V63: The Size Issue

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SUGAR hiGh Editor-in-Chief Creative Director Stephen Gan

Advertising Directors Jorge Garcia Giorgio Pace

Senior Editor-at-Large Karin Nelson

Advertising Manager Francine Wong

Features Editor Christopher Bartley

Marketing and Events Taylor Choi

Managing Editor Emma Reeves

Financial Comptroller Sooraya Pariag

Associate Editor Jacob Brown

Advertising Coordinator Vicky Benites

Photo and Bookings Editor Pippa Lord

Production Director Melissa Scragg

Assistant Bookings Editor Kristina Kim

Distribution David Renard

Special Bookings Jeremie Roumilhac

Communications Starworks

Executive Assistant/ Special Projects Editor Steven Chaiken

Special Projects Kyra Griffin Dominic Sidhu

Senior Fashion Editor Jay Massacret

Assistant to the Creative Director Kiko Buxó

Fashion and Market Editors Catherine Newell-Hanson Yuki James Contributing Fashion Editors Joe McKenna Panos Yiapanis Nicola Formichetti Clare Richardson Olivier Rizzo Jane How Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sofia Achaval Fashion Assistant Nikki Igol Consulting Creative/ Design Direction Greg Foley Art Directors Sandra Kang Byron Kalet Senior Designer Stephanie Chao Design Cian Browne Jakob Hedberg Contributor/Entertainment Greg Krelenstein/Starworks Senior Fashion News and Special Projects Editor Derek Blasberg Art Editor Simon Castets Visionaire Cecilia Dean James Kaliardos

This page photography Kiyoshi TOGASHI

Assistant Comptroller Farzana Khan Administrative Assistant Annie Hinshaw Online Editor Christopher Bartley Online Design and Production Ryan Dye Online Editorial Assistant Nicole LoPresti Contributing Editor T. Cole Rachel Copy Editors Traci Parks Jeremy Price Creative Imaging Consultant Pascal Dangin Interns Caroline Ahn Andrea Bachofner Ronald Burton Catherine Cantave Winston Chmielinski Angelo De Santo Enrica Ferrazza Olivia Kozlowski Martin Landgreve Maryellen McGoldrick Alison Munn Catlin Myers Alex O’Neill Anna-Maria Spyropoulos Matthew Stutz Emily Torrans

V63 Inez van Lamsweerde & Vinoodh Matadin Bruce Weber Sølve Sundsbø Terry Richardson Karl Lagerfeld Glen Luchford Sebastian Faena Terry Tsiolis Peter Lindbergh Tom Ford Jason Schmidt Andrew Richardson Paul Jasmin Jonathan Horowitz Michael Martin Mark Jacobs Mel Ottenberg Kate Bolick Pauline O’Connor John Norris Ken Miller Anastas Michos Jessica Main David Hughes Jessica de Ruiter Parinaz Mogadassi Jonathan Shia Amy Troost Adrian Gaut Cameron Krone Shu Akashi BOOGIE Brady Donnelly Kiyoshi Togashi Lauren Cochrane Indigo Clarke Catherine Blair Pfander

Cover photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna Makeup Lisa Butler (Tim Howard Management) Hair Didier Malige for Frédéric Fekkai (Bryan Bantry) Manicure Deborah Lippmann (The Wall Group) Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistant Tony Irvine Makeup assistant Asami Lighting technician Jodokus Driessen Digital technician Brian Anderson Studio manager Marc Kroop Catering Mangia Special thanks Pier 59 Studios, NYC Printing Box Fanning wears Sweatshirt with corset Alexander Wang On eyes, M.A.C Kohl Power Eye Pencil in feline On hair, Frédéric Fekkai Full Blown Volume Lifting Hairspray Sidibe wears Fragrance Giorgio Armani Idole d’Armani On lips, Shu Uemura Rouge Unlimited Lipstick 289 On hair, Frédéric Fekkai Sheer Hold Hairspray 22

