Vanity Fair Apri 2021 by Omar Estrada

APRIL 2021

SPRING STYLE! MAKE WAY FOR

ZIWE THE NBA’S FASHION ALL-STARS AT HOME WITH

Y VES BÉHAR NAOMI CAMPBELL’S GREATEST JOURNEY P L U S

Cracking the U.K.’s ‘Mission: Impossible’ Case Bitcoin’s BillionDollar Kingpin

A N YA Ta yl or - Joy The BREAKOUT STAR of THE QUEEN’S GAMBIT and EMMA HAS ALL the RIGHT MOVES By HERMIONE HOBY Photographs by RYA N M C G I N L E Y

TOWARDS A DREAM

louisvuitton.com

Features

Opening Moves BY HERMIONE HOBY PHOTOGRAPHS BY RYAN M C GINLEY

Anya Taylor-Joy’s performances in Emma and The Queen’s Gambit set her Hollywood star firmly on the rise.

The Rise and Fall of a Bitcoin Billionaire BY ADAM CIRALSKY PHOTOGRAPHS BY ADAM FERGUSON

In the Wild West of cryptocurrency exchanges, Arthur Hayes is a legend. Is the man who’s moved trillions an outlaw or a victim of frontier justice?

The Velvet Hammer BY YOHANA DESTA PHOTOGRAPHS BY KENNEDI CARTER

Writer and comedian Ziwe has elevated the hot seat interview to an art form. Now, she’s taking her revealing exposés to late night.

12 14 100

Editor’s Letter Contributors Proust Questionnaire

VA N I T Y FA I R

PAGE 30

“I’ll probably understand this year in about five years.”

Features

BY MARK ROZZO PHOTOGRAPH BY KATY GRANNAN

BY LEAH FAYE COOPER ILLUSTRATION BY JOHN P. DESSEREAU

BY EVGENIA PERETZ

Intelligent Design

On Point

Looking forward— and back— with beloved designer Yves Béhar as he plots a path to a better future.

On the Cover

At a time when we’ve been starved for style, these NBA players are transforming tunnel walks into catwalks.

State of the Union

Conservative power couple Kellyanne and George Conway went toe to toe in public over Donald Trump. America is moving on. Can they?

Anya Taylor-Joy wears clothing by Prada; earrings by Sophie Buhai. Hair products by Pureology Professional Color Care. Makeup and nail enamel by Dior. Hair by Gregory Russell. Makeup by Kate Lee. Manicure by Kim Truong. Tailor, Irina Tshartaryan. Set design by Colin Donahue. Movement direction by Jerome AB. Produced on location by One Thirty-Eight Productions. Styled by Yashua Simmons. Photographed exclusively for V.F. by Ryan McGinley at Saddlerock Ranch in Malibu, California. For details, go to VF.com/credits.

P H OTO G R A P H BY R YA N

GINLEY

Contents / Issue No. 727

Vanities

“The comedy that I try to make talks about the battles we’re fighting, and how we have to open our eyes.” —ZIWE

[P. 50]

Features

Columns

BY JEFF SHARLET

BY NICK BILTON

Fascist symbols—from swastikas and gallows to death’s head Punisher skulls—have become synonymous with Trumpism. The cartoonish images are anything but a joke.

From microdosing mushrooms and MDMA to implanting magnets and microchips, biohacking is Silicon Valley’s latest obsession—with a dark side.

The Case of the Purloined Books BY MARC WORTMAN ILLUSTRATION BY SHAWN MARTINBROUGH

Acrobatic thieves stole millions of dollars in rare artifacts. Cracking the U.K.’s Mission: Impossible case.

Mystics and Clowns

17 / Opening Act Evan Mock

on rebooting Gossip Girl. 19 / Trending Knit looks

Hack the System

from head to toe. 20 / Beauty Olivia Cooke

dons moody lipstick for spring. 22, 24 / The Gallery A

Kenny Scharf–anointed slipper; a purse that plays with time. 23 / My Stuff Cartier

perfumer Mathilde Laurent’s favorite things. 25 / Books and Totes

New novels and stellar bags.

E VA N M O C K ’ S C LO T H I N G B Y D I O R M E N ; N E C K L A C E B Y É L I O U ; WAT C H B Y R O L E X ; S O C K S B Y LO N D O N S O C K C O M PA N Y. O P P O S I T E : A N YA TAY LO R - J OY ’ S C LO T H I N G , E A R R I N G S , A N D B A G B Y B O T T E G A V E N E TA . F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

PHOTOGRAPH BY N I C K

RILEY BENTHAM

APRIL 2021

® Editor in Chief Radhika Jones Creative Director Kira Pollack Deputy Editor Daniel Kile Executive Digital Director Michael Hogan Director of Editorial Operations Caryn Prime Executive Editors Claire Howorth, Matthew Lynch Executive Editor, The Hive Miriam Elder Executive Hollywood Editor Jeff Giles Director of Special Projects Sara Marks Executive Entertainment Director Alison Ward Frank Managing Editor, VF.com Kelly Butler Deputy Editor, VF.com Katey Rich Editor, Creative Development David Friend Senior West Coast Editor Britt Hennemuth Senior Editors, The Hive Michael Calderone, Claire Landsbaum Senior Hollywood Editor Hillary Busis Senior Editor Keziah Weir Entertainment Editor Caitlin Brody Associate Editor Erin Vanderhoof Senior Media Correspondent Joe Pompeo National Correspondent Emily Jane Fox Politics Correspondent Bess Levin National Political Reporter Abigail Tracy Chief Critic Richard Lawson Senior Feature Writer Julie Miller TV Correspondent Joy Press Senior Staff Writer Joanna Robinson TV Critic Sonia Saraiya Staff Writers Dan Adler, Kenzie Bryant, Cassie da Costa, Yohana Desta Staff Reporter Caleb Ecarma Special Correspondents Nick Bilton, Anthony Breznican, Bryan Burrough, William D. Cohan, Joe Hagan, Maureen Orth, Jessica Pressler, Mark Seal, Gabriel Sherman Writers-at-Large Marie Brenner, T.A. Frank, James Reginato Associate Producers Jaime Archer, Maham Hasan Assistant to the Editor in Chief Daniela Tijerina Editorial Assistants Arimeta Diop, Kayla Holliday Special Projects Manager Ari Bergen Special Projects Associate Charlene Oliver Editorial Finance Manager Geoff Collins

Design & Photography Design Director Justin Patrick Long Visuals Director Tara Johnson Senior Designer Ashley Smestad Vélez Senior Visuals Editors Chiara Marinai, Cate Sturgess Senior Visuals Editor, Research Tim Herzog Visuals Editor Lauren Margit Jones Visuals Editor, Research Eric Miles Associate Visuals Editor Allison Schaller Art Assistant Justine Goode Visuals Assistant Madison Reid Fashion & Beauty Fashion Director Nicole Chapoteau Beauty Director Laura Regensdorf Accessories Director Daisy Shaw-Ellis Senior Menswear Editor Miles Pope Market Editor Kia D. Goosby Content Integrity Production Director Mia Tran Legal Affairs Editor Robert Walsh Research Director David Gendelman Copy Director Michael Casey Associate Legal Affairs Editor Simon Brennan Production Managers Beth Meyers, Susan M. Rasco, Roberto Rodríguez Research Managers Brendan Barr, Kelvin C. Bias, Charlotte Goddu, Michael Sacks Senior Line Editor Katie Commisso Copy Managers Rachel Freeman, Michael Quiñones Line Editor Lily Leach Video & Audience Development Associate Director, Audience Development Alyssa Karas Head of Programming, Video Allie Merriam Associate Director, Social Media Daniel Taroy Senior Manager, Analytics Neelum Khan Social Media Manager Tyler Breitfeller Communications Vice President, Communications Carly Holden Associate Director of Communications Rachel Janc Manager of Communications Jackson Chiappinelli Associate Manager of Communications Dane McMillan UK Emily Hallie

Contributors Contributing Art Director Emily Crawford Production Director Kerrie Keegan Associate Editor S.P. Nix Associate Visuals Producer Michael Kramer Fashion Assistants Samantha Gasmer, Jessica Neises Architecture Consultant Basil Walter Summit Contributing Producer Graham Veysey Special Projects Art Director Angela Panichi Contributing Photographers Annie Leibovitz Jonathan Becker, Larry Fink, Collier Schorr, Mark Seliger Contributing Editors Kurt Andersen, Lili Anolik, Peter Biskind, Buzz Bissinger, Derek Blasberg, Christopher Bollen, Douglas Brinkley, Michael Callahan, Adam Ciralsky, Ta-Nehisi Coates, Sloane Crosley, Katherine Eban, Lisa Eisner, Bruce Feirstein, Nick Foulkes, Ariel Foxman, Alex French, Paul Goldberger, Vanessa Grigoriadis, Michael Joseph Gross, Bruce Handy, Carol Blue Hitchens, A.M. Homes, Uzodinma Iweala, May Jeong, Sebastian Junger, Sam Kashner, Jemima Khan, Hilary Knight, Wayne Lawson, Kiese Makeba Laymon, Franklin Leonard, Monica Lewinsky, Bethany McLean, Nina Munk, Katie Nicholl, Maureen O’Connor, Jen Palmieri, Evgenia Peretz, Maximillian Potter, Robert Risko, Lisa Robinson, Mark Rozzo, Maureen Ryan, Nancy Jo Sales, Elissa Schappell, Michael Shnayerson, Chris Smith, Richard Stengel, Diane von Furstenberg, Elizabeth Saltzman Walker, Benjamin Wallace, Jesmyn Ward, Ned Zeman 8

VA N I T Y FA I R

Agenda / By Annabel Davidson @vanityfairlondon

Thai soup by TYME FOOD

So Jar, So Good There are more home-deliverable diets and food services out there than we can count, but TYME is different. Serving 100 per cent plant-based food in glass jars with compostable labels, this is one company that is genuinely plastic free—an industry first. From cacao and almond energy balls to full meals based on punchy Indian or Thai flavours, it is planet- and people-friendly and utterly delicious. Goodbye takeaways, hello TYME. tymefood.com JEWELLERY

Strike Gold Vashi, the jewellery brand that puts the client right in the middle of the design process, is branching out—and the direction in which those branches are heading is very promising. With a new Covent Garden flagship soon to open, and a new design director in the form of Liz Olver, formerly of Annoushka, the brand refresh is set to be exciting. We particularly covet the Lovestrike collection of stacking rings in different golds—perfect for layering. vashi.com

Lovestrike stacking rings by Vashi

Marie Jo Swim Blanche by Rigby & Peller Gem Dior watch by Dior Watches JEWELLERY

Truth of the Matter There’s a pun in the name (Gem Dior being a take on “J’aime Dior”, French for “I love Dior”)—but the greatest pun within this 18-piece collection for Dior Joaillerie by creative director Victoire de Castellane is the choice of materials. Malachite, turquoise, mother of pearl, tourmaline, carnelian, tiger’s eye—all those hardstones that aren’t deemed precious because they’re not one of the four big members of the precious gemstone family (diamond, sapphire, ruby, emerald), but are just as precious in the depth of colour they bring to the game. Gem Dior consists of seven watches and 11 jewellery designs that take these hardstones and march with them—across wonky, octagonal watch cases and braceleted with asymmetrically striated cuts of hardstone. This is a pun on precious that just serves to make it even more so. dior.com

FASHION

Strong Suits Dare we start thinking about swimsuits and bikinis? Even if holidays in the Med are still up in the air, there’s always park bathing—and who would dare suggest a new one-piece isn’t deserved by all? Rigby & Peller may be known for their perfectly fitted lingerie, but their swimwear is just as desirable and is designed to fit every body. From demure swimsuits to 1950s-style bikinis with beautiful detailing, they’ve got all bases covered. rigbyandpeller.com

Precious Lace Nuage ring by Chopard JEWELLERY

Lace up their Sleeve

Gem Dior cuff by Dior Joaillerie

When Chopard first revealed the laceinspired pieces that would go on to be the impetus for their latest collection, Precious Lace, it was immediately clear that this was a new icon for the historic maison. The fully rounded Precious Lace collection sees the most wearable designs rendered in high jewellery format—making them as suitable for everyday as they are for the red carpet. chopard.com APRIL 2021

® Publishing Director Kate Slesinger Associate Publisher Clare Schifano Head of Partnerships Lucie Burton-Salahuddin Senior Advertisement Director Emma Heuser Fashion & Jewellery Director Emily Elliott Health & Beauty Client Manager Octavia Saugman Senior Account Manager Emily Goodwin Account Manager Natasha Gresh Events Manager Saffron Altmeyer-Ennis Executive and Partnerships Assistant Georgie Roberts Directories: Advertising Manager Elizabeth Gray Sales Executives Caroline Hall, Goose Leigh, Camilla Longman Supplements: Executive & Managing Editor Holly Ross Agenda Editor Annabel Davidson Art Director Scott Moore Deputy Art Director Anja Wohlstrom Designer Emily Lord Picture Editor Tanjya Holland Parkin Chief Copy Editor Sarah Edworthy Copywriter Jessica Burrell Junior Sub-Editor Rose Washbourn Junior Managing Editor Clementina Jackson Creative Strategist & Producer Hazel Byrne Partnerships Executive Caroline Sillem Business & Partnerships Manager Charlotte Taylor Classified Director Shelagh Crofts Acting Classified Sales Manager Emily Valentine Senior Classified Sales Executive Hannah Waring Classified Sales Executive Georgia Heathcote Associate Publisher, U.S. Shannon Tolar Tchkotoua Manager, Italy Valentina Donini Manager, India Rachna Gulati Manager, Dubai Prasad Amin Marketing Manager Ella Simpson Senior Data Manager Tim Westcott Circulation Director Richard Kingerlee Newstrade Marketing Manager Olivia Streatfield Subscriptions Director Patrick Foilleret Direct Marketing & Events Manager Lucy Rogers-Coltman Assistant Marketing & Promotions Manager Claudia Long Production Director Sarah Jenson Commercial Production Manager Xenia Dilnot Senior Production Controller Helen Crouch Acting Production Coordinator Lottie Smith Commercial Senior Production Controller Louise Lawson Commercial, Paper & Display Production Controller Martin MacMillan Director of Editorial Admin & Rights Harriet Wilson Editorial Business Manager Caroline Martinez Communications Director Emily Hallie Chief Digital Officer Simon Gresham Jones Digital Commercial Director Malcolm Attwells Digital Operations Director Helen Placito Chief Operating Officer Sabine Vandenbroucke Head of Finance Daisy Tam H.R. Director Hazel McIntyre

Managing Director Albert Read Vanity Fair is published by the Condé Nast Publications Ltd., Vogue House, Hanover Square, London W1S IJU (Tel.: 020 7499 9080) Published by Condé Nast Chief Executive Officer Roger Lynch Global Chief Revenue Officer & President, U.S. Revenue Pamela Drucker Mann Global Chief Content Officer Anna Wintour President, Condé Nast Entertainment Agnes Chu Chief Financial Officer (INTERIM) Jason Miles Chief Marketing Officer Deirdre Findlay Chief People Officer Stan Duncan Chief Communications Officer Danielle Carrig Chief of Staff Samantha Morgan Chief Product & Technology Officer Sanjay Bhakta Chief Data Officer Karthic Bala Chief Client Officer Jamie Jouning Chief Content Operations Officer Christiane Mack Chairman of the Board Jonathan Newhouse

Worldwide Editions / France: AD, AD Collector, GQ, Vanity Fair, Vogue, Vogue Collections, Vogue Hommes Germany: AD, Glamour, GQ, GQ Style, Vogue India: AD, Condé Nast Traveller, GQ, Vogue Italy: AD, Condé Nast Traveller, Experience Is, GQ, La Cucina Italiana, L’Uomo Vogue, Vanity Fair, Vogue, Wired Japan: GQ, Rumor Me, Vogue, Vogue Girl, Vogue Wedding, Wired Mexico and Latin America: AD Mexico and Latin America, Glamour Mexico and Latin America, GQ Mexico and Latin America, Vogue Mexico and Latin America Spain: AD, Condé Nast College Spain, Condé Nast Traveler, Glamour, GQ, Vanity Fair, Vogue, Vogue Niños, Vogue Novias Taiwan: GQ, Vogue United Kingdom: London: HQ, Condé Nast College of Fashion and Design, Vogue Business; Britain: Condé Nast Johansens, Condé Nast Traveller, Glamour, GQ, GQ Style, House & Garden, Tatler, The World of Interiors, Vanity Fair, Vogue, Wired United States: Allure, Architectural Digest, Ars Technica, basically, Bon Appétit, Clever, Condé Nast Traveler, epicurious, Glamour, GQ, GQ Style, healthyish, HIVE, La Cucina Italiana, LOVE, Pitchfork, Self, Teen Vogue, them., The New Yorker, The Scene, Vanity Fair, Vogue, Wired Published Under Joint Venture / Brazil: Casa Vogue, Glamour, GQ, Vogue Russia: AD, Glamour, Glamour Style Book, GQ, GQ Style, Tatler, Vogue Published Under License or Copyright Cooperation / Australia: GQ, Vogue, Vogue Living Bulgaria: Glamour China: AD, Condé Nast Traveler, GQ, GQ Lab, GQ Style, Vogue, Vogue Café Beijing, Vogue Film, Vogue Me, Vogue Business in China Czech Republic and Slovakia: Vogue Germany: GQ Bar Berlin Greece: Vogue Hong Kong: Vogue, Vogue Man Hungary: Glamour Korea: Allure, GQ, Vogue, Wired Malaysia: Vogue Lounge Kuala Lumpur Middle East: AD, Condé Nast Traveller, GQ, Vogue, Vogue Café Riyadh, Wired Poland: Glamour, Vogue Portugal: GQ, Vogue, Vogue Café Porto Romania: Glamour Russia: Vogue Café Moscow Scandinavia: Vogue Serbia: La Cucina Italiana Singapore: Vogue South Africa: Glamour, GQ, GQ Style, House & Garden Thailand: GQ, Vogue The Netherlands: Glamour, Vogue, Vogue Living, Vogue Man, Vogue The Book Turkey: GQ, Vogue, Vogue Restaurant Istanbul Ukraine: Vogue, Vogue Man Condé Nast is a global media company producing premium content with a footprint of more than 1 billion consumers in 32 markets. condenast.com

Standards and Practices Vanity Fair is a member of the Independent Press Standards Organisation (which regulates the U.K.’s magazine and newspaper industry). We abide by the Editors’ Code of Practice [www.ipso.co.uk/editors-code-ofpractice] and are committed to upholding the highest standards of journalism. If you think that we have not met those standards and want to make a complaint please see our Editorial Complaints Policy on the Contact Us page of our website or contact us at complaints@condenast.co.uk or by post to Complaints, Editorial Business Department, The Condé Nast Publications Ltd., Vogue House, Hanover Square, London W1S 1JU. If we are unable to resolve your complaint, or if you would like more information about IPSO or the Editors’ Code, contact IPSO on 0300 123 2220 or visit www.ipso.co.uk.

VA N I T Y FA I R

APRIL 2021

The F O U G ȯ Fragrance Family

Editor’s Letter

I am reading a novel called The Enchanted April, as literal an act of wish fulfillment as one could ask for in the spring of 2021. Written by Elizabeth von Arnim and published 99 years ago, this story of four Englishwomen who rent a dilapidated castle on the Italian Riviera for a month and are transfigured by it (to borrow an operative word from E.M. Forster’s A Room with a View) opens on a dreary February day in London and ends—one hopes; I’m not there yet—in Mediterranean sunshine. It was an instant best seller in 1922, which is perhaps not surprising given the post-pandemic parallels between that decade and ours. If the 1920s roared—if our ’20s roar—surely it was a riposte to the deprivation that came before. I have not read much fiction this past year. It has been hard to escape into imagined worlds when the demands of the immediate one were so dark and pressing. I hope this book will unlock some inner visions, as perhaps it did for its readers a century ago—a vicarious journey, a break in the clouds, castles on the sea and in the air. To guide us into spring in our own pages and look forward to a time when we’re all getting dressed up to go out in the sun, we’ve enlisted the delightful Anya Taylor-Joy as our cover star. Fresh off her win for her lead performance in The Queen’s Gambit at the Golden Globes—where she dazzled (even by remote screen!) in a Dior haute couture gown and Tiffany & Co. jewelry— and a year out from her definitive turn as Jane Austen’s Emma in Autumn de Wilde’s exquisitely directed film (if you missed it in the early days of lockdown, do yourself a favor and stream it as soon as possible), Taylor-Joy is on the cusp of an even bigger moment. Her upcoming projects include an unnamed David O. Russell film, a prequel to Mad Max: Fury Road (in which she’ll play the younger version of Charlize Theron’s character), and an adaptation of Vladimir Nabokov’s novel Laughter in the Dark, among 12

VA N I T Y FA I R

others. As the novelist Hermione Hoby learns in their conversations, Taylor-Joy is still absorbing the accolades and recognition her work received during these surreal circumstances. “I think I’ll probably understand this year in about five years. I think that’s when it will probably hit,” Taylor-Joy says—a sentiment that makes her both wise and relatable. Our spring style special goes from A(nya) to Z(iwe), the Nigerian American comedian who has also had a breakout year, with a book of essays and a late-night Showtime series both forthcoming. And along the way, we check in with the NBA, whose players took fashion to new heights this past season, drawing attention to social justice issues and independent designers in the process. Their pregame tunnel walks—from arena arrival to courtside, within the COVID-safe bubbles that enabled them to keep working—are giving us all the looks we need to get us to the other side. Q

RADHIKA JONES, Editor in Chief

PHOTOGRAPH BY TINA BARNEY

APRIL 2021

Contributors

Alexandra KLEEMAN

Kennedi CARTER

“GOTHIC REVIVAL,” P. 20

“THE VELVET HAMMER,” P. 50

Kleeman says talking to actor Olivia Cooke was like making friends with the cool girl in the drink line at a show. “She’s undeniably glamorous,” says Kleeman, “but also has a grounded, very matter-of-fact attitude and so many thoughtful observations on how costume and makeup serve as an aid.”

While vibing to Beyoncé’s “Homecoming” with Ziwe on set, Carter says, their photo shoot took on a life of its own. “The direction was Sunday’s best—looking and feeling sophisticated,” says Carter. “Something that’s missed a great deal during this pandemic.”

Ryan MCGINLEY

Leah Faye COOPER

“OPENING MOVES,” P. 30

“ON POINT,” P. 64

“She’s a super trouper,” says McGinley of Anya Taylor-Joy, whom he photographed in Malibu, California, amid rain and hail for this issue. “As you know, after the rain comes the sun,” says McGinley. “We got the most electric sunset, followed by a deep blue dusky sky to capture the cover shot.”

For Cooper, who is drawn to “unapologetic displays of personal style,” the NBA is the best-dressed league in sports. “Their enthusiasm for statement dressing speaks to not only how much fun fashion can be,” says Cooper, “but also to its strength as a means of self-expression.”

VA N I T Y FA I R

Katy GRANNAN “INTELLIGENT DESIGN,” P. 56

In proper San Francisco fashion, Grannan’s set was photobombed by a nude sunbather on Baker Beach while photographing designer Yves Béhar. “Yves was so chill, like, no sweat, this happens,” says Grannan. “I loved that day, the random weird ordinariness of it all.”

Hermione HOBY “OPENING MOVES,” P. 30

After the first time Hoby spoke to Taylor-Joy, over Zoom, she sent a text to a friend describing their interaction: “She’s just the real deal.” Hoby adds: “Anya seems to have found a place of deep security, from which she can be fully warm and fully generous.” APRIL 2021

C A R T E R : TA R A J O H N S O N . C O O P E R : C O U R T E S Y O F L E A H FAY E C O O P E R . G R A N N A N : R O B E R T L E W I S . H O B Y : B E N J A M I N K U N K E L . K L E E M A N : N I N A S U B I N . M C G I N L E Y : L U I S A O PA L E S K Y.

Clockwise from top left: Alexandra Kleeman, Kennedi Carter, Katy Grannan, Hermione Hoby, Leah Faye Cooper, Ryan McGinley.

OUR INDISPENSABLE ONLINE GUIDE TO THE DESIGN WORLD Featuring the best interior designers, architects, landscape gardeners

DAVID OLIVER

and artisanal suppliers

VISIT US AT thelist.houseandgarden.com

ACCESS IS EVERYTHING

One year PRINT ISSUES + DIGITAL EDITIONS +FREE GIFT* + FREE home delivery +EXCLUSIVE CONTENT on vanityfair.com +EXCLUSIVE ACCESS to the complete archive, since 1913

FREE GIFT

RRP £36

FULL ACCESS VANITYFAIR.COM + THE COMPLETE ARCHIVE + DIGITAL EDITIONS

FREE THE ORGANIC PHARMACY ROSE & JASMINE BODY OIL, RRP £36* Apply The Organic Pharmacy’s velvety, fragrant body oil after bathing to leave the skin supple, soft and deeply replenished. This heavenly concoction of infused rose oil (98.4% organic; 100% vegan) can also be used as a rejuvenating massage oil, a body perfume or to add shine to hair. Soothing and conditioning, it is clinically proven to increase skin’s elasticity and help banish wrinkles. Not suitable during pregnancy due to its stimulating properties. For further information, please visit theorganicpharmacy.com Use code V20F for 20% off products—for terms and conditions, visit theorganicpharmacy.com/terms-and-conditions.

ALL FOR ONLY £28

www.magazineboutique.co.uk/vanityfair/CVF20466 or call 01858 438 819 (QUOTING REF: CVF20466) * Offer is limited to UK addresses and subject to availability. The gift will be sent to the donor on a first come, first serve basis. The rate of one year for £28 is limited to Direct Debit payments and will be renewed at the rate of one year for £28 thereafter. Offer closes 8 May 2021. For The Condé Nast Publications Ltd’s privacy notice and permission details, visit www.condenast.co.uk/privacy.

VA N I T I E S VA N I TA S VA N I TAT U M

PAGE 18

EVAN MOCK takes on the

G R O O M I N G , A M Y KO M O R O W S K I ; P R O D U C E D O N LO C AT I O N B Y B A D G A L P R O D U C T I O N S ; F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

next-gen Gossip Girl

PAGE 20

OLIVIA COOKE GOES GOTH PAGE 23

A PUNK PERFUMER’S INSPIRATION PAGE 25

BOOKS AND TOTES! Shirt by Fendi; pants and sneakers by CELINE HOMME by Hedi Slimane; necklace (white gold) by Chopard High Jewelry; bracelet by BULGARI; socks by London Sock Company. Throughout: hair products by Oribe; grooming products by 111SKIN. Styled by Nicole Chapoteau. Photographed at The Carlyle.

VA N I T Y FA I R

PHOTOGRAPH BY N I C K

RILEY BENTHAM

APRIL 2021

Vanities /Opening Act

Moving Pictures

Clothing and socks by Valentino Haute Couture; sandals by Roger Vivier; earring by Maria Tash; necklace by Chopard High Jewelry.

Island HOPPING Hawaii-born EVAN MOCK takes Manhattan by storm Evan Mock may be one of the world’s most sought-after male models, landing campaigns with Calvin Klein and shows for Louis Vuitton, but the Oahu-born skater and surfer was still navigating sports endorsements when he stumbled into a very 21st-century industry meet-cute: At a North Shore kickback in 2019, contemporary artist Tom Sachs clocked Mock’s pink hair and asked him to say hi to his friend in a skate video. The friend turned out to be Frank Ocean, and the video went viral. Now the 23-year-old has traveled with Travis Scott on tour, and not only does he have his own clothing brand, Sorry in Advance, he worked with Justin Bieber on a line too. Later this year, Mock makes his acting debut in the Gossip Girl reboot on HBO Max—good morning Upper East Siders indeed. made surfboard fins, tossed him into his first wave at age two, “before I even knew how to swim. My mom was on the other side, waiting to catch me.” HIS DAD, WHO

VA N I T Y FA I R

surfboards and “unlimited” skateboards. HE BELIEVES IN “bending the laws and not listening to authority.” HE AND BIEBER had been friends a year before their fashion collaboration. “He would say, ‘Dude, you’re like the coolest kid in the world.’ And I’m like, ‘Dude, you’re—who you are!’ ” THE DOCUMENTARY FAN is impressed by Searching for Sugar Man subject Rodriguez: “The way he lives his life now is so killer, you can’t reach him.” HIS PERFECT DATE includes “a little hand holding” at a favorite restaurant where everyone knows your name. HE HADN’T SEEN the original Gossip Girl until after he’d shot two episodes of the reboot: “Blair was a white girl boss who had these little minions, and they’re people of color, Asian.” The new series, he says, is a lot more “woke,” “blunt,” and “graphic.” HIS CHARACTER, AKENO “Aki” Menzies, is “figuring things out sexually.” IN NEW YORK, “you never know who you’re going to sit next to; everything that I wanted to do, I can do here.” Even get easy access to Hawaii-warm water in the dead of winter: The day before our interview, he and Sachs visited an indoor wave pool. “In New Jersey!” HE HAS 10

PHOTOGRAPH BY N I C K

—BRIT T HENNEMUTH RILEY BENTHAM

“Transcending time and making messages about equality eternal,” says Maria Grazia Chiuri, “is my work’s raison d’être.” Her Dior: Maria Grazia Chiuri’s New Voice features the work of 33 women photographers, including Coco Capitán, Laura Coulson, and Brigitte Niedermair, who photographed Dior’s “We Should All Be Feminists” T-shirt from Chiuri’s debut collection, inspired by Chimamanda Ngozi Adichie’s essay. “I wanted female eyes to capture these pluralistic ideas of femininity and other perspectives on how women are represented, in connection with feminism,” says Chiuri, “which is the driving philosophy of my vision and of Dior’s identity today.” —MILE S POPE

From top: Candela Capitán, photographed by her sister, Coco; model Hannah Wick, photographed by Laura Coulson.

F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

A new book from Dior lauds women photographers

Vanities /Trending

IN STITCHES

1. Hermès tie, £205. (hermes.com) 2. Victor Glemaud cardigan, price upon request. (glemaud.com) 3. Valentino dress, £9,100. (Valentino boutiques) 4. Tiffany & Co. Elsa Peretti earrings, £3,700. (tiffany.com) 5. Bottega Veneta bag, £5,880. (bottegaveneta .com) 6. Gigi Burris Millinery beret, £155. (gigiburris.com) 7. Fendi bag, £950. (fendi.com) 8. She Made Me swimsuit, £109. (shemademe .com) 9. Bobbi Brown highlighting powder in Moon Glow, £36.50. (bobbibrown.co.uk) 10. Saint Laurent by Anthony Vaccarello shoes, £755. (ysl.com)

Lattice REJOICE

RO S S : HAR RY L AN G D O N / G E T T Y I MAG E S . 2 , 3 : J O S E P H I N E S C H I E L E ; S T YL I N G, J O H N O L S O N . A L L O T H E R S : C O U R T E S Y O F T H E B R A N D S A N D W E B S I T E S . F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

Following a year of renewed zeal for handicrafts and cozy distractions, find a reason to celebrate in a retro chic palette of umber, gold, and mauve

Dazzle like Diana Ross (photographed in 1982 by Harry Langdon in Los Angeles) in metallic knits.

10.

