V148: HIS & HERS STARRING ANNE HATHAWAY

HIS AND HERS

ANNE HATHAWAY IS MOTHER

INTERVIEWED BY DEREK BLASBERG

PHOTOGRAPHED BY CHRIS COLLS STYLED BY GRO CURTIS

HIS AND HERS

ANNE HATHAWAY IS MOTHER

INTERVIEWED BY DEREK BLASBERG

PHOTOGRAPHED BY CHRIS COLLS STYLED BY GRO CURTIS

HIS AND HERS

100 YEARS MEISTERSTÜCK

IRINA SHAYKS IT UP

PHOTOGRAPHED BY NATHANIEL GOLDBERG STYLED BY GEORGE CORTINA

HIS AND HERS

PHOTOGRAPHED BY NATHANIEL GOLDBERG STYLED BY GEORGE CORTINA

SPEEDMASTER 38mm

Co-Axial Chronometer

ICONS THAT SHINE

To present our new Speedmaster 38 mm in its best light, we called on a friend with her own inner glow: model, actress, and OMEGA brand ambassador Kaia Gerber. Our new chronograph has a bezel paved with 52 diamonds, and a polished crown set with a single diamond. The perfect finishing touch to Kaia’s sophisticated style.

FACE VALUE

Whether you’re playing the role of 17th century rocker pirate à la John Galliano or simply assuming an aura of confidence before a salary negotiation, fashion has the power to bring fantasies to life. Few know this as well as Galliano, whose artisanal couture collection for Margiela brought fashion audiences to their knees this past January. It was a reminder that even the most fantastical, surreal performances must come from a place of truth to create real impact. It inspired those inside the fashion world, it inspired those who are merely curious about the fashion world, and it most definitely inspired V148’s cover star, America’s sweetheart, Anne Hathaway.

In a shoot with photographer Chris Colls, V got to explore the full spectrum of Hathaway’s regal beauty—from pretty prince to couture countess—donning pieces from that internet-breaking Margiela couture collection. Never before have we seen her so handsome, so alluring, or so fierce. In her interview with V alum Derek Blasberg, Hathaway shares that the concept was totally inspired by Margiela, but that she (surprisingly) does not consider herself a fashion girl. So humble, Anne, and we passionately disagree!

Joining us for another major change is none other than Delilah Belle, the older sister of V144 cover star Amelia Gray. Over a cozy Zoom, the two daughters of film and TV icons Lisa Rinna and Harry Hamlin chat about fashion muses, childhood traumas, and the ties between hair and identity. (Spoiler alert: Delilah got a massive hair chop on the set of her shoot with V.) Also in the issue, the Cali-based sisters have a new neighbor: TikToker Vinnie Hacker shared his thoughts about making the big move to Los Angeles and developing his career outside of the small screen.

In addition to Ms. Hathaway—who we’ve lovingly deemed “Mother” since she is entering a new era of her career in which she can play someone’s (really hot) mom as she does in her new film Idea of You—actor Alex Pettyfer and model Irina Shayk are also gracing V covers this season. Celebrating the centennial of Montblanc’s flagship design, the Meisterstück pen, Pettyfer and Shayk share their journeys with us. And in the spirit of following your own path, we’re paying tribute to legends Luis Venegas, editor in chief of C☆ndy Transversal, and Kathleen Hanna, member of Bikini Kill and Le Tigre, for leading by example to make sure we can all tell our story. MR. V

GRAIN BY GRAIN

Masthead

HEROES

HOW PUNK FEMINISTS ARE MADE

Kathleen Hanna will go down in herstory as one of the coolest musicians and organizers of her time. From mosh pits to starting feminist movements to overcoming Lyme disease, in her new memoir this punk icon is ready to tell all

Around Christmas, punk musician and feminist icon Kathleen Hanna posted a TikTok of her twirling a baton. In it, she’s wearing an emerald green sequined tank top that’s been layered over a pink T-shirt. Her out-of-breath smile and colorful appearance offer a hilarious contrast to her message about her forthcoming memoir Rebel Girl. “Writing this memoir often felt like I was sticking forks in my eyeballs,” she said, baton in full twirl. As the frontwoman and founding member of three bands— Bikini Kill, Le Tigre, and the Julie Ruin—Hanna’s life is filled with the sort of hidden treasure anecdotes a music nerd could only dream of, such as details from her platonic relationship with Kurt Cobain, being a founding member of the riot grrrl movement, and even lore about getting in a fight with Courtney Love. But it also contains stories of female solidarity, overcoming abuse, and the messiness of allyship. Rebel Girl is a story about how feminists are made and what it looks like to make a lifelong commitment to gender equality. It’s an introductory course on how to be a girl’s girl.

Hailing from the suburbs of Portland, Oregon, Hanna writes that she wasn’t exactly set up to be an activist. On the contrary, given her upbringing—filled with alcoholism, violence, inappropriate behavior from the adults in her life, and general parental negligence—she was set up to be a bit of teenage dirtbag. And for a while, she admits to me over the phone, she was. As a high schooler with freshly divorced parents, Hanna had a lot of unsupervised time on her hands, which allowed her to develop her knack for low-stakes scams—this skill set was mostly borne out of necessity. Purchasing silk blouses using her dad’s credit card and returning them for cash, for example, was how she’d buy pizza for herself when no one was home. But sometimes Hanna would pursue a con purely because it seemed almost too easy to pass up, like the time she defrauded her high school’s junior entrepreneurship program to fund her weed business.

Though her resourcefulness is impressive (and becomes especially handy in her activist work), her teachers and parents behaved as though she were a lost cause. During her senior year of high school, Hanna’s guidance counselor told her she wasn’t college material and that she should find a rich husband to buy her a sports car. “You’d look great in a convertible,” he told her. “Beep beep,” she wrote. Where most teens would’ve seen a dead end, internalized the feedback, and possibly given up, Hanna recognized an adult failing to do their job and decided to apply for Evergreen State College anyway. When she wasn’t accepted, she drove up to the school’s campus in Olympia, Washington, and pleaded her case. They let her in on probationary status.

SAVANNAH SOBREVILLA

Head to VMAGAZINE.com to read the extended story.

Rebel Girl: My Life as a Feminist Punk is out May 14, 2024.

Kathleen wears all clothing MIU MIU (Spring ’24)

All jewelry CARTIER

Photography MICHELLE GONZALES

KATHLEEN HANNA

C☆NDY TRANSVERSAL

SUGAR AND SPICE AND EVERYTHING NICE

Founded in 2009, C☆ndy Transversal was arguably the first of its kind: a trans fashion magazine. Nearly 15 years later, editor-in-chief Luis Venegas continues to honor the fabulous faces that built fashion history

V MAGAZINE: This is a story about queer magazines, but I’d love to know how you got started in publishing.

LUIS VENEGAS: The thing is, talking about queer zines, I think everything I’ve done, all of my publications, were queer zines because I’m a queer person. I never thought of myself or my publications to be under the umbrella of “queer.” I wanted to celebrate things that I felt needed to be celebrated and maybe weren’t. And somehow someone put the tag of “queer” on my publishing work. I felt like that t-shirt that says, “Sounds gay. I’m in.” I loved it. Within the world of the arts— maybe this year something will change—this idea of “queer” art felt less important. To me, it’s a superior art.