Retouching Chelsea Elliott Food styling Joyce Sangirardi

Special thanks Art Partner Giovanni Testino Candice Marks Lucy Lee Kona Mori Sarah Frick Smith Lindsay Thompson Annemiek Ter Linden Paula Ekenger Etta Meyer Art + Commerce Jeannette Shaheen Little Bear Inc. Julian Watson The Collective Shift Jae Choi Aeli Park Amy Boyle Alan Woo Wilson Wenzel Cale Harrison CLM Robert Mapplethorpe Foundation Katherine Marre Industrial Color Brands Steve Kalalian Intrepid Anya Yiapanis Ahmad Larnes Corie Beardsley Splashlight Studios Spring Studios Ana Schechter Claudia Veizaga Pier 59 Studios Kelley Blevins Ilili Michael Masse Fast Ashley’s Studios Brent Smith See Management Truc Nguyen William Pope.L Mickalene Thomas Patrick McMullan Jack Walls Alan Deglin Vanessa Kramer Dimitri Levas Jean-Paul Gaultier

Bootie Nina Ricci Cake by Will Cotton Bakery

contents

PIECE OF CAKE

30 PaRties RxArt’s puzzle prescription; DVF’s Russian revelry; a Prada primer; MOCA goes Gaga; Mr. Chow turns 30

42 let tHeM eat cake / eMPiRe state oF MiNd A royal feast that could cause a revolution; HBO’s new series shows us how to make it big in the Big Apple

32 HeRoes Her dedication to refining her physical self made Lisa Lyon a bodybuilding champion and a counterculture muse; with a body that’s the envy of France’s first lady, Marthe Lagache was a high-fashion first; Dianne Brill has an hourglass figure and a personality that won't quit

44 WoRk iN PRogRess Jason Schmidt photographs artists William Pope.L and Mickalene Thomas

36 Heavy Metal Equal parts craftsman and metallurgist, the jewelry designer Shaun Leane transcends the world of diamonds and pearls

52 FasHioN PeoPle aRe PeoPle too Artist Jonathan Horowitz takes a cheeky look at the figures of fashion

38 Body laNguage His runway show might have caused a scandal, but designer Mark Fast crafts clothes with a voice of their own 39 Food FoR tHougHt The Futurist Cookbook created a formula for inventive eating with all the panache of modern art 40 extRa Art books, art shows, designer news, and a new sound from 1982

24

54 eigHt WoMeN Today’s gifted actresses on the roles that made them more than ingenues 60 ultRa violet Balenciaga’s new fragrance is no field of flowers—it’s an intelligent, complex scent that encapsulates the label’s identity 61 Hot Rocks John Norris gives us backstage passes to New York’s CMJ and shows us the bands that were ready to rock

65 go coMMaNdo Taking style notes from the army? Sir, yes sir!

66 dakota FaNNiNg The petite homecoming princess trades in her crown for Alexander Wang and talks about being a Runaway.

Photographed by Inez van Lamsweerde & Vinoodh Matadin 68 gaBouRey sidiBe With Oscar buzz surrounding her, the star of Precious proves she’s just as real as her talent. Photographed by Inez van Lamsweerde & Vinoodh Matadin 128 v-Mail Be mine, Valentine

V Fashion sPRinG PREViEW 2010 72 cuRves aHead By sØlve suNdsBØ 84 i love FasHioN By BRuce WeBeR 90 BaRRio gotico By seBastiaN FaeNa

62 it HaPPeNed iN Rio A report from Brazil on the parties, divas, and outrageous performances of Fashion Rocks

106 doll PaRts By gleN lucHFoRd

63 WestWaRd Ho! Get back in the saddle with a trailblazing western look

120 v love u Just tHe Way u R By teRRy tsiolis

98 oNe size Fits all By teRRy RicHaRdsoN 114 coco a go-go By kaRl lageRFeld

Photography Kiyoshi TOGASHI Retouching Chelsea Elliott Edible sugar flowers and food styling Joyce Sangirardi

37 sPace oddity Sol Del Moon creates a musical terrain both minimal and ephemeral

48 tHe tRutH aBout toM FoRd Tom Ford dishes about his film, his future, and the world of fashion

64 v-Bay They sparkle, they shine, please let them be mine!

