V138: THE SOUND OF V STARRING LALISA!

SOUND

DAVID YURMAN

davidyurman.com)

At V, we consider each issue a little time capsule; a snapshot and future relic of what we wore, listened to, and watched. When rereading these pages in years to come, we wonder what will stick out the most— perhaps it’s the star power of our “cover human” (as Lady Gaga once put it) Lalisa (of BLACKPINK ), who exemplifies the extreme global domination of K-pop today. Or maybe it will be the acknowledgment of musicians who paved the way for today’s pop stars, like Blondie’s Debbie Harry, whose recent book and box set reminds us of a time not so long ago, when the Lower East Side—where V’s office is today—was the birthplace of punk rock. For some it might be the models, like Grace Elizabeth, wearing this fall’s boldest looks.

The beautiful thing is: what I remember most about this time, might not be what you remember. Some of us are here for the music, others for the fashion, and so on. It’s this diversity of interest that makes V so special and, indeed, makes our world go round. MR. V

Makeup Deanna Melluso (L’Atelier NYC) Hair Brittney Ward (SEE

Photography HEDI SLIMANE Text MATHIAS ROSENZWEIG

“I don’t really love nostalgia,” Debbie Harry says over the phone. The Blondie frontwoman is in New York City—the place that saw her flourish into her particular bouquet of punk rock legend meets fashion icon and international sex symbol. “I like looking ahead. It’s more interesting.”

But when your life is as integral to the cultural landscape as Harry’s, there’s really no escaping the past—weeds and flowers alike. In 2018, this led to the release of her memoir Face It, a book that shines the stage lights on everything from the star’s toddlerhood— she writes about her first memory from the age of three months—to an adulthood punctuated by rape, heroin, and global stardom.

“I don’t think of myself as being old, but I guess I’m pretty old now,” she says, trailing off with a faint laugh. “So I do have a lot of stories to tell, and a pretty adventurous life. It’s not like I grew up in a town, got married, and stayed there.”

Reviews of the book harped on her seemingly unfazed attitude towards both the good and the bad, the latter due in part to rose thorns and thick skin she developed out of necessity. “My ambition and my desire to achieve helped me get through,” she says. As for the “good,” a romanticized vision of New York’s Lower East Side, where the punk rock scene cultivated itself and continues to inspire kids, hoping to catch some of Harry’s residue, the star doesn’t necessarily miss it. “Generally speaking, I don’t say, ‘Oh, I wish it was the good old days’...it was a great period in music, but I

think that goes on. It will always exist. There was the Beatnik era, then the Glitter age, the Hippie period…and I’m just talking about the US.”

She also thanks her bandmate and romantic partner of 16 years, Chris Stein, for helping her reach her peaks as well as holding her hand while traversing fame’s valleys. “I’ve always said this—that our partnership was very valuable, and we supported each other. If we had moments of being doubtful or worried, very often the other one of us would say, ‘Oh, come on, get over it.’”

The pair remains close today, appearing together for interviews in support of their box set, Blondie: AgainstThe Odds 1974-1982. A sprawling and ambitious garden that showcases everything from the band’s early roots to their blossoming into certified hitmakers, the anthology includes remastered versions of their first six studio albums, plus unreleased demos, outtakes, commentary, essays, illustrations, and more. It is a full blown encyclopedic triumph for one of the greatest bands to ever play—even non-fans could learn something from such a transparent display of artistic growth.

This is particularly of interest for Harry, who famously shied away from divulging too much of her life, one that was crafted by her inherent artistic direction, to the public. Even in her “tell-all” book, much is left up to the reader’s imagination. In the last pages, she writes: “I still have so much more to tell but being such a private person, I might not tell everything…It’s always best to leave the audience wanting more.”

Photography CURTIS JEHSTA Fashion MARC ERAM

“People connect to my music in this melancholic, but optimistic way—I don’t know, maybe I’m putting off that vibe,” Lorely Rodriguez, known as Empress Of, says earnestly—and somewhat playfully, too. “Personally, I feel something when I make music that’s underlying [with] sadness mixed with hope.”