Anyway, I was making my magazines, but I was making magazines related to different subjects like art and sexy men. Then I was wanting to do something with fashion because that’s what I had always wanted to do. But what could be relevant in fashion back in 2009? I remembered everything related to transgender people and drag queens and, back then, androgyny. They had been around fashion forever. Fashion was allegedly a very inclusive profession, but for some reason there was never a magazine [focused] on celebrating all those people. To me, it was about time.

V: What made it that time for you?

LV: There’s a lot of culture that no one is paying attention to and connecting the dots in terms of fashion. There has always been so much inspiration that the transversal world—trans and universal—has given to the world of fashion, and fashion hasn’t paid anything in return.

V: How did you go about doing that?

LV: First, I wanted to celebrate them. Candy Darling was a fabulous fashion icon. Maybe some people had forgotten about Candy Darling, but she was amazing. Marsha P. Johnson was, of course, a pioneer and an activist, but she was also a fabulous woman with great style and great energy, and I wanted all of that to be celebrated in C☆ndy. To me, it wasn’t a political statement. It was more about celebrating the fashion and the creativity, but by doing that—because, honestly, no other magazine was doing it at the time—it was a political thing. It’s funny because at that time putting a transgender person on the cover of a magazine was something like, “Wow, really?” I mean, I remember when I started C☆ndy, I needed to deal with brands for advertising.

V: Oh my god. How was that?

LV: Most brands were reluctant. They were like, “Oh, but it’s gonna be a tacky magazine, no?” I was like, “No, it’s the opposite of tacky!” But it felt like that at that time. “It’s going to be kind of dark, no? Related to sex work, right?” But when they saw the first issue—I don’t know, I’m saying this about something that I’ve done myself, but is not new—it started a trend and the trend is here to stay.

V: How so?

LV: I mean, now, it’s certainly not news to have transgender models on our runways at all. But back then it wasn’t happening. In 2009, it wasn’t happening. There were no trans models in advertising campaigns. I mean, it was really a whole world of people that was kind of non-existent to the rest of the world—the fashion world, at least. I remember when I [started] C☆ndy and, like six months later, there was this fabulous Brazilian model, Lea T, in a Givenchy campaign and there was Andreja Pejić also doing campaigns for H&M or for other things.

I always say to people, you know when you go to a lake that is really calm and you pick up a little stone? You throw the stone and somehow that thing that was calm and quiet, starts to make waves, little waves. And those waves become something else and they spread. Some people notice that little movement and take note. Somehow, I feel like C☆ndy did that. There were zines, underground zines, and maybe there was an article about a transgender person here and there, but never a whole fashion magazine focusing on all those matters specifically. There was an excitement about C☆ndy in the early years of making it because there was nothing like that.

Head to VMAGAZINE.COM to read the extended interview.

Clockwise left to right:

V NEWS

Behold: a one stop shop for summer dressing—both for the home and body. The 2024 Dioriviera collection, perfectly timed for a May release, emphasizes the simultaneous versatility and wearability of their toile de jouy soleil and sauvage prints in linens and wearable garments, reimagining them all as the main characters of an ideal summer wardrobe and decor scheme.

Pack your luggage, we’re headed toward the Amalfi coast. Here to guide us through this great adventure, Gucci Lido offers handbags, accessories, and garments in high-contrast colors and mixed patterns for the ultimate vestiti per le vacanze (holiday fits). Cut just for the flamboyantly fashionable activities only the Italian seabreeze inspires.

Ibiza’s Paul’s Boutique was once a bastion of 1970s counterculture in southern Spain. Visions of its influence have been given a new life by Loewe. The collection features summer-forward straw totes, easy espadrilles, and lots of leather. Perhaps the most innovative and exciting are the Sporty Mask sunglasses with wraparound reflective components, to entertain nostalgia with silver-tinted lenses.

Rev up your engines: Ferragamo Fiamma, the house’s new brand signature, has joined the race for latest It-bag. Its namesake proudly honors the first daughter and heir to the Ferragamo dynasty—who was credited with growing the family brand into the global fashion house it is today after she inherited it at the age of 19. The bags, in a timeless silhouette and available in various colors, call to mind Fiamma’s enterprising spirit and a certain regality to accompany you on your Italian summer.

READY, SET, FERRAGAMO GUCCI LIDO FOR LEADERS

THE AGE OF…AQUARIUS, LOEWE, AND PAULA’S IBIZA

DIORIVIERA FOR THE MODERN ERA

Christine wears all clothing and accessories DIOR (Dior Riviera Fall ’24)

Dress, hat, bag GUCCI (Gucci Lido)

Dress and bag FERRAGAMO (Spring ’24)

All clothing LOEWE (Fall/Winter ’24 Paul’s Ibiza collection)

As the tides of summer creep up on us, plans for travel, dressing, and experimentation with our everyday gear ensue. Luckily, we are not at a loss for material with more, more, and more unexpected collaborations for those of us who like to get ahead

This isn’t your grandmother’s Chanel. The 2023/24 Chanel Metiers d’Art collection introduces color to the typically gloomy city of Manchester, with a high-five in lieu of a handshake. Familiar details, namely, tweed, pearls, structured suiting, and chains meet long standing Chanel design codes, but borrow tchotchke-inspired detailing, feathers, and rock-n-roll, evoking a sunset that only lesser-polluted, mid-century skies can provide.

Consider the corporal realm a museum we have the authority to curate with garments, accessories, and, now, ten new installations courtesy of Louis Vuitton. Longtime LV collaborator, architect Frank Gehry, who worked with the house on the design of its museum, the Fondation Louis Vuitton, has now engineered sculptural pieces to house your precious belongings. Not only that; the collection leaves no one’s bodily museum without—featuring floating fish, concrete pockets, puzzle piece motifs, and bears, oh my!

Givenchy is inviting us to the South of France—and we are heeding the call. The dress code: no-nonsense, all leisure. Sexy yet supportive summer dresses, bucket hats for UV shielding, and an updated Voyou raffia tote for collecting seashells, spare cigarettes, phone numbers, and the like. The color palette: neon and neutral collide, in light summer fabrics for day, night, dusk, and dawn.

in collaboration with the audio experts

&

each contributed their unique expertise

and

quality, respectively) for a

Celine,

Master

Dynamic, have

(in sleek design

impeccable sound

luxurious take on the modern lifestyle staple: headphones. Crafted in rich black and chestnut-colored leathers with the Celine logo monogrammed on its leather ear cups, accented with lightweight silver details throughout, this sonically stylish trio offers protection from cat-callers and small-talkers alike.