A® © 2010 CHANEL®, Inc.

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foreword

GO FIGURE!

Body size. Presently, it’s a subject of great debate in the fashion industry. In one corner, editors are calling for an end to size 0 clothing samples; in the other, designers are whittling down the women in their ad campaigns to cartoonish proportions. Everyone, it seems, has voiced his or her opinion on the issue, making it one of the most highly blogged and heavily Twittered about topics of

Photography Terry Tsiolis Styling Jay Massacret 26

Viktoriya wears Jacket, pants, top Chloé

by Hannah MacGibbon Shoes Burberry Prorsum

Lisa Lyon, to the former Mugler muse Dianne Brill, to the rising knitwear designer Mark Fast, this issue celebrates all those who have changed the shape of beauty and expanded the notion of what is chic, sexy, or runway-worthy. Looking forward, we hope to do the same. To that end, our pages feature women of all sizes— from the curvy model Crystal Renn, to the burlesque dancer Miss Dirty Martini, to Kenita Miller, star of The Color Purple—as seen through the lenses of Inez van Lamsweerde and Vinoodh Matadin, Bruce Weber, Karl Lagerfeld, Terry Richardson, Sølve Sundsbø, Sebastian Faena, and Terry Tsiolis.

It’s not just a new year, it’s a new decade, and we’re all for writing new rules. Here’s one: beauty comes in all forms, and as long as you’re unabashedly yourself, you’re bound to look good in anything and everything. Here’s to the size issue becoming a non-issue in 2010. Mr. and Ms. V

Jordan wears Dress Jean Paul Gaultier Leggings KLS Collection

by Kimora Lee Simmons Hat Victor Osborne Veiled hat (worn underneath) Piers Atkinson Chain necklace Lanvin Crosses necklace Chris Habana Serrated cuff Alexis Bittar Silver cuffs Robert Lee Morris Spiked cuff and sequin shoulder pads his own Shoes Pleaser from Patricia Field

Makeup Pep Gay (Streeters) Hair Nicolas Jurnjack for Cutler Salon and Redken Models Viktoriya Sasonkina (Women), Contessa Stuto, Jordan Fox (Marilyn)

Contessa wears Top Maria Francesca Pepe Skirt Nicole Miller Hat Keko Hainswheeler Belt Trussardi 1911 Shoes Alexander McQueen Tights Look from London Chain harness, chain belt, earring, ring her own

the day. Here’s our stance: big, little, pint-sized, plus-sized—every body is beautiful. And this issue is out to prove it.

We fell in love with our cover girls, Dakota Fanning and Gabourey Sidibe, both of whom have shed stereotypes and shaken off their share of negative attention to become two of the most thoughtful and intriguing young actresses in the movies—as well as Oscar hopefuls. Our bets are on Sidibe winning Best Actress for her powerful role in Precious, and, no doubt, every designer will be fighting to dress her for the red carpet.

Suddenly, it’s all about character, and less about being impossibly tall and extremely thin (but, hey, if it’s all natural then that’s cool too). The eight actresses in our portfolio of the year’s great performances embody this evolution of the starlet into a newly nuanced, highly sensitive being.

But back to that whole size thing. From the female bodybuilder

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Derek Blasberg

Nate Lowman

Alexander Terexov

Daphne Guinness

Natalia Vodianova

Terry Richardson Olivier Zahm

Jack McCollough Aizel Trudel

Vera Farmiga

Diane von Furstenberg

Chloë Sevigny Ginnifer Goodwin

Elena Perminova

Victoria Traina Amy Greenspon

Kate Bosworth

puzzle people

Gavin Rossdale

Miuccia Prada

l.a. reading

Aizel Trudel and Diane von Furstenberg open “Journey of a Dress,” a retrospective of the designer’s work, Moscow, October 30, 2009

James Franco

Emma Roberts

Justin Portman

moscow wrap-up

Shiseido launches RxArt’s Yayoi Kusama puzzle, NYC, November 2, 2009

Takashi Murakami

Zoe Saldaña Naomi Campbell

Vladislav Doronin

Lauren Santo Domingo

Barry McGee

Christina Ricci

Aliona Doletskaya

Jen Brill

Lazaro Hernandez

Carine Roitfeld

Miuccia Prada hosts a party for the new book PRADA, Beverly Hills, November 13, 2009