And though Rodriguez’s introspective, honest lyrics delve into everything from romances turned sour to the joys of womanhood, the buzz surrounding the L.A.-born musician is anything but melancholic. The daughter of Honduran immigrants, the songstress’ unmistakable sound toes the line between modern R&B and full-throttle, pulsating synth-pop. Growing up, the musician sought to strike a balance between finding her own identity as both an individual and a burgeoning sonic talent. “My family played salsa music, merengue, and lots of Latin rhythms,” Rodriguez explains. “And there was always this clash— especially in my teenage years—of trying to have my own identity as a Latin American. But now, I try to create a modern identity through Empress Of and not go into [the] tropes of what people expect a Latin American woman to look like.”

Fast-forward to the present—with three critically acclaimed full-length albums under her belt— Rodriguez is undoubtedly a pop force to be reckoned with. Save Me, the artist’s 2022 EP, is an electronicainfused, masterclass of heartfelt, experimental pop. Seductive and alluring, yet equally confident and assured, the lead single and title track, “Save Me,” combines Rodriguez’s flair for thumping melodies with a sincere lyricism that makes her music so infectious. Elsewhere on the five-track offering, slow-building, pounding production takes the reins sonically while the singer’s breathy vocals add a refreshing tinge of relatability. “This EP, it’s empowering, desperate, vulnerable, and sexy. The videos are my favorite I’ve ever made,” the Honduran-American singer tells V. “As an independent artist, it feels so good to have a project that I ran from start to finish.”

Like her commanding moniker, the creative is in full control of her destiny—an energy, and sense of freedom, that radiates through her most recent EP and general presence. After ending a years-long contract with XL Recordings, Rodriguez is entering a new phase of her career, spearheading her own music label— Major Arcana—where she plans to release all future projects with complete creative control. The L.A. based singer-songwriter is set to join Carly Rae Jepsen on the pop star’s North American tour and is gearing up to release new music in the near future, followed by a solo tour in 2023. With Rodriguez’s ever-evolving sound and enchanting visuals, we’ve come to expect the unexpected. But if one thing is certain, Empress Of is not giving up her crown any time soon.

MATTHEW VELASCO

Laufey comes from a lineage of strong women. The 23-year-old musician was named after her great-grandmother, whose namesake references a mythological figure (in Norse folklore, Laufey was the mother of Loki and credited for pioneering matriarchal lineages). That feminine energy resonates deeply in the singer-songwriter as many of her songs address empowerment and kinship. “All the women in Norse mythology were really strong characters. I think it’s really cool to be named after such a strong woman,” the young artist says from her home in Los Angeles, where she is seeking shelter from the blistering heat. Over 90-degree weather is not something the creative is used to, as she grew up in Iceland, where it rarely gets above 70. It was in Reykjavík where the burgeoning musician began forming her creative sensibilities. Like many other musical protégés, music was ingrained in her from an early age: “I was in the womb at orchestra rehearsals with my mother, so music has always been second nature to me,” she laughs as she recalls her weeknight cello lessons and weekend jam sessions with her family. All these years of practice culminated in a performance at the Iceland Symphony Orchestra when she was just 15–a place she will return to this fall during her headline tour.

It was also there, on the volcanic island in the North Atlantic Ocean, where Laufey cultivated a sense of wanderlust and fantasy that characterizes her unique sound. “I’m a big daydreamer,” she elaborates. “I think there’s so much excitement and hope in the unknown. This romanticized view of the future definitely gets into my songs and my songwriting.” The hopeless romantic inside of the artist can be heard in her latest single, “Dear Soulmate.” Fascinated with the idea that her companion is out there living their life, but she doesn’t know them yet, Laufey penned this emotional ballad. This song is among 11 other songs that make up her upcoming album, which gets at her larger mission of revitalizing jazz for the modern age, making swing notes and piano musical breaks accessible to the new generation. “The album’s called Everything I Know About Love, but we come to find out at the end of the album that I actually know very little about romantic love,” she shares. This sonic tour de force also includes features with some of the strong women that make her the artist she is today. Laufey shares that her mother and twin sister play the violin, and on the title track, the trio play in familial harmony. And as no Laufey project would be complete without unbridled female energy, the singer is certainly living up to her name. KALA HERH

YDE

LYRICIST

If you’re wondering where you recognize YDE from, it’s probably your TV screen. Born Breanna Yde, the Australia-native got her start in acting, landing coveted roles on two Nickelodeon shows and Netflix’s Malibu Rescue. But while YDE is the first to proclaim her love for bringing a character to life, she admits she’s long harbored dreams of making music. At six years old, she tagged along with her older brother to see a Lady Gaga concert and was blown away by what she witnessed. “There was something so enticing about seeing someone have a tight grasp on a 17,000-person arena,” she recalls. “Every single person in the arena, all eyes were on this 5'2" person on stage.”

