing the space with two 18-year-old Persian cats and her collections of Christmas tree ornaments, Beanie Boo stuffed animals, and windup robots. Her studio remains up front, in the best light, and her bed in the back, but most of the work she stockpiled during her dry years has moved out into the world. “I’ve had a lot of success now, which has been fabulous,” she says. “But the best thing is that my voice is heard and valued. I don’t make the kind of money the big guys do, but nevertheless, it’s an extraordinary thing.”

BERNSTEIN (SHOWN HERE WITH DEATH UNIVERSE, 2018) IN HER STUDIO AT THE NATIONAL ACADEMY OF DESIGN, WHERE SHE HAD A RESIDENCY LAST YEAR.

CULTURE

MUSIC “IF YOU WANNA BE YOURSELF, YOU GOTTA DIG DEEP,” SAYS SUDAN ARCHIVES, EXPLAINING WHERE THE “ARCHIVES” PART OF HER NAME COMES FROM.

DOUBLE VISION Rising singer-songwriters Sudan Archives and Charlotte Lawrence both have debut albums on the way and fans in the fashion world. By Allie Jones SU DA N ARCHIVES

SUDAN ARCHIVES KNOWS HER MUSIC is uncategorizable. On both her 2017 self-titled EP and last year’s Sink EP (and most likely her debut album, too, which is due later this year), the 24-year-old singersongwriter melds R&B vocals, self-taught violin, and elements of Sudanese and West African music to form a soundscape unlike anything else. “I feel like it’s hard to describe,” she says of her unique sound, “but I tell people that it’s ﬁddle funk.” Born Brittney Parks in Cincinnati, Ohio (“Sudan” was a nickname from her mother), the musician moved to Los Angeles at 19. She got a job at a doughnut shop and thought she would do that “and maybe an open mic sometimes,” she says. “So it’s kind of weird that the music has taken off this much, because I feel like this is already a lot. I can’t imagine it getting even bigger—it’s kind of overwhelming!” And the opportunities keep coming, including a high-profile performance during the Maryam Nassir Zadeh show this past September (a gig that went to superstar Solange the year before). She was mesmerized by the experience and happy to work a little bit in the background for once. “They dressed me and had an idea of how they wanted the show to ﬂow,” she says. “All I had to do was provide vibes.”

AT JUST 18 YEARS OLD, Charlotte Lawrence has millions of streams on Spotify, a popular EP, and a full-length album slated for imminent release. If that sounds like a lot to accomplish in a short amount of time, know that the L.A.-born moody-pop singersongwriter has been working on her career since middle school: Her parents, producer Bill Lawrence and actress Christa Miller (you might recognize them from Cougar Town), helped her secure a manager when she was barely a preteen. “When I started writing songs, I was 11 or 12 years old,” Lawrence says. “They were shitty songs,” she adds with a laugh. “But that was when I was like, ‘I want to do this forever.’ ” When she was 15, the Dixie Chicks brought her onstage to perform a song at the Hollywood Bowl after meeting her at a fundraiser organized by her mom. “That was literally the best night of my entire life, to this day,” Lawrence says. Last May, she contributed vocals to a Yungblud song that found its way onto the 13 Reasons Why soundtrack. Then Lawrence’s friend Kendall Jenner debuted her single “Stole Your Car” on her Beats 1 Radio show during New York Fashion Week—and Kaia Gerber asked her to perform at the launch of her clothing collaboration with Karl Lagerfeld. The three pals regularly appear on one another’s Instagram pages (Lawrence herself has 508,000 followers), and the songwriter cherishes her friends’ support. “Everybody is amazing and loving—they’re like, ‘Even if we weren’t close, I’d still love your music,’ which is important to me.” 90

“I’VE BEEN MODELING SINCE I WAS LITTLE, BUT MUSIC IS MY PASSION AND WILL ALWAYS BE MY NUMBER ONE,” LAWRENCE SAYS.

Sudan Archives: Leeor Wild; Charlotte Lawrence: Luke Raymond

CHARLOTTE L AW R E N C E

EDITION

Index

PARTY

STYLE

the Holiday Party Style

guest edited by Coco Bassey, @cocobassey

Coco Bassey is no stranger to a great party outfit. Need proof? Just take a look at her fashion site, Millennielle.com, where she chronicles her favorite fashion and beauty picks, from dressed-down designer looks to electric blue eyeliner. So when her holiday party invites start rolling in, she makes sure she has all the essentials for celebrating the season,

HOLIDAY

whether it’s a chic carry-all, a secret, relaxing scent or a mascara that will take her from a casual family party to fashionable bash with her friends. ‘Tis the season!

/ 1

“

“This aromatherapy oil is small, but powerful! I take it with me on-thego, and apply it at night before I take a bath. Its relaxing, calming effects are incredible.”

“

A great everyday bag, that looks so luxe too! It doesn’t hurt that it can hold everything I need throughout the day: my tablet, phone, makeup bag and more!

“

EASY ON, EASY OFF! COULD YOU ASK FOR ANYTHING EASIER WHEN IT COMES TO A MASCARA! THE BRUSH IS GREAT FOR SEPARATING AND DEFINING MY LASHES TOO! /5

/ 6

1. TRUE BOTANICALS, Aromatherapy in Muscle Release, Immune Boost and Stress Relief 2. MAYBELLINE, Superstay Matte Ink™ City Edition Liquid Lipstick Makeup; Maybelline.com 3. DOONEY & BOURKE, Selleria Satchel; Dooney.com 4. DOONEY & BOURKE, Florentine Small Ashley Messenger Bag; Dooney.com 5. MAYBELLINE, Facestudio® Master Chrome™ Metallic Highlighter Makeup 6. DOONEY & BOURKE, Porter Watch; Dooney.com 7. MAYBELLINE, Snapscara® Mascara; Maybelline.com

Shop ELLE.com/HolidayIndex for more. #ELLEHolidayIndex

WOOL AND CASHMERE COAT, BRUNELLO CUCINELLI. HER OWN SHIRT, JEANS, AND BOOTS. PHOTOGRAPHED BY ALLIE HOLLOWAY.

OUT OF THE BAG Since her short story “Cat Person” went viral in late 2017, KRISTEN ROUPENIAN has been herding deals. Her debut story collection, You Know You Want This, proves it was no fluke. By Haley Mlotek

s a reader, I am hungry to be uncomfortable,” says Kristen Roupenian over coffee at New York’s Algonquin Hotel. The 37-year-old author’s open, expressive features and carefully crafted sentences—delivered lightly but with the wry conviction of a theater actress from another era—play to the back of the room. Outside, swampy humidity rolls through Midtown in the form of a gray fog, only adding to the haunted vibes. Inside, Roupenian is doing her best to keep them going: “What I want most,” she says, “is to have a story grab me by the back of the neck, throw me to the ground, and not let me up.” This month sees the release of You Know You Want This, Roupenian’s debut short-story collection, which offers this desired effect 12 times over. Many readers will be familiar with “Cat Person,” the grim, hilarious, and bitterly familiar gem that appears midway through the book. Originally published by the New Yorker and inspired in part by a bad interaction with a man she met online, the story relays an

awkward series of encounters between Margot, a college student, and Robert, an older man who frequents the movie theater where she works, which eventually progresses into even worse sex. Shortly after the story appeared in print and online in December of 2017, it went viral in a way that rarely happens to short stories. In fact, “Cat Person” became the New Yorker’s secondmost-read story of 2017, quite a feat considering it had been up for just a month at year’s end. (Number one was Ronan Farrow’s article detailing the sexual assault and harassment accusations against Harvey Weinstein, which had come out two months earlier.) Within that context, many wondered if, in its excruciating attention

to the nuances of attraction and repulsion, “Cat Person” was a #MeToo polemic disguised as fiction. Others argued that when a woman writes prose that feels real, it shouldn’t be mistaken for memoir. But nearly everyone agreed that the heterosexual dynamics she described were deeply felt, widely known, and, frankly, startling to see so plainly described. It struck a nerve. Then Roupenian struck gold. In a little over a week, the New York Times reported that she had received a seven-figure, two-book deal from Scout Press, an imprint of Simon & Schuster (a novel is next). HBO bought the story collection to develop into a drama series, hiring Carly Wray and Lila Byock, former writers for The Leftovers, to write and executive produce. A24, the film and TV studio behind some of the most critically acclaimed movies of the last few years (Lady Bird, Hereditary), acquired Roupenian’s screenplay for Bodies Bodies Bodies, a slasher film in the early stages of development. We’re all going to have to get comfortable with Roupenian’s predilection for the creepy uncanny—her work is about to be everywhere. orn in Plymouth, Massachusetts, the oldest of three siblings, Roupenian says she was always a “big bookworm,” overly enthused about nerdy stuff—reading constantly, getting lost in fantasy. Her favorite stories featured little girls with an outsize sense of their influence in the world, like Harriet the Spy and Alice’s Adventures in Wonderland. You Know You Want This is dedicated to her mother, who loves horror novels as much as she does. Roupenian recalls being enthralled by the demonic cat on the cover of her mom’s copy of Pet Sematary at age four. At 11, she read the book and had nightmares for years. “To be 11 is to live the horror novel,” she says. “Everyone knows that female adolescence is horror, all about discovering what power is. And to be a gross 11—I was a very gross 11-year-old—is to be the tenderest spot in the whole world.” Roupenian mentions a recent dream in which she saw the cover of her book with a content warning on it. And in a way, she says, an anxious kid is her ideal reader. She pictures a young girl picking up the book after being forbidden to do so and having “her hair catch fire,” which is how Roupenian felt when she read Pet Sematary. In addition to Stephen King, Roupenian is inspired by writers like Angela Carter, Mary Gaitskill, and Shirley Jackson, all of whom used fiction and fables to write about the relationship between sex and power. Jackson, in particular, is an important parallel. In 1948 she published “The Lottery,” which still holds a record for the volume of letters the New Yorker received celebrating or condemning a story. The response to Jackson’s parable about mob mentality was just like the one Roupenian experienced—some readers liked it, while others said the New Yorker should keep politics out of its fiction section. Some thought the story was journalism

You Know You Want This: courtesy of Gallery/Scout Press; Inheritance: courtesy of Knopf; The Far Field: courtesy of Grove Press

and asked where they could go see one of those lotteries. In the Ann Arbor apartment Roupenian shares with her girlfriend, Callie Collins, a 30-year-old writer and postgrad fellow in the University of Michigan MFA program (Roupenian holds an MFA in ﬁction from the university’s Helen Zell Writers’ Program), and their kitten, Angus, is a large print featuring Jackson’s words: “I delight in what I fear.” SHELF CARE

When an ancestry test unravels Dani Shapiro’s family tree, the best-selling author reckons with her Orthodox Jewish roots. The resulting memoir, Inheritance: A Memoir of Genealogy, Paternity, and Love (January 15), reads like an introspective mystery as Shapiro sorts fact from fiction.

In Madhuri Vijay’s exquisite debut novel, The Far Field (January 15), grief propels a young woman to northern India, where she seeks answers about her mother’s past. She meets people and communities constantly on the brink of political violence, upending her assumptions about herself and her country.

n 2003, after graduating from Barnard College, Roupenian joined the Peace Corps. She says that at the time, she lacked the language to describe what felt wrong about her work in Kenya. She didn’t then know the phrase “white savior complex,” she says, but she certainly felt it in practice. Her experience inspired “The Night Runner” (featured in You Know You Want This), in which a young white male teacher thinks his teenage students are bullying and tormenting him, and possibly even using witchcraft against him, refusing to accept that he is the one with all the power. As the narrator of his own story, he will only consider himself a hero or victim. Many of Roupenian’s characters experience a similar twisted sense of their place in the world. There are men obsessed with absolving guilt and women who hate what they want. In one light, her characters could be seen as acting in self-defense; in another, they’re vicious, causing pain just because they can. Roupenian’s stories are intentionally sparse—void of geographic detail and physical descriptions, and only barely alluding to distinctions like race or class—and rely on the reader to draw her own conclusions, she says. “Like fun-house mirrors,” her stories distort as they reﬂect. “Right now, in this moment, we’re having explicit conversations about power,” she says, zeroing in on why her stories are so disturbing and also why we can’t look away. “But I think I have always been perplexed by and obsessed with not only questions of powerlessness, but feeling like you have too much power. I’ve always had a hard time ﬁnding a middle ground.” Those extremes drive Roupenian, and the result is equal parts distressing and absorbing. Her writing exists in that nebulous dimension just before desire turns into repulsion. It hits a pinpoint target of an unspeakable discomfort. Seen one way, it’s a relief to have recognition; in another, like the title itself, it’s an indictment. She knows her work is not for everyone. For people used to getting away with bad behavior, a likeness of any kind can feel like a reckoning. Instead, her writing is for those who, like her, want to look right at that discomfort as much as they fear it. “A good story, to me, feels like I’m thinking about something that’s bothering me, something I’ve done or some encounter that I’ve had, and I look at it, and I think about it, and I get closer and closer and closer until”—and here Roupenian stops to let out the verbalization of a shudder, the noise you make when confronted with something once hidden that disgusts and thrills. “And that’s the story.”