APRIL 2021

Gothic REVIVAL Set against a slate of emotional film roles, British actor OLIVIA COOKE slips into makeup for a moody spring By Alexandra Kleeman It was only a couple of years ago that Olivia Cooke learned how to really scream: a primal, guttural roar set loose from the body, the kind of sound that turns the soul inside out. For her recent role as the withdrawn, hard-driven front woman Lou in Darius Marder’s Sound of Metal, she had six weeks to learn how to play the guitar, operate a loop pedal, and perform the searing noise-rock track that cements the acoustic texture of the film’s opening. On top of all that, she had to tear open a sonic aperture in her petite frame through which she 20

VA N I T Y FA I R

could channel Lou’s raw, dynamic power, the character’s hidden strength. “I think we all in the shower imagine that we’re performing to 3,000 people, rocking out with a guitar onstage. But the reality of doing that is so much more traumatic,” Cooke tells me over Zoom, leaning in so that her dark, expressive eyes loom large in the center of the screen. She’s at home in London filming a new series, and all around her the city is in the midst of another coronavirus lockdown. With her wild auburn waves and daring mouth, 27-year-old Cooke PHOTOGRAPHS BY E M M A

SUMMERTON

resembles nothing so much as the heroine of a gothic novel, a girl about to wheel around and face the monster head-on. So it’s surprising to hear her divulge rock star performance anxieties: “sleepless nights, dreams about it all going wrong.” Shrugging slyly, as if literally shaking off the seriousness of what she’s just said, she adds, “I mean, when’s the last time you screamed out of something other than fear?” This merger of the heavy and the buoyant is a signature of Cooke’s work. She made a name for herself playing the wisecracking gamer Art3mis in Steven Spielberg’s Ready Player One and an alienated, affect-flattened teen in the cold-blooded indie Thoroughbreds. But her most recent turns—opposite Riz Ahmed in Sound of Metal and as the star of the haunting, quietly heartrending speculative thriller Little Fish—are evidence of an actor who has learned to leverage a deep internal steel, complicating the luminous vulnerability visible at her surface. With her doll-like features and deep Manchester accent, Cooke channels an uncanny mixture of melancholy, mirth, and mundanity. And what skill set could be more relevant, as we crack jokes on Twitter beneath the shadow of a pandemic, a growing climate crisis, and rising global fascism? The full orbit back to March, marking a year since most everything ground to a halt, has some people seeing lost time; others look for clues in the last moments of life as we knew it. Rodarte’s fall 2020 collection, shown last February in an imposing New York church, stands out as a harbinger of things to come: vampiric allusions, lips like black roses. It was a mood even before the real mood arrived a month later, with the WHO’s official declaration of a global pandemic. By the time the California label debuted its spring 2021 collection via a cautiously photographed look book—winsome floral frocks offset by holdover plum lipstick; somber expressions caught in sunlight—the subtext felt unsettlingly familiar: the heavy and the buoyant. As Cooke’s face animates my screen, that image floats to mind: I can imagine her painting her lips an inky burgundy, the rich color a mark of tenacious life.

C O O K E : H A I R D I R E C T I O N , L U K E C H A M B E R L A I N ; S P E C I A L T H A N K S T O J A C O B P R Y T H E R C H . A L L O T H E R S : C O U R T E S Y O F T H E B R A N D S A N D W E B S I T E S . F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

Vanities / Beauty

Cooke’s latest role in Little Fish embodies this determination in the face of overwhelming pressure. In the film, Cooke plays Emma, a woman whose photographer husband, Jude (Jack O’Connell), falls victim to a mysterious neurological epidemic that causes its sufferers to lose their memories and, ultimately, their identity. As Jude’s condition deteriorates, Emma resolves to keep him intact through a regimen of memory aids, retelling the brighter, happier moments of their relationship even as she struggles to keep her own mind whole. Visions of a mask-wearing public anxiously awaiting a cure and seeking home remedies on the internet echo our own experience—but even more relatable, at a visceral level, is the firm set and subtle twist of Emma’s mouth as she quietly tamps down her grief to face the crisis ahead. This spring brings a change in the tenor of our isolation, if not its substance: As the pandemic comes closer under control, the potential for levity looms on the horizon—perhaps a couple of Gown by ERDEM. Styled by Nicole Chapoteau. Makeup direction by James Kaliardos.

Into the Deep Dark lipstick—counterprogramming for spring—reads the room and imagines a bold reassertion of self

3. 4.

1. Kjaer Weis lipstick in Glorious, £44. (net-a-porter.com) 2. GUCCI Rouge de Beauté Brillant lipstick in 714 Jody Wild Mauve, £35. (selfridges.com) 3. Serge Lutens lipstick in Couvre Feu, £58. (lookfantastic.com) 4. CHANEL Rouge Coco Bloom in Surprise, £33. (chanel.com/gb)

months away, perhaps more. The vision for makeup, then, that might accompany our reemergence into the world melds reflection with a projection of the way forward: dark romance paired with resolute clarity. Pallid skin from a long winter indoors foregrounds a moody lip rich with softness and depth, as if anticipating the return of kisses on the cheek and conversations hunched over small tables. It nods toward the wondrous strangeness of seeing a face in person after some time away: bare skin with a hint of blush to freshen the natural topography, contrasted by oxblood lipstick that serves both as semaphore—a graphic language visible even from a social distance—and a gesture of hope for a maskless future. Makeup artist James Kaliardos, the architect behind the vampy lip for Rodarte’s fall 2020 show, who conspired with Cooke via Zoom on the makeup for this shoot, says the look is about anchoring. “We’re easing into spring with a little bit of trepidation and a little bit of wear,” Kaliardos says, “and a little darkness.” We’re in a new era, he adds, as we reconsider the way we think and feel about safety, society, and our own bodies—and in the transition, makeup can help reassert something vital about our inner lives. This moment calls for a fresh incarnation of the gothic: still informed by an almost Victorian awareness of mortality but insistently alive, the definition of the face’s contours a declaration of presence. Little Fish ends on a grace note, a moment of great loss alloyed with qualified hope. To prepare, Cooke called on her own memories of her grandmother’s dementia, of watching her mother care for someone who had once cared for her. “It imprints itself on your mind,” she says of the experience. “And you do wonder whether it’ll come for you as well.” There’s a lesson there about resilience and return, about looking ahead even as we root ourselves in a difficult present. We hold on for the promise that we’ll be together once again, in real, lived proximity, our crisply defined mouths grinning at one another in relieved recognition, our uncovered faces warmed by the sun. Q APRIL 2021

New WAVE At Louis Vuitton’s spring/summer 2021 show, innovation met history when in-person attendees filed into the freshly remodeled department store La Samaritaine, a study in Second Empire design, and took their seats next to 360-degree cameras that captured the experience for at-home viewers. In keeping with the collection’s focus—and womenswear creative director Nicolas Ghesquière’s lifelong preoccupation—of playing with time, the iridescent leather Coussin 22

VA N I T Y FA I R

bag is embossed with Vuitton’s 125-year-old fleur-de-lis logo and features two interchangeable straps (the silver chain shown here and one in branded canvas), offering styling options for now or later. —Daisy Shaw-Ellis Louis Vuitton Coussin PM, £2,430. (louisvuitton.com)

PHOTOGRAPH BY S I G N E

PIERCE

F O R D E TA I L S , G O T O V F. C O M / C R E D I T S . O P P O S I T E : L A U R E N T : M A R I O N B E R R I N . R O S E S : F LO W E R P H O T O S / G E T T Y I M A G E S . 1 : L E C O R B U S I E R . © 2 02 1 A R T I S T S R I G H T S S O C I E T Y , N E W YO R K /A D A G P , PA R I S / F LC . 2 & 5 : C O U R T E S Y O F C A R T I E R . 3 : C O U R T E S Y O F P L AY F U L . 4 : C O U R T E S Y O F A P L I . 6 : A R T H U R E LG O R T , V O G U E , 2 0 0 1 . 7 : TA N YA S I D / G E T T Y I M A G E S . 8 : S A L A J E A N /A D O B E . 9 : C O U R T E S Y O F D E C L É O R . 1 0 : M I R A G E C / G E T T Y I M A G E S . 1 1 : C O U R T E S Y O F T O R AYA .

Vanities /The Gallery

Vanities /My Stuff

Rebel, REBEL Cartier’s platinum-haired perfumer MATHILDE LAURENT brings a punk sophistication to the finer things Q

Style File

Tank Divan watch, Juste un Clou bracelet, military jacket. SHOE: Converse. FAVORITE BAG: Comme des Garçons gold bag (3). RECENT ADDITION: Cactus de Cartier ring (5). STYLE INSPIRATION: Linda Rodin and Stella Tennant (6). ALWAYS WEARING:

On Beauty

Decléor (9). Eucerin AtopiControl unscented bath oil. SKIN SAVER: Imiza oil serum. MAKEUP: Erborian BB cream. PERFUME: No! I can’t wear any perfume while I am working. I need a neutral environment. COLORIST: David Lucas. WORKOUT: Kundalini yoga with Lili Barbery. WIND-DOWN: Meditation by Martin Aylward on the Mind app. FACE WASH:

SHOWER STAPLE:

8. 7.

Sweet Home

Lucas Maassen. LAMP: Studio Drift Dandelight. DREAM ARTWORK: Wood bench by Giuseppe Penone. ITEM YOU COLLECT: “Fragile” FAVORITE CHAIR:

10.

11.

stickers (4). PLANT: Eucalyptus (7). CANDLE: Forêts by Christian Tortu. TABLETOP ESSENTIAL:

Chemistry beakers. Q

Leisure Studies

CURRENTLY READING:

INfluencia; Nez. LISTENING TO: Max Richter. LIBRARY TREASURE: First edition of Le Corbusier’s Modulor (1). ESCAPE: Hossegor Lake, on the southwest coast of France; Corsica, in my family’s village (8). Q

The Menu

Nunshen Earl Grey No. 106. PANTRY ITEM: Blueberries (10). INDULGENCE: Matcha at Toraya (11). RESTAURANT: Papillon, Paris 17. MORNING CUP:

Workflow

My mother’s chypre. DESKTOP ESSENTIALS: Flowers, Molotow markers, Notability on my iPad. OBSESSION: Scent of life. INSPIRATION: Roses, which I usually don’t like, treated in another way for my three new fragrances, called I Only Love Wild Roses (2). SCENT MEMORY:

APRIL 2021

Vanities /The Gallery

Sweet

DREAMS Smiles are on the up and these indoor-outdoor slippers, a collaboration between Dior and Kenny Scharf, give new meaning to the idea of happy feet. The New York artist’s signature figures—the jolly likes of which have graced a Rockaway Beach motel, Danish bikes, and the walls of MoMA—marry Pop art and science fiction to giddy effect, so that whether sleepwalking or sidewalk striding, these psychedelic slip-ons are game for the ride. —Miles Pope

F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

Dior Men slippers, £4,700. (Dior Men boutiques)

VA N I T Y FA I R

PHOTOGRAPH BY T H O M A S

ALBDORF

Vanities /Books & Totes 2.

Novel IDEAS Greet springtime with hot-offthe-press page-turners and pretty new bags By Keziah Weir OF WOMEN AND SALT

By Gabriela Garcia

S T Y L I N G , S H A R O N R YA N .

Flatiron

“So often Jeanette has wondered how she came from such a woman,” writes Garcia in this multigenerational epic that spans from Cuba in the 1800s to present-day Miami and explores immigration, the sacrifices of motherhood, and that question: How do we become who we are?

1. CELINE by Hedi Slimane bag, £1,250. (celine.com)

POPISHO

GOOD COMPANY

FSG

Ecco

By Leone Ross

By Cynthia D’Aprix Sweeney

In this sumptuous novel from Britain-born, Jamaicaraised Ross, the residents of Popisho have “a little something extra,” a magical “cors”: a widower able to infuse flavors with his bare hands, a healer plagued by her own stillbirths, a man who can intuit the truth. But such gifts, when put to darker purpose (brutal policing, for instance), become burdens.

Betrayal, marital discord, and the shackles of expectation lie at the heart of D’Aprix Sweeney’s propulsive, charactersteeped story of two best friends—a soap star and a voice-over actor—their friendship and marriages, and a long-kept secret, ordinary but devastating, of a lost wedding ring found in the wrong place.

2. CHANEL bag, price upon request. (selected CHANEL boutiques)

3. GUCCI bag, £2,030. (gucci.com)

PHOTOGRAPH BY ST UA RT

THE FINAL REVIVAL OF OPAL & NEV

THE NIGHT ALWAYS COMES

Simon & Schuster

Harper

Framed as the oral history of an unlikely ’70s rock duo written by a journalist with painful connections to one of the stars, Walton’s astute debut reckons with racial violence, the limits of storytelling, and fame. “You might find it at times untamed and unwieldy, and find that it contains no easy answers,” warns our narrator—happily, a kept promise.

Vlautin’s unflinching, humane noir centers on a 30-year-old woman in Portland, Oregon, who’s dead set on buying the house she’s been renting with her depressive mother and developmentally disabled older brother— even if it means confronting the creeps who owe her and committing some corrective thievery.

4. Alexander McQueen bag, £1,090. (alexandermcqueen.com)

5. Hermès bag, £3,100. (hermes.com)

By Dawnie Walton

TYSON

By Willy Vlautin

APRIL 2021

Vanities /Decoder

Mystics and CLOWNS The Capitol riot brimmed with fascist symbols—sound and fury signifying everything By Jeff Sharlet

the Trump dream that’s proven more contagious than the mutant B.1.1.7. finally fully crossed over IRL, into the material plane. It was the delusion he rode in on in 2016 and the hallucination in which he himself walks, no longer a con man, now a believer. Last summer, when he averted his eyes from an interviewer as he murmured of “dark shadows,” it was clear the shadows of his hateful self-obsession had come home to haunt. But what happened in Washington— and at armed protests in at least a dozen state capitals around the country— was no haunting. For the last four years (and then some), Trump herded a toocompliant press into pens at his rallies and used them like props for his rage, turning his mobs to scream at them. In one tiny sideshow of the insurrection, the screamers knocked down the metal barricades and finally attacked, beating cameras with flagpoles. One man preached vengeance: “Start hunting them’’—journalists—“down, one. By. One!” An insurrectionist in Mary Janes and a pink beret sifted for souvenirs. Most took pictures. And yet the attack was not just symbolism. All of it—the spectacle and its instant smartphone memorialization—comprises the language of fascism, different mainly in scale from the trophy photos of lynchings that once circulated as postcards.

ON JANUARY 6,

VA N I T Y FA I R

G A L LO W S : N U R P H O T O / G E T T Y I M A G E S .

Fascism has been a visual language ever since its embrace by futurism, the early 20th-century Italian movement of art and design. So too, today, a visual grotesque that’s left too many of us grasping for words even as we dwell on scenes from the insurrection. If we’re not careful, we’ll simply spread the contagion—“echo! echo! echo!”—like the battle cry of the right-wing social media network Parler, in which an echo is similar to a retweet. The grinning fool in a pom-pommed Trump beanie, waving as he makes off with the House Speaker’s podium (Florida man Adam Johnson); another toting a Confederate flag (Kevin Seefried, of Delaware), between portraits of Vice President John C. Calhoun, slavery’s most “eloquent” defender, and Charles Sumner, nearly beaten to death on the Senate floor for his abolitionism; security, guns drawn and aimed at the shattered window of the House

chamber’s door, a rioter’s face peering in like Jack Nicholson in The Shining. Then there was the yet blunter collapse of history by meme: a rioter in the Capitol wearing a hoodie with the words Camp Auschwitz wrapped around a skull. (His name is Robert Keith Packer.) This is fascism’s visual trap, from the black, white, and red of the swastika to the death’s head Punisher skull that’s become a de facto symbol of Trumpism, from the patch worn by the “zip tie guy” (Eric Munchel) to the pin on Sean Hannity’s lapel. Literally cartoonish, a language of brute spectacle that’s hard to ignore. Look, and you’re cursed by that which is ugly in the deepest sense; look away, and you neglect the threat at our door. Or rather, inside the House. The task, then, is translation—to render that which seems shocking instead banal, to root fascist proclamations of revolution in the history that names them merely small-minded manifestations of defeated ideas. Less than ideas; vanity, dull-eyed. Consider three of our newly elected representatives: Marjorie Taylor Greene (Georgia), Lauren Boebert (Colorado), and Madison Cawthorn

I L L U S T R AT I O N BY A N T H O N Y

GERACE

(North Carolina). Each stoked the insurrection, but they’re notable not so much for their ideology—other members run just as extreme—as for the ways in which they flaunt it. Greene’s best-known ad featured her in a taut black suit and aviator shades, gripping an assault rifle next to the disembodied gray scale heads of three members of the Squad. Women of color drained of actual color, because color—blond hair, bright red lipstick—like the gun, like power, in the white supremacist imagination, belongs to whiteness. In the grammar of white supremacy, everything does, as W.E.B. Du Bois observed a century ago in “The Souls of White Folk”: “I am given to understand that whiteness is the ownership of the earth forever and ever, Amen!” that Boebert stormed the Capitol in an ad titled “Mission: Boebert,” released three days before the insurrection. In it, she swaggers down a D.C. back alley, declaring she’ll carry her Glock—seen as if by X-ray beneath her jeans—to Congress because Washington’s among the “top 10 most dangerous cities.” (It isn’t, but it is by most counts among the top 10 Black cities.) Before that she posed often with a handgun strapped around the thigh of her tight jeans and, in at least one picture, wearing Daisy Dukes, peeking over her shoulder as she dangled an assault rifle behind her. Rock-jawed young Cawthorn, meanwhile, is more of a concealed carry man. He made sure to let his fans—for that’s what his supporters are—know he was packing at the insurrection, inside the Capitol and before, when he ranted at the rally in the style of the Führer (as he referred to Hitler when he made a pilgrimage to the dictator’s “Eagle’s Nest”), wearing a vintage-style shooting jacket and tight leather gloves, as if cosplaying a fascist of the old school. To the ardent, these images are like reactionary pinups, thrilling even as they lend the illusion of gravitas to the more soberly attired leaders of the rightist surge, the Hawleys and Cruzes. Beneath the pinups’ gloss of titillation and transgression, the real SO IT WAS

This is fascism’s VISUAL TRAP,

from the swastika to the death’s head Punisher skull that’s become a de facto symbol of TRUMPISM. action is reassurance, the promise that white “beauty,” and white power, endure. Men will be manly, women will wear short shorts. Both will carry guns. Cawthorn reassures the base that you can support politicians without paying fealty to “suits,” weak, whiny tools such as Lindsey Graham. As women, Boebert and Greene offer a model of feminine authority which uses that power—visualized as an assault rifle—to make them even more traditionally desirable. Guns, curves, they’ve got it all. Fascists know, explicitly or implicitly, that all of these images—Boebert sexy with her gun, or the horned man flexing in the Senate—do their work for them. They cosplay for the same reason Trump danced to “Y.M.C.A.” at his rallies—because it works. It draws the eye, it seems to express earnestness and humor at the same time, the layers of meaning that can produce a symbol. For instance, the image of a flag distributed by Trumpist lawyer L. Lin Wood after the insurrection. On a field of black, surrounded by six white stars—the six states “stolen” from “our” president?—the image of a white woman is silhouetted against a blood-red Capitol. It is Ashli Babbitt, the insurrectionist killed by a Capitol Police officer; a blue star marks her bullet wound. An “innocent” murdered for her patriotism. The actual Babbitt led a complicated life; the figure in the flag is a visual descendant of Virginia Dare, the first English baby born in

North America, who now lends her name to the white supremacist site VDare, and every white woman after her in the rancid mythology of lynching. We’ve seen this picture before. Like “ironic racism” or the Camp Auschwitz hoodie, it not only lacks but actually denies depth. It is complex but two-dimensional, a conspiracy theorist’s map of “connections.” It is flat by design, the better to replicate itself—“We Are Ashli Babbitt,” as one account on the platform Gab puts it, collectivizing grievance and martyrdom—copy after copy. On the National Mall, insurrectionists erected gallows. A cross and a gallows. This phrase—for that’s what it is in the fascist tongue—bears emphasis lest we ever forget the vanity Trump and his believers mean by the word sacred, as in the “sacred landslide.” What they mean, what fascism always means, is the flattening. Stories reduced to memes. The cross and the gallows, of course, are symbols too, each rich with layers of meaning, nuance, and contradiction. But their juxtaposition cancels each other out. Such is the essence of fascism’s appeal. That it loathes life is as obvious as its affection for skulls, but it denies the reality of death as well, by considering it so glibly. Executing politicians? Lulz. For whom does the insurrectionists’ noose hang? For whom does it not? Of course, it’s all just talk, or “just theater,” as so many pundits have declared. Until it isn’t. We must learn the language of fascism because for the foreseeable future that moment will always be coming. Learn just enough that we’ll never have to speak to it, just as scientists study viruses so they can develop vaccines. You have to momentarily see, as fascists do, a world flattened to two dimensions, one in which the horned dude, the “QAnon Shaman,” can pose as both clown and mystic, because he’s not really either, and “Camp Auschwitz” is always now and thus always “funny.” It’s a joke, precisely because none of it—the “theater,” the cosplay, the guns, the shattered glass—ever is. Q APRIL 2021

Vanities /Tech

Hack the SYSTEM Tony Hsieh’s tragic death reveals the dark side of Silicon Valley’s biohacking obsession By Nick Bilton

that Tony Hsieh, the founder of Zappos, had died in a fire the day after Thanksgiving, it was almost incomprehensible. Nearbillionaires don’t die in fires, and they particularly don’t die alone in a 300-square-foot shed, surrounded by some old gym equipment, a pinkand-white-striped beach chair, bottles of Fernet Branca liqueur, and nitrous oxide chargers. Over the past decade, the Silicon Valley tech rich have come to be seen almost as deities. They make up almost half of the 20 richest people on the planet, according to Forbes, and are quoted, lauded, and defended by legions of fans as if they were some sort of doctrinal beings: saints with iPhones. When they go on silent retreats and meditate for days on end, it’s seen as proof they are close to some sort of transcendental plane, and when they return to normal life, they will explain how we—they!— can fix civilization. Those who push themselves to extremes—by hacking their bodies, drinking Soylent instead of consuming real food, or forgoing sustenance altogether—are not seen as odd, but considered on the bleeding edge, as if they were just doing this to show us mere mortals how in control they are of their own lives. AS NEWS BROKE

VA N I T Y FA I R

Hsieh, like many tech titans, found success young—he sold his first company to Microsoft for $265 million when he was 24 years old and later cofounded Zappos, which he sold to Amazon for $1.2 billion in 2009. Hsieh adopted a new work ethic—known as holacracy— where employees have no job titles and self-organize to fulfill the tasks of the company. He came to be known as someone who shunned the money he had made (he lived in a tiny Airstream in a parking lot) and just wanted to make the world (or at least Las Vegas) a better place. But Hsieh was haunted by his success, and had also ventured somewhere dark, to the extremes of biohacking and food deprivation. In the months before he died, Hsieh’s body had deteriorated to just 100 pounds and was suffering from lack of nourishment. At one time he had put himself on an extreme 26-day “alphabet diet,” during which he only ate foods starting with the same single letter each day. He was anxious, depressed, and self-destructive, as his longtime friend the singer Jewel said, and in addition to becoming addicted to oxygen deprivation and whippets, he was also paying “friends” to be around him in Park City, Utah, showing that this public presentation of a transcendental life is really, at the end of the day, mostly just bullshit. “A few founders will create this made-up person and then everyone else in tech wants to emulate it,” a Silicon Valley venture capitalist told me. “It was the same with Steve Jobs, where people wanted to wear a black turtleneck and become vegan; now these tech bros want to be a part of this spiritual group of drug users, partying on private islands, but in reality, it’s more like a cult.” Polls, research, and those screens we all stare at incessantly show how important wealth and fame have I L L U S T R AT I O N BY M A R I O

HUGO

become in modern American life. At the top are people like Mark Zuckerberg, Jack Dorsey, and Elon Musk, who have gone from being like you and me to being the richest and most powerful people on earth. But no matter how much money they make, how many people use their platforms or buy their products, or how high they are on any given list, it’s never enough. “Mark Zuckerberg doesn’t wake up every morning and say to himself, ‘Holy shit!—2.8 billion people use Facebook!’ Instead, he wakes up every morning and says, ‘Why isn’t the other half of planet Earth using Facebook?!’ ” one tech founder told me. Jeff Bezos is no different. He recently stepped down as the CEO of Amazon not to retire as the richest man on earth or spend

“It’s all SYNTHETIC

and it’s all an ILLUSION.” The PANDEMIC only heightened this. more time with his family, but to focus on other pursuits: the Washington Post, trying to beat Musk in the new space race, helping push Amazon to be even more innovative. The next tier of tech leaders—billionaires (or decamillionaires) like Hsieh, Snap CEO Evan Spiegel, and Spotify CEO Daniel Ek—are also constantly at war with their own demons about how they got to this rare place, terrified that they might lose their standing, and riddled with the angst of impostor syndrome or worse. According to people close to Hsieh, some believe the pressures of having made it, both financially and to a certain level of tech stardom, were simply too much.

in 1984 by way of the sci-fi subculture novel Neuromancer but has since leapt off the page and into Palo Alto, where everyone seems to want to outdo their cohorts by pushing their bodies to extremes. You’ve got the Dorseys of the world bragging about how little they eat each day, the Zuckerbergs boasting of killing their own food, and an army of nerds now wearing every tracking device imaginable—from rings that follow your sleep to real-time sugar monitoring devices you inject into your arm—and then experimenting with all forms of starvation and sleep habits to show how in control they are of their bodies. There’s intermittent fasting, working under infrared heat lamps, calculating ketones, and working with “DIY surgeons” to implant magnets and microchips. is all a result of a complete detachment from authenticity by these tech founders. They present a version of themselves that isn’t real, and then, when they look in the mirror, they see how inauthentic they really are, and the only way they can handle the illusion they’ve created is through drugs,” said one Silicon Valley insider who often spends time with the biohacking-obsessed ultrarich. “It’s all synthetic and it’s all an illusion.” The pandemic only heightened this, with people slipping into more extreme activities in their quest for control. One Silicon Valley founder who sold his company to Google years ago told me that the year that followed the sale—when he had gone from an average American worrying about paying rent each month to seeing seven zeros at the end of his bank account— was one of the most miserable times of his life. “You think it’s going to solve all these problems,” the founder told me, “but it just creates so many more issues, both psychologically and existentially. You don’t know what to do with yourself anymore.” For Hsieh, the only thing he could do was run away from his demons and the reality in which he found himself imprisoned. Q

“I THINK THIS

No wonder we’ve entered a new era in Silicon Valley, with the tech elite having their own period of sex, drugs, and rock and roll—often without the rock, the roll, or even the sex. Last year, a number of rich founders began experimenting with microdosing drugs to make it through the day, as two people with knowledge of these habits have told me, by taking tiny amounts of MDMA and LSD, and a long list of psilocybin mushrooms to help take the edge off, but not so much that you’re seeing tie-dyed dolphins or 3D cartoon characters chasing you down Market Street. For Musk, the pressures of being at the top led the board of Tesla to worry about the founder’s use of

Ambien to get to sleep each night after the “excruciating” toll running Tesla had taken on him. Some have even begun building their own microdosing labs, hiring chemists and pharmaceutical scientists to make bespoke batches of hallucinogens to pop like Skittles when reality gets a little too real. During the pandemic, I’ve heard of founders going to far-off places to experiment with ayahuasca, peyote, and the new drug of choice, dimethyltryptamine (DMT), a synthetic drug that one person told me was “like doing 10 years of psychotherapy in five minutes.” Then there’s the body hacking, which first made its way into the mainstream

APRIL 2021

Ope ing Already a breakout star thanks to The Witch and Emma, ANYA TAYLOR-JOY gave such a captivating performance as a drug-addicted chess prodigy in The Queen’s Gambit that it became a global obsession. She’s now working with everyone you’ve ever heard of

Moves By HERMIONE HOBY

VA N I T Y FA I R

Photographs by

RYAN M cGINLEY Styled by

YASHUA SIMMONS

A NEW QUEEN

Anya Taylor-Joy, photographed at Saddlerock Ranch in Malibu, California. Coat by Max Mara; necklace by Cartier High Jewelry. APRIL 2021

of stars that they’re looked at? Couldn’t you assume, then, that stardom and some degree of vanity go hand in hand? For Anya Taylor-Joy, whose indelible performance in The Queen’s Gambit made it a global phenomenon, the twain have clearly never met. When we speak in January, the 24-year-old actor is in Los Angeles, shooting a highly secretive movie with director David O. Russell. All that’s known about the film is its outrageous cast—outrageous not just for the stature of its names but also for just how many names there are. My Google Alerts seem to bristle with additions each day: Robert De Niro, Chris Rock, Margot Robbie, Christian Bale, Mike Myers, etcetera, etcetera. The project will be Taylor-Joy’s 16th feature film in seven years. Still, with a lineup like this, she’s the rookie of the group. “The movie has been very secretive to all of us as well,” she says over Zoom. “And so suddenly you hear these names and you can’t really…” Pressing her palms across her sternum, she frowns in the direction of her right knee, as if trying to make sense of all this. She explains that it isn’t a matter of being starstruck, not exactly. “But you hear these titans of cinema and I’m just like, I am a child!” She laughs. “I am a baby. This is insane.” Russell himself has no difficulty explaining Taylor-Joy’s presence among the titans. “Anya is fearless and intuitively vulnerable and confident in a manner that is uniquely her own,” he says in an email. “She is different and strange in ways that are fascinating both toward darkness and toward light.” This will ring true to anyone who saw The Queen’s Gambit—and virtually everyone did. After the show premiered last fall on Netflix, more than 62 million households tuned in, making it one of the biggest, most beloved shows of 2020: a “limited series” as major cultural event. There were days last fall when my Twitter feed seemed to be nothing but discussions of the show and its star. The aesthetics! The chess! The sexual tension! “I think,” Taylor-Joy says carefully, “I’ll probably understand this year in about five years. I think that’s when it will probably hit.” ISN’T THE POINT

Clothing by GUCCI. 32

VA N I T Y FA I R

The first time we talk, Taylor-Joy is wearing a long-sleeve slouchy black T-shirt and a toffee-colored scrunchie on her pale wrist. Her long white-blond hair is tucked behind her ears, and she’s wearing no makeup I can discern. This bare young face contrasts with the vampish scarlet daggers of her nails, a series of murderous-looking little points. “They’re for the role!” she says, wiggling them. “They’re not my hands!” With a day off from shooting, Taylor-Joy has been going about what she called “my adulting day”—as in “laundry, cleaning house, all of the stuff that makes you a civilized human being and not this ruffian, which I am usually.” This “ruffian” has clusters of orchids on the kitchen island behind her, a guitar propped against the wall, several hefty crystals at her fingertips, and books piled on the floor—the strewn evidence of individuality within the impersonally sleek rented apartment that’s home for the time being. Taylor-Joy’s grounding, nesting impulse make sense. If her 2020 was one of vertiginous ascent, her 2021 will be stratospheric. She will appear in Edgar Wright’s horror movie Last Night in Soho, in which she plays Sandy, an aspiring singer in ’60s London with an exaggerated hairdo and understated British accent. (The sneak peek I’m granted includes a pretty mind-boggling dance sequence, as well as a genuinely bewitching performance of Petula Clark’s “Downtown.” The girl can sing!) Taylor-Joy will also team up again with Scott Frank, director and cocreator of The Queen’s Gambit, for an adaptation of Nabokov’s novel Laughter in the Dark. And then there’s the pop-culture behemoth of Furiosa, a prequel to George Miller’s brilliantly bombastic Mad Max: Fury Road, in which TaylorJoy will take the title role, a younger version of the character immortalized by Charlize Theron as a grim-jawed, buzz-cut feminist outlaw. Whatever incarnation young Furiosa takes, it will be a treat to see Taylor-Joy—hitherto mostly bookish and elfin in her roles—in an action movie. Also on her docket is The Northman, a Viking thriller directed by Robert Eggers, costarring Nicole Kidman and Ethan Hawke. Filmed last year in Northern Ireland (I glean there’s a fair amount of her barefoot on a muddy mountainside), the movie was something of a reunion for Taylor-Joy: She was just 18 when Eggers cast her in her first real movie, the seriously unnerving supernatural horror The Witch. Asked if the actor’s now-global fame surprises him, Eggers tells me, “I’m surprised it took so long!” He laughs. “I think some people explode onto the screen. They photograph well but they’re also able to somehow bare their soul—you can see through their skin and into their minds and hearts. Beyond that, she’s a good actress. You can be a great actor and not be a star, but Anya has both.”

six kids, Taylor-Joy was born in Miami but her family moved to Buenos Aires when she was still a baby. Six years later, they relocated to London. There a homesick and Spanish-only-speaking Taylor-Joy refused to learn English for two years. Eventually she relented (the Harry Potter books were HE YOUNGEST OF

APRIL 2021

Clothing by Miu Miu; earrings by Bottega Veneta. 34

VA N I T Y FA I R

“She is different and strange in ways that are fascinating,” says director David O. Russell.