As she was breaking into the television scene, YDE would write songs and hone her skills on the guitar at home. Finally, she landed a fateful role: playing tomboy rocker Tomika on Nickelodeon’s School of Rock series. For the first time, the budding singersongwriter was immersed in the process of making music professionally—and promptly fell in love with it. Taking cues from an eclectic range of inspirations that includes Led Zeppelin, Frank Ocean, and Frankie Valli, YDE began to craft her own singular sound.

Her upcoming debut EP, SEND HELP, reveals an artist possessing wit and wisdom far beyond her years. From the cheeky “Stopped Buying Diamonds,” a fauxapology that calls out Gen Z critics for their audacity, to “People Can Change,” a moving social commentary on climate change and gun violence, YDE isn’t afraid to keep it real. “The whole EP is really my take on all the controversial shit around the world,” she says with a laugh. “That’s the message I return to on every song, that we all go through tough shit, and we’re all trying to figure out how to survive.” Accompanying her honest lyricism is a fearless exploration of genres— stripped-down ballads followed by upbeat pop tracks and jazzy power anthems. Trying to narrow SEND HELP down to one sound is futile—YDE dares to try everything.

There’s no denying that the prodigious talent has accomplished a lot before her 20th birthday. But despite the release of her debut EP being just around the corner, she’s surprisingly grounded about the major career milestone. “I’m honestly just focused on allowing myself to be an artist,” she says. “Not in an outward way, I’m just walking through the open doors and creating when it feels right.”

BAILEY BUJNOSEK

Makeup

Alexandra

French (A-Frame)

Hair Joeri Rouffa (The Wall Group) Stylist assistant Tateh Hopper

Photography JD BARNES Fashion TAYLOR KIM

GUEST IN RESIDENCE CRACKS THE CASHMERE CODE

With scores of runway shows and editorials under her belt, it’s safe to say that Gigi Hadid knows fashion. After all, making clothes look good is her job. But while the supermodel is best known for flaunting other designers’ creations, her latest project sees her stepping into the role of designer herself. A debut three years in the making—clouded by the uncertainties of everyday life–Hadid founded her very own all-cashmere clothing brand, Guest in Residence. Named after the notion that we are all guests—on this Earth, outside our comfort zones, and in our clothes—the brand’s luxurious knitwear reflects Hadid’s affinity for quality, comfortable pieces. The brand’s offerings fall into three categories: foundational core knits, timeless seasonal pieces, and limited-edition drops. Each versatile design can be layered or worn alone. While Hadid draws inspiration from the cashmere staples she’s acquired over the years, she also incorporates splashes of vivid color and unexpected styling. Besides lending her unique POV as creative director, the fashion icon also sets her brand apart with thoughtful crafting. The use of long fibers decreases pilling, while a tight-tension knit ensures each piece is made to last. Stylish and supermodel-approved, Hadid’s knitwear is sure to be a welcome guest in any closet.

BAILEY BUJNOSEK

Makeup

Raul Otero (The Wall Group) Hair Takuya Yamaguchi (The Wall Group) using Oribe Models Ashton Day, Fatima Elsheikh, Tazha Chen (Elite), Hong Lin, Shaanti, Aliya, Da’ani, Akdeniz (Kollektiv) Manicure Jazz Style (SEE Management) Set design Xavier Penagos Photo assistant Oren Siddo Stylist assistants Emma Oleck, Noelia Rojas Makeup assistants Diana Torroledo, Vile Sanchez, John Wilger Hair assistant Chell Love Manicure assistant Dana Love

THIS SEASON, TRIED-AND-TRUE TEXTILES GET AN ELEVATED REVAMP, SEEN THROUGH GUESS’ WESTERN-INSPIRED COLLABORATION WITH ELI RUSSELL LINNETZ AND GIGI HADID’S CASHMERE-CRAZED COLLECTION FOR HER NEW BRAND GUEST IN RESIDENCE

What happens when a seasoned visual creative and sought-after photographer become the driving force behind re-envisioning one of the world’s most distinctly American brands? Add in a touch of old Western flair, and you’re in for the ride of a lifetime. Since 1981, Guess has remained synonymous with American youth culture and unapologetic sex appeal. And as their California-based division Guess U.S.A. dives into its archives to retrieve ‘90s and 2000s artisanal designs for Fall 2022, who better than SoCal native Eli Russell Linnetz— the design visionary behind ERL—to initiate new life into the brand’s Western retro aesthetic?