WO M E N I N H O L LY WO O D

1988

GLENN CLOSE

Costars in Dangerous Liaisons, opposite John Malkovich “The Marquise de Merteuil is a woman who’s trying to survive by treating men like men treat women. It’s a brilliant story. People thought that it was a costume drama and that nobody would be interested. It overturned those perceptions.”

The six-time Oscar nominee returns to the awards circuit with The Wife, a screen adaptation of Meg Wolitzer’s 2003 novel about the compromises we make to pursue art. By Brianna Kovan

2007–2012

Lands her first significant role “I was in Twelfth Night my freshman year at William & Mary, and I played Olivia. That was my first serious stage performance. Ultimately, I still get the most thrill from theater. It’s the bare bones of our craft.”

1970

Wins two Emmy Awards for the television series Damages “I remember Holly Hunter calling me up and saying, ‘What’s it like to do a series?’ If you have great writing, with people you think you’ll stay creative with, go for it. Television is amazing. Now everybody’s doing it.”

1983

2017

Costars in ensemble dramedy The Big Chill

Revives the role of Norma Desmond in the Broadway musical Sunset Boulevard

“People didn’t know if I could be sexy. It’s all a little insulting. I wanted to play Mary Kay Place’s role, Meg. I remember going up to [director] Larry Kasdan and saying, ‘I bet you want me to play Sarah.’ And indeed he did!”

1987 Costars in Fatal Attraction

1983 Earns an Oscar nod for The World According to Garp, opposite Robin Williams “All the characters I played after Jenny Fields—up to Fatal Attraction—I called ‘the daughters of Jenny Fields.’ They are nurturing women, like Iris in The Natural (1984). I used my grandmother [for Jenny]. She had this wonderful talent of making whoever she was talking to feel like they were the most important person in the world. I made that one of Jenny’s traits.”

“Hollywood is strange: They like when women get shot or end up in the gutter. Alex starts as a successful editor and ends up dead in a bathtub. [In the original ending], she killed herself. That’s how it should have ended. I really fought against the change. She wasn’t psychopathic; she was self-destructive. It would be interesting to tell the story now from her point of view.”

“I revisited Sunset Boulevard 23 years after I originally did it. Norma Desmond is one of the greatest roles ever written for a woman, and she can stand up to reexamination.”

2011 Produces, cowrites, and stars in three-time Oscar-nominated drama Albert Nobbs “It took me 14 years to get that movie made. We didn’t get one penny out of Hollywood. I went into every independent film company office twice. They just couldn’t see it. They couldn’t see a woman being disguised as a man in Victorian Dublin. I loved the character. She’s not a cross-dresser. She’s not a lesbian. She’s just this invisible person who is surviving because she is disguised as a man. I thought of all the invisible people of the world whose stories we don’t know.”

2018 Stars in The Wife and Off-Broadway in Mother of the Maid “I went into The Wife unconvinced, because I didn’t know why [my character] stayed with her husband. When I could trace her emotional journey, then I felt I could play her. It was challenging. She’s basically complicit. The anger that you see is not only an anger at him, but anger at herself as well.”

The Big Chill: Entertainment Pictures/Alamy; Damages: Moviestore Collection Ltd/Alamy; Sunset Boulevard: Playbill Inc.; The Wife: Graeme Hunter/courtesy of Sony Pictures Classics; Fatal Attraction: Paramount/Getty Images; The World According to Garp: PictureLux/The Hollywood Archive/Alamy

CULTURE

Zero Feel Feels like nothing. Protects like nothing else.

with

Fit to Form GROOVES

Up to 10 Hours LEAK-FREE

PERSPECTIVES

SAVING VICE Nancy Dubuc, THE NEW CEO OF VICE MEDIA, is tasked with turning the historically male, historically dysfunctional company around. IS SHE UP TO THE JOB? By Carrie Battan

n Nancy Dubuc’s first day as the new CEO of Vice Media, she sent out an all-staff email to introduce herself. She praised the youthful but unwieldy institution’s history of “fearless” content; clarified the pronunciation of her last name (“Dubuque”); and outlined her core values: details, accountability, trust, teamwork, colleagueship, and respect. Amid reports of the company’s questionable HR practices, sexual harassment allegations, and major revenue misses, Dubuc had a massive challenge set before her. The letter was designed to signal just how confidently she could walk the tightrope between Vice’s unconventional creative values and a fastidious, buttoned-up new way of operating. “The seemingly mind-numbing ‘corporate’ nuts-and-bolts things that send some people’s eyes rolling? I love that stuff and place a lot of significance on it,” she wrote. “Of course, I have to single out [cofounders] Shane [Smith] and Suroosh [Alvi] for what they created: this punky upstart that has become a global giant through passion and sheer force of will.” Dubuc will need to juggle plenty of nuts and bolts in her new role at Vice, now a company of 3,000 employees, with 39 offices globally, including New York, L.A., and London. Vice’s offerings span a dizzying array of platforms: In addition to its many online news and culture sites, the company cranks out a suite of docu-style video series on its cable TV channel, Viceland, as well as nightly and weekly Vice News shows in partnership with HBO. It has a film studio and a creative services and advertising agency, and covers topics ranging from food and drink (Munchies, Beerland) to national news 96

DUBUC NEAR VICE’S BROOKLYN HEADQUARTERS. PHOTOGRAPHED BY ANDRES KUDACKI.

PERSPECTIVES like the opioid epidemic (Dopesick Nation). The company seems to have its hand in every cookie jar, but if you ask audiences to characterize Vice, they might struggle to articulate its identity with a single hallmark show or website. Dubuc hinted lightly at this identity crisis in her introductory letter: “I question processes in order to strengthen them.… We must be a cohesive and collaborative team across all of the individual businesses in the company,” she wrote. But what really stood out about the letter was not its content—it was Dubuc’s font choice. The email had been typed in Comic Sans, a move that sent a wave of titters through her staff of famously cooler-than-thou millennials. By now, “it’s such a Vice anecdote,” one employee told me. “Comic Sans is just so uncool, and for someone to do that…well, you know.”

ver three months later, in September, Dubuc remembers the incident with an attitude of self-awareness and resilience. She invokes the story herself and offers to forward me the email, probably sensing that if she doesn’t, someone else at the company will—it is, of course, an institution made up of chatty journalists, which gives her pause. (“It’s different for me to run an organization that has journalists in it. Look guys, this is not Vice on Vice,” she says, a bit exasperated.) “I stupidly was trying to be casual, but apparently it had some subtext,” she tells me, half grimacing and half smiling. We’re sitting at a picnic table on a solar-powered patio outside Vice’s hipster-chic headquarters in Williamsburg, Brooklyn, where twentysomethings are milling around with their made-to-order Sweetgreen salads. “I guess it was too casual,” she adds. If Dubuc, a 50-year-old Upper East Side resident, mother of two, and former CEO of A+E Networks, was trying not to stick out like a sore thumb, the email kerfuffle certainly didn’t help. On the other hand, Vice’s employees had been through enough turbulence in recent years that they could handle a quirky typeface. By this point, Vice’s bumpy trajectory has been well documented: The company began in 1994 as a scrappy magazine led by a group of Canadian punks, who cultivated a loyal following with their bold and sometimes proudly crass approach to youth culture. Over the next two decades, Vice transformed from a tiny, swashbuckling curio to a global media empire, complete with a $5.7 billion valuation and an army of excitable investors willing to bet big on the brand. When old-money media execs thought of the future of—and the lucrative possibilities associated with—the millennial zeitgeist, they thought of Vice and its renegade overlord, Shane Smith, a guy notorious for reportedly dropping $300,000 on a steak dinner and $23 million on the house from Entourage. As the company expanded, it managed to retain its hard-partying culture and its bad-boy ethos—which was the problem. After scattered reports of unsavory workplace behavior (plus myriad complaints about

“IT WAS REALLY ABOUT RECOGNIZING THAT I HAD THE POWER TO CHANGE MY OWN STORY AND MY OWN NARRATIVE AND WHAT I WANTED TO DO.”

low pay and chaos within the business), the New York Times published a story in December 2017 detailing a pattern of sexual harassment by male higher-ups and a less-than-supportive response from human resources. To compound the company’s troubles, the Wall Street Journal released a report last February revealing that Vice had fallen short of its 2017 revenue target of $805 million by more than $100 million. New York magazine later published a feature claiming the company had been “built on a bluff.” Throughout this tumultuous period, Dubuc, who’d invested in Vice Media as an A+E exec, sat on its board of directors. (A+E Networks is a joint venture of DisneyABC Television Group and Hearst Communications, Inc., the publisher of ELLE.) Smith repeatedly joked that she should take the reins. Dubuc didn’t take him seriously—until mid-2018, when Vice seemed on the cusp of implosion. She was a sensible choice: a major-media executive with a proven track record, someone intimately familiar with Vice’s strengths and failures, and, most importantly, a woman. A woman hired to mop up the mess of a 49-year-old who’d leveraged his Peter Pan syndrome into a multibillion-dollar operation. So the font thing was an embarrassment, but a surmountable one. When Dubuc got wind that her staff was whispering about the email, she kept it in her back pocket, only to wield it in the all-staff update she sent on her one hundredth day. Before introducing a slate of impressive new hires, she wrote, “I am invigorated by the passion that pulses through our walls. I’m even more excited now than when I sent out that ﬁrst email.” Some of the text was written in Comic Sans, a wink to signal that, even if she was older and a bit out of touch with the communication customs of her employees, at least she was in on the joke. t’s sometimes said that Vice has long been in need of an “adult in the room.” “That annoys me,” Dubuc says when I use the expression. “I’m not the oldest person. And I think it’s insulting, frankly, to everybody else. It belittles everything that they’ve accomplished.” Tall and deep-voiced, Dubuc speaks with a deliberate authority that telegraphs just how much experience she has speaking at board meetings and on panels (like most CEOs, she’s had the beneﬁt of executive coaching throughout her career). But she can’t be described as someone whose edges have been sanded down by the forces of corporate culture. She isn’t afraid to roll her eyes when something—like the expression “adult in the room”—rubs her the wrong way. But even if Dubuc is loath to label herself the grownup, the contrast between her and Smith is striking. Smith was known for stoking investor interest by making bold—even reckless—statements about Vice’s future. Dubuc’s style is more measured. Smith would speak in broad strokes, claiming that Vice was, point-blank, “the number one new media company in the world.” Dubuc delves into the “unsexy” nitty-gritty. Smith cultivated

Previous spread (Dubuc): Hair and makeup by Anne Kohlhagen for Nars. This page (Smith): Charles Sykes/Invision/AP/Shutterstock

a freewheeling social atmosphere that blurred the lines between work and play. Dubuc is more likely to run into her employees at the Williamsburg SoulCycle than at a local bar. Smith is still at the company, but in a diminished role. With the title of executive chairman, he’s spearheading some TV initiatives, keeping his onair role with Vice, and continuing to attend big pitch meetings with prospective business partners. [After multiple requests, Smith was not made available for comment for this article.] At first, Dubuc handled Smith’s legacy with kid gloves: “I was more worried, like, you know…it is Shane’s vision and his baby. Can I embody that?” she remembers. “What I have to get over is that I’m not Shane, and Shane’s not me.” But several months into her new role, Dubuc has taken full control. At a DealBook conference in early November, she said that Smith’s presence had been overstated in the Vice narrative: “A lot of the audience doesn’t know what Shane looks like or who Shane is,” she said, later adding, “I run the show.” Dubuc is now the public face of the company, appearing on the cover of the Hollywood Reporter and doing the panel circuit. Dubuc is working to instill trust internally. Smith was famously absent from the company’s day-to-day operations. Some employees claimed they’d rarely seen him in the ﬂesh. He preferred to barrel into view, intermittently, via video broadcasts. “The place has been a ghost ship for three years,” one employee told me. Dubuc has made a point of being available, hosting regular town-hall meetings in which all local staff members are invited to ask questions and air any grievances. These gatherings have been contentious and uncomfortable, according to multiple Vice employees. “The picture of Vice that’s been painted [to Dubuc] is very different than the Vice that people making $45K see, and I don’t know that she was fully prepared for the level of frustration that exists among actual workers,” says one employee involved in union organizing efforts. “I think you’d be hard-pressed to ﬁnd anyone here who’s operating without at least a plan B.” Still, several employees expressed to me their relief that she has been present in the building and available for conversation. She may be sending emails in Comic Sans, but at least she’s sending emails. Dubuc was raised in a middle-class family in Rhode Island, and after attending Boston University, she worked her way through television and media not by the conventional MBA route, but through assistantships and department hopping at various companies. She eventually joined the History channel as the director of historical programming and worked her way up the ranks of A+E Networks (the parent company of History, A&E, and Lifetime). Under her watch, A+E was able to transform itself by introducing content that appealed to Middle America: Down-home reality shows like Pawn Stars, Ice Road Truckers, and Duck Dynasty exploded in popularity, and Dubuc was labeled by Bloomberg Businessweek in 2013 as “the show picker with the hottest hand in cable television.”