Andres Serrano

Gwen Stefani Hamish Bowles

Michael Chow

Eva Chow

China Chow Helen Lee Schifter

Rosetta Getty Dasha Zhukova

Brooke Shields

Kate Beckinsale Guinevere van Seenus

Chris Henchy

Liz Goldwyn

Terence Koh Mary Boone

Shirley Manson

Tom Ford

Francesco Vezzoli

Pharrell Williams

Erin Fetherston Eva Chow

Lady Gaga

moca goes gaga th

The Museum of Contemporary Art celebrates its 30 anniversary with a special piece by Francesco Vezzoli with Lady Gaga and the Russian Bolshoi Ballet, Los Angeles, November 14, 2009 30

Mischa Barton

Glenda Bailey

uptown chow down Michael and Eva Chow celebrate the 30th anniversary of New York’s uptown Mr. Chow, November 3, 2009

Photography, clockwise from top left, courtesy Shiseido, courtesy the Laundau Fashion Group, courtesy Prada, courtesy Mr. Chow’s, courtesy the Center of Contemporary Culture, Moscow

Jamie Tisch

Lisa Lyon

She defined a niche aS a female BodyBuilder and Starred in Some of the moSt iconic imagery to come out of the 1980s Timothy Leary called her a “prototype for the woman of the ’80s.”

Sam Wagstaff wrote that she was the “new, self-made woman for all seasons.” Robert Mapplethorpe fell in love with her beauty and physical form. Self-created, self-disciplined, and preternaturally self-aware, Lisa Lyon rose from the juiced-up men’s club of bodybuilding to the world of performance art and photography, captured most memorably

by Mapplethorpe, for whom she was a dear friend, collaborator, and muse. With her svelte, compact physique, delicate features, and mop of messy curls, she combined robust musculature and feminine fragility, and has lived a life completely free from the constructs of art, society, and even the sport which came to define her.

Born in Los Angeles in 1953, Lyon came of age in the ’60s, which gave her a healthy distrust of government and a questioning attitude toward accepted norms. “I was always at the margins of convention,” she explains. “I think maybe that was a good thing, because it made me sensitive to everyone else who was on the margins.” She has been known for her radical opinions—on everything from tap water to public education to the sorry state of today’s counterculture. “We’ve created an election system and have such a disinterest. We love to make fun of politicians, but we don’t seem to realize that they make the laws we actually have to live by. And, unfortunately, because of the tradition of the U.S., the rest of the world does too.”

Lyon grew up as an outsider of average build and below average height. At UCLA, she became interested in kendo, the Japanese martial art of sword fighting, and joined the school’s team; she was the only non-Asian and the only female. “I had never been able to think in terms of diametric oppositions, male or female, black or white,” she explains. “It was never about trying to be male, it wasn’t about a contest.” Until, of course, it became about one contest in particular—the 1979 IFBB Women’s World Pro Bodybuilding Championship. She won first place, and carved out her niche in a world dominated by steroid-addled men and women. Unlike many of her peers, Lyon’s body was completely natural, the product of extreme determination and hard work. “Lisa took the female body to its ultimate potential without any artificial stimulation,” says the artist Jack Walls, Mapplethorpe’s longtime boyfriend and a veteran of the scene. “Lisa wasn’t interested in being male, or being female, she was interested in being feline.”

For Mapplethorpe, a photographer obsessed with classicism, discipline, and the work of Michelangelo, Lyon was a revelation. “Robert was fascinated by her because it was the first time he had seen a woman with muscle, and he thought it was so unique and androgynous and beautiful,” says Dimitri Levas, the New York–based art director and close collaborator of the photographer from 1982 to the time of his death. Mapplethorpe rarely worked with the same model twice, yet he and Lyon went on to realize a provocative and richly articulated body of work that eventually earned its own monograph in the form of 1983’s Lady Lisa Lyon.