CELINE HEADPHONES ON, WORLD OFF

PLAY IN GIVENCHY PLAGE EXTRA, EXTRA TWEED ALL ABOUT IT

BE A WALKING MUSEUM

All clothing, belt, bag LOUIS VUITTON (Spring ’24)

All clothing and accessories CELINE by Hedi Slimane (Summer ’24) On lips GLOSSIER Ultralip High Shine Lipstick in Portrait

All clothing and accessories GIVENCHY (Givenchy Plage Fall ’24)

All clothing and accessories CHANEL (Pre-Fall ’24)

V TRENDS

Two hot looks are better than one. If you’re planning a night out (or in) with bestie, consider some of this season’s most dynamic duos up to the task

From left to right:

Vikky wears top ANKVAS (Pre-Fall ’24)

Shorts MAX MARA (Pre-Fall ’24)

Earrings BLUMARINE (Pre-Fall ’24) Tights WOLFORD Em wears sweater

(Pre-Fall ’24)

Skirt

WOLFORD

From left to right:

Vikky wears all clothing and shoes DOLCE & GABBANA (Pre-Fall ’24)

GABBANA (Pre-Fall ’24)

From left to right:

Vikky wears swimsuit VERSACE

Hat DIOR (Dior Riviera Fall ’24)

Earrings LELE SADOUGHI Necklace DAVID YURMAN

Em wears swimsuit GUESS

Hat DIOR (Dior Riviera Fall ’24) Earring BLUMARINE (Pre-Fall ’24)

From left to right:

Sol wears all clothing MISSONI (Pre-Fall ’24)

Necklace DAVID YURMAN

Bracelet BULGARI

RALPH LAUREN

Vikky wears dress LANVIN (Pre-Fall ’24)

Earrings BLUMARINE (Pre-Fall ’24)

Necklace ANNA SUI (Fall ’24)

Bracelets TIFFANY & CO.

PRETTY IN PARIS

BABES IN BIARRITZ

RETRO IN ROME

Sol

From left to right:

Vikky wears all clothing DIESEL (Pre-Fall ’24)

Sunglasses JACQUES MARIE MAGE

Earrings

From left to right:

Vikky and Em wear all clothing, accessories, shoes THOM BROWNE (Pre-Fall ’24)

From left to right:

Vikky wears vest and overalls DSQUARED2 (Pre-Fall ’24)

JAVITS Earrings BLUMARINE (Pre-Fall ’24)

TIFFANY & CO.

(Pre-Fall ’24)

BLUMARINE (Pre-Fall ’24)

MISSONI (Pre-Fall ’24)

and necklace TIFFANY & CO.

DIESEL (Pre-Fall ’24)

From left to right:

Vikky wears all clothing, hat, gloves, necklace ANNA SUI (FALL ’24)

Tights WOLFORD

STUART WEITZMAN

Photography MARCUS COOPER Fashion XANDER ANG

SAHARA SIRENS

LOUDER IN LONDON

SCHOLARLY IN STOCKHOLM

DAMSELS IN DIMES SQUARE

Ahead of the premiere of The Idea of You, actor and all around sweetheart Anne Hathaway caught up with her college friend Derek Blasberg to chat about their fashion obsessions, the fact that Hathaway once did a chemistry test that required her to kiss 10 guys, and the possibility of Princess Diaries 3

Anne wears all clothing, accessories, shoes MAISON MARGIELA (Spring Haute Couture ’24)

Necklace BULGARI

Anne wears all clothing and accessories

SCHIAPARELLI (Spring Haute Couture ’24)

Anne wears all clothing and accessories

SCHIAPARELLI (Spring Haute Couture ’24)

Anne Hathaway is standing in my kitchen perusing my selection of herbal teas. This wasn’t the plan. We spent several days debating if we should meet for this interview at a fancy uptown sushi restaurant, a cheap diner, or the lobby of an elegant hotel. But, when today rolled around, she said she’d rather come over, play with my kids, and chat in the comfort of my kitchen. Hathaway has a habit of landing on the path of least resistance, which I’ve long admired. Keep it calma, one might say. And honestly, why pay $85 for a California roll when you can play peekaboo with two of the cutest kids in New York City?

We met in the early 2000s. I was an NYU student and she was fresh off her star-making turn as Mia Thermopolis in 2001’s The Princess Diaries, a role scored when the Brooklyn-born, New Jersey-raised fledgling actress was 17 years old. Our fateful first meeting on a chilly afternoon in the winter of 2002, walking into brunch with mutual friends outside the Mercer Hotel, will be engraved in my brain forever. “Call me Annie,” she chirped, pushing her long, thick brunette locks off her bright, porcelain skin and showing off a brilliant megawatt smile.

Now, at 41, Annie has been in more than 50 films ranging from low budget indies to major motion pictures. She’s been nominated for every performance award in existence, won an Oscar (for 2012’s Les Miserables), and even hosted the Oscars in 2011 (“badly,” she adds). At 29, she married Adam Shulman (the bride wore a dress by her dear friend Valentino, of course), and they have two sons. And, she looks divine. The current face of Versace, Bulgari, and Shiseido, she has become a beloved fashion figure who’s as familiar in the front rows of New York and Milan fashion weeks as a certain well known Devil-ish fashion editrix.

When we settle in at the kitchen table and flip on the recorder, Annie observes how much has changed in the last two decades. Gone are our days as eager teens brunching at downtown hotspots. They’re replaced by two parents cuddled in uptown apartments wondering if it’s too late to drink tea with caffeine. (After much debate, we decided on a pot of caffeine-free Korean moonwalk tea.) But, one topic that we’ll never get bored of: Fashion.

Like the rest of the style world, Annie was mesmerized by John Galliano’s epic, sweeping, haunting couture collection for Maison Margiela, which debuted in January in Paris, and is what she wears on one of the covers of this very issue of V. “I thought it was extraordinary. I got really into the leather work, the way it created a porcelain effect, the craft of it. The production value of the show, the way they combined dancers and models, the movement, it was so beautiful—the broken umbrella!” she says. When conceptualizing the shoot with Stephen Gan, V’s founder and the creative director, “I mentioned how much I love menswear and how I am drawn to the visual language of masculine/feminine. And the shoot sort of grew out from there.”

We could talk about fashion for hours –“the makeup is snatched,” the shoot was “fashion but make it fashion” – so it’s a little surprising when Annie reveals she doesn’t truly identify as a fashion person. “I really don’t,” she insists. “I view myself more as a guest.”

Conjuring Emily Blunt in The Devil Wears Prada, I sip tea dramatically while giving her a quizzical look.

“I think it’d be an insult to someone whose education revolved around it, whose life revolves around it, who has done a full fashion cycle in multiple cities as opposed to just, like, getting invited to a show and an after-party. I think there’s a degree of stamina and schlepping involved in being a proper fashion person. I’m very grateful to be a guest. I mean, I’ve studied it, but it’s informal. I’m aware of the history. I love fashion photography. And I’ve been welcomed for a long time and been shown great kindness and generosity by people whose lives it is. But I’m an actress first.”

Oh yeah, her day job. This May, she’s starring in The Idea of You as Solène Marchand, a movie that has been described as the story of a single mother falling in love with Harry Styles at Coachella, except it’s not Harry and they didn’t shoot at Coachella. “Notchella!” she smiles. (The majority of the film was made in Georgia, which was a double for California and every other stop on a European stadium tour.) When her character brings her daughter to the Coachella Music Festival, she accidently meets Hayes Campbell of the boy band phenom August Moon, and embarks on an unexpected love affair. “It is this story about a single mother fully embracing her sexuality at a time in her life and a woman’s life where, traditionally, we begin to be erased.”