SMITH AT THE 2015 PEABODY AWARDS.

“IT IS SHANE’S VISION AND HIS BABY. CAN I EMBODY THAT? WHAT I HAVE TO GET OVER IS THAT I’M NOT SHANE, AND SHANE’S NOT ME.”

But when I raise this with Dubuc, she’s quick to reject this sweeping assessment of her role. “I just want to be careful. By the time Duck Dynasty came in, I was already CEO. I didn’t say, ‘Green-light this show,’ ” she remembers. “I would never want to take credit from the development executive, Elaine [Frontain Bryant], who brought it in. Another woman,” she adds. “A man would take credit. I’m not going to take credit.” At the start of last year, Dubuc was content in her role at A+E, but perhaps a little too comfortable as she headed into contract negotiations. According to Howard Owens, the former president of National Geographic Channels who pitched Dubuc shows at A+E for years, Dubuc’s choice to go to Vice was not obvious. “She had so many options. She could have done a lot and picked anything,” he says. During the fraught period when Smith was encouraging Dubuc to take his role, she and her husband of 21 years, Michael Kizilbash, talked over the prospect obsessively. “Never before have Nancy and I discussed something so unﬂinchingly and repeatedly,” he says. “Not even the topic of whether or not to have kids.” He continues, “It was tough. She knew very few of the players, and it is daunting to take a step into the unknown.” Ultimately, it was the allure of the unknown that won out. “You can’t be a media executive, never mind a female executive, and not be asking yourself some pretty signiﬁcant questions,” she says. “It was really about recognizing that I had the power to change my own story and my own narrative and what I wanted to 99

PERSPECTIVES do. Here I am, sitting in my office every day, staring at this sign that says, ‘Who Dares, Wins,’ and I felt I wasn’t daring anymore.” To take the reins at Vice would be nothing if not daring.

hree weeks after our initial meeting, Dubuc gets onstage at an advertising conference in Midtown with a female Hulu executive. They’re here to discuss Gen Z, the massive and elusive generation of young people set to dethrone millennials as the most important demographic to advertisers. Dubuc is suffering from a cold, but she appears more comfortable among corporate-media bigwigs than with bespectacled and tattooed TV producers and writers. In a pastel-pink blazer, a pair of khakis, and bright pink loafers, she controls the conversation with ease and humor. When asked about the proclivities of today’s teenagers, she resists defaulting to the groans of despair that generally accompany any mention of screen-addled young people. The moderator references an oft-cited factoid that “one-third of Gen Z thinks the [world] is flat,” and Dubuc scoffs. “I think this might be fake news circulating. Is that really true?” she asks. “Look, what gives me hope is, when Elvis Presley gyrated his hips onstage, we had a meltdown as a country that the world is coming to an end, rock ’n’ roll is going to be the death of us all.… Every generation has had the same sequence of events and the same process.” At lunch after the panel, Dubuc seems a bit surprised by the pace of her new life at Vice. She’d quarantined herself at home the day before but found that the meetings were ceaseless. “A big adjustment is that everyone at Vice is used to always being on video chats,” she says through a stuffed nose. “Working from home doesn’t mean you’re taking a call once in a while. You’re on.” The biggest difference between Vice and A+E, she says, is the speed. “There’s no dead time. None,” she says. “And I have to work on weekends now—I mean, really work.” Dubuc has plenty to tackle: She will focus on unifying the company, which had, in its prolonged state of breakneck-pace growth, become disjointed. (It is not uncommon for a Vice employee in one department to begin researching a project, only to find that it is already being handled by another department.) She is trying to ﬁll up airtime on Vice’s television channel with high-quality content; later this year, she will introduce a two-hour nightly live broadcast in place of the former talk show hosted by Desus and Mero, whose departure to Showtime marked a major loss for the brand. (“They’re going to a platform that their audience doesn’t pay for,” she tells me. “I told them, ‘You can always come back.’ ”) She will continue to develop content, and weigh in on Vice’s editorial decisions, without “un-Vicing Vice,” she says. Last year, she argued with staff about whether to cover Meghan Markle. “I was actually like, ‘Guys, this is a black princess! You have permission to do her!’ ” Ultimately, the staff resisted. Still, Dubuc will not be precious about the content generated, so long as there

S TAT E O F A F FA I R S

Months since Dubuc took over as CEO.

$5.7B

Vice’s company valuation.

~27M

Monthly visitors to Vice Digital’s websites.

Average age of the company’s 3,000 employees.

37%

Of Vice’s audience is from Generation Z, people born after the mid-1990s.

68M Homes in the United States have the Viceland television channel.

is the potential for an audience. I ask if she’s willing to green-light a farfetched, decidedly un-Vice idea—say, a cheesy but alluring reality show—and she doesn’t skip a beat: “Absolutely.” In addition to content growth, there will also be vast cost-cutting. As reported in the Wall Street Journal, Dubuc instituted a hiring freeze this fall that, along with natural attrition, could shrink Vice’s workforce by as much as 15 percent. During a November board meeting, Dubuc outlined plans to shift focus to more promising areas, like Virtue (Vice’s in-house advertising agency) and TV shows and films for third parties. She’s reportedly planning to fold the company’s more than 12 online verticals into between three and five verticals. Dubuc will continue to work on the cultural issues within Vice and address its gender pay inequity. (She’s hired Proskauer Rose LLP to help with this problem.) She’ll also focus on decidedly unglamorous tasks, like coming up with multiplatform advertising campaigns. She has poached a group of flashy-seeming higher-ups from other companies to report to her. “All the guys are leaving, which is what I like best,” one female employee told me. “She came in, and she cleaned house.” Because Smith remains at the company, Dubuc still has to grapple with his voice and his vision. A few weeks after the Emmy Awards in September, it was Smith who sent a company-wide email to congratulate the staff on their wins. In a meandering, slightly unhinged email that felt more like the past than the future, he wrote, “We are the most important youth media company in the world today.… We are the bellwether.” Perhaps most crucially, Dubuc has been working to cultivate confidence among partners and investors in the aftermath of reports of Vice’s shaky revenue numbers. When I ask how the mood of investors has been since she started, she is quick to say that she senses a newfound optimism. “I feel a lot of encouragement, now that we’ve found our way through to the other side. We took some big steps early,” she says. I ask her what those big steps were. “Well,” she says, and takes a long pause. “Hiring me was a big step. Shane is fully and unequivocally letting me run the day-to-day.” At one point, Dubuc pulls out her phone and slips on her glasses. “I have to show you something hilarious,” she says, and opens her text messages. She explains a growing phenomenon wherein kids are thrust onto playgrounds deemed “risky” in an effort to stoke their sense of adventure. “I actually kind of believe in this. It’s a whole thing, dangerous playgrounds,” she says. But her sister-in-law had sent her an example that went beyond the pale. Dubuc plays me a nerve-shredding video of tiny children aggressively jumping from chair to chair without touching the ground. “I watched it over and over again. I was like, What the fuck is this?” she says, aghast. She studies it again and returns with a new assessment. “I’m not sure that’s related to the dangerous-playground thing,” she says, “so much as it was the teacher not paying attention.”

by invitation :: tipsntrends, inc :: 323-525-1700

Bump it up!

PERSPECTIVES

ALYSSA MILANO’S Long March for Justice The past year has seen her at THE FOREFRONT of #MeToo and in the foreground at the Kavanaugh hearings, prompting many to WONDER WHAT HER MOTIVATIONS ARE. In reality, the Insatiable actress has been fighting the power for decades. By Molly Lambert

ertain images will forever be linked to Brett Kavanaugh’s confirmation hearings. There’s Christine Blasey Ford with her hand raised and eyes closed, swearing to tell the truth, the whole truth, and nothing but the truth about her alleged sexual assault in high school. Then there’s Supreme Court nominee (now justice) Brett Kavanaugh, red faced, teeth gritted, sniveling as he aggressively denies the allegations. And then, wait, is that Alyssa Milano? With a clipboard? What is she doing there? At least that’s the question many were asking when images of Milano, front and center at the hearings, went viral. Twitter had a field day meme-ing the Charmed actress as either a real-life good witch or bad witch, depending on whose side you were on. Saturday Night Live seized upon Milano’s attendance as the running gag of its opening sketch that weekend. Her presence sparked confusion—and levity—but within the context of American politics of the past two years, it wasn’t unusual. And in a way, Milano’s familiar, frustrated face in the crowd served as a sort of communal exasperation, expressing what so many were thinking (and what Ford’s face could not), namely: “Can you believe this shit?” But then again, to a particular subset of the population, Milano is known more for her activism than for playing Phoebe on Charmed. Forget who—anyone born after 2000 is probably asking what even is Who’s the Boss? After all, three days after attending the Kavanaugh hearings at the invitation of Senator Dianne Feinstein, Milano was in Parkland, Florida, “to be with the families of the kids who lost their lives and the youth activists” at the Actions for Change Food & Music Festival. Say what you will about celebrity activism—that it oversimplifies the issues, that it’s a spotlight grab disguised as “awareness-building”—Milano walks the walk.

he morning after the 2016 presidential election, Milano was on set, ﬁlming Netﬂix’s Wet Hot American Summer: Ten Years Later with series co-creator David Wain. “The atmosphere was like a funeral,” Wain recalls. “Everyone that day was inspired to do more, work harder, take action, but she’s the one who really did it. Like, every single day.” In fact, she’s been at it since her teen-idol days. At 15, Milano met Ryan White, a fellow teenager from Indiana who had contracted HIV/AIDS from a contaminated blood transfusion for hemophilia. When White returned to school after his diagnosis, he was shunned by many in his community and eventually banned because of a misperception that the virus could be transmitted through kissing or other bodily contact. The case went to court, and it was ruled that the school acted illegally. On the day he returned, half the students stayed home. The case became a cause célèbre for raising AIDS awareness, and when White was invited to appear on The Phil Donahue Show to share his story, he asked Milano, his teenage crush, to join him. “[He asked me] to kiss him, to show that HIV/AIDS was not contracted through casual contact,” she says. “And so, in the height of my teenage—whatever that was—I said yes and went on TV and kissed a little boy with HIV/AIDS, and we sort of shifted the narrative in that moment. I realized what being a celebrity and having a platform could mean, and the impact

it could have on people’s lives.” She’s been politically active ever since, riding through swing districts with a bullhorn in the back of a pickup truck, rallying on college campuses, and driving people to the polls. “Basically the same thing that I do now, just minus the social media, so no one really heard about it,” she says. But right now, she adds, “democracy is a full-contact sport, and the only way for it to work is to be involved.” At this actual moment, however, Milano is home, relaxing in a pair of cozy black sweats and no makeup. The first thing you see when you drive onto her estate, which is situated in a secluded canyon, just west of Los Angeles, is the stable and a group of horses casually chilling outside in the front yard. There are other residents, too, she says: “Horses, chickens, bunnies, and kids; I have two kids.” Her seven-year-old son, Milo, greets me at the front door on his way to baseball practice. When I ask if she likes L.A., she says, “I do! I love it! Where else could you live on five acres with horses and be so close to a city?” She’s been in this house for about 20 years but notes that she and her husband, talent agent David Bugliari, recently had it remodeled. “I literally feel my blood pressure drop when I get off the freeway out here,” she says. “I knew I wanted to live in a place that was very different from the industry that I was in.” My blood pressure also drops while I’m talking with Milano. She is warm and attentive, and feels faintly like a family member in the way actors who grew up on TV always seem to. Milano’s parents were also politically active, and they let her know early on that, as a girl, she might have to fight a little harder to get what she wanted. “I think the first time I was really aware of what that meant in day-to-day life was the Anita Hill testimony,” she says. Milano was 18 when Hill testified at the Clarence Thomas confirmation hearings. “And I had already been sexually assaulted at that point, but I never made the connection. I remember watching [the hearings] and thinking, ‘Oh my God, people are monsters to women.’ And that was an awakening for me, of realizing the systemic grossness of everything. Work is supposed to be a safe place.” Milano’s two assaults occurred in her teens. “The first time, I was 15, and the second time, 19.