APRIL 2021

instrumental in her learning), but she remained an unhappy child. For one thing, she was picked on for her looks. “Oh, 11-year-old Anya was an awkward phase, for sure,” she sighs. A few years later she’d be scouted on the street by Sarah Doukas of Storm Management, the same woman who discovered Kate Moss. But back then, she recalls, “My head was smaller and my eyes were the same size. I was waiting for my head to grow a bit. Make me look a bit more proportional.” Rough for any kid, but Taylor-Joy thinks she was particularly affected because of her upbringing: “My mother raised me to always be looking at things inside of people rather than their outside.” Taylor-Joy doesn’t stare into mirrors much. “Not because I’m running away from myself,” she says, “but because the most beautiful thing about me is my desire to interact with the outside world. And when you’re interacting with the outside world you’re not looking at yourself, you’re looking at the person in front of you.” Such things can sound sappy when written down, but I sense only pureheartedness. I wonder if it’s that same quality that made her teen-hood hard: Taylor-Joy loved learning but found school, particularly its social element, difficult. “All the

irresistible turn last year in the title role in Autumn de Wilde’s delectable adaptation of Jane Austen’s Emma. Before seeing it I’d believed that I loathed period dramas in general and Austen adaptations in particular—spare me all that tittering and simpering in bonnets. And then I watched the film and was entirely disarmed, blindsided by delight. As Austen’s most interesting heroine—“handsome, clever and rich,” in the author’s famous summation—Taylor-Joy fizzes against Johnny Flynn’s rugged and quietly fervent Mr. Knightley. It’s a toothsome bonbon of a movie, all tart and effervescent sweetness on its surface, but as with the novel, there’s something substantial at its core. Pert and spoiled and painfully young, Taylor-Joy’s Emma simmers with self-regard before undergoing the difficult self-disillusionment that clears the path for her growing up. De Wilde had admired Taylor-Joy in The Witch and the similarly dark Thoroughbreds. In both she plays an unassuming

information I was being given was: There’s something wrong with you.” At 14 she went to New York on her own for a two-week directing program, where the first thing she did was dye her hair pink in a Chipotle bathroom. “I literally came in from the airport and I saw Ricky’s and I was like, Yes, pink hair—that’s what I need.” Two years later she wrote an extensive essay for her mom and dad in which she explained why she was quitting high school to try to become an actor. We have Jennifer Marina Joy and Dennis Alan Taylor to thank for their faith. They read the treatise their youngest daughter issued them and agreed with its conclusion.

OU’D THINK TAYLOR-JOY might have felt some vin-

dication by the time her first big movie premiered in 2016. Surely here was incontrovertible evidence of her having “made it”? In The Witch she plays Thomasin, the eldest child in a hard-bitten Puritan family scrabbling for sanity and survival in the wilds of 17th-century New England. Exuding both innocence and cunning, she’s dangerously radiant among her gray, hatchet-faced parents and the sodden and forbidding hinterland in which the family finds itself. But watching herself on an enormous screen for the first time, Taylor-Joy recalls her whole body going cold. “I felt like I’d let everybody down. I was terrified I was never going to work again.” Instead, well over a dozen award nominations followed, as well as more name-making roles, including her

VA N I T Y FA I R

girl who slips into villainy; in both she remains compelling even when she becomes wicked. “I didn’t want to make Emma likable and all that crap,” de Wilde tells me, spitting a word so often invoked in a tediously gendered way. “The ugliness of her personality was as important as the phoenix rising of the better part of her soul.” The character has to break through her ego. “That can only be done by Anya because she understands the difference between vanity and confidence,” says de Wilde. “For an actor to understand the difference is like gold. An actress, especially, because they’re not often encouraged to. She’s my muse, you know? And she’s the muse of quite a few directors.” I sense de Wilde’s vehemence in the way she becomes extravagantly sweary as she talks: “She would take all the pieces we’d given her—and just fucking nail it. She’s redefining the term ‘movie star’ because it’s not a selfish act, it’s a fucking rising up with the film. She’s not there just to be amazing, she’s there to make other people be more amazing, and that’s what I love about her. Her radiance, her fairy dust is shared—the light bounces off her and shines throughout the cast.” In many ways, shooting Emma was an idyllic experience. “It was just us in the summer in England—which is beautiful, as you know—swanning around these massive houses and having our lunch as a picnic on the lawn,” says Taylor-Joy. It was also, however, one of the most difficult moments of her life. TaylorJoy describes her last few years to me in terms of a video game: “Every year has been a different video game level.” With each new level, she’s had to ask herself questions: “What are the rules? How do I interact with my space?” The most daunting level to date began with Emma. “Prior to filming I’d just had a devastating breakup, and it had challenged everything. I was

H A I R , G R E G O R Y R U S S E L L ; M A K E U P , K AT E L E E ; M A N I C U R E , K I M T R U O N G ; TA I LO R , I R I N A T S H A R TA R YA N ; S E T D E S I G N , C O L I N D O N A H U E ; M O V E M E N T D I R E C T I O N , J E R O M E A B ; P R O D U C E D O N LO C AT I O N B Y O N E T H I R T Y - E I G H T P R O D U C T I O N S ; F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

“Prior to Emma, I’d just had a devastating breakup. I was incredibly insecure and very, very unsafe in my own skin.”

Clothing by Alaïa; choker by Saint Laurent by Anthony Vaccarello.

APRIL 2021

VA N I T Y FA I R

“We used to joke on set that we were bringing sexy back to chess. We didn’t really think that’s what people would actually think.”

Clothing and shoes by Prada; earrings by Sophie Buhai. APRIL 2021

just incredibly insecure and very, very unsafe in my own skin.” She’d also worked relentlessly. “I had just played character, character, character, never taking a second.” Inhabiting roles deeply risks an obliteration of self. In the climactic scene between Mr. Knightley and Emma, for example, the script called for a nosebleed. To the confusion, alarm, and ultimate excitement of her director and costar, Taylor-Joy began bleeding real blood. Learning this, I’m impressed. She, however, has the grace to joke. “I really bled for the role, people!” At some point in 2019, Taylor-Joy realized she could go into an art gallery and know what each of her characters’ favorite pieces would be and why. “But I had no idea what I liked,” she says. “I had no clue of what I would choose for myself.” She trails off, then an air of gentle revelation comes over her: “I’m sitting here talking to you, and for the first time, I’m like, I know what I like. I know what I, as a person, enjoy!… The whole of 2019 was me becoming a woman, essentially.” Perhaps she’s finally ready to, in a sense, play herself. “Well, kinda,” she says, smiling. Tentatively, I ask if she’s had therapy, and she answers easefully. “I haven’t had any therapy for the last four years, but you’re speaking to somebody who spends a

from their bedroom (Taylor-Joy’s made a series of winning appearances on late-night shows via video link); the last properly glamorous thing Taylor-Joy did was attend the premiere for Emma in February of last year, wearing a vintage Bob Mackie beaded wedding gown. She seems grateful, though, that this supernova moment has coincided with a period of necessary retreat. The usual hoopla of stardom is the stuff of the Before Times. Right now she’s mostly just excited to have bought a house in London a stone’s throw from her favorite Indian restaurant. Nonetheless, the world still intrudes. Recently, jet-lagged after a flight to L.A., Taylor-Joy took a dazed and insomniac walk at 4 a.m. Stumbling around, she came face-to-her-ownface with a billboard advertising The Queen’s Gambit. She recounts the progression of her feelings. First: “Oh my God, I’m on a billboard. As an actor for something I care about,

“She’s my muse, you know?” says director Autumn de Wilde. “She’s the muse of quite a few directors.” lot of time dissecting her thoughts. I’m at a point where it’s like, Okay, you know how you deal with this, you just have to sit with it and figure it out until it makes sense.” After Emma was released in February 2020, Taylor-Joy, like many of us, had a lot of time for sitting with things. As lockdown hit and London came to a standstill, the movie’s posters remained on the buses, a moment in time frozen. For many people, it remains the last film they remember seeing in theaters. Once Emma became available to stream, Taylor-Joy says, “I definitely thought, Thank goodness this is something fun that will bring people joy and I’m not playing somebody that’s been kidnapped and sexually abused.” Because yes, she’s done a fair bit of that. Enormous eyes are highly effective instruments for communicating terror, a truth not lost on the innumerable directors who’ve cast Taylor-Joy in horror movies. Plain terror, however, gets boring fast. What distinguishes Taylor-Joy is the living intelligence of her performances. Even in M. Night Shyamalan’s wearisome Split, in which she plays one of three girls held hostage by a man with dissociative identity disorder, she’s the smart one of the trio. While the other two wail, clutch each other, and haplessly fight him—some male directors still love a tearful teenage girl in tight clothes—TaylorJoy’s Casey shrewdly sizes up the situation, deploying logic to try to get them out of the mess. When actors dream of stardom, they most likely don’t fantasize about appearing on Late Night With Seth Meyers

VA N I T Y FA I R

that’s something that you really wanted.” Second: “The surreal aspect of it, of not being able to trust your eyes.” Finally, she took a picture for her mom, turned around, and walked away.

sophistication as it goes, The Queen’s Gambit kicks off in the Kentucky of the mid-1950s, where we meet nine-year-old Beth, newly orphaned after a car accident that appears to have been a suicidal act on her mother’s part. At Methuen Home, a Christian orphanage, small Beth is subjected not just to a crime of a haircut (a loveless pudding-bowl bob) but to daily dosings of tranquilizers. There is solace to be found, however, in the figure of old Mr. Shaibel, the janitor, whom she sees frowning over a mysterious black-and-white board in the basement. “What’s that game called?” asks tiny, watchful Beth. And so it’s begun. Beth’s fateful discovery of chess coincides with her addiction to tranquilizers, which she craftily hoards and gobbles at night, facilitating visions of a giant chessboard on the ceiling above her bed, on which she plots sequences and moves. In this way we’re encouraged to see Beth’s genius and her substance abuse as muddled up together from the start—she is as precocious a player as she is an addict. Soon, teenage Beth, now played by Taylor-Joy with the same “ugly” bangs as her child self (not even this haircut can diminish the spooky symmetry of the face it frames), is trouncing all the boys, soaring to state champion and beyond. How do you make chess, that cerebral and visually nonspectacular affair, enthralling onscreen? The second most powerful weapon in the show’s arsenal is the close-up. The camera hovers with breathy, C O N T I N U E D O N P A G E 8 4 AINING PACE AND

Top by CHANEL; jeans by SLVRLAKE. Throughout: hair products by Pureology Professional Color Care; makeup and nail enamel by Dior.

APRIL 2021

CRAZY RICH EXPAT

Prosecutors have brought charges—for failing to establish an anti-money-laundering program—against BitMEX cofounder Arthur Hayes, shown here in Singapore in 2018.

VA N I T Y FA I R

ARTHUR HAYES created a

cryptocurrency exchange that has traded trillions. Now he’s wanted by U.S. authorities, and insiders wonder whether he and his partners are villains—or victims of a two-tiered justice system that favors big banks over brash outsiders By Adam Ciralsky Photographs by Adam Ferguson

The Rise and Fall of a Bitcoin Billionaire APRIL 2021

Arthur Hayes lives large. Like Bobby Axelrod in Billions large. Just replace New York with Hong Kong and infuse it with a dose of Silicon Valley—where unicorns spring from the minds of irrepressible company founders—and, well, you get the picture. One minute Hayes is hitting the powder in Hokkaido, the next he’s crushing it on a subterranean squash court in Central—Hong Kong’s Wall Street. And all the while he keeps one eye trained on an obscure-sounding currency exchange that he built out of thin air and through which more than $3 trillion has flowed. Screen-star handsome and fabulously wealthy, the African American banker turned maverick personifies the contemporary fintech pioneer. But the feds describe Hayes differently: a wanted man who “flouted” the law by operating in the “shadows of the financial markets.” Hayes’s indictment was unsealed in October, and he remains at large in Asia as prosecutors in New York hope to arrest him and try him on two felony counts, which carry a possible penalty of 10 years in prison. This is a tale of new money versus old, financial whiz kids upstaging banking’s old guard, and American authorities attempting to apply 20th-century laws to 21st-century innovation. Prosecutors allege that Hayes and his business partners violated the Bank Secrecy Act by failing to implement and maintain an adequate anti-money-laundering program—to weed out bad actors and dirty money. Meanwhile, Hayes’s colleagues in the cryptocurrency world believe he is being punished for building an ingenious product that has baffled lawmakers, bedeviled regulators, and—once it became wildly popular—posed a threat to some of the market’s biggest players. Adding to the chorus of voices are some high-powered legal experts who consider the case United States of America v. Arthur Hayes to be largely unprecedented. At a time when the SEC is seemingly doing the bidding of Wall Street titans—eager to punish the unwashed masses of day traders for scuttling banks’ and hedge funds’ trading positions on GameStop and other stocks—Hayes might just be patient zero when it comes to exposing the hypocrisy in high finance that is now coming into sharp relief.

THE CRYPTO GOLD RUSH Hayes, 35, went silent in October. But the crypto condor has not always been so elusive. Born to middle-class parents who worked for General Motors and were beholden to the everchanging fortunes of the auto giant, he split his formative years between Detroit and Buffalo, where his mother, Barbara, 44

VA N I T Y FA I R

moved mountains to get her gifted son into Nichols School, a leafy private institution founded in 1892. “He succeeded at everything, from his studies [to] the sports field, to making lasting friendships,” reads a testimony, featuring Barbara, on one of the fundraising pages of the school’s website. “Nichols gave him the setting, the stimulation, and at one point, the scholarship to thrive.” Hayes, in return, has given back: underwriting a scholarship that ensures “a deserving student will be able to experience the excellence of a Nichols education and the lifelong benefits it brings.” After attending the Wharton School of business, he headed off to Hong Kong, where he worked at Deutsche Bank and Citibank as a market maker for exchange-traded funds, or ETFs—hybrid securities that, not unlike mutual funds, diversify an investor’s risk but can be traded like stocks. Hayes was just hitting his stride when a pink slip arrived in May 2013. “Bankers tell you everybody has a bullet with their name on it,” he explained one afternoon over tea at the Marina Bay Sands in Singapore—the iconic hotel featured in the finale of Crazy Rich Asians. He was wearing his standard attire: skintight T-shirt, jeans, and a pricey timepiece (a Hublot Big Bang). “I wasn’t married, had no kids, no obligations. I had been an investment banker, so I wasn’t sleeping on the streets. I wanted to build something.” (I interviewed Hayes and some of his cohorts in Hong Kong, Singapore, and New York in 2018 and 2019. Since the October indictment, I have spoken at length with insiders who know and are in communication with Hayes and his two indicted business partners, Ben Delo and Sam Reed. A number of these sources requested anonymity so as not to prejudice pending legal proceedings; on the advice of counsel, Hayes, Delo, and Reed opted not to comment for this story.) But back to that pink slip. Eight years ago Hayes, out of a job, decided to go solo, combining his knack for designing novel financial instruments with a newfound passion: cryptocurrency. Specifically, Bitcoin. Cryptocurrency, it bears repeating, is a digital form of payment and a method for storing value. It relies on a secure, decentralized ledger—called a blockchain—to record transactions, manage the issuance of new “coins” or “tokens,” and prevent fraud and counterfeiting. Though there are thousands of such currencies, Bitcoin is by far the most durable, despite having a dubious backstory involving an enigmatic creator named Satoshi Nakamoto, whose existence and identity have never been established. Bitcoin’s blockchain was designed so that only 21 million “virtual coins” could ever be “mined.” That kind of verifiable scarcity—in contrast with the tendency of the world’s central bankers to print money, whether in a pandemic or whenever it is politically expedient— has contributed to the currency’s precipitous rise in price, from less than a penny in 2009 to more than $54,000 in February 2021. In 2020 alone the coin rose more than 300 percent in value. At first Hayes was a nobody among crypto’s dank sea of tax evaders, drug dealers, arms traffickers, child pornographers, contrarian libertarians, and wanker bankers pining for a return to the gold standard. They were united by their disenchantment with old-school banking and its laggardly pace, onerous verification requirements for opening accounts and moving money, and a sense that the relationship between big finance and big government had become entirely too cozy. In their view, governments, starting with the U.S. and rippling outward, believed and acted as though they had a monopoly on money and resisted the crypto

uprising, in which people were investing in reputedly anonymous digital assets to make a profit, hide their wealth, flip off the establishment, or some combination thereof. The crypto gold rush initially attracted three types of players: visionaries with gold-plated résumés, boiler room sharks who could recite just enough buzzwords to B.S. their way through a capital raise, and the inevitable parasites who latch on and try to feed off the others. Not surprisingly, Hayes ran with the smart set. “I bought my first Bitcoin from Arthur in 2013,” recalled Jehan Chu, a New Jersey native who followed a circuitous route to the Pacific Rim. While an undergrad at Johns Hopkins, he taught himself how to code just in time for the first dot-com boom, in the late 1990s. After he’d worked at a small web development shop in New York, Sotheby’s came calling, looking to Chu to help the auction house grow its digital presence. “We famously sold the Declaration of Independence in 2000,” he exclaimed, referring to one of the last remaining copies in private hands. After the $8.14 million transaction, the online market dipped, and Chu moved to Hong Kong to help Sotheby’s cater to ultra-rich Asian clients, many of whom had a seemingly insatiable appetite for art and artifacts. In his spare time Chu organized brainstorming sessions for enthusiasts of digital currencies. What started with five people at a smoky bar in Sheung Wan, however, quickly grew into a community of thousands. By 2016, he told me, Chu had “turned his compulsion into a career,” establishing Kenetic, a venture capital firm that trades crypto and has invested in more than 150 companies. Meanwhile, he watched in amazement as his friend Hayes took the crypto world by storm, going from an artisanal trader to an industry titan. Arthur Hayes started small, with arbitrage: buying Bitcoin in one market and then selling it at a premium in another. Things were humming along until October 2013, when he had problems accessing coins he had sent to Mt. Gox, a Tokyo-based Bitcoin exchange that helped patrons convert their holdings into “fiat money”—traditional legal tender such as the dollar, euro, pound, or yuan. In early 2014, Mt. Gox declared that hackers had stolen nearly $500 million from its coffers. Unlike most other

back over the border carrying legal amounts [of cash].” It was a neat trick and relatively lucrative. But the real-world hazards of schlepping real money across international borders got him thinking: Why not build an online exchange where people could really profit from their Bitcoin by using derivatives? (A derivative is a financial contract whose value is based on the performance of an agreed-upon underlying asset—in this case, cryptocurrency.) It was an idea that would require serious technological chops—not only to build, but to persuade a deeply skeptical crypto community that Hayes had solved for the security and accounting lapses that had plagued earlier exchanges.

BITCOIN AND BEER In January 2014, Hayes arranged a meeting at a swank rooftop watering hole with Ben Delo, a brainy British mathematician and programmer whose classmates at Oxford reportedly voted him the most likely to become a millionaire—and the second most likely to wind up in prison. After graduating in 2005, he worked for IBM, two hedge funds, and, after moving to Hong Kong, JPMorgan. When Hayes and Delo got together, little about them suggested they would storm the ramparts. On paper both had establishment C.V.s: elite educations and stints at blue-chip companies. Yet each was an outlier. Hayes, the scholarly son of autoworkers, had forsaken the regimented and highly regulated world of investment banking for crypto’s Wild West, where rules were made on the fly and regulations were few. Delo, according to Sir Jonathan Bate, provost of Oxford’s Worcester College, “overcame great difficulties in his school career to win a place at Oxford from a local state school.” In fact, as the child of a civil engineer father and schoolteacher mother, he was expelled from three grade schools before he was diagnosed with Asperger’s. At Oxford, where he double majored in math and computer science, he earned what the Brits call a double first, graduating with a perfect GPA in both subjects.

Ever eager to make a statement, the firm kitted out its office with an accessory none of those stodgy legacy companies had: a large aquarium inhabited, appropriately enough, by live sharks. depositors—some 24,000—Hayes managed to get his money out and in the process learned an important lesson: Exchanges constitute a single point of failure in the otherwise secure Bitcoin ecosystem. Mt. Gox might have been the most infamous such hack, but dozens of exchanges have been hit, and untold billions—in Bitcoin and other cryptocurrencies—have vanished. Hayes, however, decided to take his money elsewhere. When he heard Bitcoin was trading significantly higher on the Chinese mainland, he bought a bundle, transferred the coins to an exchange in China, and swapped them for yuan—literally lugging around a backpack containing stacks of banknotes. “Over a period of days,” he recounted, “I physically crossed the border by bus to Shenzhen with some friends, had lunch, and came

As the pair mapped out what it would take to turn Hayes’s vision into reality, Delo—an expert in the back-office work of designing complex algorithms and high-speed trading systems—said they needed a front-end web developer to handle the consumer-facing side of things. Hayes knew just the guy, a young American coder and tech evangelist named Sam Reed, whom Hayes had met after a speech Reed had given in which he’d warned his aspiring-techie audience not to join start-ups, whose owners often exploited and stiffed their coders. When Hayes pitched Reed on his idea for a Bitcoin derivatives exchange, Reed, disregarding his own advice, signed on immediately. The youngest of three boys, Reed had grown up in Manitowoc, Wisconsin. His father had been a network administrator for the APRIL 2021

Air Force, and his mother worked as a newspaper editor. There were plenty of old computers lying around the Reed household, and Sam managed to get them working. By age 12 he had a paying gig: debugging and repairing P.C.s for friends and neighbors. Reed was much younger than Hayes and Delo, yet he had been at the crypto game the longest. By 2009, his senior year at Washington and Lee, the self-described “Bitcoin hipster” was mining Bitcoin on his laptop at a time when the currency was next to worthless. Reed racked up roughly 100 Bitcoins along the way, but in the process of reformatting a hard drive accidentally erased the private keys required to access them, rendering his cache untouchable. (Today those coins would be worth $5.4 million.)

friend Jehan Chu compared BitMEX to the NASDAQ—“if the NASDAQ was located in Las Vegas.” When pressed about the potentially catastrophic downside of letting people trade so much on margin, Chu insisted that personal responsibility has always been central to the crypto ethos. “You put on 100x? Make sure you read the fine print. Mommy’s not here to make sure you don’t fall off the skateboard.” Hartej Singh Sawhney is another one of the colorful characters in the American expat crypto circle. With a turban made, in his words, from “secret fabric,” and an eponymous line of clothing—which he describes as Burning Man by way of Punjab—the first-generation Sikh American began hosting Bitcoin meetups a decade ago in Vegas, where early attendees included

“Read the fine print. Mommy’s not here to make sure you don’t fall off the skateboard.” Reed was less institutional and more peripatetic than Hayes and Delo. He worked for a large defense contractor, found the corporate world suffocating, and bided his time at a couple of start-ups and freelance gigs before finding his way to Hong Kong in 2013. In an online career forum with his alma mater—taped while sitting in a hut in Thailand—Reed shared crypto-business tips. Among his insights: “In a gold rush, you don’t want to mine the gold. You want to sell the shovels.” At one point Reed remarked that he’d been toying with the idea of building an online exchange to trade cryptocurrencies, explaining his rationale: “If you can cut the banks out, you cut most of the complexity out. You cut out a lot of where U.S. law kind of gets involved with [anti-money-laundering], know-yourcustomer, KYC, kind of stuff, and you get rid of a lot of the fraud because all this, you know, internet money is actually verifiable, you know, by design.” Hayes, Delo, and Reed began working in earnest on what they termed the Bitcoin Mercantile Exchange, or BitMEX. Hayes was the CEO, Delo the COO, and Reed the CTO (chief technology officer). As buttoned down as those titles sound, BitMEX, at first, was just three dudes with laptops working out of a Starbucks at Jardine House, a ’70s-era Hong Kong skyscraper adorned with porthole windows. At night they’d retreat to Hayes’s apartment with beers from 7-Eleven.

“A SOPHISTICATED CASINO” BitMEX was billed as “a peer-to-peer trading platform that offers leveraged contracts that are bought and sold in Bitcoin.” It allowed users to effectively bet on the currency’s future price with leverage of up to a dizzying 100 to 1. Translation: A customer with $10,000 in a BitMEX account could seamlessly execute a trade worth a cool $1 million. The lure of the exchange lay in the fact that people could make big money by putting in relatively modest crypto seed money. In a blog entry on the BitMEX site, Hayes mused, “Trading without leverage is like driving a Lamborghini in first gear: you know it’s safer, but that’s not why you bought it.” His 46

VA N I T Y FA I R

aspiring magicians and poker players. Now based in Kiev—which he contends is far more hospitable to digital currencies than the United States—he helps build and secure blockchain companies. Sawhney has been sympathetic to BitMEX’s business model, insisting, “They are running a pretty sophisticated casino environment. But I’m a free-market guy. In my book BitMEX should be able to put up whatever. Their terms are very clear.” The birth of BitMEX six years ago was perfectly timed—yet dangerously fraught. In the eyes of U.S. authorities, Bitcoin was then transitioning from being the favored currency of bad actors (exemplified by the 2013 takedown of Silk Road, the notorious black market for drugs and guns for hire) to being an investment-grade asset that institutional players were starting to buy as a safeguard against inflation—and for its promise of outsize returns. Hayes, Delo, and Reed were in the catbird seat and began to accumulate serious wealth. (All three are billionaires, according to sources familiar with their finances.) At the same time, though, they were outsiders, suddenly playing in an arena that insiders were looking to co-opt. Their high-speed, highly leveraged offerings hearkened back to the kinds of potentially toxic financial instruments that would eventually draw scrutiny from regulators—and later generate laughs in Adam McKay’s 2015 film, The Big Short, based on the Michael Lewis best seller. (Remember synthetic collateralized debt obligations?) For all its upside, BitMEX came with a vertiginous risk. “This stuff is happening very, very fast—it didn’t exist 10 years ago,” explained J. Christopher Giancarlo, who served at the powerful Commodity Futures Trading Commission under President Obama and later as the CFTC chairman under President Trump. “Regulation always follows innovation, and sometimes, in democracies, it follows a little further behind other jurisdictions.” For years Giancarlo pressed Congress to enact a comprehensive regulatory framework to cover the crypto sphere. Instead, legislators have relied on laws from the 1930s—the Securities Exchange Act and Commodity Exchange Act—which were later amended in the wake of the 2008 financial crisis. Even so, the rules remain woefully outdated. And so regulators, according to Giancarlo, must determine how pioneering platforms—like Hayes’s—are regulated, if at all. “There are

something like 8,000 [new instruments] that have been identified,” he said. In each case regulators have to ask, “[Do they] fall on [CFTC’s] side of the ledger, the SEC’s side of the ledger, or nobody’s side of the ledger?”

MAGICAL THINKING Understanding what BitMEX was selling is perhaps less important than whom the company was selling to. In our early conversations Hayes insisted that BitMEX was careful to have “no American customers” and that technological barriers, such as blocking U.S. I.P. addresses, kept American clients off the platform—and stateside regulators at bay. But U.S. officials said that wasn’t the case. It did not escape their attention that BitMEX had plenty of American depositors, many of whom disguised their location by using virtual private network software. They were flocking to BitMEX by the thousands. And even though Hayes is a product of the banking establishment, where whole departments are dedicated to enforcing antimoney-laundering and know-your-customer requirements, his immersion into the deeply libertarian world of crypto seems to have blinded him to certain realities. Among them: U.S.

BLOCKCHAIN BRAIN

Jehan Chu, who established the Kenetic venture capital firm and bought his first Bitcoin from Hayes, at a Singapore hotel during a cryptocurrency conference in 2018.

authorities have wide reach, long memories, and an affinity for knocking people down to size—especially brash upstarts. “Arthur is an iconoclast,” his friend Meltem Demirors contended. “He’s not afraid to be controversial, and, you know, history is not kind to these people.” As chief strategy officer of CoinShares, a digital-asset investment firm, Demirors has been dubbed the Sheryl Sandberg of crypto, which sounds like a reductionist label created by those she terms “pseudointellectual fuckboys.” Demirors was born in the Netherlands to Turkish parents, moved to the U.S. when she was 10, and studied math and economics at Rice. She got her MBA at MIT, where she has taught fintech and blockchain strategy, specialties she later brought to students at Oxford. It is not hard to see why Hayes and Demirors became friends—and kindred spirits. “I feel like an outsider,” she remarked, “in the sense that I’m female, I’m not funded by Silicon Valley, my mommy and daddy aren’t rich…. I don’t have the same background as many people in APRIL 2021

this industry, and when I walk into rooms, people still raise their eyebrows.” The same could be said of Hayes, who, as Demirors sees it, “didn’t have famous venture capital backers. He didn’t have the advantages that other people had.” Hayes’s original sin might be that he refused to play the game. “He didn’t care about the charade and the optics and the bullshit and Silicon Valley and the think tanks—all the stupid shit you do for prestige. He just didn’t care…. Sometimes people’s greatest qualities are also their biggest downfall.” BitMEX incorporated in the Seychelles, a move that allowed the start-up to move fast and minimize its tax exposure while Western governments struggled to even understand—much less create a way to govern—the newfangled financial instruments

however, worked in their favor: Reed and Delo, in signature start-up fashion, took turns being “on call,” addressing customer support issues 24/7. The company’s fortunes changed when, in late 2015, it started offering customers 100x—five times as much leverage as its closest competitor. Political volatility the following year, with Brexit and the election of Trump, increased crypto’s trading volume. Come 2017, BitMEX had to bring on 30 employees to cope with the explosion in trading. The firm moved into new office space, which it would soon outgrow. By 2018, BitMEX had become a high-stakes bazaar, moving billions every day. During one of our meetings, Hayes commented, “We are the biggest trading platform in the world, by volume.

CRYPTO TRIO

That’s anyone who trades a crypto product.” BitMEX, he said, was one of the “most liquid exchange[s] in the world, regardless of asset class.” By that measure it was in the same league as the NASDAQ as well as the New York, London, and Tokyo stock exchanges. Within four short years Hayes’s scrappy casino had become, in gambling terms, the house. (Since the indictment was unsealed in October, BitMEX has taken a huge hit; its market share and trading volume have dropped precipitously.)

The billionaire cofounders of BitMEX, who are now under federal indictment: Ben Delo, at company headquarters in Hong Kong, 2019; Hayes, Sam Reed, and Delo in Dublin, 2014; Reed on his laptop in Croatia on the day the firm began trading, 2014.

and market it was building. In a 2015 investor presentation, Hayes made the point that “Bitcoin derivatives are completely unregulated worldwide…. Regulators are still trying to tackle the exchanging of fiat and Bitcoin.” That might have been magical thinking. “There were no rules in the beginning, and [governments] weren’t interested in articulating the rules,” Chu remembered. “You would go to [them] and ask for guidance and get nothing. ‘Is this illegal?’ No answer.” It was only after the fact, he said, that cryptic strictures emerged to police crypto—usually in response to some infraction that had not been previously articulated by regulators. But where Chu saw chaos, Hayes saw opportunity. For nearly a year after its launch, BitMEX’s business was flat. “Some days we had no trades,” Hayes remembered. “No one bought or sold.” The fees from trading on the platform barely covered the server bill, which Reed paid with his credit card. While Hayes and Delo stayed in Hong Kong, Reed got married and moved back to the States, settling in Milwaukee, where he operated out of coworking space. The time zone difference, 48

VA N I T Y FA I R

SHARKS AND LAMBOS In May 2018, on the opening day of Consensus—the crypto world’s equivalent of the Consumer Electronics Show—Hayes pulled up to the Hilton in midtown Manhattan in an orange Lamborghini and tweeted: “Did you see my ride today at #Consensus2018 ?” A close friend insisted he was simply lampooning the thousands of attendees gathered inside the hotel—investors who talked a big game about cashing in on crypto, but who had really only succeeded in burning through millions in venture capital on harebrained schemes and ICOs (initial coin offerings). Still, looking back, the Lambo gambit might well have been the moment, more than any other, when Hayes painted a bull’s-eye on his back.