The partnership between Guess’ Nicolai Marciano and Linnetz merges the best assets of each contributor. “Going through old catalogs with Eli was a big part of the overall inspiration,” says Marciano. “We wanted to align with someone on the imagery who shared a similar attitude of being sexy and provocative.”

Guess’ own history as a pioneer of lifestyle advertising laid out a calculated precedent for the collection’s blissful Americana, set against the rolling hills and rugged valleys that backdropped ads of decades past. “There is an inherent sexuality that Guess has always represented, [especially] with powerful women,” Linnetz explains. “I was really excited to add to the world that they pioneered in fashion.”

Marciano continues the rustic fantasy in his designs of faded denim, distressed leather, and paint-cracked imagery, while Linnetz brings an intuitive eye to the equation, dreaming up a campaign with the youthful energy of adolescence. Guess x ERL is a match made in sunny, Southern California—and it couldn’t be more right.

AVA MANSON

Photography JD BARNES

Fashion TAYLOR KIM

THAT GLITTERS

Photography

MRS. DEL GIOCONDO WAS THE WORLD’S MOST-KNOWN LISA FOR A HALF CENTURY. THAT ERA HAS ENDED

10.2 million people visit the Mona Lisa each year. In comparison, 80.2 million people watch Lalisa Manobal’s every move on Instagram. Of course, visiting a museum is one thing—images flashing on your screen is another.

But somehow, Lisa del Giocondo, the subject of Leonardo da Vinci’s ubiquitous portrait, likely finished in 1517, is no longer the most famous “Lisa” in the world. (And let’s not even discuss that Simpson.) Just check Google, where Lisa (of BLACKPINK) was more commonly searched for than the painting in the past five years.

In a big way, the name is where the (seemingly ludacris, but not really) comparison stops. Del Giocondo was of course not, for example, one of the world’s biggest K-pop artists as Lisa is, thanks in no small part to her membership in BLACKPINK a group of four who’ve made music industry history by being the first female K-pop ensemble to top Billboard’s Emerging Artists chart, setting a new world record on YouTube with their video for the track “Kill This Love,” which racked up 56.7 million plays in 24 hours. Even if the entire South Korean population had streamed the video that day, they’d still be five million short of hitting that number. This isn’t at all surprising at this point—K-pop has now been a global phenomenon for years, racking up numbers that make religious followings and entire countries’ populations seem humble.

Even within the nearly unlimited confines of BLACKPINK’s success, Lisa was always an exception. She is both a rapper and vocalist, giving her a certain edginess that colors outside the lines of Aegyo which Collins Dictionary defines as “denoting a Korean cultural style that emphasizes the quality of cuteness.” Don’t get me wrong, Lisa is cute, but she drops bars with a particular bite that’s unmatched by her rivals.

It is perhaps surprising, given the unthinkable numbers that surround Lisa (the fans, the streams, the ticket sales), or her larger-than-life presence on stages and screens, that she’d be so remarkably nonchalant and discreet in person. But on June 1, 2022, her entrance into a suburban house in the Jongno neighborhood of Seoul, South Korea went largely unnoticed, even by the V editors and the team shooting her. In real life, she’s nothing short of humble, human, but nearly heavenly in beauty. Her angelic quality resounds in the photos captured by longtime friend Mok Jung Wook (the da Vinci of our story).

In front of nearly 30 locals, Lisa is unintimidated and carefree in front of the camera. Her face is literally printed onto stickers that cover the set’s catered dishes, an ode to her magnitude, and yet in the very same room is a girl under 5'5", giggling about her Doberman named Love, graciously thanking everyone for each shot before quickly changing into new looks. In this rented house, presumably where a family once lived, she is the perfect girl next door; a fantasy both big and small, all at the same time. It’s hard to believe that the person talking about Paris Fashion Week with wide eyes—“Will you be there too?”—she asks, sweet as can be—is the same one whose solo music video debut for the track “LALISA” was the most-viewed YouTube release from any singular female artist in the world.