JUMPSUIT, LANVIN. GOLD AND DIAMOND NECKLACE, GABRIEL & CO., $640. PHOTOGRAPHED BY CAMILLA ARMBRUST. STYLED BY MAR PEIDRO.

Hair by Aviva Perea for Living Proof; makeup by Valery Gherman at the Wall Group; special thanks to Tim Devine

It was horrible. And I didn’t report it,” she says. “I didn’t tell anybody until I had my ﬁrst child. People don’t talk about this at all, but my ﬁrst childbirth was so invasive— they’re trying to get the baby out of your vagina, and I was triggered by that experience back to my assault, from some dark place where I had stored that trauma.” When Who’s the Boss? ended, Milano’s focus shifted. “There was some exploration of, ‘What do I want to be when I grow up?’ ” she says, as well as some pressure to sex up her image in order to break out of “child star” status. “It was such a different time, and I had to make that choice.” In the end, she chose to continue acting, partly due to the platform it afforded her activism. This year, she’s focused her efforts on gun violence and sexual assault. The latter was boosted in late 2017, when her tweet asking followers to reply “Me too” if they’d been sexually harassed or assaulted went viral. At the time, the headlines were about abuses of power in Hollywood, but she wanted to make it clear that it happened in all types of workplaces. “We all had our stories, and we could all identify with what was happening, but my initial reaction was for it not to be about me or the industry. So I immediately went to a place of, How do we use this to shine a light on the misogyny and systemic rape culture that we have in this country?”

hen she sent the “Me too” tweet, Milano was in the middle of shooting the beauty pageant black comedy Insatiable for Netflix. “It could not have been a worse time to unpack all that,” she says. “I had to work. I had to have big hair and fake nails and do a Southern accent. It was hard. But unpacking the trauma, and finding solace in other women, I’ve never felt better as far as my anxiety goes. There’s power in that. And if we can harness that collective pain that we all feel and turn it into a collective power, then we’re going to be able to beat this. We’re going to be able to make it better for my daughter’s generation.” She is confident that despite recent setbacks, things are changing for the better. “When you really break down how far we’ve come in the last year, I think the patriarchy is freaking out, and they’re shifting this narrative to the men being victims. Where people are like, ‘Yeah, it really is a hard time for men right now. Shouldn’t you be thinking about your son?,’ I’m like, ‘I’m not worried about my son. It’s not a hard time for men right now. It’s a hard time for abusers and predators. It’s a hard time for men who abuse and prey on women. They should be freaking out. They should have been freaking out a long time ago.’ ” Milano brings up a time when her son asked why her daughter got to pick the book to read that night. “He said, ‘Why? I’m the one who can read.’ And I was like, ‘Yeah, I understand that, but Bella is going to pick the book tonight because what she wants matters just as much as what you want.’ It’s such a blessing to be able to teach them both by saying that out loud in those little moments. I hope it sticks with them.” Misogyny is endemic in our culture, Milano says, because the system was built by and for misogynists who tell women they have to be “one of the guys” and identify with locker-room talk and behavior. “I think that was all by design.” On the day of the confirmation, Milano wanted to feel helpful, so she phone-banked for Katie Hill, a candidate for Congress in California’s twenty-fifth district. Soon she’ll be back at work, shooting the second season of Insatiable. At a recent event, she even hinted that she might run for office herself in 10 years. And as dusk falls in the canyon, it’s hard not to feel at least a little burst of optimism about Milano’s dream of a better world. 103

PERSPECTIVES

HE FORG OT TO LIE Amid her father’s deteriorating mental health, SASCHA ROTHCHILD discovers an unsettling truth.

he tale of how my parents met and their subsequent love story was a thing of legend, in my mind. My mother, a New York socialite-turned-hippie, was in Miami Beach gallivanting at a friend’s notoriously festive mansion. My father, a square, middle-class journalist who had thrived at Yale, was on assignment covering the 1972 Democratic National Convention. He’d heard rumblings of a waterfront manse where the young elite chose to drop out of good society and into the warmth of drugs, sex, and saltwater pools. With notebook and pen in hand, he arrived at the house the moment an exquisite redhead, the daughter of a famed 21 Club founder, alighted down the grand staircase. My mother, barely covered by a thin sarong tied around her neck, was amused by the cute, nervous guy holding the little pad of paper. They’ve been together ever since. Over the years, they traveled, they laughed. They did the crossword puzzle together every morning. In ink. They discussed politics and art and that time

104

some houseguest gave acid to the nannies. “Then who on earth is watching the children?!” asked my practical, conservative father. After that, the nannies were let go, and my father’s traditional values took hold. My parents committed to raising my brother and sister and me themselves, like a “normal” family. Sometimes they fought. My father had a jealous streak. He was possessive of my mother and haunted by her party days. The thought of her ex-lovers drove him into verbal rages that often got redirected to him yelling about things like having too many bottles of ketchup from Costco, or because I had spilled my milk at dinner, twice.

Courtesy of the subject

THE AUTHOR AS AN INFANT WITH HER PARENTS.

few years ago, we started noticing his memory lapses. The man who once knew the price of gold stock on any given day became unsure about which way to put the pod into the espresso machine. A neurologist made it official: Alzheimer’s. It was heartbreaking to watch my father’s sharp mind fall into itself. It had always been his best feature. He was witty and wise, never warm and comforting. When I was acting out at 13, doing cocaine off stolen rearview mirrors, my father avoided talking to me and put a lawyer on retainer. In case I got arrested. In college, while rushing onto an Amtrak train, I fell into the gap beneath it, and was rushed to the emergency room. My mother hopped on the first flight to Boston. My father never showed up. Again, he called a lawyer. In case he wanted to sue Amtrak. But as the Alzheimer’s eroded his brain, his personality softened. Gone was the man who used to scream at me about traffic and for getting a B in algebra. He was calm and generous. Ketchup from Costco for everyone! Once, he patted me on the shoulder and told me he was proud of me. For what, I’m not sure he even knew. But it didn’t matter. It was the first time he had ever said those words. As he changed, I let go of his voice in my head saying that I wasn’t good enough. Now he just wanted to pet my hair and enjoy the sound of a chirping bird. I let myself cry in private, mourning the loss of my brilliant father, while wrestling with the new, glorious message that just my existence was enough to make him happy. He finally loved me unconditionally. Recently he was walking with my mother. A man said hello to her, and the worst of my father’s old personality returned. He became jealous and angry. “I’ll just get back together with Karen,*” he said. Karen was my parents’ longtime friend. Karen was my Facebook friend. My mother, sensing that my father was admitting to something his tangled brain forgot to keep secret, had some questions: “Did you have an affair with Karen?” “When did it start?” “For how long?” He answered, “Yes,” and “For years,” before his memory slipped back into the holes. He knew he had said something bad, done something worse, but couldn’t quite piece it together. Of all the indignities we knew Alzheimer’s would bring, none of us expected it to bring a shocking secret to light. A few days later, my sister and I headed to Aspen to help pack up my parents’ summer place. When we arrived, my mother told us about Karen. My stomach sank. I could barely comprehend what the affair meant when my sister grabbed my father’s laptop. He’d lost the ability to use it a while ago. She searched for Karen’s name. A world was unleashed. My father was a writer, and so he wrote. In a folder on his desktop was a journal disguised as a memoir where he detailed his sexual escapades. He wrote about illicit trysts from before he even knew Karen. He slept with hookers, he posted in newspapers soliciting sidepieces, he had affairs on business trips, he made up business trips to have affairs, he contacted old flames to start up again, and once Viagra and the internet were invented he became an unfettered sex addict. This was not fiction. I wish it had been. But the information lined up with dates and times and pieces of my sister’s and my memories. In one entry, he described having sex with Karen in my childhood bed and not changing the sheets. After that, I stopped reading. I knew all I needed to know. That I never really knew my father at all.

rowing up, whenever I was with my father, I had felt alone and unprotected. I was a girl searching desperately for a path to his approval. I decided that path would be to emulate him. So I wanted to be a writer and like jazz and say clever things at parties. I forgave him for not loving me effusively, because I believed he truly loved my mother. They came ﬁrst for each other, and that was beautiful. But the truth is that he put himself ﬁrst, period. He was a narcissist. A betrayer. The kind of man who enjoyed playing footsie with his girlfriend while his wife sat at the same table, unaware. No wonder it felt so hard to connect with him. He was a fake. Those nannies on acid would have been more authentic. As I look back with this new information, my father’s insecure, jealous anger toward my mother’s past makes sense. Cheaters are the ones who are paranoid. Liars are the

*Name has been changed.

NO WONDER HE WAS DISAPPOINTED IN ME IF I COULDN’T LIVE UP TO HIS STANDARDS. HE LIVED A DOUBLE LIFE, WITH ZERO STANDARDS OF HIS OWN.

ones who assume everyone must be lying. No wonder he had such rage about the ketchup bottles. No wonder he was disappointed in me if I couldn’t live up to his standards. He lived a double life, with zero standards of his own. My mother, the undomesticated chameleon, was the loyal, dependable, honest spouse and parent. I’m furious at my father for making me work for love that should have felt unconditional, then for opening me up to vulnerability and forgiveness once he got Alzheimer’s, only to reveal himself as an impostor. I’m still in shock, trying to reframe my childhood narrative and make sense of two different realities. The one I always knew, that my parents were a magical couple and my father was worthy of my idolization; and the one I’ve just discovered, that my father has no moral compass. Although I feel hate toward him now, I do feel thankful that he helped give me the gift of writing. Years ago, when I was working on a memoir, I worried about revealing some very private things. I called my father for advice. “The moment you don’t feel comfortable writing something, you have to write it,” he said. “Because that’s the good stuff.” I don’t know if the real him believed that, but regardless, I’m still searching for the good stuff. Many people mourn the loss of friends or family as Alzheimer’s erases their intelligence. We canonize their former selves. But I’ve learned the disease can also uncover a darkness. And it’s only in the dark that we can see who our loved ones truly were.

Sascha Rothchild lives in Los Angeles and is a writer and co–executive producer on the Netﬂix series GLOW.

PERSPECTIVES T H E E L L E WOM A N

JOYCE CAROL OATE S

t 26, Joyce Carol Oates published her first novel. She’s since released over 40 more, won the National Book Award for Fiction, and been a regular contender for the Nobel Prize. Now 80, she remains at the forefront of the cultural conversation, tackling everything from abortion rights (A Book of American Martyrs) to sports (On Boxing). She also has a timely Twitter feed, on which she shares cat photos and think pieces with equal enthusiasm. Her latest novel, Hazards of Time Travel, takes place in 2059 and focuses on Adriane, an outspoken 17-year-old living in a dystopian society who is banished to the year 1959. Oates chose the ’50s specifically for its blandness. “The 1950s was a smug and complacent time of white supremacy, and not so different from right-wing America today,” she says at her home in New Jersey, where she’s in her thirtieth year as a writing professor at Princeton University. But Oates is cautiously optimistic about the future. ELLE: It seems the fears about the Trump administration—family separation, the blur of fact and fiction—are key themes in this novel. When did you start writing it? JOYCE CAROL OATES: Quite a while ago, in 2011, long before Trump. And I did do quite a rewrite, but I didn’t put much in about the Trump era. I think the Trump era is just that: an era. We had the era of the Vietnam War, which was very upsetting. Things were really in turmoil; so many young men were dying. So while this era now is also upsetting, I think that we’ll look back on it as just an era. ELLE: Okay, but there are parallels. JCO: Well, the high school [in the novel] is a terrible place where students can’t think freely, and science is being reduced to platitudes that are not correct. Scientific inquiry is being stifled. I know that the Trump era would like to do that, too, but it’s not really going to happen. Trump is like a figurehead, but I think what really controls everything is just a few really wealthy families or corporations. Did you see the series Succession? ELLE: I actually just finished it last week! JCO: Oh! I just finished it recently, too. Obviously it’s based on the Murdoch family, and they are shifting the political thoughts of other people. [The patriarch] tries to seduce presidents, but presidents come and go. The conglomerates stay. Somehow it’s not as interesting to write about them. Trump is almost like a lunatic who’s giving these tweets every day—he’s setting these little fires all over—but over here is this smoldering, maybe more important, fire. ELLE: More dangerous. JCO: Much more dangerous. Corroding away, one by one, the things that we hold dear. Just being able to vote has been corroded away in many states. So once the mode of suppression is substantiated, it’ll just be a small bloc of people who are allowed to vote, and then a lot of other people will just not be voting. It’s a little like my novel, where everything is controlled, and the political parties are just one party. ELLE: In your novel, Homeland Security comes to arrest Adriane. How permeable is truth in fiction? JCO: My novel is really looking at the effect of technology on individuals, and it’s almost like we never really know who these politicians are. They may be the heads of these corporations; the whole world may be just three or four huge corporations, you know? Not necessarily a country, politically, but rather, these global corporations, and they just sort of control people. ELLE: Hazards of Time Travel takes place only 40 years from now. How long does it take