Like many successful models, Lyon transcended the mere role of mannequin, often bringing concepts and creative direction to her shoots. “She had an incredible sense of humor and would bring costumes and styling ideas to the set,” Levas explains. Together Lyon and Mapplethorpe tore through myriad female clichés—the JAP, the bride, the goddess, the Venus, the dominatrix, the princess, the whore.

Levas says, “She was Cindy Sherman before Cindy Sherman.”

In 1981, she published Lisa Lyon’s Body Magic, which emphasized an alignment of the body and spirit to achieve prime physical and mental health. It would be her only foray into the commercial fitness world.

In 1989, shortly after Mapplethorpe’s death, Lyon withdrew from the scene, traveling to Paris, Corsica, and Japan. In L.A., she became involved with John C. Lilly, a noted psychoanalyst who advocated isolation tanks and psychedelics in exploring the nature of consciousness.

Lilly adopted her when she was age 30, and Lyon says that “the time I spent with John was a gift. He fostered me and accepted me as I was, and he allowed me not to think in terms of limits.”

Lyon now lives quietly on a small ranch in Malibu, light-years from the rockers and radicals of her former life. Recently she has been dogged by a dislocated shoulder and a bout with organ failure, but she remains sharp as a tack, and a brilliant conversationalist. And she’s happy. “I have been given enough opportunities to find, within my own way, a life that is, on a day-to-day basis, a good thing, a life worth living.” Christopher Bartley Lisa Lyon, 1982 Photography Robert Mapplethorpe © The Robert Mapplethorpe Foundation. Courtesy Art + Commerce 33

marthe lagache

She waSn’t the firSt pluS-Sized model, but marthe lagache waS the firSt to bring a bodaciouS Silhouette to the runwayS of Jean-paul gaultier and the pageS of the face Twenty years before Sophie Dahl made the plus-sized model commercially viable, Marthe Lagache took the idea from concept to catwalk. Her cherubic, sloe-eyed visage and ample curves caused a sensation in the Paris fashion world of the mid ’80s, and in July 1986, she was effectively beatified when she landed on the cover of The Face, which proclaimed her the “shape” of the new Paris. “I’ve been very lucky,” she said at the time. “I’m never bored.”

Her discovery is the stuff of fashion legend: the 22-year-old was a prolific clubber and a student at the trendy Studio Berçot in Paris; for her final exam, she modeled her collection for an audience. “I had a complex about my weight,” she remembers.

34

“And I thought my heels were too high. So I just started to dance.” ing a cover of the Shangri-Las’ “Sophisticated Boom Boom.” The In the audience were Thierry Mugler and Jean-Paul Gaultier. video utilized her shape as a selling point, lingering on her curves.

“When I saw her, I said, Who’s that girl? She’s fabulous,” recalls Soon after, she retired from modeling (“I did my time,” she says) and concentrated on a shoe line and art-directing parties.

Gaultier. “She was not a fashion model at all, but very cute and very curvy, a platinum blonde, with nice lips and very fleshy. I was In the industry, she blazed a trail, but few have gone down it. “I interested in having different girls in my show, so I asked her, and don’t consider myself a pioneer,” says Lagache. “Not for models we did several shows together. She was a bit like a sculpture by with atypical bodies. The strength of the ’80s lay in its ability to Rodin: very feminine, very lively.” integrate natural, different bodies into the field of beauty, through Lagache was acutely aware of how different she was from the eyes of the creators. I haven’t been a pioneer in that I haven’t other fashion models, but she wasn’t interested in being anything opened a path that lasted beyond those years. Today, models but herself. “I never imagined being a model,” says Lagache. “If have returned to a more conventional body type.”