Such is life in 2022. As for the future, your guess is as good as ours. It’s a mystery, not unlike the famously difficult task of determining Mona Lisa’s facial expression in her world-renowned rendering. Like the painting, Lalisa Manobal remains fairly bewildering, the details of her personal life or anything behind-thescenes being largely unknown to the public. In this way, the global superstar is similarly immortalized, small in the flesh and yet larger than life.

Hair Lee Seon-Yeong Makeup Myungsun Lee Manicurist Park Eunkyung Set Designer Kwon Do Hyung Executive Producer Lee Kyung Kim at BL Creative House Producer Jeffrey Jin Coordinator Lee Yeong Woo

Makeup Peter Philips (Art + Commerce) Hair Laurent Philippon (Bryant Artists) Model Grace Elizabeth (The Society) Manicure Magali Buisson (Majeure Prod) Set design Antoine Lampérière Production Sally Dawson, Paula Ekenger Digital technician Lucie Rowan Photo assistants Samuel Stephenson, Sebastian Kapfhammer, Mathieu Boutang Stylist assistants Bianca Diocesano, Nina Le Diabat Makeup assistants Ayana Awata, Isabelle Pain

design assistant Benjamin Dupont Retouching Digital Light Ltd

Makeup Tom Pecheux (SAFE MGMT) Hair Stephane Lancien (Calliste) Model Edie Campbell (DNA) Manicure Christina Conrad (Calliste) Production Michael Lacomblez (Louis2) Casting Daniel Rodriguez, Daniel Von Der Graf, Andrea Prato Digital technician Sarah Reimann Photo assistants Corrine Mutrelle, Bastien Santanoceto Stylist assistants Benedetta Baruffi, Marine Gorinas Hair assistant Julian Sapin Production assistants Amady Cissé, Nihel Zoubeïdi (Louis2)

Factory

Makeup Raisa Flowers (EDMA) Hair Nikki Nelms (Jess Moloney MGMT) Models Eniola Abioro (NEXT), Janet Jumbo (IMG), Briana Michelle (The Industry), Philyne Mercedes (NYMM), Akuol Deng Atem (Muse), J’Adore Benjamin (Ford), Awuor Dit (Marilyn), Precious Kevin (IMG) Manicure Jin Soon (Home Agency)

Notcutt (11

technician Nick Barr

Peter Siskos, Jesse Allan Stylist assistants

Marino, Brian Conway

assistant Eunice Kristen Hair assistants Ikeyia Powell, C’iara Mckim

Coat GIORGIO ARMANI, Lingerie CARINE GILSON, Shoes JIMMY CHOO

body PATRICK TA Major Glow Balm in She’s On Vacation

Earring and ring CARTIER, Lingerie LA PERLA, Shoes AMINA MUADDI

Makeup David Koppelaar (Bryant Artists) Hair Tomohiro Ohash (Management + Artists) using Bumble and bumble. Model Akon Changkou (Elite) Manicure Eri Narita (WSM) using Byredo products Producer Kit Pak-Poy (Art World) Lighting technicians Isaac Berzosa, Lena Mestaf

Coat, tights, shoes SAINT LAURENT

DAMSELS IN DEFIANCE

“A woman is the very existence of nature. Our government is [not only] going to destroy thousands of women’s lives due to the new bans on reproductive healthcare but is also passing legislation to destroy our planet. Having to live every day feeling dehumanized by your own government is depressing, but having the strength to keep going and finding happiness despite that is empowering. I don’t understand how our lawmakers could lead with such hate and ignorance—maybe it’s because they’re scared of things more powerful than them.

In my own field of [acting], I try to only do projects that represent women in a way I can be proud of. I look very closely at what is said to my characters— there is too much out there that puts women down, and I don’t want to be a part of [that]. Sometimes people don’t even realize they’re writing [about] women in a degrading way. I’m [also] cautious about apologizing in films and strive to make sure my reactions are appropriate—I would never want to downplay something that I [would] find unacceptable in real life. I try to stay true to the character while also thinking of what message I’m sending to the [audience]. Storytelling allows people to see inside a character’s life in an intimate way, offering a perspective they may have never seen before.”