for a society to sink into a dystopian reality? JCO: I guess it depends on the society. Germany was sort of in stages. Hitler was accommodated a little, then accommodated some more. The wealthy people in Germany thought that they could use him, but he kind of got away from them and was more powerful than they were. Trump only got where he is because the GOP is complicit, and he got a lot of money from different sources, but I don’t think he has that kind of power. If wealthy people pulled their money away from the Republicans in Congress, they could impeach him. But I have no idea how long it would take. To paraphrase what Hemingway said about going bankrupt, “First it’s slow, and then it’s fast.” ELLE: Now that you’re through with Succession, are you on to The Handmaid’s Tale? JCO: I haven’t seen it. I read it a long time ago. I just don’t want to see women treated so badly. It’s a different time. ELLE: You’ve been attacked for some of your tweets, including, “All we hear of ISIS is puritanical & punitive; is there nothing celebratory & joyous?” What is Twitter to you? A fun place to experiment, or a spot for serious political discord? JCO: When I first started up, Twitter was really sort of fun and playful. But when politics came in, it took a different tone. There’s been a lot of police misconduct in this country, so for a while I was following a lot of sites looking at police behavior, but I had to stop watching. It’s too depressing. And I don’t see much I can do about it. ELLE: But I imagine ideas come from that, too? Your novels don’t shy away from serious topics. JCO: When it’s these accounts of police killing black boys, there’s nothing you can do with it. You can spend your whole morning getting upset and not having done any work. I’ve had to tiptoe away from all that. ELLE: You’ve been nominated for the Pulitzer ﬁve times. How important is it to you to win one? JCO: It’s probably not going to happen. But awards are always a sign that a writer is encouraged. ELLE: You still need encouragement? JCO: John Updike always needed some encouragement, even though he won all these awards! If I wrote back to John and said, “This is not one of your best poems,” he would’ve been crushed. So, yes, I think [all] writers need encouragement.

Beth Garrabrant (styled by Doria Santlofer)

The PROLIFIC AUTHOR on the countdown to a real-life dystopia, and WHY SUCCESSION MATTERS. By Sophie Brickman

OATES OUTSIDE HER HOME IN PRINCETON, NEW JERSEY.

ASK E. JEAN ADVICE

INDECENT PROP OSAL Plus: An unwanted return, lustless intimacy, and the downside of a studio apartment.

DEAR E. JEAN: I have a team of senior-level en-

gineers, all men, who work for me. In the past few months, one of them has written three short emails to me proclaiming his affection. I ignored them. Then, while he was away on business, he sent me a two-page handwritten letter about his longing for me, but also how he knew it could never happen. (I’m divorced, but most of my employees assume I’m married.) I’m not interested. When he returned from the trip, I met with him to tell him this was unacceptable, unprofessional, and inappropriate. I didn’t realize how angry I’d become until I was sitting there. I told him that I did not desire his attention, that it was harassment, and that if he sent another email, I would take it to HR. I left, shaking. This was yesterday morning. Yesterday afternoon he sent an email apologizing, but he continued talking about his love. I am livid. I now want to offer him early retirement (or severance only) and get him out of the company as quickly as possible. Is this overreacting? —Furious Furious, My Favorite: Turn the matter over to HR. Let them decide what to do. As for “overreacting,” woman! I’m all for love, but the rage boiling within your brain is righteous! This man is coming at you from all sides, defying your orders, destroying a congenial workplace, bombarding you with unwanted declarations again and again. You are his boss. You ask, “Is this overreacting?” Own it! Honor it! Be angry! Be infuriated! Don’t swallow it. Don’t question it. It is confusing because beneath your anger, I’m guessing, is some sadness. He’s risking so much to declare his love, and your rejection is causing him pain. I’m sorry you have to go through this. And I’m sorry for the poor chap, too. But we’re living in a time of revolution. In the end, it will be angry women who change the world. 108

DEAR E. JEAN:

An awful couple didn’t show up at our wedding. The guy is my husband’s best friend, and they were to be our witnesses. They were the only people invited. Now they’re coming to town, and my husband wants me to join him when he visits. I can’t stand them! What’s the proper etiquette? —Newly Wed Newly, My Love: Do what Erasmus, the Miss Manners of the Renaissance, advised: Respond to the foul couple’s inexcusable conduct with the charm of your own manners. Go! Your husband will love you for it. (And he will owe you one.) DEAR E. JEAN: My boyfriend and I have our struggles. But with him, arguments and fights just emphasize how 100 percent sure I am that this is the man for me. Which is why I’m so dissatisfied with our sex life. Honestly, I don’t even remember the last time either of us finished during sex. Making love is infrequent. When it does happen, it’s hard for me to stay in the moment. I also feel such pressure to help him achieve pleasure. He’s had to stop several times because my dryness is hurting him. How embarrassing! When I try to guide him to show him what feels good to me, it doesn’t work. And he’s not at all comfortable showing me what he likes. He just gets upset with me for making him “feel pressured.” Should I stop trying? When we’re outside, or on the sofa, I try to tease him, but he brushes my hand away, annoyed. Sometimes he literally tells me to stop. It’s hurtful and frustrating. This is not what I want my sex life to be. What should I do? —Dissatisfied

Dissatisfied, My Darling: He fights. He fumes. He fizzles and fumbles in bed. Where’s the excitement? Where are the orgasms? It’s

letters like this that get men so disliked in the Ask E column. He is surely not the man for you. I repeat: He is not the man for you. DEAR E. JEAN: My boyfriend has a beautiful studio

apartment in Manhattan. When we ﬁrst started dating, his cousin moved to New York and was trying to get on his feet. While looking for an apartment, he crashed at my boyfriend’s. I totally understand the struggle. It’s New York! But now it’s seven months later, and he’s still sleeping on the couch. This is ruining our intimacy and our private time together. I work in PR and would love to come home to my boyfriend’s place after work, but there sits the cousin! I have three roommates and can’t bring my boyfriend back to my place. I’ve asked my boyfriend numerous times why he won’t ask for a night alone. But he refuses to do anything and suggests we visit hourly hotels. I’m so over this. He’s putting his cousin before me. Am I wrong for feeling this way? —Frustrated Girlfriend Frustrated, My Friend: I love you, PR Girl, but it’s 2019, for Godsakes! Either put your professional skills to use and better articulate your frustrations, or get your own apartment.

ASK A QUESTION! Via email: E.Jean@AskEJean.com Twitter: @ejeancarroll Instagram: @ejeancarroll1 Read past columns: ELLE.com/life-love/ask-e-jean Want more Auntie E? You can watch videos, write with anonymity, and exchange genius tips on Advice Vixens at AskEJean.com. And if you’d like a date: Tawkify.

MAKE

Discover the new Satisfyer Luxury Collection with revolutionary air pulse technology. Satisfyer product starts at $19.95. Now available at SATISFYER.COM.

A 2

R 0

Y 9

Embroidered jacket, skirt, boots, $3,045, jersey tank, $875, gold hoop earrings, $1,395, all, Dolce & Gabbana.

N G F

R G

TWO OF FASHION’S BRIGHTEST YOUNG STARS, MODELS ANOK YAI AND GRACE ELIZABETH, TAKE THE SEASON’S MOST HEAD-TURNING LOOKS FOR A SPIN. PHOTOGRAPHED BY MAX PAPENDIECK. STYLED BY CHARLES VARENNE.

Jacquard top, pants, leather belt,ankle boots, all,Louis Vuitton.

Satin dress, $2,570, knit brief, $290, both, Miu Miu. Ruby, onyx, diamond, and gold earrings, Bulgari. Rose gold ring, $825, diamond and rose gold rings, $3,320 each, all, Chopard. BEAUTY TIP

For a superresilient foundation that lasts all day and provides sun protection, apply Estée Lauder Double Wear Nude Water Fresh Makeup SPF 30 ($42).

Viscose and velvet dress, Tom Ford, $4,250.

Printed tank top,$590,scuba top (at waist), $1,200,silk skirt, $3,900, rubber scuba sunglasses, all,Calvin Klein 205W39NYC. BEAUTY TIP

Wear Estée Lauder Advanced Night Repair Eye Supercharged Complex Synchronized Recovery ($62) morning and night to shield delicate skin from the damaging effects of blue light.

On her: Grain de poudre jacket, $2,650, trousers, $790, hat, $550, cotton poplin shirt, $570, satin tie, $195, calfskin belt, $630, boots, $1,300, all, Celine by Hedi Slimane. Diamond and white gold earrings, Cartier. On him: Wool gabardine jacket, $2,850, trousers, $1,100, cotton poplin shirt, $570, silk jacquard tie, $195, calfskin belt, $340, shoes, $750, all,Celine by Hedi Slimane.

A N O K YA I

Anok Yai was discovered in 2017, when an Instagram snap of the leggy beauty taken at one of Howard University’s homecoming celebrations (she’d been visiting a friend) went viral. Soon thereafter, the then biochemistry major from New Hampshire’s Plymouth State University was booked for Prada’s fall 2018 show, as well as its spring and prefall 2018 campaigns. “My art professor told me I should withdraw, otherwise she’d fail me for all the absences,” Yai says, “but my chemistry professor encouraged me to pursue this, joking that it would be a far more lucrative path.” Prior to her discovery, Yai was juggling a full course load and working as much as 80 hours per week in order to pay for her education. Initially, her parents weren’t thrilled about their daughter putting her academic pursuits on hold. They’d fled civil war in their native Sudan, immigrating to the States about four years after Anok was born in Egypt, and had worked hard to provide a comfortable upbringing for Yai and her five siblings. “You’re telling me that someone wants to pay for your flight to L.A., pay for your hotel, and then pay you to take photos? It’s a scam!” she says her father insisted. It wasn’t until they saw her image on a billboard that the Yais came around. Now the 21-year-old is fully embracing her new path. As a face of Estée Lauder, she’s vocal about the need for more diversity in the fashion industry and is particularly proud of convincing designers to allow her to walk the runway with either cornrows or an Afro. She also advocates for the hiring of hairdressers trained in a wider range of hair textures. Yai, who was bit by the beauty bug at a young age, says she would often sneak into her mother’s makeup bag before going to school but remove any traces before coming home. “She preferred me barefaced,” says Yai. “And I certainly never had any Estée Lauder.” These days, Yai never leaves home without a swipe or two of her favorite Estée Lauder Double Wear Zero-Smudge Lengthening Mascara.—naomi rougeau

118

Featherembroidered cady blouse, Oscar de la Renta, $4,990. BEAUTY TIP

Estée Lauder Brush-On Glow BB Highlighter ($32) subtly reflects light for natural-looking radiance.

Dress, jumpsuit, both, Dior.

Cotton and cashmere pullover, $995, suede fringe skirt, $3,495, both, Michael Kors Collection.

On her: Cotton jacket, $1,025, top, $445, silk skirt, $1,025, bangles, $245– $325 each, all, Emporio Armani. On him: Viscose jacket, $1,595, pants, $875, silk scarf, $495, all, Emporio Armani.

Strass fishnet top,wool gabardine trousers, $1,290, silk scarf, $395, eel leather boots, $2,195, all, Saint Laurent by Anthony Vaccarello.

On her: Shearling jacket, $1,900, pleated skirt, $695, both, Coach 1941. Cotton T-shirt, Disney x Coach, $95. On him, left: Shearling jacket, $2,200, cotton-blend shirt, $250, both, Coach 1941. On him, right: Shearling vest, $1,600, cotton-blend shirt, T-shirt, $95, all, Coach 1941. BEAUTY TIP

For a luxe, creamy crimson, try Estée Lauder Pure Color Desire Rouge Excess Crème Lipstick in Rouge Excess ($44).

Hair by Suhailah Wali (Yai) and Bok-Hee at Lowe and Co. (Grace Elizabeth); makeup by Brittany Whitfield (Yai) and Makky P. at Lowe and Co. (Grace Elizabeth); manicure by Yuko Tsuchihashi (Yai) and Kana Kishita at Susan Price (Grace Elizabeth); grooming by Corey Tuttle at Honey Artists; models: Anok Yai and Grace Elizabeth at Next Models; Jules Horn, Ryan Kennedy, Eliseu, Valentine Rontez, and Daisuke Ueda at IMG; and Tevin Steele and Harry Goodwins at Soul Artist Management; produced by Katherine Clary at Reid Productions.