For his part, Gaultier remembers her joie de vivre as much as I’d been told I’d be one, I would have laughed.” Signed to Marilyn agency, Lagache modeled for Gaultier, Mugler, and Dries Van her size. “It wasn’t only her curves. It was her attitude, the way Noten, and posed for Jean-Baptiste Mondino, Guy Bourdin, and she moved, which was quite sexy and very special,” he says. “And Pierre et Gilles in everything from avant-garde photo shoots to the color of her skin, which was very, very, very white. All that was an ad for Cherry Coke. “I did very well for someone my size,” she very inspiring. She looked good in different types of clothes. She says. “But there wasn’t much competition.” She wasn’t put off by was completely different, that’s the thing. I loved her.” being the largest girl in the casting room. “I didn’t think about the Lagache is now a fashion-show location scout for Karl criticism,” she says. “I was dead scared, but I did it. When you’re Lagerfeld, Dries Van Noten, John Galliano, and Maison Martin in front of two thousand people cheering for you, it makes you Margiela, among others. “It’s a journey into the history, architecwarm inside. They gave me confidence. It was the best therapy ture, and the different worlds that coexist in the same city,” she for losing my complex. I wish all curvy women could experience says. “Caves, museums, mansions, warehouses.” that. Talking to other models, I realized that most were worried Having made a career out of assisting designers, does she that they were too thin or that their nose was too big. I remem- consider herself a muse? “I don’t know if I was a muse,” she says. ber meeting Carla Bruni at a parade and she said she was jeal- “You could say that I was in the air. The ’80s were a blessed time— ous of my body!” we had many muses.” Michael Martin Lagache’s star burned bright and fast. In the late ’80s, she Marthe Lagache on the cover of The Face, July 1986 formed the dance group Rififi and released several singles, includ-

hero

Dianne Brill

SHE dEfinEd an Era of ManHattan nigHtlifE and craftEd HEr own irrESiStibly ovEr-tHE-top univErSE. now diannE brill iS proving tHErE’S alwayS MorE wHErE tHat caME froM During the ’80s, when New York nightlife was a revelation, Dianne Brill was its queen. According to her press coverage, which was as voluminous as her teased blonde hair and enthusiastic curves, she was “the femme fatale of the downtown set,” the “first citizen of Manhattan nightlife,” “a walking, talking exclamation mark with lipstick,” and “a Valkyrie by Fellini.” An upbeat party girl who always loved a bubble bath, Brill carried two datebooks, black for day and burgundy for night. “I get tons of hugs and kisses and run around feeling happy, and when I’m peaking with happiness, I leave,” she once explained.

Brill loves fashion and fashion loves her. A self-made phenomenon, she grew up in Wisconsin and Tampa, Florida, and moved to London before arriving in New York City. She designed menswear under the Gumex and Dianne Brill Designs Corporation labels, which set the stage for a noteworthy fashion show at the

Palladium of her “New Millionaires Club” collection of brightly colored, baggy silk suits and rhinestone dollar-sign pins. Brill walked in shows for Jean-Paul Gaultier (she insists that she did not mean to fall off the runway and into Jack Nicholson’s lap), Vivienne Westwood, and, most memorably, Thierry Mugler.

Now living in Zurich, Switzerland, with her husband and three children, ages 9 to 18 (she maintains a Manhattan pied-à-terre), Brill recalls the turning point in her relationship with Mugler, an evening just before the two became aligned when she could feel the designer watching her slow dance with nightlife magnate Rudolf Piper. “Everything about Thierry and what he does, it’s me really. I wanted to be part of what he did, and he really wanted me to be part of what he did,” she says. “I think when you are a muse of a designer, even if you are not active lovers, there is a connection that’s not sexual but it is romantic. And I felt a connection with him very early. I felt understood and adored. I loved everything I did with him.” This included modeling a Mugler bridal creation while being lowered on a swing from the ceiling of an opera house to “The Girl Can’t Help It” while shouting to a stagehand in French to stop her descent—there was no net—so she wouldn’t be burned by the lighting. She eventually authored the book Boobs, Boys, and High Heels, or How to Get Dressed in Just Under Six Hours.