True, the firm’s partners had differing approaches to their images and their booming business. Hayes, who didn’t mind ruffling feathers, reveled in the role of financial renegade. Reed kept an extremely low profile, a secret billionaire (on paper) walking the streets of Milwaukee. Delo, however, seemed to hunger for mainstream acceptance. When BitMEX was declared the world’s largest cryptocurrency exchange in 2018, a string of British newspapers dubbed him “the U.K.’s youngest self-made billionaire.” That October he donated 5 million British pounds to Oxford’s Worcester College and a few months later signed the Giving Pledge, designed by Bill and Melinda Gates and Warren Buffett as “an open invitation for billionaires…to publicly commit to giving the majority of their wealth to philanthropy.” In a letter explaining his decision, he wrote, “As a schoolboy in Britain aged 16, I was asked to list my ambitions for the future. I answered concisely: ‘Computer programmer. Internet entrepreneur. Millionaire.’ I have been incredibly fortunate to exceed those goals, and I’m grateful to be in a position to sign this pledge.” Two years ago BitMEX leased the 45th floor of Cheung Kong Center, the most expensive real estate in Hong Kong and home to Goldman Sachs, Barclays, Bloomberg, and Bank of America. Hayes, Delo, and Reed were literally moving in on the establishment. But ever eager to make a statement, BitMEX kitted out its office with an accessory none of those stodgy legacy companies had: a large aquarium inhabited, appropriately enough, by live sharks.

THE TANGLE IN TAIPEI By the summer of 2019, the amount of money moving through BitMEX was staggering. On June 27, the company announced it had set a new daily record, trading $16 billion. Two days later Hayes tweeted: “One Trillion Dollars traded in a year; the stats don’t lie. BitMEX ain’t nothing to fucking [sic] with. @Nouriel I’ll see you on Wednesday.” The man he was tweeting at was Nouriel Roubini, a respected NYU economics professor—and BitMEX’s fiercest critic. Dubbed Dr. Doom—for having predicted the 2007 subprime mortgage crisis as well as the stock market plunge and global recession that followed—Roubini had sat on President Clinton’s Council of Economic Advisers and served at the Treasury Department, the International Monetary Fund, and the World Bank. In other words, he was about as establishment as Hayes was not. On July 3, the pair faced off onstage at the Asia Blockchain Summit in what was publicized as “the Tangle in Taipei,” taking their seats as the theme from Rocky blared overhead. The professor spoke first and went straight for the jugular: “Shitty behavior occurs in this particular industry—con men, criminals, scammers, snake oil salesmen, and so on. Next to me is a gentleman who works with degenerate gamblers and retail suckers, nonaccredited investors.” Roubini didn’t hold back. “There’s a whole nice Twitter feed called BitMEX Rekt—rekt

means ‘fucked in the ass’—where every other second somebody has been liquidated by these guys, and thousands of them have gone into financial ruin.” He accused the company of bucking regulations, insisting that with BitMEX, “everybody gets rekt,” with the exception of Hayes and his colleagues, who, Roubini said, reap commissions and fees and maintain a liquidation fund that profits off of people going bankrupt. Hayes countered with what about–ism: “BitMEX. One hundred times leverage. So what? You could trade this type of leverage anywhere you want to go. In the United States we have things called [exchange-traded funds—ETFs]. There was a great one…and it was [based on the idea of] short volatility. A one-day spike in February 2018—in the most highly regulated financial market in the world, highly liquid, and all these nice banks, people with suits on, went to nice universities, and your ETF went to fucking zero. Rekt!” It was a curious line of argument for someone who got his start in finance by building and pushing ETFs. Hayes, in fact, had many fans in the auditorium that day, people who believed that he, like Facebook’s Mark Zuckerberg, had created an entire marketplace from scratch, an influential, secure, and highly profitable platform that people had never known they needed. As Hayes spoke, though, other parallels with Zuckerberg were unmistakable: the arrogance, the disdain for authority, and the tone deafness that veered toward self-sabotage. All of it was on display in Taipei. When the moderator questioned BitMEX’s decision to register in the Seychelles, where, it was suggested, there are no regulations, Hayes went off: “Maybe the U.S.-centric Roubini thinks the New York [Department of Financial Services] and New York [attorney general] is the only game in town and we need to, you know, bow down and take an ass fucking from the U.S. government just because it’s regulated. Now, I don’t know. That’s really not my game.” When asked if he might concede that U.S. and European regulatory authorities are on a slightly different plane than those in the Seychelles, Hayes remarked, “It just costs more to bribe them.” And how much was Hayes paying to bribe the Seychelles authorities? His answer: “a coconut.” A few weeks later Dr. Doom blasted back with a scathing op-ed titled “The Great Crypto Heist.” In it he raised red flags about systematic illegality in offshore exchanges. Still fuming from Taipei, he trained his ire on BitMEX and its CEO, accusing them of sketchy business practices, such as using an internal for-profit trading desk to front-run their own clients and deriving up to half of their profits from liquidations—the suggestion being that BitMEX is highly incentivized to screw over the very people who trade on the platform. Then Roubini went for the kill shot: “BitMEX insiders revealed to me that this exchange is also used daily for money laundering on a massive scale by terrorists and other criminals from Russia, Iran, and elsewhere; the exchange does nothing to stop this, as it profits from these transactions.” He closed by shaming regulators who he said “have been asleep at the wheel as the crypto cancer has metastasized.” Demirors had a more charitable view of the tussle in Taipei: “That’s an example of [Arthur] being a showman and creating a scene and understanding, you know, the economics of attention.” She marveled at how total strangers—even those who got rekt on BitMEX—would approach Hayes on the street and want to give him a hug. “For so C O N T I N U E D O N P A G E 8 5 APRIL 2021

THE

ASKING FOR TROUBLE

Ziwe lounges at New York City’s Beekman Hotel.

Dress and boots by LANVIN; jewelry by David Webb.

ELVET

HAMMER Writer-performer ZIWE has perfected the art of putting people on the spot in her web series, Baited. Now she’s bringing that same fearless energy to television. She tells Yohana Desta how she plans to upend late night

Photographs by KENNEDI CARTER

Styled by N I C O L E C H A P O T E AU

APRIL 2021

I talk to Ziwe, she’s ready to take on late night but not entirely sure how. “Hopefully we have explosions, confetti cannons, and dancers,” she says. Weeks later, she calls back to say a plan has emerged: The set of her forthcoming Showtime series, Ziwe, will be a pink wonderland, “like Barbie’s Dreamhouse.” Ziwe will dress more like a doll than a typical variety show host, an aesthetic send-up of the suits, ties, and skylines that have dominated the genre for decades. When it premieres May 9, Ziwe will be less Late Show and more The Eric Andre Show, a variety series that wants to lob a firecracker at the system. “You know how they say in theater, never bring a dog or baby onstage because you don’t know what they’ll do?” Ziwe says. “Well, I love dogs and I love babies.” The 29-year-old mononymic Nigerian American comedian, who’s calling from her Brooklyn apartment, has already produced two versions of Ziwe on her own—first on YouTube, then on Instagram. Both focused on Ziwe as she asked a series of (usually white) guests confrontational questions about race. On YouTube, those guests tended to be fellow comedians. But the pandemic-born Instagram Live version matched the Desus & Mero writer with figures like cookbook author Alison Roman and influencer Caroline Calloway, shortly after each found herself swimming in the waters of cancellation. Viewers watched rapt as Ziwe asked Calloway to identify Black icons like Marcus Garvey (“Never heard of him”) and Huey P. Newton (“Is THE FIRST TIME

VA N I T Y FA I R

H A I R , L AT I S H A C H O N G ; M A K E U P , F R A N K B . ; TA I LO R , M A R I A D E L G R E C O ; C A K E S A N D F O O D S T Y L I N G , J E N N E H K A I K A I / P E L A H K I T C H E N ; P R O D U C E D O N LO C AT I O N B Y R O B E R T O S O S A ; F O R D E TA I L S , G O T O V F. C O M / C R E D I T S .

he…a poet of the Harlem Renaissance?”). Soon, thousands were tuning in weekly to see her guests squirm over deceptively simple questions (“How many Black friends do you have?”) that forced them to acknowledge their own biases. Even her viewers had to wonder how well they’d fare under the same microscope. Baited With Ziwe, as it was originally called, wasn’t on TV, but it became the show of the summer anyway, drawing bigger-name guests like Rose McGowan, Alyssa Milano, and the Tony-nominated playwright Jeremy O. Harris. Fans started tagging Ziwe on social media whenever the rich and famous sparked uncomfortable headlines—a not uncommon occurrence—and the host herself reached out to potential interviewees like J.K. Rowling and Jameela Jamil with a signature Twitter summons: “Would you be interested in an interview on my Instagram Live? You’d be an iconic guest.” “I’m really appreciative that people are paying attention to the work that I’ve been doing for a while,” Ziwe says, “because I remember when no one was paying attention.” The Instagram show begat a book deal: a forthcoming collection of essays titled The Book of Ziwe. Then Showtime and A24 announced the late-night Ziwe, which began filming in February. It’s the first time that Ziwe, who cut her teeth interning for Stephen Colbert and writing for Robin Thede, will star in her own series—and she got the call while producing content from her couch. “It’s honestly wild,” she says. “I really don’t leave. There’s a pandemic. I’m not going to glamorous parties.” Ziwe and four staffers (Cole Escola, Jamund Washington, Jordan Mendoza, and Michelle Davis) are writing the series, with each episode revolving around a different theme: allyship, immigration, beauty standards, wealth. There will be two guest interviews as well as sketches and musical performances, with a twist: “I’m a musical guest every episode,” Ziwe says. That’s not a joke: She’s got the chops. She spent

AN ICONIC HOST

From YouTube to Instagram Live to Showtime, Ziwe’s kept the core concept of her show intact.

Clothing by Bottega Veneta; gloves by Carolina Amato; necklace by CHANEL; ring by David Webb; cushions by GUCCI; teapot and sugar bowl by Ginori 1735.

APRIL 2021

“The COMEDY that I try to make TALKS ABOUT the BATTLES that we’re fighting.”

IN THE HOT SEAT

The comedian never met a pointed question—or an uncomfortable one—she didn’t like. 54

VA N I T Y FA I R

Dress by LOEWE; earrings by Irene Neuwirth. Opposite: clothing by Miu Miu; shoes by Giuseppe Zanotti; earrings by MATEO. Throughout: hair products by Bumble and Bumble; makeup by Clé de Peau Beauté.

years writing and performing comedic pop songs with titles like “Make It Clap for Democracy.” She’ll also perform new material on the show, aided by comedian Patti Harrison. The suburban Massachusetts native born Ziwe Fumudoh—she doesn’t use her last name professionally—says she wasn’t expected to take this particular path: “I didn’t grow up with comedy nerd parents who watched the Late Show With David Letterman. My parents are immigrants. That wasn’t the vibe. We watched TV Land.” Ziwe attended predominantly white schools and later enrolled at Northwestern University to major in radio/television/film and African

American studies. Trayvon Martin’s death marked a critical turning point in the way she thought about race. “I don’t know how you can listen to [the 911] call and think anything other than this kid was murdered in cold blood,” she says. “My friends from high school were reacting in the opposite way. They were like, ‘Well, stand your ground. What can you do?’ ” Ziwe’s work explores this disconnect. “Race permeates every aspect of our lives,” she says. “The comedy that I try to make talks about the battles that we’re fighting, and how we have to open our eyes and really unlearn all these racial biases if we want to succeed and grow as a country.”

The comedian’s been working simultaneously on the show and her book. When she needs a break, she turns to Real Housewives or documentaries. (“I love to learn passively.”) She’s also been reading about outré comedian Andy Kaufman, someone Baited observers keep comparing her to. “Some people have described my comedy as [being] on the precipice of trolling,” Ziwe says. She’s comfortable with that notion, though it makes her want to dig deeper: Can one troll artfully? Can the notion of provocation itself be subverted? She’s thinking about asking those who drew the comparisons in the first place. Don’t worry, though. She just has a few simple questions. Q

APRIL 2021

INTELLIGENT DESIGN

FOR DECADES, YVES BÉHAR HAS BLENDED SWISS AESTHETICS WITH CALIFORNIA TECHNOLOGY IN HIS HUMANIST DESIGNS. NOW, HE’S DOUBLING DOWN ON HIS MISSION TO BUILD A BETTER FUTURE

By MARK ROZZO

Photograph by KATY GRANNAN

VA N I T Y FA I R

APRIL 2021

ONE SUNNY AFTERNOON 14 YEARS AGO, I WENT UP TO VISIT THE PRODUCT DESIGNER YVES BÉHAR AT HIS WEEKEND PLACE ON THE NORTHERN CALIFORNIA COAST. The house, which Béhar still owns, sits atop a bluff; from a patch of lawn you can watch the Pacific surf coming in below, as we did that day, one perfect set after another. Béhar, who turned 40 that year, kept one eye on the waves as we sipped beers and talked about his latest projects. He is a guy who in many ways seems most comfortable in a wetsuit—a Swiss-born adopter of California’s national pastime, which he has taken up with a

convert’s zeal. In conversation, Béhar melds European formality with Golden State cool, a duality mirrored in his elegantly exuberant work, which has run the gamut from tech devices to office furniture to electric motorcycles to remote-controlled crystal chandeliers to prefab houses. As we sat and watched the crashing waves, a trio of schoolage neighborhood kids ambled into the yard. They were drawn to a peculiar green-and-white object Béhar held in his hands. It was the XO Laptop, one of his recent designs and the centerpiece of the One Laptop Per Child program instigated by Nicholas Negroponte at MIT’s Media Lab, a massive initiative to bring educational technology to kids in the developing world. The device was achieving fame as the “$100 laptop,” based on its projected (and ultimately elusive) price point; the New York Times called it “the laptop that will save the world.” With its Lilliputian seven-and-a-half-inch screen, twin earlike Wi-Fi antennas, rounded edges, and robust slate of games and activities, the XO reminded me of something that might have sprung from the imaginations of Sid and Marty Krofft. Béhar—who, with his tousle of blond hair, resembles Antoine de SaintExupéry’s Little Prince (the hero of a book that enchanted him as a boy)—handed the little machine to the three kids. They toggled through its features with frequent exclamations of “whoa!,” making it clear that this laptop was as kid-friendly as it was serious: an innovative, perhaps even revolutionary object you couldn’t keep your hands off of. Béhar will turn 54 in May. He has made a career out of designs that are as irresistible as they are visionary, and which have the power to ripple through entire product categories or to create new ones altogether. The One Laptop Per Child, or OLPC,

VA N I T Y FA I R

S AY L C H A I R : C O U R T E S Y O F H E R M A N M I L L E R . A L L O T H E R P R O D U C T S : C O U R T E S Y O F F U S E P R O J E C T.

helped drive the emergence of low-price laptops for educational purposes, the category that includes Chromebooks and the like. It also drove Béhar’s reputation, making him the most high-profile product designer in America, along with Apple’s former chief design officer, Jony Ive. (Béhar’s Jawbone Bluetooth earpiece was sold alongside the original iPhone.) Like Ive, Béhar’s work is virtually synonymous with Silicon Valley. Unlike Ive, Béhar has never professed in-house fealty to a corporate patron. Since founding his trailblazing San Francisco design studio, Fuseproject, in 1999, Béhar has taken on clients from all over: Nike, Herman Miller, Birkenstock, Mini Cooper, Movado, Nivea, L’Oréal, Swarovski, Puma, Kodak, Samsung, on and on. (In 2014, Béhar sold 75 percent of Fuseproject for a reported $46.7 million to the Chinese conglomerate BlueFocus; it took full ownership in 2017, with Béhar as CEO.) He is a pioneer of “venture design,” a business model in which designers partner with start-ups, bypassing traditional payment structures for equity; it has meant more creativity, commitment, and culpability—along with an enhanced risk of failure. He has executed projects of every scale and type, commercial and civic; the New York City Department of Health, for instance, hired him to design condom dispensers and the official condoms they would dispense. There’s no way to reduce Béhar to a trademark style, as you might do with Ive, who cannily applied Bauhaus principles to iPods, iPhones, and MacBooks. (In 2019, Ive left Apple to found the firm LoveFrom with another design superstar, Marc Newson.) “Style doesn’t interest me,” Béhar once told me. Yet each of his projects, from the Leaf desk lamp for Herman Miller to the Jambox Bluetooth speaker to JimmyJane vibrators, bears a Béharian thumbprint—surprising, colorful, and

beguiling, with envelope-pushing three-dimensional form and fluidity, not so much modernistic as futuristic, even utopian. In 2007, with the OLPC rollout, Béhar—who had already garnered solo museum shows and a National Design Award— was anointed a design-world poster boy, a wunderkind, a pop star in a realm that celebrated its heroes at annual fairs such as Design Miami and Milan’s Salone del Mobile, where designers unveil their latest creations amid swarming fans and collectors. Béhar’s pop-star status was confirmed for me one year at Design Miami, when I saw him strolling along in amiable conversation at a garden party with Kanye West. “In terms of where he sits in the design world, he has his own kingdom, basically, and he’s ruling it,” Ambra Medda, the cofounder of Design Miami and the online design marketplace Pamono, told me. David Adjaye, the celebrated Ghanaian British architect, said of Béhar, “He’s a radical thinker and he’s thinking about the future.” Paola Antonelli, the Museum of Modern Art’s senior curator of architecture and design, spoke to the transformative nature of Béhar’s work when she observed that the XO Laptop “has done for humanitarian design what the iPod has done for consumer products—the world will never be the same.” This past winter, I caught up with Béhar, who was spending the season with his family at a house in the Lake Tahoe ski region. “I still like to play some of the games on that,” he said of the XO Laptop, reminiscing over the phone about that afternoon in 2007. I had seen Béhar periodically in the years since, but it was hard not to think about the interval between then and now: an economic meltdown, an unabated climate crisis, political dysfunction, a reckoning with systemic racism, and a

OBJECT PERMANENCE

1. Sayl Chair, for Herman Miller 2. Jawbone UP2 3. NYC Condom Dispenser 4. Leaf Desk Lamp, for Herman Miller 5. ElliQ robot, for Intuition Robotics 6. Jambox Speaker 7. Snoo bassinet 8. Movado Edge 9. XO computer designed for the One Laptop Per Child program 10. JimmyJane Vibrator 11. SodaStream

11 8

9 APRIL 2021

MADE-TO-ORDER

Designed for sustainability and adaptability, Béhar’s LivingHome is a next-gen prefab house with an adjustable layout and smart home technology.

pandemic that made it impossible for us to meet in person, as we had in the past, in San Francisco, Milan, New York, or Miami, when the designer was accustomed to constant motion. There was, too, the fact that the OLPC Foundation had disbanded in 2014, falling short of its goal of blanketing the world with XO Laptops and triggering criticism about the wisdom of applying first-world tech solutions to developing-world problems. Even so, the device did ship to three and a half million children. From the vantage point of 2021, with the migration of classrooms to Zoom, the XO looks downright prescient. In fact, it still looks like a vision of the future. Such visions abound in the whopping monograph Yves Béhar: Designing Ideas, out this spring from Thames & Hudson. It’s a 350-plus-page wonder cabinet crammed with every kind of

electric motorbike (Mission One, for Mission Motors, which set land-speed records) or sustainable packaging (the Clever Little Bag for Puma sneakers) or a robotic bassinet (the Snoo, a recent collaboration with the pediatrician and best-selling author Harvey Karp) and bring it to the market. As a career retrospective, the publication is well-timed. Béhar, after all, is no longer an upstart maverick or radiant idol. He has endured failures, even something of a backlash from the design press, and may be entering the most crucial—and perhaps consequential—phase of his career. In the midst of a global coronavirus shutdown and its attendant doubts, Béhar insisted that his utopic vision remains undimmed. When I asked about his ongoing high-wire act of designing for a future that, by definition, isn’t here yet, he deployed a quote from Pippi

BÉHAR IMMERSED HIMSELF IN SCIENCE FICTION AND FANTASY. “I TENDED TO LIVE IN ALTERNATE WORLDS,” HE SAID.

project, product, initiative, and environment imaginable. You can read it not only as a timeline of Béhar and his two decades with Fuseproject, but of 21st-century design in general, with its preoccupations laid out page by page, from tech to lifestyle to sustainability. The book is unusually conversational (the text is, in fact, a dialogue-like collaboration with the journalist Adam Fisher), an amiable and frank journey into the twists and turns of the design process that provides rare insight into what it takes to create a seltzer machine (SodaStream) or an 60

VA N I T Y FA I R

Longstocking, one that could be a personal motto: “I have never tried that before,” he said, savoring the epigrammatic ring of it, “so I think I should definitely be able to do that.”

hunkered down in Tahoe or at their weekend place on the coast, Béhar and his wife, Sabrina Buell, live on a steeply inclined street in the Cow Hollow district in San Francisco; their house is a minimalist jewel set amid the rows WHEN THEY’RE NOT

FUTURE SIGHT

T H I S PA G E : N E W S T O R Y/ C O U R T E S Y O F F U S E P R O J E C T. O P P O S I T E : L I V I N G H O M E S / P L A N T P R E FA B - Y B 1 , C O U R T E S Y O F F U S E P R O J E C T.

In 2019, Fuseproject, alongside the housing nonprofit New Story and the building-tech company Icon, created 3D-printed houses for a Latin American farming community.

of fanciful Victorian structures, with views of the bay. It’s been featured in Architectural Digest and in Vogue, which said it “may be the highest-tech house in San Francisco.” The energetic Buell—her father is a developer, her late mother was a Mondavi, and her stepmother cofounded the brands Esprit and The North Face—is in her mid-40s. She is a leading West Coast art consultant, one half of the advisory firm Zlot Buell. Their house is dotted with the work of contemporary artists. Robert Longo and Barry McGee are among their favorites; last year, just before the pandemic, Béhar made a pilgrimage to James Turrell’s colossal land-art project Roden Crater, in Arizona. Between Buell’s social and art-world connections and Béhar’s dual immersion in design and tech, they are an indelibly glamorous, if low-key, Bay Area power couple. During the 2016 campaign, they cohosted an event for Hillary Clinton. “Family was always important and grounding for him,” Medda said. For all of the couple’s success, the focus does not stray far from their four children, whom Béhar is known to bounce design ideas off. (The oldest, age 13, is from Béhar’s previous relationship.) He remains close to his parents, who still live in Lausanne, the city on Lac Léman, in Switzerland, where Béhar grew up with two younger brothers. His father, Henry, is a career philatelist, with a small shop dealing in stamps. Antique postage and letters fascinated the young Yves; their intricate designs held human stories: a lesson internalized. His father’s family are Sephardic Jews who, through the centuries, migrated from Spain to Venice to Istanbul, where Henry was raised. Béhar remembers family gatherings where Ladino was still spoken. His mother, Christine, is a translator from Pomerania, a region that straddles Poland and the old East Germany. At age 17 she escaped to the West, eventually finding her way to London, where, in a scenario out of Antonioni’s Blow-Up, she met Henry in a nightclub in 1966. The couple moved to Lausanne. Yves was born in 1967. The young Béhar immersed himself in science fiction and fantasy, absorbing the illustrations in Twenty Thousand Leagues Under the Sea and writing his own stories. “I tended to live in alternate worlds,” he said. In his teens, Yves began sewing his own clothes, making eight-millimeter movies, and taking photographs. He acquired a workbench and started banging together furniture

and contraptions, such as a jury-rigged ski-and-sail apparatus that allowed him to cruise across icy Swiss lakes—“freezing my ass off and going at dangerous crazy speeds,” he said. He gravitated toward punk, loving the humor of it (“I remember laughing as much as grooving to the Dead Kennedys,” he said) but even more the movement’s DIY spirit—you could experiment, explore, make a mess. “It gives us permission to fail and try again,” he said, “without being an expert.” Béhar showed me a photograph of his teen self amid the sweaty crowd at a punk show at La Dolce Vita, a club in Lausanne; he’s easily discernible in the profusion of faces: the blond tousle, the intent, inquisitive expression. The young Béhar yearned to escape Switzerland. “It was a small place,” he said, “and people were not as open to new ideas and new constructs.” His parents weren’t enthusiastic when he announced that he wanted to become an industrial designer, but they allowed him to enroll at the Swiss branch of the Art Center College of Design; in 1990, he transferred to the main campus, in Pasadena. In Southern California, his French accent made him feel like a goober, “fresh off the boat,” so he got rid of it. (Today, there’s a subtle trace of transatlanticism in his plain, general american–accented speech.) In Pasadena, he met artists such as Longo and Keith Haring, designers such as Luigi Colani and Victor Papanek; he fell for the outlandish futurisms of Syd Mead (who designed the movie Blade Runner), the utopianism of Buckminster Fuller, and the everyday good design of Charles and Ray Eames, whose total studio approach—an interdisciplinary mix of furniture, graphics, architecture, photography, filmmaking—was arguably the biggest influence of all. By 1992, Béhar had moved to San Francisco. It was a time when young graduates flocked to the Bay Area to make art, start bands, wait tables, and slack. For the young Swiss, anything-goes San Francisco was a revelation. “It was a mind bend for me,” he said. “It was so antithetical to the culture I had grown up in.” He lived in the Tenderloin and swung through a series of gigs (“It was survival time”), most notably at the Silicon Valley–based Lunar Design and at Hartmut Esslinger’s Frog Design, the firm responsible for developing the so-called Snow White design language for Apple computers in the 1980s. In terms of learning how design and tech might work together, he could not have landed at a better shop. APRIL 2021

Yet Frog Design, Béhar concluded, “seemed counter to the idea of design as an integrated experience”—the Eames dream. After a short-lived partnership with the designer Thomas Meyerhoffer, he established Fuseproject in 1999: “a studio that would fuse the disciplines of design at the service of an idea.” Integration would come before specialization, ideas before products. Béhar also had another fusion in mind: European design and California tech. “I started to understand how technology was going to affect every contemporary human experience,” he said, seeing this as a hinge moment in history, one that could benefit from the humanizing influence of design. (Fuseproject now has more than 75 employees and is based in a graffiti-art-covered building in Potrero Hill.) At the time, Béhar said, European friends and designers looked upon his project with skepticism. America was seen as a design backwater; the era of the Eameses, George Nelson, Eliot Noyes, and Raymond Loewy was long past; advertising and marketing had taken over. Computers and tech gadgets didn’t

need design; they were just what they were. “There was more packaging than design,” Béhar recalled, “meaning wrapping pretty skins around boxes.” The big game was furniture and home goods, centered around legacy Italian manufacturers— Cassina, Cappellini, Kartell, and Alessi. Curiously, some of Fuseproject’s important early clients were from non-tech companies, who were fascinated by Béhar’s tech-design background and his ability to create complex, expressive forms. He designed a provocatively swaying shampoo bottle, of all things, that in 2001 won laurels from the design magazine I.D. “Suddenly,” Béhar said, “we were on the map.”

BÉHAR’S BOLD OPTIMISM was apparent to all; his good looks and

surfer mien did wonders in uptight boardrooms. “There was nothing dark about Yves—ever,” Medda said of her impressions of Béhar as he ascended to star status and became a presence at

STUDIO VISIT

Yves Béhar, working out of the Fuseproject office in San Francisco’s Potrero Hill neighborhood.

VA N I T Y FA I R

design fairs and in the pages of design and lifestyle magazines. “He had these incredible crystal-blue eyes. He looked like an angel who fell from heaven.” And so Béhar became the face of resurgent industrial design in the aughts, a proselytizer for a new golden age. He predicted that companies unwilling to revivify their design DNA would be “left in the dust by companies that do.”

against Béhar’s own dictum, “Good design removes complexity from life.” A 2018 takedown piece in Fast Company derided Béhar’s “oversaturated celebrity.” The contrarian stance was surprising, given that magazine’s role in boosting Béhar’s name recognition with years of glowing coverage. Béhar might be a tall poppy at design fairs, but compared to luminaries in

J O N A S F R E D WA L L K A R L S S O N .

INTEGRATION WOULD COME BEFORE SPECIALIZATION, IDEAS BEFORE PRODUCTS.

“I started to take some of what I had learned about technology and how to integrate technology in products, and apply it in areas that hadn’t seen it,” he said, an early example being his 2003 Birkenstock prototype Learning Shoe, recyclable footwear with embedded computer chips that would allow the company to improve and customize the product based on the wearer’s usage habits. Fuseproject was well situated and conceived to feed off the utopianism, disruption, and sheer money spout of Silicon Valley, and Béhar became a default designer for innovations. But it would be incorrect to assume he’s a Silicon Valley cheerleader. Béhar has positioned himself as a skeptical conscience, using his perch to frame moral imperatives and articulate humanistic positions. He has excoriated social media for trapping users in “echo chambers and emotional deserts” and insisted that designers work “in such a way that we don’t become emotionally addicted to what we create.” Béhar was hired to design equipment for Elizabeth Holmes’s blood-testing start-up, Theranos; when the company’s problems came to light he labeled the enterprise a “fraud,” an unsavory example of Silicon Valley’s rampant “hubris.” He sees artificial intelligence as a huge opportunity, but argues that its most meaningful application “will touch those with greater needs and lack of access”—in other words, it should be used to bridge the digital divide, not widen it by merely providing distractions for the well off. Béhar’s projects can feel like inquiries into what is possible, scouting missions into the next chapter of our existence, test flights into the unknown. The speculative, futuristic nature of his work is high-risk. “Certainty is not the way we engage in the world as designers,” he said. Inevitably there have been fails. In 2014, Stephen Colbert mocked a Béhar-designed smart cup on air: “There’s so many times when Vessyl’s beverageidentifying technology will come in handy, like when you order a Coke but it tastes kind of like a Diet Coke but you’re not sure.” A $700 Wi-Fi-enabled juicer was lambasted as a useless, expensive gewgaw (Oprah Winfrey allegedly bought 365 of them for gifts), the kind of overwrought innovation that went

adjacent fields, such as Elon Musk, Frank Gehry, Philippe Starck, Mark Zuckerberg, and Jeff Bezos, his celebrity is of fairly modest wattage. When I alluded to the blowback, Béhar sidestepped the subject with laid-back equanimity. But he did make an observation that harkened back to his punk days. “At this stage, maybe I am an expert at the process of design,” he said, “meaning being okay with things not working out.” The notion runs throughout Yves Béhar: Designing Ideas, which, at times, is reminiscent of Moss Hart’s classic theater memoir, Act One, in which Hart tells the excruciatingly Byzantine story of getting a play to the stage. In his book, Béhar made sure to include, even highlight, failures, flops, and screwups. “The pretty picture at the end,” he said, “doesn’t mean that much if you haven’t understood the full arc of the struggle that it takes to bring a new experience to the world.” If the measure of success, as implied by some of the critiques leveled at Béhar, is inventing the iPhone or achieving unicorn status or, to go back to the greatest hits of American design, coming up with the first molded-fiberglass chair, then that’s a very high bar. Charles Eames was in his 40s when he and his wife, Ray, unveiled that breakthrough chair design. Béhar, who had museum shows in his 30s and unveiled the XO Laptop at 40, is still in his early 50s and will most likely be working for decades. “Designers and architects don’t tend to retire,” he said. “They tend to die at their desk.”