Hayes is played by 29-year-old Nicholas Galitzine, who starred in 2023’s Red, White and Royal Blue and Bottoms, and will also appear opposite Julianne Moore in this year’s Mary & George. He may not have been in One Direction but he definitely has the charisma of a boy wonder. “We had met a number of young men already, but I remember laughing when Nick walked in because he was so ridiculously perfect for the part. I just thought, he is it,” she says. But, she still asked all the right questions. “Is he gonna be able to read the lines? Read the lines, great. Okay, can you sing? Oh, my God, he can sing. Wait and he can play the guitar? Okay, and he’s just fun to be around. He’s just charming. Like, he’s just charmed this entire room.”

It’s important to note Hathaway is a producer on this film. That comes in handy when advocating for herself in film projects and developing new ways to go about things, like chemistry tests. “Back in the 2000s—and this did happen to me—it was considered normal to ask an actor to make out with other actors to test for chemistry. Which is actually the worst way to do it.” she says. “I was told, ‘We have ten guys coming today and you’re cast. Aren’t you excited to make out with all of them?’ And I thought, ‘Is there something wrong with me?’ because I wasn’t excited. I thought it sounded gross. And I was so young and terribly aware how easy it was to lose everything by being labeled ‘difficult,’ so I just pretended I was excited and got on with it. It wasn’t a power play, no one was trying to be awful or hurt me. It was just a very different time and now we know better.”

As a producer who’s been a working actor for more than half of her life, Hathaway knew that finding a spark didn’t require her to make out with a bunch of twenty-somethings. So, how did they go about getting the right guy?

“We asked each of the actors coming in to choose a song that they felt their character would love, that they would put on to get my character to dance, and then we’d do a short little improv.

Anne wears all clothing and shoes CHRISTIAN DIOR (Spring Haute Couture ’24)

Ring talent’s own

I was sitting in a chair like we had come in from dinner or a walk or something, we pressed play, and we just started dancing together.”

What band did Nick pick?

“The Alabama Shakes. And it was just easy. I heard [the lead singer of Alabama Shake’s] Brittany’s voice and I just started smiling. And he saw me smile, so he relaxed, and we just started dancing. Nobody was showing off. Nobody was trying to get the gig. We were just in a space dancing. I looked over and Michael Showalter, our director, was beaming. Spark!”

The actor-turned-producer path has been well trotted. We see that with some of Hathaway’s contemporaries; Reese Witherspoon, whose production company produced Oscarwinning hits like Wild and Gone Girl and hit TV shows like Big Little Lies and The Morning Show, immediately comes to mind. But these are the 21st-century versions of women like silent film star Mary Pickford, who co-founded United Artists in 1919, at the age of 27, and Lucille Ball, the I Love Lucy star who became the first female head of a major studio when she bought out ex-husband Desi Arnaz from their Desilu Productions in 1962. To be an actor who is also in the position of producer, it must be validating to find a way other than making out with ten guys to find a costar.

“To be honest, it never occurred to me that I didn’t have the power of a point of view, at least creatively as it related to my character. I’m really lucky. My first substantial film role, the second film I ever did, was The Princess Diaries. I was so generously invited into that process by Garry Marshall; he valued my take on being a teenage girl and elevated me to such a valued status on set that it never occurred to me on other sets that I didn’t have that same autonomy, or that same ability to collaborate. I always wanted to be pleasant. But I also always thought that having strong opinions meant I was doing my job.”

In January, Annie literally put on a producer’s hat. In the last scene of ‘Gutenberg,’ a twoperson Broadway musical starring Josh Gad and Andrew Rannells, the play ends (spoiler alert, kinda?) with someone from the audience being pulled up to the stage to play the part of surprise producer to judge the performance. Hillary Clinton, Patti LuPone, Martin Short, and Steve Martin have all played the big reveal, and this night it was Anna Wintour and Annie. (Annie played Anna’s assistant, of course.) Annie looked good on a Broadway stage and I wonder how she felt up there.

“Am I gross if I say ‘home’?”

Honesty is the best policy.

“Yeah, I really want that, there’s no hiding it,” she says. “[Being on Broadway] was my first dream, you know? And so many amazing, extraordinary things have happened to me but not that one yet. It’s a goal that is very, very much alive inside of me.”

While we’re fantasizing future projects, let’s discuss the prospects of sequels to some of her biggest hits. What’s the likelihood of a third installment of The Princess Diaries series?

“We’re in a good place,” she says. Is that all you can say?

“That’s all I can say. There’s nothing to announce yet. But we’re in a good place.”

What about the Devil Wears Prada 2?

“Probably not. We all love each other and if somebody could come up with a way to do it, I think we’d all be crazy not to. But there’s a huge

difference in the world now with technology, and one of the things about that particular story is it was about producing a physical object. Now with so much being digital, it would just be very different. Maybe me, Stanley, Emily, Meryl, Dave Frankel, Patricia Field…we should just all do something else together. That’d be fun.”

Another reason it may be hard to cast Annie in the role of a fashion assistant is that she is so clearly in another phase of her career. One reason she was drawn to the role of Solène in The Idea of You is because it’s so close to where she is in her life.

“She’s not this boldly colorful, fabulous, attention-grabbing person,” she says, adding that she can tell when she finds a character that matches a part of life that she’s living. “She’s actually just sweet and smart and lovely with a surprisingly sharp sense of humor and I genuinely would love to be friends with her. She’s cozy.”

But is that an interesting character to play?

“She’s going through a moment in her life when she is on the verge of becoming bitter. She experienced a trust trauma. And a trust trauma is a hard thing to come back from; all that sweetness is beginning to sour. That’s not a role I could have played on day one of my career. Also, I don’t know how else to say it but I just thought it was a fun premise. One of the points that the movie makes is something that really resonates with me: We have limited ideas of appropriate ways for women to be happy. And we react harshly and punitively when we feel that women have stepped outside those boundaries. I think that needs to stop, so I made a movie about it.”

It sounds like she may know something about proving people wrong.

“I loved getting to play a character who has to come up against what the world thinks about her, how they’ve judged her, and decides to choose her own happiness. There’s this line where her ex-husband who left her, who is clearly threatened by her new choices, tries to shame her by saying: ‘Do you even know what people are saying about you?’ And you know what her response is?”

Give it to me.

“‘No.’ Period. I just loved that.”

The Idea of You is available May 2, 2024 on Prime Video.