Like the cultural moment she embodied, Brill was uncommonly, unrepentantly voluptuous. The New York Times described her breasts as “geologically significant.” Andy Warhol said, “I just want to stick a pin in her and watch her deflate.” At a time when New York nightlife was so influential that it could affect mainstream trends, Brill’s figure was news, inspiring Adel Rootstein to invite her to model for her own Rootstein mannequin as “the shape of the ’90s.” At the time, Brill said,

“I do me. I look like me. Maybe I look frightening, this 6-foot, bigbreasted blonde, but this is me. Cars crash. People react. It’s fun.” (Brill still has one of the mannequins. “She’s in the basement right now, in pieces,” she says. “But I keep her safe, with a little pink ribbon on top.”) Brill was also one of the first to pour herself into rubber fashion and lace herself into corsets. “I still live for the corset. I think it’s a piece of genius. I have no idea why women think it’s a repressive garment. It does something to you. It gives a feeling to you. I’m all about that feeling, inside and out,” she says. “If you are blessed with that shape naturally, then God bless you, throw a little nothing on and go out and rule the world. “ Today, Brill is as unstoppably lovely as ever. The force behind the Dianne Brill line of high-end cosmetics, skincare, and fragrances, which she ingeniously refers to as a “négligé for your face,” she has evolved her life while maintaining the spirit that made her a superstar. “I’m really an urban person, I’m not someone who’s pretending to like cows. I really don’t. But I’ve found a core of very eccentric people [in Zurich]. They’re not eccentric the way my tribe in New York is, but it’s there,” she says. “Having said that, I find that New York is the best place on Earth. Frankly, I’ve never met better people in one place in my life than in New York City. You’re understood. You don’t have to explain yourself.”

When it’s suggested how amazing it is where life takes you, Brill laughs. “I swear to God,” she says, “with everything that happens, I always think, ‘This is what it’s like now. This is what life is like now.’ Then another door opens and there I go, walking through it.” Indeed, Dianne Brill has always been good at making an entrance. Mark Jacobs Photography Rudolf Piper

Thierry Mugler F/W 1988

1988 photography Jean-Philippe Decros; 1995 photography courtesy Thierry Mugler

Thierry M ug F/ W 1995

Dianne Brill ou

tside Danceteria

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Thierry Mugler F/W 1995 , NYC, 1981

look

Alexander McQueen, Fall/Winter 2009

Alexander McQueen, Fall/Winter 1999

Corset with spine, Alexander McQueen, Spring/Summer 1998

Designer shaun Leane’s DeLiciousLy twisteD corsets, jeweLry, anD metaLwork have DefineD a raDicaL shape for the human boDy, whether it beLongs to Daphne guinness or the suLtan of brunei It’s a Monday afternoon in London, and Shaun Leane is, as he says, “a busy, busy bee.” Luckily, he likes it that way. As British fashion’s most outrageous and adored jeweler, Leane, whose company just celebrated ten years in the business, has proved hard work pays off. Recent projects include a $6.5-million diamond brooch for De Beers, a one-of-a-kind necklace featuring opening and closing flowers in blue sapphire for Boucheron’s 36

beautiful mistress of Napoleon the Third,” he explains. “She was banished because of the scandal and became a recluse. The flowers open to represent her beauty and then close to represent when she closed herself off from the world.”

“I want to create pieces that will last longer than I will,” he adds, “that people will know as Shaun Leane and recognize as 21st-century design.”

Not that to be a Leane fan you need to wear an elaborate steel structure. His commercial collection, which translates big themes into small but perfectly formed pieces, has steadily grown over the years. “Designers give you a very free brief, and I often use those elements for my commercial collections,” says Leane. “I made a cherry-blossom piece for Swarovski Fashion Rocks in 2008 where the blossom formed a headpiece on the girl. It then became a motif for smaller pieces.”

This mix of commercial and catwalk, innovation and tradition, suits Leane rather well. Presently, he has expanded his designer collaborations to include up-and-coming London star Todd Lynn and has plans to open his own shop in the not-toodistant future. But while his company may be on the up, it’s still based in Hatton Garden, his old training ground. “I love it here,” he says. “It’s home.” Lauren Cochrane Still life photography David Hughes

Photo assistant Simon Farrant Special thanks Pro-Vision Studios, London McQueen 2009 runway photography courtesy Getty Images

HEAVY METAL

150 th anniversary, and an as-yet-to-be-announced project with Daphne Guinness that Leane promises will be “totally new.”