G R A C E E L I Z A B E T H

Despite growing up a self-described tomboy in the Florida Panhandle, Grace Elizabeth Cabe knows her way around the beauty department. For years, her grandmother worked at an Estée Lauder counter in a North Carolina mall. When the 21-year-old landed a contract as an ambassador for the venerable brand, one of the ﬁrst people she called was her grandmother. “She couldn’t believe it,” Cabe says. “She was so proud that her granddaughter’s face would now be gracing the spot where she’d spent so much time helping women get ready for weddings and other occasions.”

The two don’t see each other as often as Cabe would like, since much of her time is spent in transit between jobs. But all that travel has allowed Cabe to perfect her style and beauty routines. In her longhaul beauty arsenal: Estée Lauder Advanced Night Repair serum, which she “wears like a mask,” and the occasional bold lipstick. Style-wise, denim is de rigueur for this Southern beauty, who frequents New York’s What Goes Around Comes Around for vintage tees and jeans, elevated by Gucci sneakers. “It’s great to have the best of both worlds,” she says. —n.r.

125

Silk jacquard– print dress, $4,795, striped-knit crop top, $775, metal and resin ear cuff, $1,295, wraparound ring, $375, all, Versace. BEAUTY TIP

Draw ultrafine, precise wings with Estée Lauder Double Wear ZeroSmudge Liquid Eyeliner in Black ($27).

On her: Viscose jacquard shirt, $7,200, skirt, $5,900, tights, $100, felt hat, $980, leather tote, $3,200, sneakers, $1,250, all, Gucci. On him: Wool Lurex turtleneck, $980, pants, $1,700, felt hat, $980, crystal necklace, $3,300, lizard leather belt, $690, canvas moccasins, $850, all, Gucci.

Sed ut perspciatis unde omnis iste ntus error sit volutatem beatae vitae dictasunt explicaNemo enim ipsam voluptatem quia voluptas sipernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisauam equi doloras sdem sum modi temp dfsora inc

On her:Suede net tunic, cotton T-shirt, $290, linen skirt, $1,750, all, Salvatore Ferragamo. On him: Cotton and linen coat, $1,390, cotton shirt, $590, leather overalls, $3,900, all, Salvatore Ferragamo.

Organza dress, straw and leather hat, $1,400, metal and strass bracelets, $1,350– $2,450 each, belt, $1,750, leather and pearl handbag, $3,900, PVC mules, $975, all,Chanel. For details, see Shopping Guide.

A T

NEWLY SINGLE AND ON A CREATIVE TEAR, JENNIFER ANISTON IS HAPPY WITH THE LIFE SHE’S BUILT. YES, REALLY. BY CARINA CHOCANO. PHOTOGRAPHED BY ZOEY GROSSMAN. STYLED BY ALISON EDMOND.

Leather dress, Alexandre Vauthier, $4,520.

Python-printed leather dress, Gucci. White gold and diamond ring, Cartier. BEAUTY TIP

Achieve Jennifer’s lit-fromwithin luminosity with Aveeno Positively Radiant Maxglow Infusion Drops ($24).

TO reach Jennifer Aniston, you have to drive up and up and up, then announce yourself at a white gate that opens onto a field of gray pebbles sprouting symmetrical trees. A procession of stone slabs leads like a bridge to the massive bronze doors on an otherwise solid white facade. Aniston answers, casual in jeans and a black T-shirt. She’s disarmingly friendly. She thinks she knows another person with my name. She asks about the traffic. She leads me to her beautiful family room and kitchen, with its built-in pizza oven and glass-encased wine room, and offers to make us peppermint tea. She apologizes in advance for the texts she might get from her showrunner, because she’s a month away from shooting her upcoming show with Reese Witherspoon. While she brews the tea, I plop my bag on the counter, like we’re just hanging out. I tell her my daughter drained my phone battery right before I left the house, and so we start chatting about kids and phones. How badly they want them. When they should be allowed to have them. Do you let them feel left out, or “Do you try to save their sanity by not letting them grow up inside a teeny computer? It’s a real internal conflict,” she says, carrying the mugs to the sofa. “So much is out there.” This is true. She would know. Aniston spent a decade on Friends and has starred in more than 30 movies, but the role that sticks to her most tenaciously is America’s Suffering Sweetheart. Cast as the eternal ingenue in the never-ending marriage plot, her joys, heartbreaks, and 57,000 fictional pregnancies have kept the lights on at several tabloids for a quarter of a century. I know this character is a fiction, but she’s still an undeniable presence—a third person in the room, lounging in the hanging chair, eating perfectly cut crudités. “We live in a society that messages women: By this age, you should be married; by this age, you should have children,” Aniston says. “That’s a fairy tale. That’s the mold we’re slowly trying to break out of.” “It is a grand mystery why the public obsession has never abated,” says Kristin Hahn, her producing partner and one of her best friends. “I’ve wondered about it myself for many years—I think Jen represents an archetype for us as a culture.” Aniston is the screen onto which America projects all its double standards about women, especially successful ones. We first got to know her as Rachel Green, the runaway bride who moved to New York City to become herself. Then we spent a decade emotionally invested in whether she would end up with Ross, only to have her perfect marriage to Brad Pitt end soon after that. It’s obviously a lucrative projection, or it would not have been bought and sold, year

after year. What anyone gets out of it is unclear. “Maybe it has everything to do with what they’re lacking in their own life,” Aniston theorizes. Or maybe using marriage and children as the ultimate marker of female happiness is just another way to disempower successful women. “Why do we want a happy ending? How about just a happy existence? A happy process? We’re all in process constantly,” Aniston says. “What quantiﬁes happiness in someone’s life isn’t the ideal that was created in the ’50s. It’s not like you hear that narrative about any men.” Men, of course, are allowed to continue merrily on their open-ended path to adventure. “That’s part of sexism—it’s always the woman who’s scorned and heartbroken and a spinster. It’s never the opposite. The unfortunate thing is, a lot of it comes from women,” she says. “Maybe those are women who haven’t ﬁgured out that they have the power, that they have the ability to achieve a sense of inner happiness.” T H E T H I N G T H A T ’ S surprisingly easy to forget about Aniston

is just how powerful she is, because the amount of power she wields is at odds with her lovable image. It’s a soft, persuasive power, the kind that gets you on her side. It’s not only that she’s remarkably nice and easy to relate to, it’s that she’s smart, careful, deliberate, precise—both as a person and an actor. Anne Fletcher, who directed Aniston in her new Netflix movie, Dumplin’, says she’d be watching Aniston work and would notice a small, almost imperceptible hand gesture and think, “That’s [her character] Rosie. That’s not Jen. That is completely Rosie.” At a point when most successful actresses begin to wind down (not always by choice), Aniston shows no sign of slowing. In 2017, at the age of 48, she was ranked second on Forbes’s list of highest-paid actresses, and she makes millions a year in product endorsements. She’s about to start filming her new TV show, a dramedy about morning-newsshow anchors, costarring Reese Witherspoon and Steve Carell, which was acquired by Apple in a bidding war. And soon she’ll appear in two more Netflix productions: Murder Mystery, with Adam Sandler, about a vacationing New York couple who become suspects in an elderly billionaire’s murder; and First Ladies, with Tig Notaro, about the first lesbian president of the United States. Dumplin’, out now, was adapted by Hahn from a book by Julie Murphy. It is, among other things, a tribute to Dolly Parton. The filmmakers asked Parton to license her songs for the movie and write an original composition for the soundtrack. She and her collaborator, 4 Non Blondes’ Linda Perry, wound up writing six. Aniston, a lifelong Parton fan who’d named one of her dogs, yes, Dolly Parton, says that working with the legend was a thrill. During their first meeting, a dinner at Aniston’s house, Parton remembers asking, “Do you still have Dolly Parton? Can I meet her? I’ve always wanted to meet Dolly Parton.” (They met.) Later, when Aniston went to Perry’s studio to listen to the soundtrack, Parton says that “[Aniston] would listen to the song, and she would just cry and cry. You’ve got to be really sensitive for things to touch you like that.” In Dumplin’, Aniston plays Rosie, a former pageant queen who now runs her small town’s teen beauty pageant. She is the single mother of a daughter, Willowdean (Danielle Macdonald of Patti Cake$), or Will, whom she calls Dumplin’. Will is overweight and resents that her mom seems to care more for the pageant girls than she does for her, so she signs up to compete. What starts out as a protest turns into a celebration of friendship and inclusivity. It’s a message that’s close to Aniston’s heart, because she is a girl’s girl and a friend person. Aniston and Hahn first met at a barbecue in Laurel Canyon when they were 19, when Aniston still lived in New York. “Jen was visiting her dad, and she came over. I remember it vividly, just turning around and seeing her and feeling like she was a long-lost sister of some kind, and not wanting her to leave. We just embraced her and we all became each other’s family and really helped each other. The show Friends was definitely kind of a parallel reality to our real lives.” Hahn describes Aniston as their friend group’s “social glue.” “When she’s not in town, we almost don’t know what to do with ourselves,” she 133

says. When I tell Aniston about this later, she laughs. “They don’t know what she grew up with. ‘You want to be happy. It’s hard for big girls.’ She what to do. They don’t know where to go. They don’t know how to eat. was missing what was [actually] important. I think she was just holding They don’t know how to socialize,” Aniston says. It’s been this way since on and doing the best she could, struggling financially and dealing with they were in their twenties. “My house was always like the clubhouse. a husband who was no longer there. Being a single mom in the ’80s I’m I love entertaining. I always have food. I think I probably got that from sure was pretty crappy.” my mom, who always had her girlfriends over. I picked it up from my Still, over time, Aniston has come to regard narrow beauty stanchildhood—just always hearing girls in the house and learning how to dards as a kind of prison. “We have to redefine what that is. It’s slowly make a good cheese board.” been happening, but there’s still that mentality out there that wants Aniston, whose parents divorced when she was young, says of her to pit women against each other.” It’s the same thing, she feels, with friends, “We always joke that we raised each other, we mothered each social media. “I sound like a broken record, but it’s hard enough to other, we sistered each other, we’ve been kids to each other.” She made just get out there as a kid, let alone ask for or seek out judgment.” her own family her own way. “I also was never a kid who sat around Which is why she stays away. For someone as ubiquitous and relatand dreamed about a wedding, you know? Those were never my fanable as Aniston, she is completely inaccessible by today’s standards. tasies. When I was first popped the question, it was so foreign to me.” “The one thing I have is maintaining this little circle of sanctity that’s That childhood environment, which she escaped through movies and my own. If I’m sitting here posting something about my dogs or I’m TV and dreams of being an actress, led to her career. “My priorities Boomeranging my coffee mug in the morning, that’s just giving away weren’t about finding partnership and who am I gonna marry and one more piece of something that is mine.” what am I gonna wear on my wedding day. I was building houses She’s purposefully protective of her private life, she says. “Look, I with shoe boxes and toilet paper and felt. It was always about finding also don’t want to become.… There are times when I’ve found myself a home that felt safe. And I’m sure, because I was from a divorcedbecoming a little too isolated. I don’t want to become that person, either. parent home, that was another reason I wasn’t I don’t want to lose touch with what’s out in the like, ‘Well, that looks like a great institution.’ ” world.” Not long ago, she was doing research for her Which is partly why the obsession with her show about morning-news anchors, and she went “IT ’ S T HE love life rankles. “I don’t feel a void. I really don’t. on YouTube. She was watching clips of different ON LY P LA CE TO My marriages, they’ve been very successful, in newscasters, and suddenly an old Diane Sawyer [my] personal opinion. And when they came to interview of her popped up. “And I clicked on it, and P OI NT A an end, it was a choice that was made because I just sat there riveted, only because I realized, Oh F ING E R A T ME A S we chose to be happy, and sometimes happiness my God, I was really vulnerable! Somehow, along didn’t exist within that arrangement anymore. the way, I calloused up.” T HO UGH IT ’S Sure, there were bumps, and not every moment The interview she’s talking about is from 2004, M Y D A M A GE —LIKE felt fantastic, obviously, but at the end of it, this is toward the end of Friends, right around the time the IT ’S S OM E S O RT our one life and I would not stay in a situation out paparazzi started getting ferocious. Her own openof fear. Fear of being alone. Fear of not being able ness shocked her. “It’s just self-preservation. Because OF A S CA RLE T to survive. To stay in a marriage based on fear feels that was also a time, I think, when the internet was LE T T E R O N ME TH A T like you’re doing your one life a disservice. When really taking off. The tabloids started painting me in the work has been put in and it doesn’t seem that a light that wasn’t true to who I was. Then I just was I H AV E N’ T Y E T there’s an option of it working, that’s okay. That’s like, Shut up and say nothing, because there’s nothP ROC RE ATE D, OR not a failure. We have these clichés around all of ing you can do. You can try to protest too much—No, this that need to be reworked and retooled, you I’m not unhappy! No, I’m not this! I’m not that. I fiM AYB E WON ’ T E V E R know? Because it’s very narrow-minded thinking.” nally was like, I’m done. I’m going to shut the doors. P RO CRE AT E . ” By endlessly focusing on her marital or family I’m going to tune it out. If somebody tries to talk to status, “you’re diminishing everything I have sucme, I’ll give one-word answers, and I will not be vulceeded at, and that I have built and created,” she nerable. I’m way too sensitive to be misinterpreted, says. “It’s such a shallow lens that people look through. It’s the only misconstrued, or taken out of context. I just started to shut down.” place to point a finger at me as though it’s my damage—like it’s some It occurs to her that this may be one of the reasons why she started sort of a scarlet letter on me that I haven’t yet procreated, or maybe to branch out and do more characters that she could just disappear into. won’t ever procreate.” Ultimately, she says, the idea of a happy ending “Because I didn’t want to just be that person in the tabloids. I also had is “a very romantic idea. It’s a very storybook idea. I understand it, and I to prove it to myself. I’m not just that, right?” she says. “Look, we’re all think for some people it does work. And it’s powerful and it’s incredible human at the end of the day. I’m really still working on it. That’s just my and it’s admirable. Even enviable. But everybody’s path is different.” own PTSD of being…how do I say this…it’s getting easy to maneuver around the city. It’s a matter of choosing when I feel like I’m okay with A N I S T O N H A S W A N T E D to do a movie about the relationship having a bunch of people take a bunch of pictures of me.” between mothers and daughters for a long time. Part of what drew her A F T E R A W H I L E , Aniston shows me around her beautiful house, to Dumplin’ was the way it echoed her own “challenging upbringing,” which she gut-renovated with her now ex, Justin Theroux. The couple’s as she puts it. Aniston’s father, John, is a soap opera actor; he’s still on separation was announced in February; that same month, the house Days of Our Lives. Her mother, Nancy Dow, was a model and actress. was featured in Architectural Digest. Aside from some editing of the Aniston came home one day when she was nine to the news that her family-room picture wall, not much seems to have changed. The space is father had moved out. She didn’t see him for a year. Her mother was at once cozy and dramatic, full of dark leather and wood, furry pillows. often critical and was very focused on looks. “She was from this world It feels intimate on a grand scale, or maybe it’s the CO N T I N U ED O N PAG E 1 47 of, ‘Honey, take better care of yourself,’ or ‘Honey, put your face on,’ or all of those odd sound bites that I can remember from my childhood.” Aniston and her mom were famously estranged for years. “My mom Sweaterdress, $3,920, Swarovski crystal earrings, $500, all, Isabel Marant. Leather and diamond fringe boots, Each Other, $865. For details, see said those things because she really loved me. It wasn’t her trying to Shopping Guide. Hair by Chris McMillan at Starworks Artists; makeup by Gucci be a bitch or knowing she would be making some deep wounds that I Westman for Westman Atelier; manicure by Miwa Kobayashi; produced by Michelle Hynek at Crawford & Co Productions. Architecture by Robert Stone. would then spend a lot of money to undo. She did it because that was 134