Anne wears dress and shoes VALENTINO (Spring Haute Couture ’24)

BEAUTY Rosso Valentino Lipstick in #101A Hot Beige (Satin)

Anne wears dress and shoes VALENTINO (Spring Haute Couture ’24)

Makeup Raoul Alejandre (CLM) Hair Ward Stegerhoek (Home Agency) Manicure Meri Kohmoto Set design Happy Massee (Lalaland Artists) Executive producer Dana Brockman (viewFinders)

Producer Frank DeCaro (viewFinders) Digital technician Jeanine Robinson Photo assistants Danil Zaikin, Sergio Avellaneda Stylist assistant Liv Vitale Makeup assistant Shannon Rodriguez Hair assistant Marcos Diaz Set design assistants Mike Williams, Benjamin Bridges Production assistant Marley Pearson Location Pier59 Studios

SHAYK DOWN

From potato farm girl to international supermodel, Irina Shayk shares her story with the editors of V in the spirit of Montblanc’s Meisterstück’s

years of facilitating great storytelling Photography

Irina wears dress and shoes GUCCI (Fall ’24)

Underwear CADOLLE Tights WOLFORD

On nails

DIOR BEAUTY Crème Abricot, Dior Huile Abricot Nail & Cuticle Serum

To be one of the most in-demand models around must be a dizzying existence, yet Irina Shayk manages to stay grounded. Because her no-nonsense single mom encouraged Shayk to chase her dreams and count her blessings, appreciating all the opportunities she’s been given and the many people that made them possible is merely part of the striking beauty’s daily practice.

V MAGAZINE: What’s a story about yourself you like to tell? Could be real or fictional.

IRINA SHAYK: One of my favorite stories is how I broke into the high fashion world. In the beginning, no one wanted to take a chance on me.

I got a call in 2015 to attend a casting with Riccardo Tisci and Givenchy—he was casting for his famous Bambi collection. I’ll never forget the way Riccardo looked at me when I walked into the room. He was smoking a cigarette and barely said a word. I’d never been more terrified in my life. He asked me to walk and I honestly don’t even know how I managed to at that point. Ten years later, we still have a true and genuine friendship—and still laugh about that day!

V: In a couple of sentences, what would you say your origin story is?

IS: I think the title would be: “How did a girl who grew up on a potato farm in Russia make it out of there?”

I was raised by a strong mother, a woman who never let my sister or I take no for an answer. From a young age she taught us: be who you are and chase your dreams, but never forget where you came from. I never have. She also taught us no matter what happens in life, always be a lady. Now that’s something I teach my daughter every day.

Irina wears all clothing, gloves and bracelets VALENTINO (Spring Haute Couture ’24) Bag MONTBLANC

V: What are you working on these days?

IS: Working on myself is something I do every single day. Taking time out for yourself is something that is important to me, and took me a while to figure out. You always need to work on being a better version of yourself. I do a lot of reading, and definitely have a better read on others the older I get.

V: What makes your work possible?

IS: My daughter. I want to show her that no matter what you want to achieve in life, you can, but it’ll take hard work to get there. What helped me get where I am today and put me on the map were all the people who took a chance on me, and who believed in me when no one else did. But it also took a lot of hard work from my end, which people didn’t see. Anything is possible, but you need to believe in yourself first.

V: Do you remember how you felt when you first started modeling?

IS: I do! I remember being so grateful and happy to help my mom out the first time I made some real money. My mom who raised two teenage daughters on her own. I remember sending home the first $100 I ever made. I didn’t become a model for a social media following—back then, it barely existed. I come from Russia, where no one ever told me that I was pretty or should be a model. I became a model because I saw it as an opportunity to help my family even more than just $100, and it has.

Irina wears all clothing and gloves FENDI (Spring Haute Couture ’24)

Makeup Tom Pécheux (Safe Management) Hair Joseph Pujalte (Bryant Artists) Model Irina Shayk (The Society) Manicure Christina Conrad (Callisté) using DIOR BEAUTY Producer Michael Lacomblez (Louis2)

Production manager Ambre Silvestre (Louis2) Digital technician Rebecca Liévre (Imagin Productions) Lighting technician Mathilde Barniaud Photo assistants Corinne Mutrelle, Aurélien Nobécourt Stylist assistants Peter Aluuan, Malou Beaumont, Samuel Tosi Makeup assistant Megumi Itano Hair assistant Flavien Hymonnet Production assistant Mathilde Barniaud (Louis2) Location Espace Lumiere / La Maison

V: How does that compare to the way you approach your work today?

IS: Every morning, I’m so grateful for everything that I have. For every day. I always remember where I came from, and what I stand for, and always will.

V: Since we are celebrating the Montblanc Meisterstück’s 100-year anniversary, can you share with us any major milestones you’re celebrating this year?

IS: This year, we’re celebrating my daughter’s seventh birthday. I’m so proud to be her mom. She’s an amazing little girl. I’m also celebrating cutting out all the negative energy from my life, and remembering never to doubt myself… and always trust your gut. ;-)

V: What do you hope to have accomplished by the time you’re 100?

IS: I’m not sure I will live until I’m 100, I complain way too much! I have no idea who could deal with that, but I’m a person who lives day by day. I enjoy what I accomplish now and what I will accomplish maybe in the next 100 minutes, but I’m not worried about years.

OF THE RETURN GENTLEMAN THE

Alex Pettyfer makes his V comeback in style and just in time to celebrate Montblanc Meisterstück’s centennial Photography NATHANIEL GOLDBERG

Thirteen years ago, Alex Pettyfer’s provocative VMAN cover story sent shockwaves throughout the film industry, earning him the title of “Hollywood’s Next Bad Boy.” Over a decade later, with loads of life experience and lessons in between, the British actor has returned to V a gentleman. In the thick of the press tour tied to his upcoming film, The Ministry of Ungentlemanly Warfare, Pettyfer sat down with his business partner Magnus Rausing to chat about their new production company Dark Dreams Entertainment, overcoming flying phobias, and reformed bad boy-dom.

MAGNUS RAUSING: We always speak for hours about our favorite films and moments in Hollywood history and I’m always surprised by your answers. What do you think makes a great film?

ALEX PETTYFER: For painters, poets, writers, and many in the creative arts, there is a solitude to their process. That is not the case in filmmaking, we are reliant on the collaborative experience of everyone involved. There is a magic that has to come from a spontaneous ingredient that I don’t think anyone in our business can put their finger on. I would say when everyone is on the same mission, there is a connective energy that runs through every department, and all are putting their own ideas on the table that elevate the ideas of the project… Those experiences have always turned out to be the best films.

MR: The last time you were on the cover of VMAN, the cover title was “Hollywood’s Next Bad Boy.” Thirteen years later and the title for your V cover story is “Return of the Gentleman.” What has evolved in the time since your last V cover?

AP: Life! We have no choice but to grow through our experiences. There is a great saying: “You can’t put an old head on young shoulders.” I started in this industry at a very young age. In my naive youth, there was an arrogance that was clearly a symptom of insecurity. I was also incredibly ambitious—as I believed I had no fallback plan—which puts you in survival mode.

As I mentioned, filmmaking is about collaboration. It’s a community I am very grateful to be a part of, and we all need mentors and teachers. They can be vital to our journey, but you have to be open to receiving their guidance. Over the years, I’ve been lucky enough to have some incredible people shape the man I am today. I learned to not attach to the challenging times nor the times that present great joy— which can be hard—but to keep a balance of knowing all experiences shall pass, and that nothing stays the same.

MR: What makes a gentleman?