“MY HOPE IS that people can see that when technology is applied

with a humanist point of view it can make a tremendous difference for people,” Béhar told me. The traumas of 2020 sharpened this aspect of his practice—design for the aging, the sick, the very young, the marginalized. “Design resilience,” Béhar said, is now a central theme at Fuseproject. It means a focus on strong foundations and long-range planning—an antidote to short term–itis. “We have a minimally viable product mentality in a lot of our institutions,” he said, extending the critique beyond design. He is questioning projects and priorities C O N T I N U E D O N P A G E 8 9 APRIL 2021

O N

With bold taste, stylists on demand, and millions watching their game-day tunnel walks, NBA players are serving some of the best—and some of the only—style for sore eyes By L E A H F AY E C O O P E R | Illustration by J O H N P. D E S S E R E A U

VA N I T Y FA I R

“W Sanders say?” Chris Paul asks, somewhat rhetorically. “When you look good you feel good? When you feel good you play good? For me, fashion is a representation of who I am. It makes me feel good to wear nice clothes.” The Phoenix Suns point guard is on the phone from his home in Arizona, checking off a list of his favorite labels: Fear of God, Paul Smith, and the Swag Shop merch by his good friend, rapper turned barber shop owner Killer Mike. “A lot of the stuff that I wear is cozy—sweatsuits and stuff like that,” he says, adding that “WHAT DOES DEION

VA N I T Y FA I R

some aspects of his style, like his signature slouch socks, were influenced by what was popular when he was growing up in North Carolina. After a trade last November that sent him from the Oklahoma City Thunder to Phoenix, he’s on the fifth team of his career and playing his 16th season. Throughout most of that time, though, he’s been working with stylist Courtney Mays. The two met when Mays was living in New York, assisting stylist Rachel Johnson, and Paul was playing for the New Orleans Hornets. (Johnson, who has worked with Paul, LeBron James, Amar’e Stoudemire, and numerous other athletes, is widely credited with bridging the gap between luxury fashion and sports.) After Paul was traded to the Los Angeles Clippers in 2011, Mays moved to L.A. to work with him full-time. “For Chris, I do 99.9 percent of his shopping,” says Mays, who now also works with Brooklyn Nets center DeAndre Jordan, and Kevin Love, who plays center and power forward for the Cleveland Cavaliers. The job, she says, is year-round, entailing lots of travel, strategy, and organization. “I’m pulling clothes throughout the year and getting

KELLY OUBRE JR .

them ready not only for games, but for their day-to-day lives. I travel to whatever city they’re playing in once a month and put 30 days’ worth of looks together. Then I create a shared photo album with flats of each look and include notes that say, ‘Don’t forget to roll your cuff,’ or ‘Push up your sleeve,’ or ‘Wear this outfit with those glasses.’ ” It was Mays who orchestrated Paul’s viral HBCU looks last summer. A few years ago, just before the 2018–2019 season, she bought him a Texas Southern University hoodie while shopping at the school for her father, who’s an alum. When Paul wore it with a Stefan Grant outfit, fans and the press reacted with high praise. “After that game we thought, How many of these schools can he wear…and how can we amplify these institutions that ordinarily wouldn’t get this much shine?” Mays says. The outfits were among the most prominent looks worn in the 2020 NBA Bubble in

SERGE IBAKA | LO S A N G E L E S C L I PPE R S

GO LD E N STAT E WA R RI OR S

“IT’S A CHANCE FOR ANYONE TO BE A STAR,” CREATIVE PRODUCER IAN PIERNO SAYS OF THE TUNNEL WALKS THAT HE FEATURES ON THE @LEAGUEFITS INSTAGRAM ACCOUNT.

P.J. TUCKER | H OUST ON ROC KET S

Florida, where, despite limited closet space, rules that barred stylists from visiting, and the absence of the pomp and circumstance that usually surrounds NBA games, players still brandished impressive wardrobes. “Our equipment manager was great,” says P.J. Tucker, who plays for the Houston Rockets. “He knows how crazy I am about my stuff, so he set it up so that my assistant could ship everything to me, especially shoe-wise. I knew the 90 pairs of sneakers I took with me weren’t going to last.” (For context, he owns upwards of 5,000 pairs.) Mays sent Paul to Orlando with 10 duffels filled with pre-styled outfits. When he needed more clothes, she had pieces sent to an off-site location where they were sanitized, then picked up by Paul’s security and delivered to his hotel room. “It was definitely a labor of love,’’ she says. Bubble aside, one of the most laborious parts of shopping as an NBA player or player’s stylist is finding clothes that fit. “These guys are not easy to shop for,” says Vick Michel, the L.A.-based stylist who works with Boston Celtics forward Jayson Tatum. “Jayson is six-eight. You can’t just walk into a department store and think everything

is going to fit him.” Both Mays and Michel work with a number of brands and tailors to have looks customized for their clients, Mays especially having to do this when styling Jordan, who’s 6 feet 11. “If I see something online or in a store that doesn’t fit me, I’ll show it to her to see if there’s a way we can replicate it or get it in my size,” says Jordan. On the phone from D.C., where the Nets were playing the Wizards, Jordan describes his style as “Woodstock.” He loves fedoras, long coats, and chunky gold rings, and cites Greg Lauren and John Varvatos as designers he’s drawn to. His current wardrobe is a far cry from the extra-long white tees and baggy jeans he was wearing when he first joined the league in 2008. “Looking back I’m like, What was I wearing?…That was terrible,” he laughs. The look was very much in style at the time though, and most players can relate to the personal learning curve of developing an individual

APRIL 2021

fashion sense when you go from being a high schooler or college student to professional basketball player overnight. “At the beginning of my first year, I didn’t really know what I liked or how I was supposed to dress,” says Tatum, who entered the league at 19 in 2017. “It took me a month or two honestly, and then I just came to realize that fashion is all about what you like and what makes you comfortable.” Having come into his own with the help of Michel, he’s been investing in hoodies, outerwear, and layering pieces that reflect his laid-back personality while keeping him warm in Boston. “For coats I love Louis Vuitton and Burberry,” he says, noting that one in particular stands out for sentimental reasons. “[I have] a Louis Vuitton letterman jacket that I wore to the All-Star Game in Chicago [in 2020]. It was my first All-Star Game, so it was a special day for me. The only thing is, I’ve yet

to wear it again, and I’m kind of mad at myself for that. I definitely need to get more use out of it.”

like Tatum are fairly new to having access to stylists and designer clothes— and the salaries to theoretically buy out Bergdorf Goodman—fashion-enthused veterans have been amassing and wearing luxury pieces for years, establishing themselves as style authorities and permanent fixtures at fashion weeks. When discussing his approach to dressing on the phone, Serge Ibaka utters a phrase he’s used countless times to describe his sartorial sensibilities. “I do art,” he says, explaining that the type of looks that landed him on Vanity Fair’s 2019 BestDressed List were largely missing from the latter part of last season due to the demanding schedule of play in the bubble. “When I dress I like to take my time,” he says. “Like I say, I do art, so I have to think. I kind of lost that in the bubble because it was very stressful for me. Basketball was requiring so much focus. We were playing almost every day; I didn’t have time to do art in my mind.” To the

H E RE AS P L AYE R S

JAYSON TATUM | BO ST ON CELTICS 68

VA N I T Y FA I R

delight of the internet’s most fervent fashion fans, he’s back to wearing his Dior sneakers, Balmain sweaters, and Thom Browne slacks. He insists that his move from the Toronto Raptors to the Clippers won’t have an impact on his style, as he’ll still need his meme-worthy scarves for away games, and the Empire Customs suits he had made up north are as timeless as his collection of J.M. Weston shoes. Ibaka, along with Paul, Jordan, Tatum, and Tucker, regularly appears on @leaguefits, Slam magazine’s Instagram account dedicated to players’ game-day “fits”— present-day fashion vernacular for a look that’s especially well-crafted or aspirational. “It took off way quicker than I thought it was going to,” says Ian Pierno, the Slam social and creative producer who manages the account, which launched in April 2018. “Ithink the main reason is because basketball players got into it really fast. Right now it’s at about 650,000 followers, but even

D E ANDRE JORDAN

when it was at 10,000 there were players DM’ing me and sending me photos like, ‘Yo, can I get on here?’ ” During the season, Pierno says, the account’s inbox is flooded with players sending photos of themselves. Some of them have his personal number and text him. “I’ve had dudes send me pictures and I’ve looked at the time and been like, ‘It’s halftime of your game—you’re not even allowed to be on your phone now.’ ” The day I spoke to Tatum, a photo of him arriving at TD Garden was posted to the account, garnering 22,800 likes and counting. He was dressed in a then unreleased pair of Lost Daze cargo pants, a Dream On hoodie, and a Margiela puffy coat—a look styled by Michel. “It’s a chance for anyone to be a star,” Pierno says of the tunnel walks that land on the page. “At the end of the day, there’s only 24 guys that can be all-stars every year. [But] when you look at fashion, there are so many guys that have carved out these larger roles in the basketball stratosphere just because they dress cool.” There’s no method behind Pierno’s posting decisions other than choosing the fits he’s most impressed by. “The guys that really stand out are the ones that don’t look

B RO O K LY N NET S

“WHEN I DRESS I LIKE TO TAKE MY TIME,” SAYS SERGE IBAKA. “LIKE I SAY, I DO ART, SO I HAVE TO THINK.”

like they’re trying too hard; that can pull off these absurd pieces,” he says. Among those who immediately come to mind are Dwayne Bacon, Jordan Clarkson, Kyle Kuzma, and PJ Washington. Those who follow the account would likely add Russell Westbrook, Kelly Oubre Jr., Shai Gilgeous-Alexander, and Ben Simmons too. And James, and Carmelo Anthony. And James Harden. And definitely Iman Shumpert, now that he’s back from free agency. The list of players leaning into expressive and at times over-the-top fashion is impossible to narrow down.

HIS FERVOR HAS resulted in huge

branding moments, with tunnels across the NBA now being sponsored by the likes of Jet Blue, Lexus, and Beats by Dre. More important to the players and stylists, though, is the visibility these walks down the so-called concrete runway draw to both social justice issues and small, independent brands. Last summer, numerous players showed up to games in T-shirts commemorating George Floyd and Breonna Taylor and calling for law enforcement to be held accountable for their deaths. And as the fashion C O N T I N U E D O N P A G E 8 5

CHRIS PAUL | PH O E N I X SU N S APRIL 2021

KELLYANNE CONWAY

and her husband, GEORGE, have spent the past several years very publicly divided. Now that America is recovering from Trump, can they?

the

VA N I T Y FA I R

By EVGENIA PERETZ

APRIL 2021

ONCE UPON A TIME,

era that didn’t include the name “Trump” and the embodiment of our divided country. Depending on where one stands politically, one half of the couple has represented all that was sound and impressive; the other half has lost the plot. The Trump presidency, which Kellyanne nurtured and George castigated, resulted in nothing less horrific than the Capitol riot, in which five people died and Mike Pence and other leaders could have been murdered. Their oldest daughter, Claudia, has channeled her own turmoil into public view—rage mostly aimed at Kellyanne for a range of issues. Claudia’s popularity on TikTok (1.7 million followers) landed her an invitation from American Idol, where she appeared in mid-February. Her complaints about her mother became so widespread that judge Katy Perry asked on national TV, “Are you okay?…Does she still hug you?” Friends have watched the Conway drama like a slow-moving train wreck, sometimes too timid to really ask what’s going on. As of late February, the Conways are still together, joined by 20 years of marriage and four children. But conversations with numerous sources from both camps—yes, there are camps with the Conways—reveal the couple to be in an extremely fragile state, miles away from “closure.” The wounds are raw from their public clashes. As important, they don’t have a mutual grasp on what has just happened to the country, creating a high level of exasperation. George believes that Trumpism should be eradicated from the planet. Kellyanne, on the other hand, continues on in explain-away-daddy mode, not giving an inch. In a statement condemning the Capitol riot, she not only failed to acknowledge the role of Trump’s rhetoric, but also praised his leadership. Given every opportunity to amend or clarify that statement for this piece, she declined. How did two extremely smart people allow the presidency of one of the world’s most corrupt men to wreak such havoc on their family, never mind the country? In the last four years, both George and Kellyanne leaned into different sides of a certain upright conservatism. George is a man who adheres to a certain rulefollowing propriety—which would suggest he might have held his tongue while his wife was in the White House. But there’s another facet to George that overrides everything else. “George has a deep commitment to what he feels is right,” says his former Wachtell colleague David Lat, a legal writer. “His commitment to doing and saying what’s right, combined with an enjoyment of fame, have overcome the propriety-focused aspect of him.” As for Kellyanne, she’s a paragon of loyalty, says Luntz, the kind “that you don’t find in Washington anymore.” But in the opinion of many, that loyalty crossed the line to drinking the Kool-Aid. “She fell into the cult,” says Michael Cohen, Trump’s exlawyer, who understands better than most the thrall of Trump. “The biggest mistake that people make, Kellyanne included, is they start to believe that they are relevant,” says Cohen. “And they begin to try to assume Trump’s arrogance.” Indeed, she came to embody many Trumpian passions: winning, or talking about winning, a lot; shaming the naysayers; and never being wrong. Kellyanne did not push the “Stop the Steal” narrative that incited the riot; a month after the election, she finally acknowledged that Joe Biden won. Yet her ease at subverting the truth during her tenure at the White House, her unshakable righteousness, helped ease the way for the Big Lie.

HAD THE MAKINGS OF A GOP BELTWAY FAIRY TALE. IT WAS 1999. George Conway—then a partner at the powerhouse

firm Wachtell, Lipton, Rosen & Katz—was riding on the now defunct Metroliner between New York and Washington. He picked up a free copy of Capital Style magazine on board, and there she was: Kellyanne Fitzpatrick, the bubbly Republican pollster he’d seen on CNN & Company and a Washington 10. He did something that was so out of step with his shy nature: He asked his friend Ann Coulter, who was featured in the same article, to introduce them. They talked and talked that summer night. Kellyanne, it turned out, had grit too. Raised by a casino-worker single mother, she had established her own polling company in an industry dominated by men. And she had a cutting edge—the kind of woman who took her onetime boss, pollster Frank Luntz, shopping and made him try on a Speedo for laughs. From where Kellyanne sat, George was brilliant and had a certain cachet of his own, owing to the work he’d done assisting attorneys representing Paula Jones in her case against Bill Clinton. Kellyanne and George fell in love. He was the one person whose “near-constant presence doesn’t annoy me,” she told a friend. They got married two years later in an enormous wedding, had four children, settled in Alpine, New Jersey, and amassed a reported $39 million fortune. Two decades later, the fairy tale has taken a harsh turn. Everything the Conways cared about—family, reputation, country—appears to be in some state of triage. The world witnessed the spectacular clash within the marriage play out publicly. Kellyanne, who brought Donald Trump to victory in 2016 as his campaign manager, became, in her capacity as “counselor,” his fiercest defender—dodging and deflecting on his behalf with dazzling ease. And though they started off friendly enough, George became one of the president’s most biting critics, with opinion pieces that shouted down Trump’s disregard for the rule of law and tweets that pronounced him mentally unfit. George and Kellyanne became the most visible marriage of the Trump

VA N I T Y FA I R

P R E V I O U S S P R E A D : A P P H O T O / M AT T R O U R K E . W I N M C N A M E E / G E T T Y I M A G E S .

THE RELATIONSHIP

regular guest on Morning Joe, she praised Trump as “masterful,” and then, on one occasion, according to cohost Mika Brzezinski, took off her microphone and said, “Blech, I need to take a shower.” Morning Joe banned Kellyanne shortly thereafter. And then there was her bold gaslighting—like her claim that “it was Donald Trump who put the issue [of Barack Obama’s birth certificate] to rest” and her insistence that he

FRIENDS IN LOW PLACES

Hope Hicks, Steve Bannon, and Kellyanne Conway arrive at the Capitol for the 2017 inauguration of Donald Trump.

HE PRIMARY SEASON of the 2016 election

had been simpler times for Kellyanne and George. As is well known, they were working hand in hand. George was supporting Ted Cruz, and Kellyanne was running a super PAC for the Texas senator, whose wife Trump had insulted and whose father, Trump insinuated, was in on the assassination of President Kennedy. Kellyanne went after Trump, calling him the “thrice-married, non-churchgoing billionaire” who “says he’s for the little guy but actually built a lot of his businesses on the backs of the little guy.” He was, according to Kellyanne, “unpresidential,” “vulgar,” and offensive to women. By the summer of 2016, Trump was the Republican nominee but hurting for female voters and in need of a campaign manager. On the advice of Robert and Rebekah Mercer, the Cambridge Analytica and Breitbart billionaires who’d shifted their support from Cruz to Trump, he asked Kellyanne to become his campaign manager. But he wanted her on the cheap, because he’s Trump. Kellyanne was in. The clout that would come with being the first woman to win a presidential campaign outweighed any remunerative concern. Trump got a great deal. Those pesky disavowals of Trump she’d made? She’d blow them away like feathers. She had a whole bag of tricks at the ready. First there was the double-dealing. As a

“doesn’t hurl personal insults.” If the smiling blond lady on television was saying it, it had to be true, right? Veteran Republican strategist Rick Tyler, who’d been Cruz’s communications director, watched with amazement. “As a spokesperson, you can omit things, you can highlight certain things, you can reframe the conversation,” he says. “But when you say things that are flat-out wrong, that’s where I draw the line. I’m not going to debase myself, because there’s life after this client.” But Kellyanne had her champions—like Chris Christie, who over the course of their 18-year friendship bonded with her over their tough Italian mothers. He did debate prep with her in both 2016 and 2020 and sees her as a messaging wizard. “There’s very few people in political life who know how to use language as effectively as Kellyanne and are more effective in communicating to President Trump,” says Christie. He says that when Trump was promising to refuse defeat in 2016, she told him to go softer. Christie adds, “She’s not present in 2020. And I think her absence is very, very loud in this postelection period.” He

If it weren’t for Melania, suspects one source, KELLYANNE might have been out in the first year.

APRIL 2021

ple around him who will constrain him.” People, perhaps, like his wife, on whom he clearly doted. On election night George wept with pride for what she had achieved and screamed, “She did it! She did it!” On Inauguration Night he stood aside and held her fur coat while Kellyanne posed in a red gown, beaming for cameras. George got a bit swept up too. He threw his hat in the ring for the job of solicitor general. After that job went to someone else, Attorney General Jeff Sessions asked if he’d be interested in the job of assistant attorney general in the civil division at the U.S. Department of Justice. Again, George agreed to be considered. He had spent decades working in the private sector and was ready to serve his country. Kellyanne, the winning campaign manager, was slipping into the position of the president’s counselor. As she liked to point out, this meant she had walk-in privileges in the Oval Office. But television was his favorite forum. As Trump watched the shows, Kellyanne pioneered new ways to dodge the truth—or run a truck over it—for his pleasure. When NBC’s Chuck Todd took her to task on the assertion that the president’s inauguration crowd size was the biggest in history, she famously retorted that she had “alternative facts,” and a defining catchphrase was born. To defend Trump’s policies, she could go to bizarre places. When Trump tried to push the Muslim ban, she talked about “the Bowling Green massacre,” an ostensible massacre in Kentucky carried out by Muslims. She later claimed it was a slip of the tongue, even though she cited it in three different outlets. George—still in New Jersey with the kids and under review for the Justice Department job—was becoming concerned about what was going on inside the Trump White House. The dumb

VA N I T Y FA I R

LOVE & MARRIAGE

George Conway accompanies Kellyanne Conway to the 2018 White House Correspondents’ dinner.

crowd-size lie that his wife was defending? What was that? he wondered. The self-inflicted wounds piled up—Trump’s firing of FBI director James Comey; the fact that Trump came right out and admitted that the firing was because of “this Russia thing.” George saw that this was becoming, as he later put it in an interview with the podcast Skullduggery, “a shitshow in a dumpster fire.” In a gracious letter in May 2017, he took himself out of the running for the Justice Department job. Out of respect for Kellyanne’s job, he kept his disdain from public view. In a follow-up tweet to one questioning the likelihood of the Muslim ban making it past the Supreme Court, he wrote, “Just to be clear, in response to inquiries, I still VERY, VERY STRONGLY support POTUS, his Admin, policies, the executive order.” Meanwhile, the Trump White House was becoming the MAGA Hunger Games—a battle for Trump’s approval. Kellyanne was at the white-hot center. There was one camp that appreciated her willingness to defend Trump. “She went and did interviews that nobody else would do, and he always knew that he could count on her when everybody else ran for cover,” says Luntz. And then there were Jared Kushner and Ivanka Trump. During the campaign, Kushner already couldn’t stand that Kellyanne was taking credit for being the campaign manager, according to multiple sources. He believed she did nothing of substance, that “campaign manager” was a made-up title designed to get a woman on television. On one occasion, when Kellyanne was directing orders, Kushner stepped into the conversation and chastised her. “You’re not really the campaign manager,” he told her. “Stop telling people what to do.” By February 2017, he and Ivanka were whispering to Trump at Mar-a-Lago about how insufferable she was,

DOUGLAS CHRISTIAN/ZUMA WIRE.

credits her for putting the opioid issue in front of President Trump, which resulted in the bipartisan passage of the SUPPORT Act. Back in 2016, George was still very much in his wife’s corner. In the binary choice between Hillary Clinton and Trump, he cautiously supported Trump. As a member of the Federalist Society, he prioritized getting conservatives on the Supreme Court. For all of Trump’s obvious flaws, George then believed that “[Trump] will realize that the office is something much bigger than him,” as he later told fellow Lincoln Project cofounder Ron Steslow on a podcast, “and there are going to be these peo-

according to a witness; they wanted her out. In Trump’s other ear was Melania. According to an insider, the first lady was Kellyanne’s chief ally and protector, and no fan of Javanka. If it weren’t for Melania, suspects this source, Kellyanne might have been out of there in the first year. Kellyanne was determined to come out on top. Her superpower, according to associates, was leaking to the press. While she made a show inside the White House of needing to stop the leaks and publicly bemoaned the “palace intrigue” stories, she herself was a font, they say. White House communications aide Cliff Sims, author of Team of Vipers, recalled the discovery he made one day while working on Kellyanne’s computer, at her behest, to draft—yes, really—a refutation of Brzezinski’s claim that she’d privately dissed Trump. Kellyanne’s text message function had been synced to the laptop, and up popped several real-time exchanges she was having with journalists from the New York Times, The Washington Post, CNN, Politico, and Bloomberg. “As I sat there trying to type,” Sims wrote, “she bashed Jared Kushner, Reince Priebus, Steve Bannon, and Sean Spicer, all by name.” Ronald Kessler, author of The Trump White House, was one such journalist who found himself listening to a leak session targeting Priebus. He was so appalled by the mean-spirited nature of her words that he didn’t report them. Today Kessler says, “She settles scores. It makes her more powerful to be the dispenser of information behind the scenes.” A source familiar with Kellyanne’s thinking disputes this characterization, rationalizing that “if she were a leaker, it would be obvious because she knows so much.” Whatever the truth, Kellyanne’s reputation as a blabbermouth stuck, to the point where Kushner banned her from meetings. Kellyanne’s balancing act was getting more challenging. According to associates, she needed to remain Trump’s biggest champion while privately insisting to those in the real world—the world from whence she came—that she was a fellow sane person who understood that Trump was a mess. In the company of certain White House people, she referred to Trump multiple times as “a total fucking misogynist,” according to a senior official. In policy matters with moderate members of the administration, she presented herself as an ally, only to fold at clutch moments. “There was almost always the calculus,” says this official. “There were moments when this was a really serious issue. ‘Do we have Kellyanne on our side or not?’ You’d say, ‘Okay, we got

her. And the president is going to be on board and we can flip him.’ But if it seemed like it was going to be at all contentious, she was nowhere to be seen…. She wouldn’t stick her neck out until it was clear the president was going to have her back.” That maneuver had real-world consequences. This official cites, for example, Trump’s response to the Parkland, Florida, shooting. The White House might have tackled some form of gun safety, particularly concerning children, had Kellyanne pushed. Instead, the administration issued a tepid school-safety report that hardly mentioned guns. Similarly, she could have pushed Trump to permanently ax the family-separation policy. Instead, it was reinstated. If George had hoped his wife would be a tempering influence inside the White House, she wasn’t.

a group of disaffected conservative politicians and pundits— including Evan McMullin, William Kristol, Mona Charen, and Max Boot—plus some Democrats had begun meeting every two weeks to discuss how to protect the country from Trump. Some members, particularly younger ones, believed their jobs would be in jeopardy if they were tagged as Never Trumpers, so it was a quiet alliance. Early in the summer of 2018, George turned up. At first some wondered if he was a mole. One such skeptical member thought the motivation soon became clear. After the announced retirement of Supreme Court justice Anthony Kennedy, Trump nominated Brett Kavanaugh, darling of the Federalist Society, as his successor. Three members of the group—Kristol, Charen, and Linda Chavez—voiced their support for Kavanaugh. As the suspicious member speculates, “I think it was all a, ‘wink, wink. George is going to go out there and help you stack the courts, but he’s going to separate from us….’ If he could get prominent Never Trumpers to support Kavanaugh’s nomination, then he would have been serving his party long-term.” The theory that the Conways were playing a long game—together—got traction on Twitter and survives in some quarters to this day. But those who know George believe that theory to be nonsense. “There’s no nefarious plot,” says his friend Molly Jong-Fast, the liberal writer and pundit. “They worked this out together? It’s not true. This is not some long con by George.” Indeed, it became increasingly hard to doubt the sincerity of George’s words and purpose. That same summer George wrote an op-ed in Lawfare defending the Mueller investigation, a seeming response to Trump bashing it. As Trump’s affronts to the law piled up—like the revelation that he had paid off Stormy Daniels—George made his disgust known on Twitter. Meanwhile, Kellyanne was doing backflips on television, pretending that TARTING IN 2017,

“There’s no nefarious plot,” says a friend. “ They worked this out together? It’s not true. This is not some long con by GEORGE.”

CON TIN U ED ON PAGE 87

APRIL 2021

For two and a half years, a gang of acrobatic thieves pulled off a string of

THE CASE daring heists across Britain, lifting millions of dollars in rare books, artwork,

OF THE and cash on a spree that stumped detectives from Scotland Yard to Romania.

PURLOINED Marc Wortman cracks the so-called Mission: Impossible case

BOOKS Illustration by SHAWN MARTINBROUGH

VA N I T Y FA I R

Coloring by CHRISTOPHER SOTOMAYOR

APRIL 2021

At Ward’s feet lay three open trunks, heavy-duty steel cases. They were empty. A few books lay strewn about. Those trunks had previously been full of books. Not just any books. The missing ones, 240 in all, included early versions of some of the most significant printed works of European history. Gone was Albert Einstein’s own 1621 copy of astronomer Johannes Kepler’s The Cosmic Mystery, in which he lays out his theory of planetary motion. Also missing was an important 1777 edition of Isaac Newton’s Mathematical Principles of Natural Philosophy, his book describing gravity and the laws of physics. Among other rarities stolen: a 1497 update of the first book written about women, Concerning Famous Women; a 1569 version of Dante’s Divine Comedy; and a sheath with 80 celebrated prints by Goya. The most valuable book in the haul was a 1566 Latin edition of On the Revolutions of the Heavenly Spheres, by Copernicus, in which he posits his world-changing theory that Earth and the other planets revolve around the sun. That copy alone had a price tag of $293,000. All together, the missing books—stolen on the night of January 29, 2017, into early the next day— were valued at more than $3.4 million. Given their unique historical significance and the fact that many contained handwritten notes by past owners, most were irreplaceable. Scotland Yard’s Ward was stunned. He couldn’t recall a burglary like this 78

VA N I T Y FA I R

try to accomplish.” Then there was the loot. In a warehouse laden with valuables coming in and out of Heathrow for customs clearance, the thieves had taken their time in the darkness, more than five hours, to select from among hundreds of books—choosing the most precious ones. They made off with nothing else from the vast freight building except for some nearby tote bags—heavy satchels that they snatched from another shipping container. Ward tells me on a call from London, “You must have a lot of patience, strength, and ingenuity not to trigger the sensors and to get the books back through that hole in the roof.” The items belonged to three respected rare book dealers, two in Italy and one in Germany. They had shipped their wares through Heathrow, bound for an antiquarian fair in California. Informed of the heist that day, Alessandro Bisello Bado, a dealer in Padua whose shipment had been pilfered, nearly fainted. He boarded the next flight to London. Walking inside the warehouse, he saw that nearly everything in the trunk was gone, more than $1.2 million worth. Michael Kühn, a Berlin-based dealer, couldn’t believe it at first. “I had never heard of so many books being stolen at once,” he says. Why these books? he wonders. “Insurance fraud? Somebody who wanted to harm one of us? A book lover who wanted to have one item and threw away the rest of the books to cover his intentions?” All he knew was that his losses might bankrupt him.

reconstituted team embarked on another brazen high-wire raid on a warehouse. Many more would follow—a dozen, in fact, mainly around London. Scotland Yard raced to follow leads— and wondered where the burglars would strike next. The U.K. press, meanwhile, remained focused on the Frontier Forwarding break-in, dubbing it the “Mission: Impossible theft”—a tip of the hat to its similarities with the movie’s iconic scene in which Tom Cruise, as Ethan Hunt, suspended by a cable, breaks into a CIA vault. Ward could see these weren’t random warehouse robberies. But why…books? Someone must have tipped them off. “They knew what they wanted,” he says. “There were plenty of other valuables nearby. They targeted the books deliberately.” The Met Police assigned organized crime specialist Andy Durham to oversee the case while Ward and other detectives did what Durham calls the “grunt work.” But they had little to go on. They even checked to see if a circus had come to town, so acrobatic was the feat.

HERE ARE ANY number of reasons

for someone to steal rare books. They are alluring and beautiful, with an aura that connects the present to the past. Connoisseurs will pay unfathomable sums for an iconic book. Last October, rare book collector and dealer Stephan Loewentheil spent just under

THIEVES IN THE NIGHT

The bandits cut open a fiberglass skylight and descended inside.

covet them simply to add luster to their shelves. Ed Maggs, fifth-generation co-owner of what is reputedly Queen Elizabeth’s favorite bookstore, London’s venerable Maggs Bros., tells me, “The problem of the connoisseur book thief is a real one.” The most famous large-scale thefts almost always take place over the span of years. In 2012, more than 1,500 volumes— including centuries-old editions of Aristotle, Descartes, Galileo, and Machiavelli, worth many millions—were found to have been looted from the Baroqueera Girolamini Library in Naples by the library’s director. He and a large network of accomplices went to jail for stealing and auctioning off his pilfered books. Similarly, the rare book archivist at the Carnegie Library of Pittsburgh swiped 300-odd books valued at around $8 million—but it took him 25 years. He was convicted in January 2020. But Kühn says of the pre-dawn warehouse heist, “Such a large number of books had never been stolen at one time before this. It was really unbelievable.”