s Hi

THIS RESORT SEASON, DESIGNERS PLAY WITH THE PROPORTIONS OF TRADITIONALLY MASCULINE TAILORING. TOP WITH A SPORTY BEANIE OR SLIP ON A PAIR OF BROGUES FOR A LOOK THAT’S BORROWED FROM THE BOYS, BUT BETTER.

PHOTOGRAPHED BY TOM SCHIRMACHER. STYLED BY CHARLES VARENNE.

Wool and leather coat, $2,200, houndstooth bustier, $950, cotton T-shirt, $390, wool trousers, $780, beret, $290, leather bag, $1,175, belt, $775, all,Versace. Gold-tone earrings, Balenciaga, $495. Rose gold and black diamond necklace, Gabriel & Co., $500.

Nylon bomber jacket, $2,450, pajama shirt, $1,695, pants, $1,695, all, Valentino. NY Yankees baseball cap, Gucci, $590. Gold hoop earrings, Jennifer Fisher, $220. White gold and diamond necklace, Messika Paris, $4,290. Oystersteel and gold watch, Rolex, $10,500. Classic Cortez FlyLeather sneakers, Nike, $90.

Calfskin coat, $5,400, cotton dress, $2,050, both, Balenciaga. Leather creepers, T.U.K. Footwear, $100. Hair by Gavin Harwin for R+Co; makeup by Virginia Young at Statement Artists; model: McKenna Hellam at IMG; produced by ELLE International editors Charlotte Deffe and Leslie Rocle.

Wool jacket, silk blouse, linen shorts, all, Louis Vuitton. Cotton socks, Falke, $28. Fauxleather boots, Dr. Martens, $120.

Embroidered-velvet jacket, $6,900, jeans, $650, both, Saint Laurent by Anthony Vaccarello. Cotton T-shirt, R13, $225. Antique gold–finished metal and resin pearl earring, Dior.

Wool crepe jacket (top), $2,290, jacket, $1,790, pants, $1,390, cashmere jersey turtleneck, $790, all, Ralph Lauren Collection. Gold hoop earrings, Jennifer Fisher, $250. Leather oxfords, Mansur Gavriel. BEAUTY TIP

Instantly illuminate the undereye area with Olay Eyes Brightening Eye Cream ($25) for a wide-awake look.

Wool and cashmere coat, Max Mara, $6,590. Cashmere turtleneck, Loro Piana, $975. Jeans, Saint Laurent by Anthony Vaccarello, $650. Knit beanie, American Apparel, $16. Gold hoop earrings, Jennifer Fisher, $250. Gold and diamond necklace, $475, rose gold and black diamond necklace, $500, both, Gabriel & Co. Socks, H&M, $13 (for pack of seven). Leather creepers, T.U.K. Footwear, $100. For details, see Shopping Guide.

TRAVEL

PERU

The South American country known for its high altitudes finds its footing in high style. By Véronique Hyland

magine the world’s most glamorous 4-H fair crossed with Fashion Week, and you’ll have a sense of what Peru’s Alpaca Fiesta feels like. The event this past October in Arequipa, the country’s second-largest city, drew designers, farmers, and sustainability advocates from all over the world. The lure: the titular meme-friendly animal, whose fur (which is delicately sheared with no harm to the animal) just happens to be in high demand for designers across the globe. By day, alpaca breeders showed off their herds, and by night, fashion shows highlighted some of the most innovative uses of the material, including chunky, maximalist knits from up-and-coming Belgian designer Léa Vinet. Between its fashionable fauna (alpaca and vicuña) and its long-standing traditions of ﬁne weaving and knitting, Peru is a frequent destination for fashion insiders. Designer Kristy Caylor, the 144

Maiyet founder who recently launched the sustainable line For Days, loves staying in the capital city of Lima, where “the surf, art, and food culture is remarkable.” When she wants to go farther off the grid, Titilaka Lodge (titilaka.pe), nestled on a private peninsula on the shore of Lake Titicaca, “is one of a kind.” Art lovers will be drawn to the MATE museum (mate.pe) in Lima, with its mix of Peruvian and international artists. The food at Lima’s Central (centralrestaurante.com.pe), which recently relocated to the hip Barranco neighborhood, aims to represent indigenous cuisine beyond your typical ceviche and pisco sours, with menu items like Amazonian piranha and coca leaves. And if you’re looking for an adventure that extends beyond the culinary, the same team has a farther-aﬁeld restaurant, Mil (milcentro.pe), in the country’s Sacred Valley, the home of Machu Picchu.

Alpaca and landscape: courtesy of Explora, Sacred Valley; bottles: Gustavo Vivanco/courtesy of Mil Centro; interior: courtesy of Titilaka; potato dish: courtesy of Central; Eli Sudbrack, Avaf: Abstracto viajero andinos fetichizados (2017–2018): courtesy of MATE Museo Mario Testino; remaining images: courtesy of the designers

1. The atmosphere at Mil. 2. Hand-beaded crossbody bag with cowries, Figue, $175, similar styles at figue.com. 3. Peruvian chrysocolla pendant necklace, Teodoro Melendez, $120, novica.com. 4. Leather boot, Moncler, $760, matchesfashion .com. 5. Textile bracelet, Dior, $330 (for set of two), 800-929-DIOR. 6. Wool-blend jacquard cardigan, Etro, $1,190, net-a-porter.com.

7. A potato dish from Central. 8. MATE museum. 9. Sacred Valley. 10. Titilaka Lodge.

HOROSCOPE Capricorn Dec 22–Jan 19

A rare Capricorn partial solar eclipse ushers in life makeovers on January 6. Whether you’re relocating, starting a new business, or otherwise shifting the game plan, lean on the supportive women in your life for strength. A relationship could hit a sexy stride under the 21st’s lunar eclipse—or reach its inevitable conclusion, clearing the way for a better ﬁt.

HANDWOVEN GOLD AND RUBY NECKLACE, LALAOUNIS, AT LALAOUNIS, NYC

By the AstroTwins, Tali and Ophira Edut

Libra

Aquarius Jan 20–Feb 18

Sept 23–Oct 22

Until Aquarius season starts on the 20th, enjoy a long winter’s nap. You need to rest and recharge, especially since a lunar eclipse on the 21st will bring exciting developments in your partnership realm. Passion projects could also take ﬂight in January’s ﬁnal quarter. Until then, dream big via meditation, vision boarding, and other New Age pursuits.

Feb 19–Mar 20

Taurus

Expand your social circle this month. Try ﬁnding your new squad at a yoga retreat, experimental theater group, or political rally. Energy may dip after the 20th, when the Sun slides into your twelfth house of healing. Escape to the beach to reboot before your birthday. Plus: With go-getter Mars in your money house for all of January, you’ll be ﬁred up to increase your earnings.

Multiple planets course through your house of travel in January, so permit yourself a few more weeks of playtime. Venus is in your zone of privacy and passion after the 7th. Court a fellow traveler, or recharge with your SO on adjacent loungers. After the 20th, you’ll be back in executive mode. A powerful woman could help advance your goals near the 21st’s lunar eclipse.

Aries

Gemini

Mar 21–Apr 19

The ﬁrst quarter of 2019 will be game-changing, as revolutionary Uranus wraps its eight-year tour through Aries. It’s been exhilarating and chaotic— and you’re almost at the ﬁnish line. With your ruler, Mars, cruising in Aries from New Year’s to Valentine’s Day, you’ll power through like a queen. Need a break? Pack for yourself and a plus-one. Travel and romance make happy bedfellows all month.

146

Leo

Apr 20–May 20

May 21–June 21

A relationship could reveal surprising potential near the 6th’s partial solar eclipse. Before the 20th, you’ll want to get lost in the couple bubble, but your independent spirit will resist as the Sun beams into Aquarius on the 20th. To avoid any relationship rifts, balance solo and twinning time all month long. Be on the lookout for a lucrative ﬁnancial investment near the 6th.

“This Hellenistic necklace depicts a ram’s head, a symbol of power and strength.” —Demetra Lalaounis, international president of LALAoUNIS

Cancer June 22–July 22

A cosmic coterie assembles in your house of partnerships, inspiring you to co-create. Pair up on a project, or plan a getaway à deux. A tip for solo Crabs: Cast for a complementary force instead of someone who feels comfortable. Embracing technology will prove proﬁtable near the lunar eclipse on the 21st, whether you’re learning or designing a new app.

Scorpio

July 23–Aug 22

Oct 23–Nov 21

Be the star student at SoulCycle this month, as the planets accelerate your wellness goals. After the 7th, your lit-fromwithin glow could attract attention from high-proﬁle connections—and highly interested suitors. The 21st will be epic, when the Leo lunar eclipse (the ﬁnal in a two-year series to hit your sign) brings rewards for efforts you’ve made since February 2017. Have your acceptance speech ready!

A winter wonderland of social opportunities awaits this month, like bourbon tastings, snowboarding lessons, or book club meetups. All that mingling could have a beneﬁcial effect on your bank account, especially after the 7th, when convivial Venus moves into your money house for a full month. On the 21st, a lunar eclipse in your career zone could reward your tireless hustle over the past two years.

Virgo

Sagittarius

Aug 23–Sept 22

Your glamorous ﬁfth house is aglow this January, calling for public appearances and red-carpet events. Save your friends from a hibernation-season slump with a roster of theater tickets, live music, or a bikini boot camp after the 20th. Cupid wings in with a dash of drama on the 5th. Single Virgos may crave more excitement than stability. Coupled? Talks could turn to cohabitation or a real estate purchase after the 7th.