AP: Compassion. I believe when we have compassion for others there is a gentleness and understanding that communicates universally. I see this as a human quality rather than just a gentlemanly quality.

MR: In addition to your talent, you’re also ambitious. That’s what got me excited to work with you on Dark Dreams Entertainment [multiplatform production company]. For me, Dark Dreams is about telling important stories through amazing cinema. What is it to you?

AP: My mission for Dark Dreams Entertainment—and, trust me, we are still learning to walk being a new company—is to find great stories and collaborate with individuals who inspire unique execution in translating narratives for the screen. I was so lucky to have Jerry Bruckheimer [producer of Top Gun and Pirates of the Caribbean] as a producer on The Ministry of Ungentlemanly Warfare. I asked him the same question you’ve asked me, so my answer replicates his: “We will always have a hunger for great stories.”

It was so exciting to see the success of Barbie and Oppenheimer helmed by two great filmmakers, both completely different films, released the same weekend and both amounting to huge success. What does that show you about the experience of going to the cinema? That there is still a hunger!

MR: What are you working on now that you are excited about?

AP: I am currently in pre-production for a film called Blurred about a fashion photographer who has an accident, leaving him with impaired vision for an unknown period of time. His perception, which once was rich and vibrant due to his profession, now torments him, driving him mad. When you experience such a lifechanging event, you are forced to look within and feel, leaving us with the question: How often do we look within? In the silence and darkness, we find our true nature, one we can’t cover with external distractions.

MR: From the stress of making a movie to the lull between projects, what do you do to stay present and sane?

AP: I’d never say my experience making a movie is stressful. Obviously, I get nervous through preparation while trying to discover the character, but when those first couple of days of filming pass, there is no place I’d rather be than on set. It is a miracle to get any film made, so I’m grateful for the opportunities I’ve been given to expand my craft.

The balance between projects has been a journey in itself, one that has been very personal and profound for me. I always say that I feel grounded being at home—sitting in the garden, painting, cooking—but after a week or so I want to go on an adventure and meet new people or learn something new. I absolutely loved Anthony Bourdain, and maybe some part of the desire in my travels has been inspired by him, though I’m not getting paid to make one of the greatest travel shows ever.

I developed a fear of flying around thirteen, which shaped a lot of my decisions in my twenties, also restricting me from opportunities in my career. The interesting thing about fear is it forces you to look within. Every time I have to fly, it is a gentle reminder of the progress I’m making in my life and reminds me that the journey only takes one step at a time.

Makeup Tom Pécheux (Safe Management) Hair Joseph Pujalte (Bryant Artists) Manicure Christina Conrad (Callisté) Producer Michael Lacomblez (Louis2) Production manager Ambre Silvestre (Louis2) Digital technician Rebecca Liévre (Imagin Productions) Lighting technician Mathilde Barniaud Photo assistants Corinne Mutrelle, Aurélien Nobécourt Stylist assistants Peter Aluuan, Malou Beaumont, Samuel Tosi Makeup assistant Megumi Itano Hair assistant Flavien Hymonnet Production assistant Mathilde Barniaud (Louis2) Location Espace Lumiere / La Maison

Molding Paste

Inspired

and

and

PLANET

COUTURE

by the haunting polaroids of Andrei Tarkovsky

the color

light innovations of Ernst Haas, photographer Sølve Sundsbø brings the intricate beauty of summer’s haute couture collections to new realms

dress, earring, shoes CHANEL (Spring Haute Couture ’24) On lips CHANEL BEAUTY Rouge Coco Gloss in #726 Icing

Dress and shoes

GIAMBATTISTA VALLI (Spring Haute Couture ’24)

DIOR (Spring Haute Couture ’24)

Face Palette in #001 Universal

All clothing and gloves VALENTINO (Spring Haute Couture ’24)

On lips VALENTINO BEAUTY Rosso Valentino Lipstick in #300R Born In Roma (Satin)

Dress and shoes CELINE by Hedi Slimane (Spring ’24)

Dress JEAN PAUL GAULTIER HAUTE COUTURE by Simone Rocha (Spring Haute Couture ’24)

All clothing, ring, shoes GIORGIO ARMANI PRIVÉ (Spring Haute Couture ’24)

On skin ARMANI BEAUTY Luminous Silk Natural Glow Foundation

Makeup Val Garland (Streeters) Hair Pier Paolo Lai (Julian Watson Agency) Model Amar Akway (DNA) Manicure Adam Slee (Streeters) Set design Robbie Doig (Dragonfly Scenery) Production Paula Ekenger, Giulia Brescianini Casting Director Shaun Beyen (Plus Three Two) Digital technician Lucie Rowan Photo assistants Michael O. Williams, Matt Davies, Felix Walton Stylist assistants Keeley Dawson, Suzanne Faure, Yuriya Okano Makeup assistants Paula Maxwell, Francesca Quagliatti Hair assistant Heitai Cheung Set design assistant Dan Underwood Retouching Digital Light Ltd

All clothing, accessories, shoes MAISON MARGIELA (Spring Haute Couture ’24)

The collection heard round the world:

2024 artisanal

collection. V spoke to the figures and forces that witnessed this collection come to life

FASHION AS PERFORMANCE

Photography SØLVE SUNDSBØ

Fashion GEORGE CORTINA

Maison Margiela’s

couture

“This collection is not designed to fit a market or a marketing need. Its reason for being is one person’s boundless creativity. And imagination. Its importance not only stems from the incredible clothes, hair, makeup and performances during the show. It doesn’t try to be cool or modern. It finds enduring value in being timeless. That today, feels unique and very important. Maybe its most important legacy will be to remind us all what fashion shows can be and used to be. I sometimes say that it used to be called the fashion world, then it was the fashion business and now it’s called the fashion industry. This show took me back to the fashion world.

—Sølve Sundsbø, photographer

“I’ve seen a lot of corporate takeovers and a lot of CEOs appointing people to houses, but I haven’t seen a collection in a very long time. This is the first time I’ve seen a designer make a collection that resounded all over the world. Everything else is rather lackluster in comparison. It was such a pleasure to work with those clothes—it was like being a kid again. I think we’ve forgotten what it’s all about.

It’s about the dream.”

—George Cortina, stylist

“This collection was the marker of a rebirth of wild fashion fantasy that had been missing for a while. I was too young to be aware of John Galliano’s shows from the ‘90s and early 2000s at the time but have adored them since discovering them a bit later. Lots of people who witnessed those shows firsthand have told me how reminiscent this show was of that energy. It’s a story that is multifaceted, beautiful, dark, and intense— something that you never really see these days.”

—Lulu Tenney, model

“My favorite detail about this collection was the makeup. Pat McGrath is a makeup wizard and whatever she puts her hands on turns to gold. This is Pat McGrath’s triumph as much as it is John Galliano’s. To have the whole Internet talk about how she achieved the porcelain doll look and people creating theories and trying to crack Pat McGrath’s brilliance was only a testament to her talent. I have never seen such an interest in makeup to the point that she had a live stream on TikTok recreating the look. It felt like we asked DaVinci to paint the Mona Lisa again but on TikTok live stream. It’s remarkable.”