For a while, the spectacular theft made global headlines. Then came an unexpected break from 1,500 miles away.

chief prosecutor for organized crime, was working one morning about three weeks after the break-in when the phone rang at her office in Bucharest. On the line was someone unknown to her. The caller, whose identity she won’t reveal, told her about a load of rare books that had been stolen from a London warehouse ending up in Romania. “I thought he was joking,” she tells me. As they spoke, she did an online search; numerous articles popped up about the theft, which had somehow escaped her attention. She began to take the caller’s tip seriously when he spoke of three men he claimed were behind the raid. He used their nicknames. Two were new to her, “Tizu” and “Blondie.” The other, she says, “turned a flashlight on for me.” She hadn’t heard anything about “Cristi Huidumă”—Cristi the Bruiser—in 15 years but recalled his associations with a notorious organized crime case she’d worked. After investigating further, that afternoon she telephoned Tiberius Manea, head of organized crime investigations for the national police. He’d already gone home for the day. “Tiberius,” she said, “come back. We have a new case, a very big one.” Manea immediately started to assemble a team that would work with Albu for the next three years. With a passion not unlike a collector in pursuit of a rare find, Albu tells me when we first meet via Zoom, “my goal was to recover the books. I became obsessed.” Manea reached out to Ward at Scotland Yard. He had already begun to make some fitful progress in pulling the pieces together. Ward watched some 70 hours of video from the roadways around Feltham. He finally saw footage showing a blue Renault hatchback park at 9 p.m. on January 29 on the road outside the warehouse complex. Ward says, “Nobody would think they were up to no good.” Two men exited the car and cut holes in the perimeter fence. A third drove off; the two others entered the grounds, making their way along freight roadways to the Frontier Forwarding building. Ward speculates they climbed a drainpipe, but even now the police can’t be sure how the 80

LINA ALBU, ROMANIA’S

VA N I T Y FA I R

duo reached the roof. They cut through the skylight and, most likely using ropes or a folding ladder, made their way down. Once inside, the two men went straight for their quarry. They sorted through the books and picked the ones they wanted. They found a shipment of heavy-duty carrying bags, which were on their way to oil field workers in Africa. They packed 16 full of books. Five hours and 15 minutes later, “they came out the way they came in,” says Ward. The Renault sped away at 2:50 a.m. “An impressive day’s work,” Durham acknowledges. Using license plate recognition cameras along the nearby roads, Ward was able to identify the vehicle. A few days later, the car turned up, abandoned in South London. Although its papers were falsified, they listed the owner as a Romanian national living in England, but, says Ward, “Our analysts didn’t have him in our databases.” He was happily surprised when Manea called.

of the Berlin Wall, organized and often violent criminal gangs from the former communist bloc, including Romania, have branched out across Europe, developing large, profitable illicit enterprises—operating protection rackets and prostitution, drug, and burglary rings. Vast amounts of illegally gained money flowing back into Romania have also been a destabilizing force at home, thwarting government officials’ attempts to rein in the gangsters. Knowing they had their work cut out for them, detectives from Scotland Yard started to analyze the warehouse case with their Romanian counterparts. Ward and Durham first met with Manea and his associates at Europol’s headquarters in The Hague in late March 2017. They opened a probe that eventually encompassed police forces in four countries. The joint investigative team members would meet five more times in the Netherlands, Italy, the U.K., and Romania. Acting on the source’s tip, Manea’s crew began undercover surveillance of Cristi Huidumă, whose real name is Gavril Popinciuc (pop-in-chee-uk). When Albu, Manea, and I spoke via Zoom, Albu, aged 47, sat side by side at her desk with Manea, 42. Both wore black COVID masks. The wall behind them INCE THE FALL

was bare except for a whiteboard with multiple notes. Neither looked particularly hardened, but Albu and Manea have clashed many times with dangerous mobsters. Both speak fluent if broken English. Albu first heard of Popinciuc while tangling with his fearsome “godfather,” Ioan Clămparu. The crime boss was for several years Interpol’s most wanted fugitive, with a bounty of $4.6 million on his head. “He was a criminal star in Romania,” says Albu. Clămparu goes by a variety of nicknames, among them, “Pig Head” (probably derived from his thick neck, broad face, and 250-pound girth) and, without irony, “Godfather.” (He had many other godsons beside Popinciuc, according to Albu.) Both Clămparu and Popinciuc come from northeastern Romania, a remote area dotted with ancient towns and small farms bordering the Republic of Moldova. It is among the poorest parts of Europe, and one of its sources of income derives from criminal activities abroad. As a drunken teen, Clămparu punched and stomped a man to death for no apparent reason, for which he served 10 years in prison. After his release in 1999, he organized one of the largest human trafficking and prostitution networks ever assembled in Europe. Clămparu and his lieutenants lured poor girls, some as young as 15, from Romania and Moldova with the promise of jobs in Spain. Once in Madrid, they were forced to prostitute themselves in the alleys of the city’s sprawling Casa de Campo park. Albu contends that Clămparu’s pimps took 150 to 200 entrapped women on nightly rounds to the park to sell sexual services. On occasion, she says, Clămparu and his pimps tortured those who resisted. “It was really violent,” she adds. Clămparu personally pocketed tens of millions of euros. In 2004, Romanian and Spanish police finally cracked “the Clămparu,” as his mob was known, thanks to a few women who escaped their handlers and alerted the police. After the authorities moved in, Clămparu went underground even as Albu indicted him, winning his conviction, in absentia, for human trafficking. The Clămparu sent her numerous death threats, forcing her to retain bodyguards. “I was very young,” she says. “I didn’t scare so easily.” Manea shrugs,

“Such scares come with the territory.” In 2011, Spanish authorities tracked down Clămparu. Now 52, he’s serving a 30-year sentence in a Romanian prison. Albu wondered whether Popinciuc hadn’t revived the Clămparu. In fact, Popinciuc, who is only five years younger than his godfather, had purportedly formed his own mob and, to stay ahead of the police, studied the failings of the Clămparu. Popinciuc comes from the small northeastern city of Suceava, where a handsomely preserved medieval castle draws tourists. Pudgy, with the bemused look of a weary office clerk, he kept his criminal enterprises mobile to avoid capture. By 2009, he was a leader in a multinational counterfeit cigarette ring. The group moved its factories, warehouses, and tobacco stocks frequently, even among countries, but Romanian authorities smashed the operation. In 2015, Popinciuc received a suspended sentence for tax evasion. Wealthy from lucrative cigarette sales, Popinciuc, according to Albu, built several legitimate businesses. They include a large hotel, restaurant, and event hall complex in Suceava, though they reportedly now belong to his ex-wife. Albu says that Popinciuc is the one who put up the money that financed the warehouse raiders’ operations in England and built the crew that pulled off the heists. In Albu’s view, Popinciuc teamed up with another Romanian, Cristian Ungureanu, 41, who acted as operations chief. The two men and their lieutenants masterminded a gang that sent small skilled teams to hit targets exclusively outside Romania, figuring that foreign detectives would never trace them back. To act as local operatives, Popinciuc brought on his younger brother Marian Albu (no relation to Alina Albu) and other Romanians living in England. Also joining in: Ungureanu’s younger brother, Ilie, living in Germany. “There were leaders

and foot soldiers,” Manea explains. “Popinciuc was almost never in the field.” Most of the gang, says Albu, led “double lives,” living with their families, even maintaining accounts on social media, punctuated by quick “business trips” to carry out crimes outside Romania.

LBU AND MANEA soon understood how Popinciuc and Ungureanu ran the crime syndicate, but they didn’t know who the foot soldiers were. Then they got another lucky break. On March 28, 2017, regional Romanian police stopped a van driving through the northeastern part of the country. The driver, Narcis Popescu, had new laptops and smartphones with him. He claimed to have bought them in England. Asked to show a proof of purchase, Popescu needed to have an invoice sent to his phone from a retailer in the U.K. Popescu produced a receipt. But the police had already traced the items’ serial numbers back to a theft from an English warehouse just two weeks earlier. This random roadway arrest helped shape the hunt for the gang members. Meanwhile, other evidence bubbled up. Ward and his analysts took DNA from a piece of metal, possibly a ladder rung, left in the Frontier Forwarding warehouse. Manea’s police used it to identify Daniel David. According to Albu, he turned out to be the one that her source called Tizu. Genetic findings from the abandoned Renault matched up with Popescu. The identity of the second of the two Frontier Forwarding raiders—Victor Opăriuc, a.k.a. Blondie—emerged from tracing the others’ movements. According to Albu, Opăriuc, 29, and David, 37, were particularly agile, strong, and adept at climbing in and out of warehouses. Using cell phone tracking and airline flight data, Scotland Yard retraced the

trio’s movements. On January 27, Opăriuc and David had flown from Iasi, Romania, to London’s Luton Airport. They drove in Popescu’s Renault to South London, where they remained until the evening of the 29th, the night of the break-in. Cell records show that once inside the building, Opăriuc placed several calls to Cristian Ungureanu, who had flown to London the previous day. He, in turn, relayed information to Popinciuc and then called Marian Mamaliga, another gang member who was in Romania. Mamaliga then left in a van for England. On February 1, two days after the books were stolen, Ilie Ungureanu flew in from Germany, then four days after that, with Mamaliga, he drove the book-laden van through the Eurotunnel. A week after the robbery, the books had disappeared somewhere in Romania, but not before a fresh set of thieves had struck yet another warehouse, this time making off with around $37,000 in cash. According to Albu, within a year she and Manea knew the identities of virtually all the members of the gang. But she says the police were hesitant to arrest them without definitive evidence. “It’s not what you know,” Manea says, “it’s what you can prove.” They were also worried that if they moved in too soon, the books might never turn up. Albu tells me that she feared that if the men expected their imminent arrest, “they might burn the books.” As the months progressed, revolving teams shuttled through England, committing 12 sophisticated and precariously acrobatic warehouse burglaries. Typically, the raiders came through the roof, but for some thefts, they cut open neighboring buildings, leaving gaping holes in walls and ceilings to avoid alarmed doors, security guards, and camera detection. “They never attacked a building straight on,” Durham says. Each heist, according to Albu, Manea, Durham, Ward, and court transcripts,

She hadn’t heard anything about CRISTI THE BRUISER in 15 years. “TIBERIUS,” she said, “come back. We have a new case. A VERY BIG ONE.” APRIL 2021

went off like clockwork. Cristian Ungureanu was on hand to coordinate ops. Popinciuc monitored from afar. Popescu served as the gang’s travel agent, booking plane tickets and leasing housing for the revolving cast of accomplices. A van arrived, the loot was loaded, and the entire enterprise vanished. “Everybody had his part, each his role,” Durham tells me. For two and a half years, they got away with their disciplined, complex burglaries, like a Bucharest-based Ocean’s Eleven. They stole books. They stole cash. They stole jewelry, laptops, tablets, smartphones, and clothes. Some got fenced in the U.K., some went to Romania and were sold, and other items were sold online. In total, the thieves raked in nearly $5 million worth of goods. They also left behind a trail of destruction, damaging warehouse structures and leaving businesses in disarray.

INALLY, ON JUNE 25, 2019, almost

two and a half years after the rare books were stolen, came what investigators dubbed Z-Day. Gathering at a high-tech command center inside Europol Headquarters were

representatives from the joint investigative team as well as officials from Europol and Europe’s judicial coordinating body, Eurojust. Before dawn, more than 150 police and judicial officials fanned out simultaneously to search 45 houses and other sites in England, Italy, Germany, and Romania. By the end of the next day, Popinciuc, Opăriuc, David, Mamaliga, and Popescu, along with three other gang members, were led off in handcuffs in Romania; Ilie Ungureanu was arrested in Germany; Marian Albu and two other alleged associates were taken in England. Cristian Ungureanu went underground. He was finally arrested in Turin, Italy, in January 2020. The men were brought to England for trial. All pleaded innocent. But the books still hadn’t been found.

on February 20, 2020, at the Kingston Crown Court, a short drive from the warehouse that brought the men such notoriety. Albu, Manea, and their team came to London. Ward and Manea were slated to be called to give evidence. None of the defendants was willing—or obligated—to testify. HE TRIAL BEGAN

In her opening presentation to the court, prosecutor Catherine Farrelly accused the defendants of stealing the rare books for profit. In a voice dripping with sarcasm, she asked about the Romanian defendants’ motives: “Were they going to pop back to the U.K., hungry for a spot of learning and have a dip into Sir Isaac Newton’s 17th-century work Mathematical Principles of Natural Philosophy or spend some time appreciating the Spanish painter Francisco Goya’s genius by flicking through some of his 19th-century etchings?” Then suddenly, the proceedings crashed to a halt—due to the pandemic. With space needed for 13 defendants and about 25 attorneys, as well as interpreters, witnesses, prosecutors, judge, jury, guards, court staff, and press, a courtroom the size of an arena would have been necessary for the trial to continue safely. The men were sent to prison to await the time when they could return to court. There they languished. Attiq Malik, a prominent and pricey criminal defense solicitor—well known in the U.K. for his appearances on the hit British series 24 Hours in Police Custody— represents Popinciuc. “Even if we won the case,” he tells me, “they would have

The crime boss was “A CRIMINAL STAR in Romania,” going by a variety of nicknames, among them “PIG HEAD” and “GODFATHER.” been in prison for another year.” All the men except one decided to plead guilty rather than sit in jail indefinitely. This fall, the men returned to court via remote hookups from prison to receive their sentences. Judge Jonathan Davies said, “Each [of you] joined and played a part in a criminal enterprise carried out with skill and determination…. [You] took risks with [your] eyes open.” He added that this “was a carefully planned operation, often carried out with Mission: Impossible skill.” With a reduction for pandemic conditions, he then meted out the lightest sentences to the “foot soldiers”: three years and seven months for David and Opăriuc, four years for Mamaliga. The stiffest terms went to the “brains” behind the heists. Cristian Ungureanu received five years and one month; Popinciuc, the financial “muscle” and boss, got five years and eight months. All the men face confiscation of assets as well. Throughout the ordeal, the gang has stayed mum about how and why they chose their targets. The police remain uncertain about whether an insider had helped them on the Frontier Forwarding job. “The books,” Ward says, “were only supposed to be in the warehouse for less than 24 hours. That’s too much of a coinci-

HOT TYPE

The heavy-duty steel cases were empty, their literary treasures gone—240 in all.

dence that they attacked this warehouse.” Adds Albu, “We think they had intelligence about the value of goods. They expected to find jewelry or something else of great value, but they found the books instead”—simply stumbling upon a cultural treasure chest. She believes “it was a surprise for them.” One of the defendants held out, determined to go to court and prove his innocence. His trial is set to resume this

month and could reveal details about the gang’s operations that have yet to come to light. Albu speculates that someone, perhaps a shipping industry insider, may have hacked freight insurance databases that clued the burglary teams in to the presence of lucrative targets. Still, the question remains: Why books? Booksellers can be a pessimistic lot, often expressing a view that the last word on their business may soon be written. “As a rare book dealer myself,” laments Rebecca Romney, whom TV viewers know from the History channel program Pawn Stars, “I’m aware of the unfortunate truth that rare books, while of immense cultural value, are much more difficult to sell than laptops.” Ed Maggs, the London bookseller, agrees. “This,” he tells me, “was the smartest and the dumbest robbery ever. Smart because of all the Mission: Impossible business with ropes, and dumb because there are few objects of value that are less fungible than rare books.” Cops seem to have a rosier outlook on prospects for the illicit rare book trade. “There is,” says Ward, “always a market for items of curiosity.” (Indeed, in recent months there has been a rash of thefts from London rare book dealers.) Durham speculates that the Heathrowarea heist might have been “ordered by the top of this organized crime group,” because he or someone he knew wanted the rare treasures. Or the books might have been intended to serve as collateral or as a sort of criminal insurance policy. Some syndicates, Durham says, “want to have possession of culturally important valuables to offer up to assist in getting a lesser sentence” should they get caught for other crimes.

ND WHAT ABOUT the stolen books?

Just as happens in the best books, our story has a happy ending. Once the roles of the Ungureanu brothers came to light, Albu and Manea

suspected, and Scotland Yard confirmed, that they were the ones who might have stashed the lot. On September 16, 2020, with the defendants’ sentencing just days away, Manea led his team on a search of a large new house the brothers had constructed next to their parents’ home in the northeastern Romanian countryside. The other officers watched while a jackhammer broke apart a six-inch slab laid over the garage floor. Manea shoveled away the debris and lifted a board. “It was very tense,” he recalls. “I was really worried about damaging the books. We had worked so long and hard to arrive at that moment.” And there they were. He climbed into a bunker dug about six feet underground to lift out the books. Most were packed into recycling bins; others had been left in the bags. The following day the booksellers flew to Bucharest to recover their belongings, which were moved to the National Library. Most of the books remained in sterling condition. Some had suffered moisture damage or had broken spines or stains, though nearly all were reparable. Only four books were still missing, one worth $34,000, though none was among the most valuable. Bisello Bado, arriving from Padua, walked into the National Library where each of his books was laid out on shelves in a climate-controlled room. “I had given up hope,” he says. “When I saw them, I felt like the youngest book dealer in the world. They were fantastic books.” That evening, the book dealers, the entire Romanian investigative squad, and the English team members on hand celebrated over dinner at a Bucharest restaurant. “Tonight,” an elated Bisello Bado told the gathering, “we drink like lions!” Seeing the dealers’ joy at regaining their treasured books “was our reward,” says Manea. Even through her mask, I can see Albu smile when she recalls, “I never stopped believing we would bring them back their books. Never.” Q APRIL 2021

Opening Moves

u n - C OV I D like intimacy against its first, most powerful weapon—its heroine’s face. Her gaze is one of focused ferocity and avidity. At times Beth seems incandescent with self-belief: She is a genius and she knows it. I would not describe the young woman I talked to with the luminous skin and the orchids behind her as a ruffian, as she herself did, but you can’t ignore the current of wildness in so many of her performances, not least Beth. As her large black eyes shift and slide, something feral and a bit frightening crackles within her poise. The Queen’s Gambit is based on Walter Tevis’s 1983 novel of the same name, which Taylor-Joy consumed with a sense of intoxication. This in itself wasn’t too unusual; she reads about three books a week. Right now it’s Glennon Doyle’s Untamed and Pamela Des Barres’s groupie memoir, I’m With the Band, but Taylor-Joy also enthuses about that other dishy memoirist and West Coast queen, Eve Babitz. “Once I learned how to read—I’m sure it was the same with you— I was off,” she tells me. “I was just never bored or lonely again.” What made her experience of the Tevis novel unusual was a sense of recognition: “The second I closed the book, it was this dawning of, I’m going to have to give this character so much of myself in order to tell the story right.” Straight off, Taylor-Joy had what felt like a flash of insight: Beth had to have red hair. This intuition was shared by cocreator and director Frank, as well as the show’s hair and makeup designer, Daniel Parker. Taylor-Joy also lit upon a distinctive way that Beth would handle the chess pieces. When she demonstrated it to Bruce Pandolfini, a 73-year-old chess expert who consulted on the show, he told her he’d never seen a player do it before, but hey, he bought it. The way Beth summarily fishes a clacking piece up into her palm with an elegant twist of the wrist becomes something of a signature—a satisfying, haptic flourish. Accruing cash and confidence from her wins, Beth becomes an increasingly stylish and sexual being; soon our erstwhile ugly duckling is swanning through grand European hotels in chic tailored dresses— homages to Courrèges and Pierre Cardin. CON TIN U ED FROM PAGE 40

VA N I T Y FA I R

(High among the show’s pleasures is the thoughtfulness that costume designer Gabriele Binder brought to Beth’s clothes.) The erotics of all this have been much discussed and celebrated. Nikita Lalwani, a former high school chess player—in her words, “an oddity as the only girl in the school team”—is a novelist whose 2007 debut, Gifted, follows the story of a teenage-girl math prodigy. Naturally, Lalwani watched the show with great interest. Much of it rang true, she told me, but “combining the extreme geek sensibility with a fierce unapologetic sexual presence was something new for me.” “We used to joke on set that we were bringing sexy back to chess,” says TaylorJoy. “We didn’t really think that that’s what people would actually think. I love the fact that people are like, Yeah, I’m going to go play this guy at chess, it’s going to be really hot.” She adds, laughing, “I’m living for it.” Famously, sales of chess sets soared by 125 percent in the weeks after the show premiered. “This is what I mean about how I think in five years I’ll understand!” TaylorJoy peals. “I don’t think you can be an even kind of sane person and be walking around, like”—she does a parodic hair flip of selfsatisfaction and puts on a haughty voice to intone—“I have reinvigorated the game of chess!” Just that morning, one of her best friends had told her that their boyfriend was playing on chess.com against a Beth bot. A what now? “Oh, yeah, on chess.com you can play Beth Harmon at different ages.” (The Beth bots have, alas, been disabled.) At the heart of The Queen’s Gambit is an almost childlike truth—one true, at least, of chess: Talent will take you to the top. Life, of course, ain’t like that. Least of all the oversubscribed, fickle world of moviemaking, in which talent is notoriously little guarantee of success. I ask Taylor-Joy how she squares the immeasurability and subjectivity of acting with the binary nature of chess: black and white, win or lose. Her answer is humble: “I’ve always followed the character.” Earlier, when she said, “They’re not my hands,” she meant it. “It gets a bit existentially confusing when you’re living for somebody else.” Taylor-Joy’s characters are real enough for her to mourn their loss once filming has wrapped. For nearly each one she keeps some article of theirs as a memento. In the case of Beth, it seems telling that Taylor-Joy kept not one thing, but many: several hats, various outfits. “She’s a voice that I’ve had in my head and in my life for a very long time,” she says, adding, “There were some scenes that were just so close to the bone. They were experiences that I had had, or that I had been witness to and it was so real.” I ask whether there was one scene that got particularly close.

“Yes. Yeah. Her waking up in Paris was really very close.” She’s referring to the dramatic flash-forward that opens the series: Beth awakens with a horrified lurch at the insistent knocking of a porter who’s come to summon her to her match downstairs. At the moment, Beth is in a bathtub, fully clothed and soaked, after a drunken night. “Been there,” Taylor-Joy says grimly, not ready to talk about it in more detail. “Been there.” Has she been able to let Beth go? “You’re hitting me in the heart,” TaylorJoy says. “It’s complicated. I don’t know. Different characters have different grieving periods. Some of them don’t ever really go away. I have a feeling Beth is going to be one of those ones.” sings out. We’re meeting for the second time, and now it’s in “Joe Biden’s America,” a phrase that’s been playing through my head half hopefully, half ironically. Taylor-Joy tells me that she and a bunch of castmates from the David O. Russell movie watched the inauguration in the makeup trailer. The sense of optimism, she says, was beautiful. “This feels like the intake of a fresh breath,” she says, adding, “For the love of God, I would love it if we could start taking care of the planet.” The Bernie memes are still flying after a photograph of the Vermont senator looking stalwart and chilly at the inauguration seized the American imagination. On her Instagram Stories, Taylor-Joy has just posted a still of the final match of The Queen’s Gambit, except instead of the formidable Russian player Borgov, Beth’s facing off with Bernie in his mittens. Is she a Sanders fan? “Yeah, absolutely,” she says. “Primarily because he cares about the planet. He was the first world leader that I saw really jump up and be like”—she mimes a frantic wave—“Hello? Our home is burning. We should probably do something about that.” Taylor-Joy has come of age at an exceptional time. While dire and interlocking crises occupy the world at large, the American movie industry has been undergoing an overdue reckoning with racism and misogyny. “I didn’t realize just how lucky I was until maybe year three,” she admits when I broach the subject of sexism. “But I’ve been blessed to work with men who never made me feel like I didn’t have a seat at the table. I was always treated as a serious collaborator and somebody that was as passionate as the director was about executing this vision.” Nonetheless, she found the four years of the previous administration, including its grotesque misogyny, hard to take: “It was just like, Wait a second, am I in the minority in believing that “HI, LOVE!” TAYLOR-JOY

Opening Moves

On Point

everybody should have equal rights? Am I in the minority of believing that you shouldn’t touch a woman if she doesn’t give you her permission?” After our interviews, both Taylor-Joy and The Queen’s Gambit will win Golden Globes. I ask how she’s dealing with the buzz ahead of time. “Is it awful to say I don’t think about it?” she says quietly. “Look, any kind of recognition for your work is wonderful and truly moving, but I have to show up for my movie and my director and my friends. If I were consistently thinking about things like that, I don’t know how healthy my mind would be.” But she has an important clarification. “I want to be quite clear about something, which is when I say, ‘I walk away’ or ‘I don’t think about it anymore,’ it’s never because I’m ungrateful for any of it. I just really think that I won’t be able to do my best work if I start believing I’m anything more than human, because people watch characters for the humanity.” In short, the point of stars is not just that they’re looked at. “You have to have a connection to real life. If you don’t have a true heart and a true place of emotions to come from, how on earth are you going to give life to a character?” Q

industry grapples with significant financial losses and an uncertain future, having a player photographed in an emerging label can catapult the brand to mainstream recognition and substantially increase sales. Two T-shirts worn by Tatum in the bubble—one by Believe in Yourself printed with an I Love New York logo and another that read “Fight the Power” by Diet Starts Monday—sold out within minutes of being tagged in Instagram photos. “It was such a great feeling knowing that JT was a part of that,” Michel says. Fashion labels are increasingly recognizing the influence of NBA athletes, reaching out to dress them and tapping them to design capsule collections. Tucker, whose expansive wardrobe is filled with Loewe, Bode, Versace, and a laundry list of streetwear

brands, has been an obvious choice. In the past he’s worked with Ovadia and Giuseppe Zanotti, and last month he released a collection of sunglasses with Temples & Bridges. “It was a natural progression with where I was going with my style and brand,” he says, adding that accessories are an essential component of his style. Before leaving Toronto, Ibaka partnered with Canadian outerwear brand Nobis to design a nine-piece collection. “The only way I wanted to design something was if they let me do my own thing and bring my own flavor,” he says. “They said they’d let me do whatever I wanted, so I said okay, perfect. We started everything from scratch.” Previously, he hosted a fashion and shopping show at luxury retailer Holt Renfrew coined Avec Classe. “I think it’s extremely powerful,” Mays says of the growing synergy between fashion and the NBA. “We’re seeing a bunch of Black and brown men looking good and feeling good, and also elevating themselves and fashion brands to another level.” Players and stylists agree that that feelgood energy is priceless. “Dressing well inflicts a lot of confidence,” Michel says. “Even if you’re one of the bench players, if you like what you’re wearing, you’re like, ‘You know what? I look good. I might even get in the game tonight. I might score 30!’ ” Q

Hours later Audrey Strauss, the acting U.S. attorney for the Southern District of New York, and William F. Sweeney Jr., head of the FBI’s New York field office, announced the indictment of BitMEX’s founders—Hayes, Delo, and Reed—along with their close friend and first hire, Gregory Dwyer. The men were charged with violating and conspiring to violate the Bank Secrecy Act “by willfully failing to establish, implement, and maintain an adequate antimoney-laundering program.” Each count carries a maximum penalty of five years behind bars. Reed, the only defendant in the U.S. at the time, was released after posting a $5 million bond and agreeing to surrender his passport. Sweeney went out of his way to lambast Hayes: “One defendant went as far as to brag the company incorporated in a jurisdiction outside the U.S. because bribing regulators in that jurisdiction cost just ‘a coconut.’ ” He warned that “they will soon learn the price of their alleged crimes will not be paid with tropical fruit, but rather could result in fines, restitution, and federal prison time.” Roubini had been sounding the alarm for well over a year—and in October, the feds answered. But it was not just the Justice Department. The CFTC—which protects retail and institutional investors from fraud,

manipulation, and abusive practices related to the sale of futures and options—filed a civil suit against BitMEX and its founders for operating an unregistered trading platform and failing to implement required anti-money-laundering procedures. The criminal case has stunned legal observers. “I’m not aware—and I’ve done this for a really long time—of any other criminal indictment, and certainly not one targeting individuals, that is solely based on anti-money-laundering program failures,” maintained Laurel Loomis Rimon, an expert in financial crimes who spent 16 years with the Justice Department and prosecuted its very first digital-currency case. Now in private practice at O’Melveny & Myers, she advises cryptocurrency and blockchain companies. Like other DOJ veterans I spoke with, she was struck by the absence of more substantive charges. “In an indictment you usually see allegations of specific criminal activity, whether it’s fraud, credit card theft, child pornography, terrorist financing. You don’t see any allegation of any of those things in this indictment.” (It is, of course, possible that prosecutors— who obtained roughly 100,000 pages of BitMEX documents in the course of their investigation—could file a superseding indictment, tacking on additional charges

Bitcoin Billionaire

many people Arthur is like a cult figure,” she said. “He believed that we [the crypto crowd] were going to change the world. He believed in the monetary revolution. He believed that what we’re doing as an industry is profound. But he also believed that it should be fun and it should be irreverent, and we should be able to laugh at ourselves and that we should be able to call out the bullshit.” CON TIN U ED FROM PAGE 49

COUP DE GRÂCE

At 6 a.m. on the morning of October 1, 2020, FBI agents pulled up to a large colonial in a comfortable Boston suburb. Records show the house had been purchased a year before by a Delaware LLC. The property’s real owner, Sam Reed, was taken away in handcuffs.

CON TIN U ED FROM PAGE 69

APRIL 2021

Bitcoin Billionaire should they find it warranted. The Southern District U.S. Attorney’s office, for its part, declined to answer questions Vanity Fair posed about the case.) By contrast, when the Justice Department went after another crypto-trading platform, called BTC-e, in 2017, it did so with a 21-count indictment for, among other things, identity theft and facilitating drug trafficking, as well as helping to launder money for criminal syndicates—including those allegedly responsible for the Mt. Gox hack. With BitMEX, Rimon argued, U.S. authorities trained their sights on the founders of the biggest, flashiest player in the digital-asset derivatives space to send a message to the entire crypto community: “We’re going to make sure you understand this industry is subject to our jurisdiction.” As for the civil suit, a source familiar with the government’s thinking said that BitMEX failed to thread the needle and operate within “an exception to an exception” to the CFTC’s jurisdiction. An unregistered exchange like BitMEX, in fact, is allowed to sell leveraged commodities to American retail investors. But it has to complete those transactions within 28 days. The problem is that some of BitMEX’s most popular products—called perpetual swaps—were designed not to expire and to instead allow people to keep their trading positions open. In short, Hayes, Delo, and Reed—three savvy guys with plenty of high-priced legal help—fell prey to a 1936 law, the Commodity Exchange Act. Which was amended by 2010’s Dodd-Frank Act. Which was further clarified by the CFTC’s new guidance on such trades, introduced only last March. The commission did not buy the company’s line that it was off-limits to Americans. According to a civil filing, BitMEX derived much of its volume and fees from U.S. customers. Prosecutors alleged that the company’s anti-money-laundering and know-your-customer policies and practices were merely window dressing: “BitMEX allows customers to open accounts with an anonymous email and password, and a deposit of Bitcoin. BitMEX does not collect any documents to verify the identity or location of the vast majority of its users.” The CFTC told a federal court that it “seeks disgorgement of ill-gotten gains, civil monetary penalties, restitution for the benefit of customers, permanent registration and trading bans, and a permanent injunction from future violations.” (In January the company announced that all users on the platform had been verified.) By charging BitMEX’s founders— personally—with serious crimes carrying serious time, officials have angered many 86

VA N I T Y FA I R

in the wider crypto community. Some feel strongly that the game is rigged. “Show me a bank that doesn’t have money-laundering violations and I’ll show you a piggy bank,” Jehan Chu told me. “It’s a double standard. Who went to jail from HSBC for their money laundering and, you know, their Iran deals and all these kinds of sanctions violations? They got fined.” He’s not wrong. After HSBC admitted to laundering nearly a billion dollars for the Sinaloa cartel and moving money for sanctioned customers in Cuba, Iran, Libya, Sudan, and Myanmar, the Justice Department elected not to indict the bank or its officials, instead having it pay a $1.92 billion fine and install a court-appointed compliance monitor. That was hardly an aberration. Barclays, BNP Paribas, Credit Suisse, Deutsche Bank, ING, Lloyds Banking Group, Royal Bank of Scotland, and Standard Chartered have all paid fines for conduct that has included money laundering, sanctions violations, and massive tax fraud. In the world of high finance, charging corporate officers in their individual capacity is rare. “You can Google ‘JPMorgan’ and ‘fraud’ and look at what comes up,” Hartej Singh Sawhney suggested. “Wells Fargo, JPMorgan, Goldman Sachs— they have pleaded guilty to fraud. And yet none of their sentences or fines are nearly as bad as what we’re looking at for Arthur.” In fact, 48 hours before the charges against Hayes and his partners were announced, JPMorgan Chase “entered into a resolution”—as it was euphemistically termed—with the Justice Department, CFTC, and SEC in which the bank agreed to pay close to $1 billion in connection with two distinct schemes to defraud: one involving precious metal futures, the other Treasury notes and bonds. The FBI’s Sweeney was among those who announced the deal: “For nearly a decade, a significant number of JPMorgan traders and sales personnel openly disregarded U.S. laws that serve to protect against illegal activity in the marketplace…. Today’s deferred prosecution agreement…is a stark reminder to others that allegations of this nature will be aggressively investigated and pursued.” Really? Since 2000, JPMorgan Chase, America’s largest bank, has paid tens of billions in fines, including more than $2 billion for anti-money-laundering deficiencies alone. Yet its CEO and chairman, Jamie Dimon, and his top lieutenants have not been pursued criminally. Instead, Dimon, who had toyed with a 2020 presidential run, collected $31.5 million last year in salary and incentives. “You can look at the history of anti-money-laundering prosecutions over the last 10 years, and you just aren’t going to see very many individual defendants named,” attorney and crypto expert Rimon expounded.