—Talia Ryder

Leather jacket and sunglasses SAINT LAURENT BY ANTHONY VACCARELLO

Photography COLLIER SCHORR Fashion GRO CURTIS

SAINT LAURENT’S ANTHONY VACCARELLO AWAKENS A NEW LINEUP OF REBELLIOUS MUSES AS THE SPIRIT OF WRITER AND ACTIVIST NANCY CUNARD COMES ALIVE IN HIS FALL/WINTER 2022 COLLECTION

“I think to be a woman today is to be strong and brave, to be resilient and intelligent, and to take shit from no one. All of us collectively want to cry and scream ‘F U’ to the Supreme Court, and then crawl into bed and stay there. But instead, we’re standing up for ourselves and every woman, fighting with strength for the rights that have been taken from us. And still saying ‘F U’ to the Supreme Court all while staying resilient. I think one lesson we can learn from yesterday’s woman is to never give up. They marched and protested and fought until change was forced to be made. I hope we can all collectively follow those footsteps and fight this fight until we win. I love being a woman in music. Every time I step into a session, I make sure to establish that everyone in the room is equal. We leave our egos at the door, and our only purpose is to have fun and make music. I’ve only ever worked with kind, good people, so I’ve honestly not run into many adverse challenges as other women in the music industry have. I feel really grateful for what I do. It’s so crazy to me that I get to word vomit all my emotions, insecurities, fears, wants, and regrets into a 3-minute song and then release it to the world. And if my music helps even just one person with their emotions and problems, it makes it all worth it.”

—Charlotte Lawrence

Silk blouse, foot leggings, accessories SAINT LAURENT BY ANTHONY VACCARELLO

“In today’s world a woman’s [superpower] is her uniqueness, her strength, and her compassion. Women are naturally matriarchal and caring and are filled with empathy. That is also why we need more women leaders—now more than ever. Our current systems are failing. I am very fortunate [that] my industry celebrates women and is mostly run by women. Additionally, in recent years, there has been a very healthy and needed shift—and what is nowadays considered beautiful in fashion is diversity. My position in fashion gave me a platform that I try to use to support other women and have a positive impact on society. We should all remember, fashion is the industry that drives [social and political] movements faster than any other in the world, and we can use that power to make change! Without my success as a model, I wouldn’t have been able to build my foundation. SEXEDPL is a platform that [I founded] which provides young people, parents, and adults with comprehensive, age-appropriate sex education [relating to] human rights, gender equality, relationships, and reproduction.”

—Anja Rubik

VACCARELLO

faux fur coat, shoes, rings SAINT LAURENT BY ANTHONY VACCARELLO

“Right now, being a woman is being human. [Women] have transcended many norms that [were put in place] to [limit] us. We have struggled with many judgments from society, and we’re still battling them each day. But I believe that if we continue to fight, one day we will be able to live equally—especially within [film]. In navigating this industry, I have faced the struggle of male co-stars getting special treatment on set. I also have been told, like many other [women in film], that ‘When you get older, your career might expire.’ I feel like aging is part of being human, none of us should suffer during that process.

Depending on who you ask, people in Thailand see me as a rebel or role model, but I am just an actress. And, apart from work, I just want to be more of my authentic self, which people [may] not be happy with. But being happy within your skin takes time and a lot of faith [from] within. Once you master this it won’t matter who accepts this [authentic] version of you. But this is easier said than done. I still have to go through the struggles [of] everyday to prove that this [version of myself] is in fact my reality.”

—Kitty Chicha

Makeup Holly Silius (R3 MGMT) for Charlotte Tilbury Hair Johnnie Sapong using Leonor Greyl at Salon Benjamin Producer

Jason Agron (Photobomb Production) Production coordinator David Newman (Photobomb Production) Digital technician Michael Preman Photo assistants Ariel Sadok, Dominique Ellis, Eric Ellis Stylist assistants Juliana Bassi, Sage Mckee Makeup assistant Janelle Walker Hair assistant Genevieve Williams Production assistant Omar Quiroga

Short faux fur coat, foot leggings, shoes SAINT LAURENT BY ANTHONY VACCARELLO

“I have no idea what the essence of today’s woman is. I am a nonbinary queer who is watching, as we all are, the dismantling of basic civil and human rights in this country. I know that being a part of any at-risk group in this country requires empathy—for each other, for groups whose safety is at stake, and for ourselves. It is an intense lack of empathy held by the Republican Party that has resulted in the overturning of Roe v. Wade. This is not an easy time to be alive for any nonwhite or male person.