—Hanan Besovic, creator of @ideservecouture

“The energy backstage and during rehearsal was electric. There was a palpable sense of excitement, awe, and anticipation amongst all of us who collaborated on the show at finally seeing the results of our collective creativity and artistry.”

—Pat McGrath, makeup artist

Mask MAISON MARGIELA (Spring Haute Couture ’24)

“The main [source of] creativity came from body shapes. What is amazing about John [Galliano] is that he is always thinking of different characters when he is creating, who can be real or not. Here it’s all about curves and voluptuousness.”

—Christian Louboutin, designer

clothing, accessories, shoes MAISON MARGIELA (Spring Haute Couture ’24)

“I have wanted to work with John Galliano for 30 years. His fashion shows were always a theatrical spectacular and the models were full of character and bursting with dazzling story. The execution of his craft was unlike anything I had ever seen. It was an impossible dream until this moment.

Backstage when I saw the looks lined up just before the show, I was awe-struck. It was a moment I had craved and dreamed of for a very long time. I could thrillingly recognize tiny elements of John’s signature here and there from the thirty years that I have loved his work, but I was blasted into a new reality seeing looks I have never seen before. Unlike anything! Sensational, sexual, and with laser precision of execution. Each look ‘spoke.’ It made me very emotional to see that level of talent and skill and to have the honor of closing the show and realizing a dream I had always been told was impossible. My idol told me I was beautiful and at last I could believe it.”

—Gwendoline Christie, actor and model

“A visionary fusion of art and fashion, this collection is important because it pushed the boundaries of creativity, craftsmanship, and storytelling in couture. By examining the ritual of dressing as an emotional expression, Galliano crafted exquisite pieces that transcended being just clothing. The makeup not only elevated the looks from pure aesthetics to powerful characterizations, but it also echoed Galliano’s aims by asserting the power of beauty as a form of emotional expression.”

—Pat McGrath, makeup artist

“My goal was to bring the clothes to life. There is so much attention to detail, you can’t even imagine how much thought goes into it all. John and the team had been working on this, building this for so long that I just hoped to do my role justice and fit into the world that they had crafted. John gives the muses so much to work with, and everything is laid in place so that the character comes quite naturally and you can just play around, because you also know that he trusts you.”

—Lulu Tenney, model

Makeup Stéphane Marais @L’Atelier NYC using CHANEL BEAUTY Hair Laurent Philippon (Bryant Artists) Models Lulu Tenney (Lumien Creative), Dara Gueye (DNA), Yeray Allgayer (Success) Manicure Christina Conrad (Calliste) using CHANEL BEAUTY Set design Jean-Michel Bertin (Streeters) Producer Michael Lacomblez (Louis2) Production manager Nihel Zoubeidi (Louis2)

Studio manager Paula Ekenger Digital technician Lucie Rowan Photo assistants Michael O. Williams, Matthew Davies, Henri de Carvalho Stylist assistants Peter Aluuan, Moses Moreno Makeup assistants Marie Dufresne, Céline Charpentier Hair assistant Michael Thanh Bui Set design assistants Ines Haym, Mehdy Briand Production assistant Houda Bemmansour Retouching Digital Light Ltd Location M Studio

All clothing MAISON MARGIELA (Spring Haute Couture ’24)

DELILAH MAKES THE CUT

the

from

and

be just the environment for a massive

Wearing

sleekest pieces

’24 Pre-Fall collections

surrounded by an A-team of creatives seems to

hair change. Over Zoom, Delilah Belle and model sister Amelia Gray chat hair ties, the male gaze, and entering a new era as siblings in fashion

Interview AMELIA GRAY

Delilah wears all clothing VERSACE

It’s no secret that the hills of Hollywood have brought us some of the most iconic sister duos—the Hiltons, the Hadids, and now the Hamlins. Consisting of Amelia Gray and Delilah Belle, the genetically blessed offspring of film and reality TV icons Lisa Rinna and Harry Hamlin, the duo grew up like most girls do—but with the unusual reality of having cameras lurking within a 10-foot radius at all times. Over the last few years, the industry has gotten to know all about the sultry, brunette vixen that is Amelia— who almost instantly became a muse to some of the biggest fashion houses since her debut—partly due to her transformative alter ego whom she lovingly refers to as “Camelia.” But lately, the world is also catching on to Amelia’s blonde bombshell counterpart and older sister, Delilah Belle. With over 2 million followers on Instagram, soon hers will be the name on everybody’s lips, and she’s more than ready to prove that she’s got the guts and glamor— and a recently christened alter ego, Belle, to match Camelia—needed to make her mark.

KEVIN PONCE

AMELIA GRAY: With this recent photoshoot for V, talk to us about your hair transformation and the hair trauma. This sort of is a big deal because it’s kind of taking you back.

DELILAH BELLE: I was in preschool on a playdate. I loved this little figurine that I got from the top of a birthday cake once, and it was Prince Charming. I remember bringing it to my friend’s house, and she went behind her dresser and was like, ‘Okay, I’m gonna cut your hair. What do you want it to look like?’ And I tell her I want to look like Prince Charming and she just chopped my hair off. But, I remember seeing my parent’s faces [when they picked me up] and that’s what hurt. We didn’t know what we were doing, we were kids, but seeing them get mad, I think it made me really self-conscious. I remember wearing wigs after that, and [our parents] frantically calling someone to come fix the haircut because it was crazy. My dad had to put paper over all the mirrors in the house because he didn’t want me to see myself.

AG: Yeah, you were depressed.

DB: But as a surprise, they took me to Disneyland the next day, which was very kind and smart on their part [because it helped] distract [me from] myself. I was wearing a bandana [most of the] day, and then I took it off like ‘I don’t need this anymore.’ And then I just came into myself, which I thought was a beautiful thing. Between then and now finding out that I was going to do a big hair transformation for the V shoot, I feel that I just gave too much importance to my hair.

AG: You gave so much power to your hair!

DB: This is not just about hair, it’s a bigger thing, but I was always [thinking], ‘Guys like long hair so I’ll get extensions,’ or my agents would always tell me, ‘Take your extensions out. Don’t dye your hair.’ I dyed my hair orange [once] because I thought that that would be super cool, and the guy I was dating at the time [didn’t like it].

AG: The male gaze is terrible. It’s really important to break free from that, It’s so freeing once you do. I think I can relate to that [with] what I did with my eyebrows, which was very much going against the male gaze. I also remember kind of struggling with that and my sexuality during that time. You say the word “conforming”–if you’re not doing it for yourself, you’re constantly [going to be] conforming to someone else’s [taste]. You’re never going to feel like yourself.

DB: And I don’t think I ever got to feel like myself. I’m lucky enough to have a boyfriend now who is so supportive and [my hair] doesn’t matter [to him]. [With this shoot] I felt like this was the time that I was ready to face that trauma and say goodbye to that and…

AG: Just cut it off!

Head to VMAGAZINE.com to read the extended interview.