“Certainly not when you’re talking about program violations as opposed to evidence of actual money laundering. So that is unusual. And I think it’s intentional. I think there was a decision by the government [here] to do that, to send a message.” Deterrence is certainly an important component of the American criminal justice system. But so, too, is prosecutorial discretion. Whether it involves big banks or even big pharmaceutical companies like Purdue—whose owners, members of the Sackler family, have been accused of knowingly addicting millions of Americans, resulting in hundreds of thousands of deaths (which the Sacklers deny)—Chu echoed the sentiments of many when he described a gentleman’s agreement: “You have an elite class of multinational corporations in business who are very well versed at dealing with their counterparties in government. It’s not a quid pro quo, but it is a working relationship, which includes, you know, illegality and enforcement as part of the choreography. And it’s literally choreographed. Nobody’s getting perp-walked from the Sacklers. But you can be sure that happens to people in crypto.” “I can push back on that—big time,” replied former CFTC chairman Giancarlo. “The CFTC has been no slouch in making referrals for criminal action.” He cited Refco and Peregrine Financial as examples where, at the commission’s urging, the Justice Department charged CEOs who later received lengthy prison terms. (The CFTC also sanctioned former Goldman Sachs cochairman Jon Corzine, banning him for life from trading in CFTC-regulated markets for his part in the collapse of MF Global.) Giancarlo earned the moniker Crypto Dad for suggesting that Congress not treat Bitcoin with “disdain or dismissiveness, but with open-mindedness.” In short, he is not anti-crypto. Neither, he said, are his former CFTC colleagues who last year put the crypto community on notice that the commission takes its jurisdiction and authority seriously. “BitMEX obviously didn’t get the memo, and the CFTC went out and sanctioned them.” The charges nonetheless caught the BitMEX executives off guard. Delo, a Hong Kong resident, was in the U.K. when the indictment was unsealed. Although U.S. prosecutors have yet to initiate extradition proceedings (partly due to COVID), sources close to Delo said that he will appear if and when they transpire. Hayes, I am told, may be in Singapore, where he is known to have a residence. When, or if, he will return to the States to face justice remains an open question. Still, even if they end up beating the government at trial—or settling beforehand—it may not spell the end of their troubles. BitMEX and its founders have been sued by

investors as well as by customers who claim they lost money trading on a platform they contend is stacked against them. Most eyecatching of all, though, is the accusation by an early investor named Frank Amato, who sued to cash out his professed equity in the company. (“The case has been withdrawn,” according to a spokesman for BitMEX’s holding company, “after the dispute was

M A N D E L N G A N /A F P.

State of the Union

C O N T I N U E D F R O M P A G E 7 5 Trump knew nothing about payments to women, even when an audiotape showed he clearly did. Cornered on the lie by Chris Cuomo, Kellyanne played a royal flush: the shame card (“How dare you?”), the woman card (“What is it about powerful, articulate women on TV that bothers you as guests?”), and the nanny-nanny-boo-boo card, reminding him that she was on the winning team. “All of you were against him. You said he could never win.” It was getting impossible to square at home. George would have remained silent had Trump been merely bad, but this was of a new order of awful. He wanted his wife out of the White House. Kellyanne was devastated by his speaking out and experienced it as a betrayal on par with adultery. A source close to Kellyanne says she was given no warning of George’s missives and was unaware that he was meeting with Never Trumpers. Adding to the pain, says this source, she felt she had lost “her person”— the anchor you go home to and with whom you talk about your day. Her friends and allies say they were aghast. “You have an intimate relationship with someone, you have criticism of something that they’re doing professionally, then you should express that privately,” says Christie. “And if you can’t resolve it privately, then you’ve got to decide what to do with the marriage. I thought it was just inexplicable. And quite frankly, not the George Conway that I knew. I can remember times my wife and I, when we would see some of the stuff George was saying, my wife would look at me and say, ‘If you ever did something like that, I’d kill you.’… It was very, very painful for Kellyanne’s friends to watch this go on.” Luntz adds, “Kellyanne

resolved on confidential terms.”) In one of Amato’s filings, he claimed that Hayes, Delo, and Reed “long [ago] began to spirit away their funds…[and] knew by no later than January 2019 that they were under investigation by U.S. regulatory agencies because cofounder Reed was deposed by—and allegedly made false representations to—the CFTC.” With that knowledge,

a source familiar with Amato’s suit told me, each of the men allegedly paid themselves $140 million in multiple tranches. While these figures cannot be confirmed—nor are they necessarily unusual, given the fact that executives often receive dividends for company performance—they nonetheless amount to quite a payday, even for a trio of billionaires. Q

had a difficult upbringing, which I will not get into. The idea that her husband would make family life difficult was just so unexpected and so unnecessary.” But to George’s friends the notion that he should be guided by some sort of propriety was absurd. “Your president is throwing norms out the window,” says Lat. “Why should you stay silent out of some traditional deference to the president when the president shows no deference to American values?” In George’s mind, none of his criticisms were personal. This was a five-alarm fire for America—and the outrages kept mounting. Like in Helsinki, where Trump, standing next to Vladimir Putin, challenged his own country’s intelligence reports that Russia had interfered in the election; or Trump’s protecting of Saudi Arabia’s Mohammed bin Salman after he had journalist Jamal Khashoggi, an American resident, dismembered. George sharpened his burns on Twitter: “We have a president who unwittingly is a self-parody.” “The Lord made Sunday a day of rest. You could at least take one day off from debasing your office.” “His condition is getting worse.” Trump started fixating on George. In this bizarre love triangle, Trump would show George who was the cuck. In March 2019, the president summoned campaign manager Brad Parscale, according to a senior official, and ordered him to call Kellyanne and give her an ultimatum: Trump or George, pick one. She told Parscale to stay out of her marriage, which Parscale relayed to his boss. Fired up, Trump told Parscale, “Get a pencil,” and dictated a tweet for Parscale to send from Parscale’s own account: “We all know that @realDonaldTrump turned down Mr. Kellyanne Conway for a job he desperately wanted… Now he hurts his wife because he is jealous of her success. POTUS doesn’t even know him!” Trump followed that up with a tweet from his own account, adding, “I barely know him but just take a look, a stone cold LOSER & husband from hell!” To which George tweeted back: “You. Are. Nuts.” With the most powerful man in the world hurling insults at the father of her children, this might have been a logical moment for Kellyanne to reassess; she had put in two and a half years. Instead, she threw

in her lot. According to a source close to Kellyanne, she viewed the president’s words about George not as attacks on her husband but as gallant defenses of her—a hardworking mother of four who was being treated unfairly by the man who was supposed to love and support her. Around this time she stopped wearing her wedding ring, according to a senior official. When asked by colleagues about the state of her marriage, she responded, “It is what it is.” George had gone from nuisance to adversary. When Fox Business’s Maria Bartiromo brought up the situation, Kellyanne reminded everyone who the winner was in the couple: “I don’t know when feminists are going to write about the unusual situation of a man getting power through his wife. But that’s what we have here.” “The easiest thing in the world for her to have done would have been to quit,” says Christie. “[But] I think that would have been a really negative message to send to women of power and influence: that if you accomplish something on your own, on your own merits, and somehow your husband or others disagree with you and say so publicly, that you have to leave.” George began bringing his significant intellect to bear in op-eds for The Washington Post. In October 2019, he wrote an 11,000-word article for The Atlantic called “Unfit for Office,” synthesizing principles of jurisprudence and scientific texts on mental illness. Two months later, with a group of other former GOP strategists—including Rick Wilson, Steve Schmidt, Reed Galen, and the now disgraced John Weaver—he announced the Lincoln Project. George picked up a key strategy thanks to the White House. Over a steak lunch in New York with Wilson and Jong-Fast, an unofficial adviser to the group, George explained what he’d learned from an unwitting Parscale: Run cheap ads in Washington, D.C., so that Trump would see them. Parscale had viewed the strategy as a way to please the president. Now Conway would use the same strategy to drive Trump “batshit crazy,” as he told Wilson and Jong-Fast. (Since allegations that Weaver sexually harassed young men emerged, other founding members are being investigated over what they knew and when, and the PAC is barely hanging on.) APRIL 2021

The Conways were now officially politically opposed. With the pandemic, the stakes became life or death. When it came to addressing COVID, Kellyanne, as ever, played it both ways. Former Mike Pence adviser Olivia Troye, who resigned in protest of the administration’s handling of the pandemic, recalls Kellyanne, on the one hand, as a formidable presence in task force meetings. “She would speak up…[saying], ‘We need to make sure we’re not confusing the public with our messaging,’ ” says Troye. She tangled with Scott Atlas, who cherry-picked science and questioned mask wearing. Troye was disheartened, then, to see her do a complete 180 in public, like when she took to the podium in March 2020 and folded to the denier in chief. When CBS’s Paula Reid questioned claims that the virus was being contained when evidence pointed to the contrary, Kellyanne sneered, “It is being contained. Do you not think it’s being contained?… So are you a doctor or a lawyer?” Troye recalls, “I just remember thinking, Why, Kellyanne?” According to two former Centers for Disease Control officials, Kellyanne meddled with CDC guidelines on communion and choirs in church—laxity to please the president. Meanwhile, George brought the Lincoln Project an idea, suggested to him by conservative writer Windsor Mann, for the ad “Mourning in America,” which powerfully shredded Trump’s response to the pandemic. (Trump responded on Twitter, anointing George with a new nickname—a sign that the irking was working: “I don’t know what Kellyanne did to her deranged loser of a husband, Moonface, but it must have been really bad.”) Beside himself with anger, George, in podcast interviews and tweets, went after all of the enablers: Bartiromo (“She was a serious person at one point”); Pence (“He used to be an honest politician”); “pathetic Susan Collins”; Trump’s staff (“He’s 100% insane. And nobody in the administration has the balls to tell him that”). He never named his wife, but he viewed her as among them. And then the crisis on the home front exploded into public view. Claudia, then 15, was becoming virulently anti-Trump, pro-choice, pro–Black Lives Matter, and a fan of Alexandria Ocasio-Cortez—and, like all teens, she was sharing her views on TikTok. She was also suffering and wanted the world to know it. She tweeted in August, “My mother’s job ruined my life to begin with. Heartbreaking that she continues to go down this path after years of watching her children suffer. Selfish. It’s all about the fame, ladies and gentlemen.” Then: “You know life isn’t fair when you wake up to your own mother speaking 88

VA N I T Y FA I R

aside a homophobe and a rapist,” Claudia tweeted, referring to Pence and Trump. Days later she tweeted that she was seeking legal emancipation. The next day Kellyanne announced that she would be stepping down from her position in the White House. “Less drama, more mama,” quipped the quipper. George said he was stepping back from the Lincoln Project. But Kellyanne just couldn’t quit Trump. A month later she returned for two events that were supposed to be victory laps of sorts. First, she, Christie, and a few other maskless advisers had to prepare Trump for the first debate. She wanted him to take the opportunity to tout his accomplishments. Alas, the only memorable line was his directive to his white supremacist supporters the Proud Boys: “Stand back and stand by.” (The line wasn’t the plan, but she thought little of it, according to a source familiar with the situation; it was just Trump being Trump.) And she couldn’t not go to the Rose Garden to celebrate the new Supreme Court justice, Amy Coney Barrett, whom she saw as a kindred spirit—a non–Ivy League–educated superstar and Catholic mother of a big family. At least a dozen attendees ended up with COVID. Everyone from the debate prep ended up with COVID too, according to Christie. While it’s unclear where Kellyanne picked up the virus, within days, it was in the Conway household; Claudia, too, tested positive. Those twin disasters—calling white supremacists to attention and a superspreader event—bruised Trump in his quest for victory. In the days following the president’s defeat, Kellyanne was back on Team Trump as it searched for allegations of voter fraud. After each and every court case ended in defeat, according to a source familiar with the matter, she broke it to him: He’d come up short. But she no longer had his ear, apparently. By that point he was hearing what he wanted and was off to the races with Stop the Steal, a slogan that quickly metastasized within the GOP and throughout the country. According to a source close to Kellyanne, in the days leading up to the riot, she never imagined that Stop the Steal would become a call to arms, never imagined that any violence would come to pass. She might have listened to her husband. George was scouring Parler and finding violent nutjobs who were responding to Trump’s tweets and planning to show up on January 6 to do Lord knows what. On January 4, he raised alarm bells on Morning Joe and on Twitter. Kellyanne spent the start of January 6 working in her office before hearing of the breach. Horrified, she phoned an adviser who was physically with Trump, telling him to call off his supporters, to no avail. Four years of lies and brutality had come

home to roost. That night Claudia took the moment to stick it to her mother. “Hey, Mom, if you’re watching this,” she said on TikTok, “how do you feel about your army becoming rioters?…Anyway, Mom, if you see this, come to my room. Let’s talk.” In the wake of catastrophe, Kellyanne continued the spin, but the spin wobbled pitifully. While the pandemic raged, she journeyed 3,000 miles to appear on Real Time With Bill Maher and insist that it was all worth it. She reminded us about those great walk-in privileges. Furthermore, “You can’t deny that many people are better off,” she said, teeing Maher right up: “Well, they’re not better off now. A lot of them are dead.” As for Trump and the riot, she merely allowed: “I wish the president had spoken with the people earlier to get them the hell out of there.” Today a few leading Republicans continue to take a stand against Trump. Kellyanne isn’t one of them. A source close to Kellyanne says that “Kellyanne was disappointed by the treatment of the vice president. She is close to both men and hopes that their relationship will be solid going forward.” But then, how could Kellyanne Conway profess anything but admiration? To admit that Trump is a profoundly flawed human being would be to admit that George was right and that she made a mistake. And winners like Kellyanne don’t make mistakes. They go from one triumph to the next and turn controversies into career opportunities, like the big, juicy memoir she is writing. “An insider” told the Daily Mail that it will be “the most unvarnished, eye-popping account of her time working for the president” and that the deal was bigger than John Bolton’s. Q

Conway and Bill Barr at Amy Coney Barrett’s celebration—after Conway had claimed to have stepped down from her duties.

C H I P S O M O D E V I L L A / G E T T Y I MAG E S

State of the Union

Intelligent Design

with renewed vigor: “What’s the purpose? Is there a tangible social value?” The pandemic grounded the relentless travel that comes with being Yves Béhar— client visits, design fairs, lectures. It’s meant more family time, regular Fuseproject Zooms. “We’ll all have saved money and carbon in the process,” he said. Béhar’s design approach has always been what he calls “proactive,” anticipating needs that might arise a few years down the road—the futurist in him. But the pandemic also required Fuseproject to be reactive. As Béhar put it, “We decided to put ourselves at the service of others and what was needed.” Reacting to a real-time catastrophe made Fuseproject an analogue, in miniature, of an auto plant that shifts its output from sedans to tanks during wartime. Béhar mentioned that the firm designed posters for the United Nations and helped get the entire town of Bolinas, California (population 1,077), tested for COVID-19. When Massachusetts General Hospital issued a call for the rapid design and fabrication of ventilators to meet the coronavirus crisis, Fuseproject, teaming with the tech start-up Cionic, came through with the winning entry, the Vox ventilator, developing the lifesaving device in record time. “I realized that that’s what animates me, gets me out of bed—responding to conditions no matter how dramatic or terrifying,” Béhar said. The do-gooderism of Fuseproject has always been conspicuous, with projects CON TIN U ED F ROM PAGE 63

highlighting sustainability and philanthropy, such as bringing eyewear to Mexican schoolchildren. But a recent spate of projects suggests that this, and not high-end juicers, is the true focus of Fuseproject in 2021 and beyond. Béhar designed low-cost 3D-printed houses for the charity New Story that were built in Mexico last year, and a 4,000-squarefoot undersea research lab called Proteus, with the oceanographer Fabien Cousteau, that is planned for the waters off Curaçao. (Béhar also recently designed sunglasses made from recycled ocean detritus for a Dutch nonprofit, The Ocean Cleanup.) He has designed Moxie, a cute, expressive robot pal that helps autistic kids acquire social skills, and ElliQ, a robot companion for the elderly that looks like a luminous sculptural object. Such projects, Béhar said, will help us see robots and AI as “humanizing and not dehumanizing,” erasing our terror of being ruled by HAL 9000. His most celebrated robotic design is arguably the Snoo, a sleeper and bassinet developed with Karp, author of The Happiest Baby on the Block, and his wife, the filmmaker Nina Montée Karp. Following Karp’s principles, the Snoo can swing and sway and shush (microphones detect a baby’s cries and the crib reacts with soothing sounds), and it comes with a snug little sack that achieves perfect swaddling—the blanket-burrito effect that parents struggle with. It does all of this while looking cool— a midcentury-modernish piece of quality furniture with hairpin steel legs. “Our goal was to have something so beautiful and so welcoming to a child and so approachable to a parent—and yet it’s technology,” Karp told me. “His design made those counterpoints go together so well.” Montée Karp picked up the thread: “It’s a robot—but he made it so sweet and poetic.” The Snoo is the kind of baby accessory that makes you tempted to have another

child. It’s also the rare one that may defend against SIDS, by preventing infants from rolling onto their stomachs, and help alleviate postpartum depression by making new mothers less exhausted and frustrated. The FDA has recognized the Snoo as a “breakthrough device,” and it has taken up floor space in hospitals and in museums, including the Victoria and Albert and the Cooper Hewitt (the Smithsonian’s design museum), which acquired one for its permanent collection. (It retails for $1,400 but is offered in a more affordable rental program, and, Karp said, it is now an employee benefit at a number of corporations.) Béhar considers it one of his most rewarding projects, a case study in how tech, with the aid of design, can solve problems, not proliferate them. “There are certainly elements of technology that make us feel like we’re paralyzed,” he said, “but technology isn’t something that I feel powerless about. In social media, financial services, and other places, there are technologies that take advantage of us. I want it to be the other way around.” a young designer,” Medda told me, “I would aspire to be Yves Béhar.” He is now what Charles and Ray Eames were in an earlier age, a designer that up-andcoming practitioners emulate and seek out for mentorship. “It’s incredibly rewarding to have young designers tell me they got into the field because we inspired them,” Béhar said of Fuseproject. “It is important to provide hope for younger designers.” Ever the optimist, Béhar is still scanning what’s ahead, imagining today’s plans taking shape in a tomorrow we can’t yet discern. He admitted to being a little impatient to get there. “I never think it’s going to be 5 or 10 years out,” he said, before clicking into a Zoom conference. “I think it’s, like, two or three. But I have learned that things to do take more time.” Q “IF I WERE

VANITY FAIR IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. IN BOTH THE U.S. AND THE U.K. THE U.K. EDITION IS PUBLISHED BY THE CONDÉ NAST PUBLICATIONS LTD. UNDER LICENSE. COPYRIGHT © 2021 BY THE CONDÉ NAST PUBLICATIONS LTD., VOGUE HOUSE, HANOVER SQUARE, LONDON W1S IJU. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT WRITTEN PERMISSION IS STRICTLY PROHIBITED. PRINTED AT WALSTEAD ROCHE.

Vanity Fair April 2021, No. 727. The magazine is published monthly (except a combined issue in July/August and December/Holiday) by The Condé Nast Publications Ltd., Vogue House, Hanover Square, London W1S 1JU (telephone: 020 7499 9080). Subscription rates include delivery and digital editions. Full rates are £59.88 for one year in the UK, £96 for the rest of the world. To place your order call 0844 848 5202 in the UK or +44 (0)1858 438 815. Landline calls to 0844 numbers will cost more than 5p a minute; calls made from mobiles usually cost more. Special offers and exclusive promotions are published in this issue or online at vanityfair.co.uk. To manage your subscription log onto www.magazineboutique.co.uk/solo. For subscription enquiries email vanityfair@subscription.co.uk or mail Condé Nast Britain, Subscriptions Department, Tower House, Sovereign Park, Market Harborough, LE16 9EF, UK. VANITY FAIR is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including, but not limited to, drawings, photographs, or transparencies), or any other unsolicited materials. Those submitting manuscripts, photographs, artwork, or other materials for consideration should not send originals, unless specifically requested to do so by Vanity Fair in writing. Manuscripts, photographs, and other materials submitted must be accompanied by a self-addressed overnight-delivery return envelope, postage prepaid. The paper used for this publication is based on renewable wood fibre. The wood these fibres are derived from is sourced from sustainably managed forests and controlled sources. The producing mills are EMAS registered and operate according to highest environmental and health and safety standards. This magazine is fully recyclable—please log on to www.recyclenow.com for your local recycling options for paper and board. TO FIND CONDÉ NAST MAGAZINES ONLINE, VISIT www.condenet.co.uk; TO FIND VANITY FAIR, VISIT www.vanityfair.co.uk.

APRIL 2021

,9-' '9 <% *?B?8C ! 9%'-, * * -',$ <%',$9 '!! 8 ,<*C !-?, C 9'$, 8 * 8 ' %" * 3 'D &', *?9'@ , <%' **C + A'<% !?**C <8 ,9/ 8 ,< 9?//*C % ', ,9-'79 .EE2 9'*) +'9-* 9 , 9*'/ 8 99 9 ! <?8 , ', -$,'<- ?'*<&', 8 9- A-+ , , 4?'< -+/8-+'9',$ , ", **C $ < <% 9?//-8< <% C 9 8@ 3 '9'< %-&!#&% &%* &$ , !-**-A %-&!*#&% &% -, <- ?/*'!< 3

?B?8C 9?9< ', '*'<C , !!-8 '*'<C <%8 -!< , ', -+/ <' * -, /<9 8 + 8$ C *? 'D C A 879 %' 9<C*',$ /8 +'?+ 4? *'<C , 8 -, , ?<8 * ?9', 99 +- *3 % * < 9< -** <'-, '9 % , & 8 !< !8-+ <% %'$% 9< 4? *'<C < *' , < < 9 , + < *93 '9'< #02!5 4 3 ,* &$ #02!5 %-<-$8 /% 8 %?,< 89 -** <'-,9

'9 9A'+A 8 8 , !8-+ '-

, '8- A'<% ?,'4? -, /< -! 5 '< * 9A'+A 863 .EE2 + ', 8 D'* /8-? *C /8-+-< 9 - C /-9'<'@'<C , 9?9< ', * ! 9%'-, <%8-?$% -, &9'D "<9 ** ?8 * 9A'+A 8 <% < -!! 89 %'$% @ 89 <'*'<C **-A',$ C-? <- '< , 9<C* C-?8 /' 9 9 C-? A ,< '9'< !/ -3!$3 ,* &$ !/ -3!$3 ,

* * * ( ) 3 3 3 0 9-*?< ' <-8C @ 8C C1 '9 /8-$8 99'@ 9<8 <A 8 8 , A'<% !- ?9 -, %'$% 4? *'<C $ 8+ ,<9 /< * <- ,C *'! 9<C* 3 % 8 , '9 ' < <<%-9 A% -,<',? <- 9<8'@ !-8 @' <-8C @ 8C C , <% '8 ',,-@ <'@ 9'$,9 + 8 ', '@' ? *'<C A'<%-?< 9 8'" ',$ 4? *'<C -8 9<C* 3 '9'< -&#0/ 2! /&,4 2 ,4 4* &$ -&#0/ 2! /&,4 2 ,4 4

'9 9?9< ', * 9*-A ! 9%'-, 8 , *- < ', <% 3 -?, C ! 9%'-, 9'$, $8 ? < %8'9<' , ,, % 8 8 , -!! 89 <'+ * 99 9'$,9 <% < % @ /-9'<'@ '+/ <9 -, , <?8 -?8 /* , < , / -/* 3 % 9<C* '9 % , + C %8'9<' , ', % 8 9<? '?9',$ -8$ ,' , 9?9< ', * + < 8' *93 '9'< ,!-/! % -! %-* &*0" ,!-/! % * -! %-

?+'99?8 A 9 !-?, ', >E.= A'<% <% /?8/-9 -! % */',$ A-+ , 8 99 <% A C <% C *') ,+ << 8 <% '8 9<C* $ -8 9'D 3 8',$ $ 8+ ,< <% < % 9 , + <- + 9?8 !-8 * $ , , -+!-8< < , !!-8 * /8' 3 '9'< -0$!--0, * &$ -0$!--0,

, ',< 8, <'-, * +- * %8'9<', --/ 8 % 9 8 < ?<C , ! 9%'-, 8 , 9* , *3 %8'9<', 79 ',<8' < 8' ,&',9/'8 <8-/' * @' 8 ,< /' 9 , 8<%C <-, $ 8+ ,<9 8 8--< ', % 8 / 9' ,: 8' , % 8'< $ 3 8 < <% / 8! < *--) !-8 @ <'-, -8 @ , C-?8 , B< 8 8/ < @ ,<3 '9'< !-# % #',& 0 /-* &$ !-# % #',& 0 /-

C ', -** <'-,79 ' +-, %-8< ',' 8 99 '9 <% / 8! < / 8<C /' !-8 *+-9< ,C 9/ ' * - 9'-,3 <?8 '9 +- * ' -89 C A 8',$ <% 9< 8&9<? 8 99 A%' % '9 @ '* * ', @ 8' <C -! -*-?893 9'$, 8

,,'! 8 '*3 %-<-$8 /% 8 ?9<', @C3 ) ?/ 9 <%' %-,3 <C*'9<9 ' % ** -, C '+ 8*C A9-+3 '9'< "4, # !% &## /!&%* &$ , !-**-A "4, # !% &## /!&% -, 3

-+ ,' , 9*-A ! 9%'-, -?<'4? A'+A 8 8 -$,'9 9 <% < A-+ ,79 - ' 9 8 ', -,9< ,< % ,$ 3 % 8 , *?89 <% *', <A , 9A'+ , 9<C* 8 <',$ $* +-8-?9 *--)9 A'<% !?, <'-, * * + ,<93 % '8 # << 8',$ , < '* /' 9 8 8 !?**C 8 !< ?9',$ ',,-@ <'@ *C 8 A'<% 9% / 8 < ,<'-, < %,-*-$C , ! ?*-?9 -& !8' , *C 99-8' 93 '9'< -& , %*,& , !-**-A -& , %*,& -, 3

9 ', %'* */%' '+ <*'99 '9 <-/ *?B?8C 9<8 <A 8 8 , A%- 9'$, % , + ,'+ ( ,9 , , ' -,' -** <'-, -! ( ) <93 % '8 $- * '9 <- 8',$ ?,'4? %'$%&4? *'<C 9<8 <A 8 !8-+ %'* */%' <- <% A-8* -! ! 9%'-,3 '9'< #!$ /#!--* &$ , !-**-A #!$ /#!-- -, 3

7 '9 *?B?8C ! 9%'-, 8 , <% < B +/*'" 9 -* +- 8, ' *93 % C /* C , B/ 8'+ ,< A'<% * , C < 9 ? <'@ /' 9 A'<% % /' ", ',$ '<9 %-+ A'<% -," ,< + '<'-?9 , 8',$ *' ,< * 3 '<% % , A -** <'-, -+ 9 @-*?<'-, <- /<?8 <% ?<<',$ $ 3 '9'< #$&$&* , !-**-A #$&$& ! # -, 3

9'$, C 8'99 ,',- -!! 89 8 +C ?8 < '< -! 8 99 9 ', B *?9'@ *C 9'$, ?,'4? /8',<93 ,<8 * <- <% 8 , 79 /%'*-9-/%C '9 <% < 8 99 9%-?* "< # << 8 , 8',$ C-? <- *'! 3 ?9< ', '*'<C '9 / 8 +-?,< <- ?,')79 <%-9 9- % 8 99 '9 + ', *'+'< 4? ,<'<' 9 , /8- ? *- **C ', * -?8, ?9<8 *' 3 '9'< /0%!"* &$* 0 , !-**-A /0%!"1/ # # -, 3

4B1 ! F F ,?*4/G ,1

!/ !<,)1< C!) 1 * 1 )< $4; ?*! 0!?;464/,? 1 ),;/ D*4 ,< /D F< 41+?*!+)48 1<6,;! F C,1? )! !<,)1< D,?* 41?!064; ;F ?D,<? ! * ) 1 ! 6!;<41 /,<! D,?* !0 ;4, !;F 1 * ,1<8 *!,; <! 41 4//! ?,41 ;! !1?/F / B1 *! B<,1) ;! F /! 0 ?!;, /< $4; ,?< <B<? ,1 ,/,?F ,1,?, ?,C!8 ,<,? $)# #( & 1 $4//4D $)# #. 41 8

!6/ ! F4B; B; !1<40! F4) D! ; D,?* $ *! ,1?<: B16 ; //!/! F4) 4 F<B,?8 B<? < D! * C! ;! .1,C!< $4; )B!??!< ;,C!;< ?4 <D,1) ? )4/$ //< 4; ;B !; <4/!< ?4 1 C,) ?! ?!11,< 4B;?< $ *! ,1?<: B??,1)+! )! !<,)1< !/,C!; ?*! 1! !<< ;F ?44/< $4; F4B; F4) D ; ;4 !8 ,<,? & , * !%,* '' ) #( &$ 1 $4//4D & , * !%,* '' ) # 41 8

B< 1 D,0D! ; !E /B<,C!/F !<,)1! F BG, ,!0 GF . ;! ?!< D40!1:< <D,0D! ; D,?* 6 <<,41 $4; / <<, <,/*4B!??!< 1 /4C! $4; <B00!;8 1 +0 ! $4; ?*4<! D*4 <!!. ?*! <B1 // F! ; ;4B1 ?*!,; 4//! ?,41< B<! ?*! *,)*!<? 9B /,?F $ ;, < ?4 0 E,0,<! 40$4;? 1 !1<B;! !/!) 1 !8 4; ?,0!/!<< ! * !/!) 1 ! C,<,? *-* %*0!$0 )( - 1 $4//4D *-* %.*0!$0 ) 41 8

B /4< ,< /BEB;F /! ?*!; !<<4;,!< ; 1 $4 B<! 41 ;! ?,1) <B<? ,1 /! !<64.! 6;4 B ?<8 *!F ;! ?! ,1 ,C, B //F * 1 + ; $?! * 1 )< 0 ! ?4 4; !; 1 !<,)1! F F4B B<,1) ?*!,; D! <,?!:< 30 !$4;0! $! ?B;!8 ! ,1 <0 // <?B ,4 B<,1) %1! ? /, 1 40641!1?< <B * < < $% 14 /! ?*!;8 ,<,? - #&*( &(-" - #&*. *'&" / .$!// 6*4?4); 6*F8

1<6,;! F 1 ?B;! 4< 1)!/!< 6;!<!1?< ?*!,; ?,0!/!<< 4//! ?,41 4$ <B1)/ <<!<8 * 6 ,; ,< ;?$B//F ; $?! ?4 6;4C, ! / <?,1) 40$4;? D*,/<? .!!6,1) <?F/! ? ?*! $4;!$;41? 4$ ?*!,; !<,)1<8 *! ; 1 ,1C,?!< F4B ?4 ! 40! 6 ;? 4$ ?*!,; 400B1,?F //4D,1) F4B ?4 ! ,1<6,;! 1 B?*!1?, //F !E6;!<< F4B;<!/$8 ,<,? ' &# ( &$ 1 $4//4D ' &#&* % # * 41 8