Navigating the music industry as a non-male person requires more self-assurance and preservation than being a man requires. And in my music, the message I want to convey is the power of vulnerability, honesty, and emotion. I want people who listen to my music to feel like they’re not alone in their feelings—however explosive they may be.

Someone who inspires me is the late, great Betty Davis—the queen of funk. From her music, to the way she performed on stage, her style—everything about her was next-level. And for me, fashion and clothing are a type of armor. It can dictate so much about how you feel, I get emotional when I wear something that feels right on my body.”

—King Princess

On hair OUAI Curl Crème

Leather jacket and bangles SAINT LAURENT BY ANTHONY VACCARELLO

The date was October 24, 1929. Off of an era filled with roaring fashion, the world’s major cities—New York, London, Paris—stood still. While the Great Depression plunged society into tumult—like all global challenges, there remained a beaming light waiting to overtake the overbearing shadow of uncertainty. And in 1930s Paris, that shining gleam in waiting was none other than Gabrielle Chanel.

Forever ahead of her time, Chanel not only pioneered cutting-edge styles, but also created the world’s first high jewelry collection in 1932: Bijoux de Diamants. Tapped by the London Diamond Corporation—who sought to restore the industry to its pre-Depression sparkle—Chanel unveiled a first-ofits-kind collection centered around the beauty of celestial wonders: comets, shooting stars, moons, and more. Broadcasting the language of couture to the realm of jewelry, the original offering included over 50 lustrous pieces in shapes meant to mimic the air-like flexibility of ribbons and feathers.

Now, exactly 90 years later, the French house is revisiting the legacy of Mademoiselle Chanel with its 1932 high jewelry collection. Taking cues from the original selection, the range boasts 77 creations, 13 of which are transformable—meant to conform to the body like Chanel’s pliable inspirations. In the essence of Chanel, the collection includes sapphires, spinels, and white and yellow gold diamonds cut into spiral-like contours. And in a world brimming with confusion, let Chanel’s 1932 high jewelry collection be a dazzling reminder of the power of light in the face of unforeseen darkness.

Photography

Photography CONOR

QUANNAH CHASINGHORSE

For Quannah Chasinghorse, it’s all about bringing your culture with you every step of the way. “Dating back generations, my people took pride in how we carried ourselves. A lot of people don’t realize that we had our own form of fashion. Whatever we had, we turned into art and that’s how I express myself–through my people’s art,” explains Chasinghorse. Turning heads for all the right reasons in nearly every campaign or show she is in, the 20-year-old Indigenous model, activist, and land protector first captured fashion’s attention when she signed with IMG Models back in 2020 and landed her first cover ever for V Magazine’s voting-focused cover series soon after. Since then, her impact has sent shockwaves through social media as Chasinghorse’s inclusion of her Native American heritage in everything she does has resonated deeply with the youth of today. “Indigenous kids never saw themselves represented in fashion as we are now,” she explains. “To be someone that can be a part of that movement and conversation, and in the fashion community in a way, is an honor.” With the new wave of beings who are leading this generation into a more inclusive society, Chasinghorse is continuing to champion the need for representation. “I think we’re in a time where everyone wants to see new faces,” she explains. “Everyone has their own sense of identity, whether it be [through] culture or something else. Everyone has their own walk of life and I think that really shapes how we see ourselves.”

JULIA CUMMING

“My dad [used to] take me around the East Village to The SideWalk Cafe and the Bowery Poetry Club, and a lot of these venues would have open mics,” recalls Julia Cumming. “That was kind of how I got started in music.” Having been born and raised in the city that never sleeps, the 26-year-old singer-songwriter, frontwoman and bass player of the Brooklyn-based band, Sunflower Bean–who have just recently released their third studio album titled Headful of Sugar –is certainly one creative who is using the world around her as the ultimate fuel for her passion–especially when it comes to the power of fashion. “I never even thought about clothes until I joined a band, that was when I was 13 years old. As soon as I started performing, I started to see how you could use style to further your story and your art,” states Cumming. “It’s a way to make art out of your daily life.” But make no mistake–the very beings that inhabit the island of Manhattan (and probably anywhere the MTA can get you) still provide Julia a jolt of cultural energy that she needs to keep pushing forward. “I’m very inspired by a lot of real working artists around me. We’re at a point where, culturally, we can accept that people are really nuanced in ways that we’ll never understand. The best thing you can do is give everyone the freedom to be who they are in every moment, and it’ll make everything so much more fun.”