Makeup Sarah Tanno (Forward Artists) Hair Frederic Aspiras (The Only Agency) Model Delilah Hamlin (The Lions) Executive producer Dana Brockman (viewFinders) Producer Frank DeCaro (viewFinders)

Production coordinator Ernie Torres Digital technician Dillon Padgette Photo assistants Simone Triaca, James Mankoff Stylist assistants Frankie Benkovic, Jeung Bok Holmquist, Lokela Blanc Makeup assistant Mila Kwan Production assistant Trey Butler Location Smashbox Studios

BODY OF WORK

After 100 years of excellence, Cartier’s trinity ring shows no signs of slowing down. The style, an original Louis Cartier design, embodies the brand’s values and history—which has coincidentally occurred in groups of three. The three Cartier brothers (Jacques, Pierre, and Louis), the three original Cartier boutiques (Paris, London, and New York City), and the brand’s commitment to diversity represented through the use of gold, silver, and rose gold metals Photography

Ring CARTIER Cartier Trinity ring (in 18k yellow gold, 18k white gold, 18k rose gold, and diamonds)

From top to bottom:

All jewelry CARTIER

Cartier Trinity bracelet

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Cartier Trinity ring

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Necklace CARTIER Cartier Trinity necklace (in 18k yellow gold, 18k white gold, 18k rose gold, and diamonds)

Cartier

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Cartier Trinity ring

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Cartier Trinity ring

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Cartier Trinity ring

(in 18k yellow gold, 18k white gold, and 18k rose gold)

Clockwise left to right:

CARTIER

yellow gold, 18k white gold, and 18k rose gold)

From top to bottom:

All jewelry CARTIER

Cartier Trinity ring

(in 18k yellow gold, 18k white gold, 18k rose gold, and diamonds)

Cartier Trinity bracelet

(in 18k yellow gold, 18k white gold, and 18k rose gold)

jewelry CARTIER

Cartier Trinity ring

(in 18k white gold, ceramic, and diamonds)

Cartier Trinity ring (in 18k white gold and ceramic)

Models Céleste Herbaux, Sanaa Athmani-Wang, Garance Benchetrit

HACKER

ALERT

Los Angeles has a new hunk in town and his name is Vinnie Hacker. In an interview with V, the TikTok star reveals his new favorite (and least favorite) spots, how it feels to be another influencer in a town that is chock full of them, and, of course, his favorite video games to play with the boys

Vinnie wears all clothing ISABEL MARANT (Pre-Fall ’24)

All clothing SAINT LAURENT by Anthony Vaccarello (Spring ’24)

Everyone knows that Los Angeles is the destination of dreams, with creators from all over the world making the move with their sights set on one singular goal: “making it.” Some choose acting, some choose singing, and some simply go direct, purchasing self-promotional billboards across the city’s high-traffic areas (you’ll always be famous, Angelyne). But for Vinnie Hacker, the World Wide Web is his yellow brick road to Hollywood stardom, and he’s walking it, one TikTok at a time. With a wicked sense of style—one that has hooked his 15.5+ million followers on every lip-sync video clip he’s posted since first joining the app in 2020— Hacker has tapped into realms beyond the iPhone screen. Recently, the e-heartthrob has invested in the modeling side of his ever-evolving career more than before, sitting front row at Saint Laurent and Prada during fashion month and fronting a campaign for Ami. With the sunny summer season settling in nicely and a bevy of new projects on the horizon, the L.A. neophyte is here to prove that the internet (and its homegrown personalities) is forever.

Shorts GUESS

Vest PHILIPP PLEIN Jeans LEE Underwear GUESS

All clothing LOUIS VUITTON (Pre-Fall ’24)

All clothing EMPORIO ARMANI (Spring ’24)

Makeup Sarah Tanno (Forward Artists) Hair Frederic Aspiras (The Only Agency) Model Vinnie Hacker (IMG) Executive producer Dana Brockman (viewFinders) Producer Frank DeCaro (viewFinders)

Production coordinator Ernie Torres Digital technician Dillon Padgette Photo assistants Simone Triaca, James Mankoff Stylist assistants Frankie Benkovic, Jeung Bok Holmquist, Lokela Blanc Makeup assistant Mila Kwan Production assistant Trey Butler Location Smashbox Studios

V MAGAZINE: You recently moved from your native Seattle, Washington, to the star-studded hills of Los Angeles, California. What would you say are some of the biggest cultural differences between the two?

VINNIE HACKER: People from Seattle are more welcoming. Los Angeles is so large and spread out that it makes it a lot harder to find a community. There’s a lot of time in L.A. you spend alone—[whether] at home, commuting to shoots, going out for lunch. These are typically times in other cities where you’d be interacting with hundreds of people, but not in L.A. With that being said, there’s also something really nice about the peace and quiet L.A. can offer; alone time isn’t always a bad thing.

V: How have your ideas of L.A. held up after a year of living there?

VH: Before coming to L.A., my perception came from everything I saw influencers posting on social media, and while that culture does exist, there is so much more to the city. A lot of L.A.’s best parts come from the areas that have been around for decades. For example, a lot of people on TikTok will see the flashy restaurants in West Hollywood and hold that perception of the city, but will rarely see content of the BBQ restaurants in Koreatown, or the sushi and ramen spots in Little Tokyo that have been around long before the internet.

V: What is one lesson you learned early on about being a content creator in L.A.?

VH: That everybody is a content creator in L.A. It’s very hard to differentiate yourself.

V: What are three places you love in your new home base? Three places you hate?

VH: I love the Berrics skate park, El Matador Beach in Malibu, and Cars & Coffee. I hate downtown L.A., the 405, and the Olympic/Fairfax/San Vicente intersection (Carthay Circle).

V: Apart from TikTok, you’re also pretty popular on Twitch, with over 1 million followers. If you had the power to design your own video game, what would you create? And what are some of your favorite anime?

VH: I would absolutely create a first-person shooter game like Valorant or Apex, maybe something related to some of my favorite anime. I would love to one day be able to buy a Vinnie Hacker skin with my own emotes. I like JoJo’s Bizarre Adventure, Vinland Saga, Attack on Titan, Bleach, and Dragon Ball.

V: If you could describe your perfect summer day, what would be on the agenda?

VH: Video games—specifically Baulder’s Gate 3—with the boys on Discord.

V: In your previous feature for GEN V, we asked you how you would describe what you do to people who are not into social media. You answered: “I tell them that it’s the beginning of making your own path into something.” Nearly a year later, how would you say this answer has evolved for you? What are other paths you’re considering tapping into now?

VH: I’m simply just a little further down that path. Lately, I’ve been spending my time developing projects for manga and anime. I’ve been a huge fan since I was a kid, and this year I’m excited to actually contribute to the culture. I’ve also been practicing voice acting and reading for roles, I would love nothing more than to breathe life into an anime character.

FLIGHT PLAN

Photography CHARLES BILLOT

Bag MONTBLANC Meisterstück Messenger (in black, $1,420)

Ready to throw some shade? The season’s best way to take things down a notch and view the world through your own lenses is with the perfect pair of Hollywood-inspired sunglasses

LAST LOOK AT ONE HOT SUMMER

Sunglasses MONTBLANC Squared Sunglasses with Brown-Colored Acetate Frame ($425)