Nov 22–Dec 21

On the 6th, a partial solar eclipse delivers an economic boost. This is the year to realize your earning potential, Archer—or at least stabilize cash ﬂow. With enchanting Venus breezing into your sign on the 7th, network your way to profitability. Utilize technology to expand your reach. A global getaway near the 21st’s lunar eclipse could be emotionally restorative and bring a bit of romance.

Courtesy of the designer; for details, see Shopping Guide

Pisces

The cosmos gets cozy in your domestic fourth house until the 20th. Embrace hygge season with cashmere throws, loose-leaf tea, and chunky knits. Near the 7th, reconnect with a friend or relative. If it’s time to move, the partial solar eclipse on the 6th could expedite the process. Return to glamour after the 20th, when the Sun rolls out the red carpet and the invites pour in.

SHOPPING GUIDE AT EASE CONTINUED FROM PAGE 134

other way around. “It’s a big house,” she says, “but it also has big rooms.” They hold a lot of people. She does plan to redo the dining room, “but that’s because I can never not do something,” she says. She’s still building and rebuilding her dream house, only not with shoe boxes anymore. We go out on the terrace, and she shows me the pool below. “This is where, every Sunday, we do ‘Sunday Fundays,’ as we call it, where [my friends’] kids come and we huddle around down there and they jump around in the pool.” “I marvel at how she has remained as grounded as a person could possibly be in that situation, and also at the fact that she worked hard at nurturing the friendships that she always had while she had this big life, this big career,” says Hahn, a frequent Sunday Funday guest. “She’s always stayed so humble, and I’m not just saying that. She’s been able to stay connected to people who don’t have the same financial reality or work reality. She does live in a rarefied world, but she’s not a rarefied person.” As for whether she’ll have her own children, Aniston is still uncertain. She admits the prospect always felt “quite honestly, kind of frightening.” She continues, “Some people are just built to be wives

SUBSCRIBER COVER Brass chain-mesh dress, brass star pendant necklace, $345, by Saint Laurent by Anthony Vaccarello, at Saint Laurent (NYC). Felt hat by Stetson, $220, at Boot Barn stores nationwide, Cavender’s stores nationwide. Rose gold and diamond ring, $800, rose gold ring, $750, both, De Beers, debeers.com. NINA’S EDIT PAGE 32: Necklace by Marie-Hélène de Taillac, $7,900, newyork@mhdt.net. NEW ARRIVALS PAGE 34: Sandal by Oscar de la Renta, personalshopper@odlr.com. TRENDS PAGE 48: Clutch by Silvia Furmanovich, $8,580, similar styles at modaoperandi .com. PAGE 50: Jewelry box by Linley, $12,423, davidlinley.com. ACCESSORIES PAGE 54: Earrings by Joana Salazar for GemfieldsxMuse, $9,195, musexmuse .com. Earrings by Nikos Koulis for GemfieldsxMuse, $85,440, Bergdorf Goodman (NYC). PAGE 55: Belt bag by Off-White c/o Virgil Abloh, moda operandi.com. Handbag by Chanel, $4,200, at select Chanel boutiques nationwide. PAGE 57: Earrings by Irene Neuwirth, $4,270, barneys.com. Ring by Ana Khouri, $5,980, similar styles at modaoperandi.com.

SHOPS PAGE 60: Floral arrangement by Fleurotica, at Fleurotica (NYC). Pants by Rag & Bone, at Rag & Bone stores nationwide. PAGE 62: Rings by Jane D’Arensbourg, at Quiet Storms (Brooklyn). Blouse by Alejandra Alonso Rojas, at RTW Charleston (Charleston, SC). Mule by Miu Miu, at select Miu Miu boutiques nationwide. Smartwatch by Michael Kors Access, 866-709-KORS. Dress by RedValentino, at RedValentino (Costa Mesa, CA). PAGE 63: Earrings by & Other Stories, at & Other Stories (NYC). Sandal by Amina Muaddi, brownsfashion.com, fwrd.com. Dress by Attico, theattico.com. CREATIVE RESISTANCE PAGE 85: Top, $1,995, skirt, $2,595, by Altuzarra, altuzarra.com. Pumps by Gucci, gucci.com. SPRING FLING PAGE 111: Jacket, tank, skirt, earrings, boots by Dolce & Gabbana, at select Dolce & Gabbana boutiques nationwide. PAGE 113: Top, pants, belt, boots by Louis Vuitton, louisvuitton.com. PAGE 114: Dress, brief by Miu Miu, miumiu.com. Earrings by Bulgari, 800-BULGARI. Rings by Chopard, 800-CHOPARD. PAGE 115: Dress by Tom Ford, at select Tom Ford stores nationwide. PAGE 116: Printed Jaws tank top in black (Jaws is a trademark and copyright of Universal Studios. Licensed by Universal Studios), top, skirt, scuba sunglasses by Calvin Klein 205W39NYC, at Calvin Klein (NYC). PAGE 117: Jackets,

and have babies. I don’t know how naturally that comes to me.” But as in many aspects of her life, she’s still open to other possibilities. “Who knows what the future holds in terms of a child and a partnership— how that child comes in…or doesn’t? And now with science and miracles, we can do things at different times than we used to be able to.” Aniston attributes this ﬂexibility to her sense of inner contentment, disconnected from career success. “I’ve always been predominantly a happy person,” Aniston says. “Especially once I got out of my [mother’s] house. Not that it was horrible and unpleasant, but it had its challenges. I found myself as happy when I was waitressing at Jackson Hole as I feel now. I think that’s also a survival technique from coming from a home that wasn’t always that way. I have chosen to use what I grew up with as an example of what I do not want to be or live in. It’s a glass-half-full kind of thing. Always being open. Allowing myself to feel what I feel. What brings me happiness? I have a great job. I have a great family. I have great friends. I have no reason to feel otherwise. If I did, I would need to go get an attitude shift, a perspective shift.” The sun is setting, and it takes her by surprise. “What the hell, we’re having a beautiful sunset!”

shirts, trousers, hat, ties, belts, shoes by Celine by Hedi Slimane, celine.com. PAGES 118–119: Blouse by Oscar de la Renta, modaoperandi.com. PAGE 121: Top, skirt by Michael Kors Collection, at select Michael Kors stores nationwide. PAGE 122: Jackets, top, skirt, pants, scarf, bangles by Emporio Armani, similar styles at Emporio Armani boutiques nationwide. PAGE 123: Top, trousers, scarf, boots by Saint Laurent by Anthony Vaccarello, at Saint Laurent (NYC). PAGES 124–125: Jackets, vest, shirt, skirt by Coach 1941, similar styles at coach .com. T-shirt by Disney x Coach, at select Coach stores nationwide. PAGE 126: Dress, crop top, ear cuff, ring by Versace, versace .com. PAGE 127: Shirts, skirt, pants, hats, necklace, tote, belt, tights, shoes by Gucci, gucci.com. PAGE 128: Tunic, coat, shirts, skirt, overalls by Salvatore Ferragamo, 866337-7242. PAGE 129: Dress, hat, belt, handbag, bracelets, mules by Chanel, at select Chanel boutiques nationwide. AT EASE PAGE 131: Dress by Alexandre Vauthier, at Saks Fifth Avenue (Beverly Hills). PAGE 132: Dress by Gucci, $3,800, gucci .com. Ring by Cartier, $37,000, at Cartier boutiques nationwide. PAGE 135: Dress, earrings by Isabel Marant, isabelmarant .com. Boots by Each Other, each-other .com. HIS & HERS PAGE 137: Coat, bustier, T-shirt, trousers, bag, belt by Versace, versace.com. Earrings by Balenciaga, at Balenciaga (Beverly

Hills). Necklace (throughout) by Gabriel & Co., gabrielny.com. PAGE 138: Jacket, shirt, pants by Valentino, at Valentino boutiques nationwide. Baseball hat by Gucci, gucci .com. Hoop earrings (throughout) by Jennifer Fisher, jenniferfisherjewelry .com. Necklace by Messika Paris, messika .com. Watch by Rolex, rolex.com. Sneakers by Nike, nike.com. PAGE 139: Coat, dress by Balenciaga, at Balenciaga (Beverly Hills). Creepers (throughout) by T.U.K. Footwear, tukshoes.com. PAGE 140: Jacket, blouse, shorts by Louis Vuitton, louisvuitton.com. Socks by Falke, at Saks Fifth Avenue (NYC). Boots by Dr. Martens, drmartens.com. PAGE 141: Jacket, jeans by Saint Laurent by Anthony Vaccarello, at Saint Laurent (NYC). T-shirt by R13, r13denim.com. Earring by Dior, 800-929DIOR. PAGE 142: Jackets, turtleneck, pants by Ralph Lauren Collection, ralphlauren .com. Oxfords by Mansur Gavriel, similar styles at mansurgavriel.com. PAGE 143: Coat by Max Mara, at Max Mara (Boston). Turtleneck by Loro Piana, at Loro Piana boutiques nationwide. Beanie by American Apparel, americanapparel.com. Socks by H&M, hm.com. HOROSCOPE PAGE 146: Necklace by LALAoUNIS, $24,350, at LALAoUNIS (NYC). Prices are approximate. ELLE recommends that merchandise availability be checked with local stores.

ELLE (ISSN 0888-0808) (Volume XXXIV, Number 5) (January 2019) is published monthly by Hearst Communications, Inc., 300 West 57th Street, New York, NY 10019 USA. Steven R. Swartz, President and Chief Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Catherine A. Bostron, Secretary; Carlton Charles, Treasurer. Hearst Magazines Division: David Carey, Chairman; Troy Young, President; Michael Clinton, President, Marketing and Publishing Director; Kate Lewis, Chief Content Officer; Debi Chirichella, Senior Vice President, Chief Financial Officer. © 2019 by Hearst Communications, Inc. All rights reserved. ELLE® is used under license from the trademark owner, Hachette Filipacchi Presse. Periodicals postage paid at New York, NY, and additional mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription Prices: United States and possessions: $15 for one year. Canada: $48 for one year. Other international locations: $87 for one year. Subscription Services: ELLE will, upon receipt of a complete subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within 4–6 weeks. For customer service, changes of address, and subscription orders, log on to service.elle.com or write to Customer Service Dept., ELLE, P.O. Box 37870, Boone, IA 50037. From time to time, we make our subscriber list available to companies that sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please send your current mailing label or an exact copy to: ELLE, Mail Preference Service, P.O. Box 37870, Boone, IA 50037. You can also visit preferences.hearstmags.com to manage your preferences and opt out of receiving marketing offers by email. To assure quicker service, enclose your mailing label when writing to us or renewing your subscription. Renewal orders must be received at least eight weeks prior to expiration to assure continued service. Manuscripts, drawings, and other material submitted must be accompanied by a stamped, self-addressed envelope. ELLE cannot be responsible for unsolicited material. Printed in USA. Canadian registration number 126018209RT0001. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2); NONPOSTAL AND MILITARY FACILITIES: Send address corrections to ELLE, P.O. Box 37870, Boone, IA 50037.

147

ELLE-CONOGRAPHY

CLOCKWISE FROM BOTTOM LEFT: MIRANDA KERR, OCTOBER 2011; KELLY STEWART, JANUARY 1995; TYRA BANKS, JANUARY 1995; CINDY CRAWFORD, JANUARY 1997; CHANEL SPRING 2019.

CHANEL SWIM

arl Lagerfeld loves a spectacle. For recent Chanel shows, he’s transformed Paris’s Grand Palais into an airport, an art gallery, even the world’s chicest grocery store. This season, he outdid himself with a sandy beach, complete with a lapping tide. Nautical motifs are a house signature: Coco herself was a fan of French naval uniforms, and in 1924 she tried her hand at swimwear, creating bathing costumes for Serge Diaghilev’s Ballets Russes dancers in the ballet Le Train Bleu (named for the train that shuttled Parisians to the French Riviera). A ﬂip through ELLE history reveals the house’s more recent offerings, from minimalist maillots to metallic string bikinis to ticker-tape-ﬂuorescent separates. The lesson: A Chanel swimsuit, just like the brand’s coveted tweed ensembles, is a wise investment.—Naomi Rougeau

148

Kerr: scanned from original photograph by Alexei Hay; Stewart, Banks, and Crawford: scanned from original photographs by Gilles Bensimon; Chanel runway: Bertrand Guay

As Karl Lagerfeld made waves in Paris with a splashy spring collection, we took a dive into our archives in search of some of the house’s best beachy moments.

TO MAKE WRINKLES LOOK SO LAST WEEK. Neutrogena Rapid Wrinkle Repair has the fastest retinol formula available to reveal visibly younger-looking skin. ®

Because a lot will happen in 1 week. Wrinkles just won’t. Looking for powerful results? Check out neutrogena.com/rapid

ADD NEW RETINOL OIL FOR 2X THE WRINKLE FIGHTING POWER