MILES CHAMLEY-WATSON

Can the worlds of fashion and sport truly go hand-in-hand?

Just ask Miles Chamley-Watson the British-born American fencer and two-time Olympic winner. Although having spent his earlier years as a kid in the U.K. –until his family hopped across the pond to New York City when he was just 10 years old–Miles has been fusing the English and American culture into his interests in style and athleticism for as long as he can remember. “As a kid, I’ve always liked fashion and being different while taking risks. That transcends into my sport as well,” he tells V Magazine. “Individuality and style are so important–it’s one of the freest forms of expression.” With a flair for eccentric style, while flexing his long-trained skills of swordsmanship, the gold medalist has quickly become a fashion-industry favorite and he’s bringing it to the field every chance he gets. “When I look good, I’m going to compete good. I think athletes want to have that expression outside of our sport,” he explains. “I’m someone who doesn’t want to be put in a box. I’m lucky that fashion was one of the first industries to embrace me, well before the sports world even did.” As he continues to master his lunges and attacks, Miles is never forgetting his upbringing in the Big Apple, as he says, “I would definitely call New York home. You can feel the energy when you land here. I definitely try to bring a piece of it wherever I go.”

“I come from two different cultural backgrounds. I’m Dominican, and I grew up in Italy, so I have both worlds in me,” says Yendry, the Dominican-Italian singer and songwriter who’s ready to make her mark on the world. Having gained wide-spanning recognition for her participation in the sixth edition of X Factor Italy back in 2012—and even landing herself a deal with RCA Records and Sony Music Latin—the next-gen songstress has been making her presence known in the Latin music realm for quite some time, delivering bass-laden bops like this summer’s single “ KI-KI .” While expanding her sound, she’s also been discovering more about herself in the midst of navigating two distinct music scenes. “It was a big struggle to find my identity. Everything switched when I started to do research and go back to my roots to understand where I come from [in order to] embrace both cultures,” she says.

“Since I’ve started, I’ve been very aware of my individuality— it gave me strength for approaching life, in general.” While uncovering the depths of her heritage, Yendry has been leaning into fashion as another outlet for her creativity. “I’m an artist, so style is a big part of my job. I had to think more about the way I present myself because, with fashion, you can also send messages—it’s full circle,” she explains. “I’ve been fighting this stereotype of being the Latin girl that’s oversexualizing herself, but [I’ve learned] that I don’t have to be responsible for how [people] see me.”

WHAT

tradition? Italian luxury fashion house Fendi knows the answer— everything we are, is everything we’ve been, and sometimes a reimagination of the past is exactly what we need to stay rooted in our truest selves.

Who are we without the

For nearly 15 years, the Peekaboo handbag has proved testimonial to Fendi’s artistic excellence, with its distinguished accordion base first gracing the brand’s 2008 Spring/Summer runway in Milan. Inspired by the playful children’s game, “Peek-a-boo, I see you,” from which it earns its namesake, the bag merges whimsical fun with the chic practicality of minimalist dressing. The Fendi woman, of course, represents both: pragmatism with an eye for the divine. Or, in this case, the FF Tappetino accessory of timeless Roman craftsmanship, each iteration a contemporary upgrade to the classic staple in countless color combinations and over a thousand fabrics.

The Peekaboo celebrates contrast–earnest, yet fun; calculated, but free. It is a lovechild of creative innovation and technical prowess, after all. This newest rendition in navy harmonizes in that opposition, complete with an updated take on the unmistakable FF logo and the bag’s hallmark twist-lock—a subtle reminder of the bag’s humble origins. This Fall/Winter season, Creative Director Silvia Venturini Fendi and Artistic Director Kim Jones construct an ode to the handbag’s past, where rich color meets soft texture to commence a new era for Fendi. With timeless sophistication and modern flair, the Peekaboo is looking back, while pushing forward. And with its latest offering, Fendi is evolving—just like we are. AVA MANSON

Photography ERIK LEE SNYDER Fashion

POLANCO

FENDI FF Logo Tappetino Peekaboo Handbag (in navy) ($5,300, available exclusively in Fendi boutiques.)