E6!;,!1 ! ?*! /BEB;F 4$ ?*! 04<? !?*, / 40$4;?8 <! ,1 ; !/41 , *!/! 4C!1:< ?,0!/!<< 4//! ?,41< ;! 400,??! ?4 !?*, / $ <*,41 ;! ?,1) !E /B<,C! 6,! !< * 1 +.1,??! D,?* /6 D44/8 *!,; /,0,?! 6;4 B ?,41 /,1! ;!'! ?< ?*! ; 1 :< <B<? ,1 /! C /B!< 1 ?*!,; ;!<6! ? $4; 4B; / 1 < 1 ?; ,?,41<8 ,<,? $! # % &/ %( &$ 1 $4//4D $! # % &/ % 41 8

;,< ! ;/ 48:< <,)1 ?B;! 4//! ?,41 $! ?B;!< 6! ;/< * 1 +<!/! ?! F + !;?,%! !E6!;?< $4; ?*!,; 1 ?B; / <* 6! 1 !?*!;! / /B<?;!8 < 1 4 ! 1+ 41< ,4B< -!D!//!;F <?B ,4 ;,< ! ;/ 48 41 ?!< &7 4$ !C!;F < /! ?4 41<!;C ?,41 ,1,?, ?,C!< ,1 ?*! ! ,?!;; 1! 1 ! 8 ,<,? $ )!*' )# &( &$ 1 $4//4D $ )!*' )# & 41 8 *4?4 ! !;, ; 148

1<6,;! F / <<, /

6 1!<! 1?*4/4)F :< / ?!<? 4//! ?,41 !E6;!<<!< ?*! !!6 <!;!1,?F 4$ <6;,1) ,1 6 18 *!,; ' )<*,6 <,?! /4 ?! ,1 ?*! ,1 0,+ 4F 0 ,<?;, ? ? ?*! *! ;? 4$ 4.F4 ;!46!1< < 1 664,1?0!1?+41/F 6;,C ?! < /41 ?*,< <6;,1) //4D,1) F4B ?4 /4<! F4B;<!/$ ,1 ?*!,; <?B11,1) 4//! ?,41<8 ,<,? ) *1-)1-( &$ 1 $4//4D ) *1-)1-.& ! # 41 8

,/, < ?,C! !<,)1< *,)*+9B /,?F ?,C!D! ; 1 /!,<B;!D! ; ?4 .!!6 D4;.4B?< 46?,0,<! 1 ;!<? F< 40$4;? /!8 *!,; / ?!<? 4//! ?,41 ,< 0 <?!; / << ,1 <?F/! 40$4;? 1 6!;$4;0 1 !+D! ; ;! ?,1) 400B1,?F ?* ? ,1<6,;!< ?*! <?;!1)?* ?4 ! ?*! C!;F !<? C!;<,41 4$ F4B8 !;! ?4 !/!C ?! F4B; )F0 ) 0! 1 <?F/! ?*,< ; 1 ,< 41! ?4 D ? * ,1 AHA58 ,<,? #!#! * ,!/ ( &$ 1 $4//4D #!#! * ,!/ 41 8

4B? ;! 4$$!;< 6;!0,B0 4//! ?,41< ?* ? <,)1,$F <46*,<?, ?! , !1?,?F8 B<? ,1 /F 1 41< ,4B</F 0 ! ?*!,; /BEB;F ) ;0!1?< ;! !<,)1! ?4 / <?8 1<6,;! F <46*,<?, ?! 0,1,0 /,<0 4B? ;!:< 4//! ?,41< //4D D40!1 ?4 /4C! 1 /,C! ,1 / <<, !<<, /! 1 )/ 04;4B< 6,! !<8 ,<,? /&-, ) &## ,!&%( &$ 1 $4//4D /&-, ) 41 8

8 8

HAH =(22 2H"H @=H&

?,C! 4/,<* !<,)1!; 1, 4 ,B) ,< ); B ?! 4$ ?*! <*,41 1<?,?B?! 4$ ! *14/4)F ,1 !D 4;.8 40 ,1,1) B;46! 1 !/!) 1 ! 1 ,?< 41<!;C ?,C! *, D,?* 0!;, 1 $;!! 40 1 ! <! <*! / B1 *! *,/4 # 1 ,1 !6!1 !1? /BEB;F / !/ $4; D40!1 D*4 0 .! ,$$!;!1 !8 ,<,? ' !#&% 01&)"( &$ 1 $4//4D ' !#&% 01&)" 41 8

;

(

02 ,: 0 ..+0 ?B9 . C ) 0+$9, 0 .F 492 B ? 492B .F / ,0 B:?9 ., 6 * ,9 . F / :-: 2$$ 9 *,0? 2$ .BEB9F ,0 ?* 2/$29? 2$ F2B9 2D0 *2/ " ?* 4 9$ ? D F ?2 :42,. F2B9 :-,06 * ?* 9 F2B * C 2,.F : 0:,?,C 29 9F :-,0 ?* 9 ,: :2/ ?*,0) $29 C 9F20 6 ,:,? + A A, 2 /,2 = + A2 A2, <2 0 9 $? ,0 B:?9 ., 3 . F :-: 9 0*F 92B: 0 20.F B: *,)*.F 20 0?9 ? 0 ?B9 . ,0)9 , 0?:6 * 9 0) ,0 .B : %C ,$$ 9 0? / :-: 0 * / :- ,/: ?2 ? 9) ? :4 ,% :-,0 ?F4 0 20 906 : ?* 2 AH $29 AH5 F2B9 %9:? 4B9 * : E4,9 : @3=3A=A36 ,:,? &4 - - 4 2 / &4 - - 4 ;2 4B?: 9 9 ?,C 2EF) 0 4. 0?: ,0 0 ) +2. :?20 /29? 9 $29 $ 9/ 0? ?,20 B0 9 20:? 0? ? /4 9 ?B9 :6

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

/ ( 4*(- 3 +; F5 :02 >,2) I,0 60 2D> $4= )! 42 D*!,= $ =1 ,2 2 ,2$G>!> D*!,= ! 4+$=,!2 0K 4 K 6=4 G D> I,D* *!= >: ! I,D* 00+2 DG= 0 ,2)=! ,!2D> 2 24 >K2D*!D, 404G=> 4= $= )= 2 !>: *!,= >/,2 =! $!!0> )!2D0! 2 >44D*,2): ,>,D D*!,= >*46 2 04) D 13 (3( 4/ 14& *2 /, 2 $4004I 13 (3( 4/ 14& * 42 : ::2 /! K4G= ! GDK =4GD,2! D4 I*40! 2!I 0!H!0 I,D* <> =K>D 0 ,2$G>! >/,2 =! 400! D,42 1 ! I,D* 4=) 2, ,2)=! ,!2D> 2 64>,D,H! $%=1 D,42>: , DG=! ,> D*!,= 0! 2>!= 2 $ , 0 4,0 I*, * ,1> D4 0! H! >/,2 044/,2) = , 2D: 00 6=4 G D> =! * 2 1 ! H!) 2 2 $=!! $=41 $= )= 2 ! * =>* *!1, 0> 2 >G0$ D!>: ,>,D 4/-/ 44 - ++ 2 /, 2 4/-/< 44 - :92 4D 2, 0 >/,2 =! 6=4 G D> K 4$$!= 41 ,2 D,42 4$ 1,0 $4=1G0 > I,D* 2 DG= 0 ,2)=! ,!2D> >G * > * 141,0! 04! H!= !G 0K6DG> 2 H,D 1,2 : *!,= 6=4 G D> FE ,1 D4 0! H! D*! >/,2 044/,2) = , 2D 2 $!!0,2) =!$=!>*! : , DG=! ,> D*! 2D,+ ),2) /,2 =! 1 ,=1,2) !=G1 2 , 0 0! 2>!=: =G!0DK+$=!! 2 4=) 2, : ,>,D 88>> +(,(8 /2 /, 88>> <+(,(8 / :$2 1!=),2) !=1 2 = 2 $4 G>>!> 42 >G>D ,2 0! 2 2 DG= 0 * ,= =!: ,D* D*!,= >,)2 DG=! 4 = =,>D0! * ,= =G>* D*!K 41 ,2! 2 !J 0G>,H! !>,)2 I,D* >D D!+4$+D*!+ =D 1 D!=, 0> $4= 14 !=2 66=4 * D4 * ,= =!: ,>,D + /'13(-?2 /, 2 $4004I + /13(-?2/ ! ( + 42 : :"2 G ! =$G1! ,> G2,;G! G2,>!J 0GJG=K $= )= 2 ! 1 ! $=41 *,)* ;G 0,DK ,2)=! ,!2D> $=41 = >>! 4GD* 4$ = 2 !: D ,> 04H! $4= ,D> I44 > !2D 2 0!2 4$ =, * 4G 24D!> >4$D!2! K D*! I =1D* 4$ >6, !> D* D 0,2)!= D4 =!H! 0 =,2) $= )= 2 !: ,>,D 4(3 &4 -842 /, 4(3 &4 -84

F& F(

:2 ,> )04 0 *41! $G=2,>*,2) = 2 4$$!=,2) 42D!164= =K 2 142G1!2D 0 ! 4= =D, 0!> 6=4 G ,2) ,224H D,H! 6,! !> D* D 6D D4 D*! !H!=+!H40H,2) D=!2 > I,D*,2 ,2D!=,4= !>,)2:

!2 ! H4G=> D4 !0,H!= ! 4= 400! D,42> D* D =! 24D 420K >6! ,% GD =!'! D,42 4$ D*! ,2 ,H, G 0 42>G1!=<> 0,$!>DK0!: ,>,D +( 2 /2;* << +( *4D4)= 6*! K D*! ! 4I>6 ! 92 !>,)2> !J;G,>,D!0K !K!+ D *,2) 2 !D*, 00K 1 ! * 2 )> D* D D /! D*! H!) 2 *4, ! D4 0GJG=,4G> *!,)*D>: /! 1! 2,2)$G0 ,16 D D4 K4G= I = =4 ! 2,1 0> 2 D*! 60 2!D: 5M D=!!> 60 2D! $4= !H!=K ) >40 : ,>,D = 33(-%8/-2 /, 2 $4004I 33(-%8/- = 42 :

(

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

: :

MFM @(33 3M"M E@M&

02 2>6,=! K D*! 0 2 > 6!> =4G2 *!= * 2 = $D> 42!+4$+ + /,2 )0 >> 6,! !> %00! I,D* 6=!>>! '4I!=>: != I4=/ ,2 0G !> !>64/! 2 0! *40 !=> * 2),2) '4I!= $= 1!> 2 G2,;G! 411,>>,42! 6,! !> $4= D*4>! I*4 I 2D D4 6=!>!=H! D*!,= 4I2 '4I!=> $=41 >6! , 0 141!2D> ,2 D*!,= 0,$!: ,>,D +; >+ 4+ 88 4(%-42 /2;* 2 $4004I +; >+ 4+ 88 4(%-4 42 :

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

8 8 LEL ?'11 1L!L D?L%

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

;

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

#1 4 : 5 5.,' # * .% ' 5 "( 55 * 5%(> 4 & ? (( 4A ) ,* :# ,4*%5# , 5:(%* > 4A .% , & ? (( 4A %5 =*%1= * :%) ( 550 4 : ,4 > 4A A ? 4 =5:,)%5 A,=4 ,?* & ? (( 4A :, A,=4 : 5: '*,?%*" :# : A,=3(( (? A5 # > A,=4 > 4A ,?* ,4%"%* ( .% 0 %5%: '3?+ ?3'*= 21 .1;) '3?+ ?3'*= 2

!1 ,=* %* <C-+ ? %5# 4 * %)5 :, 5.4 #,. * * ,=4 " ) *: :#4,="# :# %4 & ? (( 4A0 55%,* : ,=: ,*:4% =:%*" :, ),4 5=5: %* ( =:=4 :# %4 #%"# 1= (%:A & ? (( 4A .% 5 4 ) 4,) 4 A ( 5%(> 4 * 4 : A 4:%5 *5 %* > (,.%*" ,=*:4% 5 ?%:# ",, ?,4'%*" ,* %:%,*50 %5%: @. %..0( > *2?1 .+ * ,((,? @. %..0( > *2? ,* 0

51 %5 # * ) & ? (( 4A 4 * ).# 5%5%*" =*%1= 5%"* * #%"# 1= (%:A 4 :5) *5#%.0 ,=* 4 * ",( 5)%:# %* %5 %*5.%4 A %* =5:4% ( 5%"* 4 #%: :=4 * ), 4* (% 5:A( 0 :=4 4 :# ,* 44%*"5 ) , -! ",( ?#% # # > 4 5# =*=5= ( * :: 4%*" 5# . 0 #,. : ,1 8%"..2&38; '.1 .+ * ,((,? ,* 8%"..2<38; '.

41 35 & ? (( 4A , 5:5 ,:# 4 :=4 35 =:A .4,>% %*" :,' * ,4 ,* :, 4 > ( %* # 4 .4 5 * %"*%:%*" :# * :, .4,: : # 40 # ,). *A35 > 4A 5. : %5 =%(: ,* 5=5: %* %(%:A0 # 5 4%*"5 4 ) 4,) -CC/ 4 A ( ) : ( (,*" ?%:# .,5:$ ,*5=) 4 =. A ( % ),* 5 * (,* 0 %5%: > 3% 3%.2 1 . $ 8> 3% 3%.2

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

-C --

/A1 & %5 #%"#(A$ ,> : *5 5 5 4 * ,4 4,55 :# "(, ,4 :# 4:%5:4A * 4,) *:% %5) :# %4 (=@=4A ,(( :%,* ,*> A50 4 : ?%:# )%@:=4 , ",( *:5 ? 4,>5'% 4A5: (5 * 4 5#? : 4 . 4(5 :# 4 %5 *, ,= : A,= ?%(( 5 : :, ? (' ,?* :# 4 4. : %* *A .% 4,) :#%5 ,(( :%,*0 % :=4 # 4 %5 2 * >% > 30 %5%: ,, + 2' 3%.01 .+ * ,, + 2' 3'$,3) ,* 0 #,:, A ((% 4A0 //1 , =5 5 ,* ,(( :%,* , :%) ( 55 * ( 55% 5%"*5 :# : : 4 :, :# & ? (( 4A )%*%) (%5:50 # .% %5 - $' 4 : ",( .( : > 45 :%( * 5%"* :, 4%*" 5 *5 , ( " * :, :# > 4A A0 %5 ,> 4 ),4 : 3%.0 .8' ' ,1 .+ ,4 ,((,? .8' ' ,( > ** 2? ,* 0

/:1 5: (%5# %* <C- %* :# # * 4 :5 (%"#:? %"#: ? 4 ( > 4A A .% 5 , & ? (( 4A ) 4,) 5%(> 4 5 * " )5:,* 50 *5.%4 A " ,) :4% 5# . : :%( ,4) * * :=4 ( ,(,=40 #,. ?%:# :# ) ,*(%* : ' & 2 8'= 1 .1;) ,4 ,((,? ' 2 8'= ,* 0 /91 4 : 5 5: : ) *: .% 5 :# : 5: * ,=: ,4 :# %4 ( " * * 4 4 : :, :4 *5 * 0 # .% # 5 ,* .: #%* %:6 :#%5 > *:$" 4 4%*" %5 %*5.%4 A #,? 4 (%:A # *" 5 :#4,="# % 4 *: . 45. :%> 50 %* A,=4 .% : 33', .33' 21 .+ * ,((,? :# ) ,* 33', .33' 2

/#1 * *:? 4. & ? (( 4A 4:%5: 4 : 5 # * ) & ? (( 4A %*5.%4 A * :=4 4 #%: :=4 5#%,* * . ,.( 0 5%*" -CC/ 4 A ( ",( * 53 & ? (( 4A :=4 5 #%"#$1= (%:A % ),* 5 * :%) ( 55 ( " *: * =*%1= A : ,*: ).,4 4A 5%"* ,4* ?%:# ,4%"%* (%:A * %*: 4 5:%*" : %(0 %5%: ', 3 .;> ,1 .+6 , * ,((,? ,* ', 3 .;> ,( > *2?

-! -

-8

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

052 -< 2 420-2! .!E!00!;G 4C@-8C! 4%%!;-2* 1!@- C04C<0G + 2 ; %@! !1-,&2! .!E!00!;G <@G0!<7 6! - 0-<-2* -2 ! C@-%C00G !0!* 2@ +-*+,8C 0-@G 6-! !< !<-*2! @4 0 <@ 4G CF !<-*2 @!;< @4 6;4642!2@< 4% 42< -4C< 42<C1!;-<1 E+4 E 2@ @4 !0!D @! @+!-; 044/ E-@+4C@ 416;41-<-2* 42 !@+- < 2 <C<@ -2 -0-@G7 -<-@ )/@ ;? 4(&-2 /, )/@ ;? 4(&-

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

:02 :< ; 2 ! *40 2 ;4<! *40 60 @! ; !0!@ %;41 @+! -2* 4% -;! 400! @-42 -< @;- C@! @4 4@+!; @C;!:< ! C@G 2 64E!;7 -<-@ 3 ' 3@) > ++ 3@2 /, 3 ' 3@) > ++ 3@

BH B5

::2 -< 42 1-<<-42 @4 ;! @! ! C@-%C0 !2* *!1!2@ ;-2*< E-@+4C@ C<-2* + ;17 D!;G 6-! ! -< 1 ! -2 2 C<-2* ;! G 0! *40 2 + 2 <!0! @! 0 ,*;4E2 *!1<7 +46 @+!-; 400! @-42 @ ,@# 3 2 /, 2 %4004E 42 ,@# 3 :92 -< + 2 1 ! .!E!00!;G 0 !0 %;41 C<@;- ;! @! G ; + 2 !@; E-@+ 04D!7 + 6-! ! -< 2 4 ! @4 !D!;G C2-8C! E! ;!; <C + < @+! -; G !! ;!!2 ;;-2*< %! @C;! +!;!7 -<-@ (3 @ - 2 8 2 %4004E (3 @ - <) > ++ 3@ 42 7

:%2 4%%!;< 6!;<42 0-<! 2 <!2@-1!2@ 0 6-! !< @4 ;!6;!<!2@ G4C 4; G4C; 04D! 42!<7 2 1 ! E-@+ 3 @ <40- G!004E *40 @+-< -2@G 2 &2! .!E!00!;G 1 /!< @+! 6!;%! @ @-1!0!<< 6-! ! %4; <41!42! <6! - 07 -<-@ ) > ++ 3@ @' 32 /,2 ; 2 ) > ++ 3@ @' 3< :$2 !1 0!,4E2! +-*+ % <+-42 .!E!00!;G ; 2 @!00< <@4;G E-@+ ! + !F8C-<-@! !<-*27 /-2* 6 @;42< 42 .4C;2!G -2<- ! %;- @+!-; 5) *40 4; ;+4 -C1 60 @! 2 *!1<@42! .!E!00!;G %C<! C0@C;! E-@+ 14 !;2 @E-<@7 -<-@ @ - 2 /, 2 %4004E @ - /++ 8(/42 7

BA B)

:52 ; E< *;! @ ! 0 4% -2<6-; @-42 %;41 @+! ! C@-%C0 4C2@G 4% 4;%40/ < E!00 < @+! %4C2 !;<: @; D!0< ;4 7 !@ C6 -2 1!14;G 4% @+!-; 0 @! *; 2 14@+!; D! @+! ; 2 :< @E4 %4C2 -2* <-<@!;< !<<- 2 0- ! + D! 0 ;*! *! * 6 +!06-2* @+!1 @4 66! 0 @4 E- !; ; 2*! 4% *!< 2 <@G0!<7 -<-@ ) 44( +( ) > ++ 3@2 /2;* 2 ) 44( +( ) > ++ 3@

:!2 E < %4C2 ! G !1!;*-2* !<-*2!; !@@G 7 0;4 %;41 2!! @4 0!2 6 <<-42 E-@+ 6C;64<!7 +! 400! @-42 !0! ; @!< <@;!2*@+ %!1-2-2-@G 2 -2 !6!2 !2 ! E-@+ 2 @C; 0 1 @!;- 0< 2 1-2-1 0-<@ !<@+!@- 7 - @C;! -< ;-< @ ; C;<@ 66+-;! !2 2@7 -<-@ +; 4,/* ) > +3@2 /, +; 4,/* ) > +3@ 4; !1 -0 +; 4,/* ) > +3@ ( +/; 2 /, :.2 2 2<6-;! G 0!@@!; @4 4 G:< <-<@!; @+! 0C@! -<@!;+44 2! /0 ! 60 G< /!G 6-! ! -2 @+! 4<@ 0*- 400! @-42 ;! 4*2-<-2* @+! <@;!2*@+ 2 ;!<-0-!2 ! 4% @+!-; -2&2-@! <-<@!;0G 42 7 4 G:< @-1!0!<< 2 -2@;- @! !<-*2< ;! 00 + 2 1 ! -2 +!; 4;2E 00 <@C -47 -<-@ 8>(48 - '/3 @ / @2 /, 2 %4004E 8>(48 - '/3 @ / @ -&+ - 42 7

AH B3

9B2

-< +-*+0G C; @! 400! @-42 4% C2-8C! D-2@ *! 2 2@-8C! .!E!00!;G @+ @ +!06< @4 !2!&@ 2-1 0<7 !2 6!; !2@ 4% @+! ; 2 :< 6;4&@< ;! 42 @! @4 2-1 0 E!0% ;! 2 42<!;D @-42 4;* 2-< @-42<7 -2 2!<< 044/< *44 42 G4C$ -<-@ 8/8 ,*(88 -2 /, 2 %4004E 8/8 ,*(88 - 42 7 902 -< +-*+,!2 14 !;2 2 !@+- 0 .!E!00!;G ; 2 %;41 42 42 %4 C<-2* 42 +- .!E!00!;G %4; @+! !F 0C<-D! E! ;!;7 -@+ 2 C@+!2@- .!E!00!;G 0-2! ;! @! @4 +-*+0-*+@ @+! E! ;!;:< + ; @!; @+!G 6;4D- ! 6;4 C @ @+ @ -< 4@+ !0!* 2@ 2 !F !6@-42 0 E+-0<@ 1 ! -2 2 !@+- 0 2 <C<@ -2 0! E G7 -<-@ A@ 3;- 2 /, 2 %4004E A@ 3;- /"# ( + 42 7

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

7 7

HBH =)33 3H"H A=H'

:62 ;! @!< ! C@-%C0 !1-,&2! .!E!00!;G -2<6-;! G 0 <<- 0 0-2!< 2 6C@ @4*!@+!; -2 C2!F6! @! E G< @4 ;! @! @+4;4C*+0G 14 !;2 !<@+!@- 7 C2 +! -2 BHB5 @+!-; *;4E-2* 400! @-42 -< 1 ! <C<@ -2 0G -2 @+! 7 4C2 !; 4<-! ;-!<@0!G !<-*2< !D!;G 6-! ! @4 !2+ 2 ! @+! -2 -D- C 0-@G 4% @+! E! ;!; 2 @4 1 /! E41!2 %!!0 <6! - 0 !D!;G G7 -<-@ ++ - - , 2 /2;* 2 %4004E 42 ++ - - , ) > ++ 3@

7&#$;7 -)->6 + ; A;>6 7 ;$ ;@- /6&* 6B 7;$ ;& 7 -6 + 77 6B A/)-6 ;&-+0 6 @&+# &+!> + 6-* >6+ 6 ))>* ++ 7 + >))B + *-6 $&7 A/ 6& +;& ) @-6( &+?&; 7 B-> -+ '->6+ B0 &7&; . 5 ,((%*1 05%15/ ,) + -))-@ .) ,((%*1 05%15 -+ 0 7/

7/ & )&7 7 &+ 6B)& + -&) / &+;&+# >7&+# / &+; 6)B 6>7$7;6-( 70 $ $-/ 7 ;- 6 *&+ ? 6B-+ - ;$ &6 >;B + @-6;$ +* ;; 6 ;$ &6 7>66->+ &+#70 $ &7 + * 6& + 6;&7; &+7/&6 B ;$ *& @ 7; 6+ 7(B + ;$ / >)+ 77 - + ;>6 0 -6 *-6 &+ -6* ;&-+ ?&7&; 0% (( (8 05/ ,) + -))-@ -+ 0% (( (8 05

6/ >6&;& + 6;&7;

; ( 7 &+7/&6 ;&-+ 6-* ;$ ;6-/& ) -)->67 >+&1> ; ->;$ 7; 7& 0 6 -*/-7&;&-+7 6 ! ; $ 6 / >+ 67; + &+# - ;$ + ;>6 ) @-6) + + @ - &;7 >+/6 & ; ) !-@0 $ &+?&; 7 ;$ > & + ;- 6 -++ ; @&;$ + ;>6 + * 6 &;7 $ )&+# /-@ 670 &7&; ),*5%(( 05/ ,) + -))-@ ),*5%(( 05 -+ 0 !/ &7 + &+ >6#$% 7 7;6 ; / &+; 6 @$- 6 ; 7 7/-( -6&#&+ ) / &+;&+#7 ;- * ; $ B->6 $-* 57 &+; 6&-60 $ &+?&; 7 )& +;7 ;- $--7 -)->67 + &* +7&-+7 >; ;$ # 7;>6 &7 +;&6 )B $ 6 -@+0 $->#$ *-7; - $ 6 @-6( &7 -**&77&-+% 7 7$-/ ? &) ) / &+;&+#7 ; & )) 0 %"/ ,) -))-@ & )) 0 %" 05 -+ 0

/ ->;$ 6& + 6;&7; 6 @7 &+7/&6 ;&-+ 6-* -;$ 7;6 ; + + 6;0 + ;$&7 /& 7$ &*7 ;- 7$-@ ;$ ;6> + ;>6 - - &+7/&6 B ;$ 1>-; 4 $-@ ? 6B *> $ ->6 ;$ 6 )-? 7 >7 -6 $ ))7 >7 $&7 $&) 6 + + ;$ ; &7 @$ ; @ 6 50 &7&; ) ( *%0,11,8;/ ,) + -))-@ ) ( *%/0,11,8;9 05 -+ 0 3/ &7 + 7;6 ; A/6 77&-+&7; 7;B) 6;&7; @$- )&? 7 + @-6(7 &+ ;$ ;6-/& ) ) + 7 / - 6 -6;$ > +7) + >7;6 )& 0 $ &+;>&;&? )B )7 ;$ 77 + - + ;>6 ;$6->#$ $ 6 &++ 6 ?&7&-+ + &+; 6/6 ;7 ;$ ; &+;- $ 6 6;@-6( >7&+# ? 6&->7 * &>*70 + ->; *-6 ?&7&; ( '1 /* 5 ( < * 0 ',15% -6 * &) ( < 05/' %".,* / ,)

&7 )& -6+& % 7 7;6 ; 6;&7;0 6 &)&;B ;- ) B 6 -) 7$ / 7 + -)->6 @&;$ + )--7 )&+ 7 + # +;) (#6->+ 7 6 ; 7 &+;6&#> + // )0 7 )) >67; &+;- ;$ &+; 6+ ;&-+ ) 6; 7 + &+ =C=C + &7 &+ 6 7&+#)B -)) ; @-6) @& 0 &7&; %1 (( $ ( 11 * 0 $ 05%15/ ,) + -))-@ %1 (( 9 ( 11 * 0 9 05%15 -+ 0 / 7 &+ ?-+ 6 ; 7 @$&*7& ) 6; &+7/&6 B -)->6 + + ;>6 0 6 ); 6;@-6(7 7$-@ 7 ;$& ))B 7->6 -6# +& @--) -)->6 @&;$ + ;>6 ) B 7 6-* /) +;7 + !-@ 670 -+% *>) 7 * 6&+- @--) &7 )7- ;$6 ;$6->#$->; $ 6 @-6( ;- 6& $+ 77 + /;$0 &7&; :% '=# ;( = 05/ ,) + -))-@ :% '=/# ;( =/ 05 -+ 0

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

7$ * )# * ; 7 ;$ ) 7;& ) 7/&6&;> ) + 6 ;&? @-6) 70 6 7&#+ ;>6 / ) ;; /& 7 &+7/&6 B 6;$B ;-+ 7 + ;$ * #& ) -7*-7 &* ;- + ->6 # *&+ >)+ 770 &7&; (8* 1,(( * / ,)/ 8 + -))-@ (8* 1,(( * -+ 0

3 3

F?F :%// /F F >:F#

.7/

)9 D. -) 2 99)0. = . 90@,!@, 1? A)9@ , 8=)9= B'09 @.)4@ . C28 99)A 9=8 = 2 ).=).&9 8 2=)A =).& 2@ ,) . 28)A = 0,, =089 80@. =' &,0 3 .92)8 D . =@8 +D 79 8= C2,08 9 =' 2 8 0C 9 0! ,0A . ,)! ,0.&9) ' 8 0B. 2 890. , C2 8) . 9 0! ,0A ,099 . &8) !3 )9)= )) ; ))=+1(= / -* . !0,,0B )) ; ))=+91(= 9 05 0. 3 .6/ .92)8 D ' 8 =8 A ,9 8099 =' B08, !80- =' 0 .9 80@. @9=8 ,) =0 , . 9 2 9 ). , .

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

P roust Questionnaire

NAOMI CAMPBELL The super-est of supermodels talks going on safari and the one piece of jewelry she’s worn for 25 years

What is your current state of mind? I am trying to stay positive. I guess the word would not be “flowing” with life but “adapting”— adapt and not really think about it. Just go with it. What is your favorite journey? One of my favorite journeys is when I travel to Kenya, or elsewhere in Africa, go into the bush, do a safari, and live in a camp. I feel just like a speck—minute and fitting in with nature. Which living people do you most admire? Nurses and Stacey Abrams. What is your idea of perfect happiness? These days, it’s good health and peace. If you could change one thing about yourself, what would it be? I’m not

would it be? I wish we lived closer together. What is your most treasured possession? I don’t know if I really have

going to change anything about myself. I am happy and blessed with what God gave me, and I really have nothing to complain about. Which words or phrases do you most overuse? “I mean” and “so.” Which historical figure do you most identify with? I think right about now I could say Rosa Parks. I feel like we’re going back, regressing. But we can’t allow that to happen. How would you like to die? In my sleep. What is the trait you most deplore in others? Disloyalty. When and where were you happiest? When I am anywhere in the African continent. What are your favorite names? Biblical names. Which talent would you most like to have? The talent of healing, definitely. What is your motto? From Nelson Mandela: You will sleep when you die.

a treasured possession, but I have worn a waist chain for over 25 years that’s become a part of me. Where would you like to live? I love traveling, so that’s a very hard question for me to answer. I’d definitely like to live in Africa, and that’s something I’m looking to implement in my life. Who is your favorite writer? Brian Weiss. Who are your heroes in real life? Nelson Mandela, Gandhi, Mother Teresa, Martin Luther King Jr., Emmett Till. What is your favorite occupation? Sharing my knowledge or whatever I can of myself to help others in any capacity. What is the quality you most like in a man? Loyalty.

If you could change one thing about your family, what

but what I can tell you I like is being your most authentic self. Q

100

VA N I T Y FA I R

What is the quality you most like in a woman? Loyalty. What do you most value in your friends? Loyalty and honesty. What is it that you most dislike? I don’t even know these days,

I L L U S T R AT I O N BY R I S K O

APRIL 2021

SUIT BY CATHERINE QUINN. SHIRT BY HELLESSY. WATCH BY CARTIER. CUFF BY DIOR JOAILLERIE. BRACELET BY VAN CLEEF & ARPELS. PHOTOGRAPHY BY KATE DAVIS-MACLEOD. MAKE-UP BY MARIA COMPARETTO. HAIR BY DANIEL DYER. SHOT ON LOCATION AT THE LANGHAM HOTEL

ADDRESS BOOK THE BEST OF EVERYTHING

The definitive online lifestyle guide featuring the top establishments and trusted individuals in every world, from weddings to education.

ADDRESSBOOK.TATLER.COM