But it is his revolutionary work for Alexander McQueen, which began in 1992, that first made the fashion world take notice.

Together, the two have pushed the boundaries of jewelry, creating romantic, slightly macabre designs that cling to the body like a magnificent second skin. Take, for example, the Victorian mourning pieces subverted into clothing for the designer’s infamous Fall 1995 “Highland Rape” collection—or Leane’s personal favorite, the coiled body armor that was literally screwed together with the model inside it for the Fall 1999 show. “We made museum pieces,” he says. “Jewelry became body sculpture.”

Like McQueen, who trained on Savile Row, Leane has made tradition the backbone of his aesthetic. When the two met, Leane was a goldsmith in Hatton Garden, London’s renowned home of fine jewelry, where he had been apprenticing since he was 16.

“We made stuff for Asprey and Mappin & Webb,” he recalls. “I created pieces for the Sultan of Brunei! But I was really eager to flex my creative muscles, and McQueen pushed me to do that.”

Blessed with an impressive imagination, Leane dispenses with the idea of “just thinking of a product” and instead seeks a certain lyricism with his work. “I am inspired by history and poetry—I like the idea of capturing beauty.” Take the Boucheron necklace: “I was thinking of the Countess de Castiglione, the

sound

SPACE ODDITY

There’s no pinning down Trans-aTlanTic rock acT sol del Moon. iTs sound spans several genres (and a few conTinenTs) To arrive aT an acousTic noise ThaT’s like noThing else you’ve ever heard

Makeup and grooming Kristin Gallegos Imaging, Red Camera capture, and video color grading Industrial Color Sound and motion editing services Première Heure Production Riccardo Martinez for North Six Special thanks Steve Kalalian

Sol Del Moon is a difficult band to talk about. To say that the three-piece, trans-Atlantic rock act sounds like no one else would be too simple. The ephemeral spirit of Sol Del Moon’s music seems to inhabit several worlds simultaneously—guitars, drums, human voices, and a variety of buzzing loops, blips, and found sounds combine to form songs that are the aural equivalent of air bubbles trapped in amber. It’s contemporary music that sounds almost ancient. Add to this inscrutable mix the fact that the band itself adheres to no label (nor is it signed to one) and currently includes members living on different continents, and what you get is something akin to a shape-shifting musical art project.

The origins of Sol Del Moon are based in the decade-long friendship between guitarist Jamie Del Moon and vocalist Sabisha Friedberg. “We basically just kept running into each other in various parts of the world,” explains Del Moon. “We met in San Francisco many years ago, then we both somehow ended up living in Amsterdam for a while, and eventually we both moved to Paris at basically the same time. It just made sense that we’d start making music together.”

At the time, Friedberg was working on solo musical projects involving abstract soundscapes and vintage recording equipment while Del Moon was busying himself playing with the rock band Women & Children. It wasn’t until early 2007, when the two spontaneously started making music together in Friedberg’s Paris apartment, that things started to click. “It was very organic,” laughs Friedberg. “We tend to use that word a lot—in terms of how we work and in terms of the sounds we make. Jamie picked up a nylon-stringed guitar that was lying around my apartment and we just started making up songs on the spot, many of which are mostly unchanged from the way we played them that night. There was a natural and intuitive thing that happened when we played together. I’d never experienced anything quite like it.”

Despite being separated by the Atlantic Ocean once Del Moon relocated to New York City, the two continued to make music, albeit in fits and starts, and in 2008 added drummer Peter Pezzimenti to help flesh out the band’s live sound. While most might see being separated by an ocean as an obstacle, Del Moon shrugs it off. “It just makes the time we do have together more valuable,” he says. “Actually, the fact that all three of us are here to sit down for an interview and a glass of wine is kind of amazing.

Normally, if we’re all together in one place, we’re playing music.”

“I suppose we could send each other digital files to work on, but that’s really antithetical to what we do,” says Friedberg.

“Sol Del Moon is really about the sound that happens when the three of us are playing together in a room. I think we all realize that we’re not making commercial music. It’s not about writing a pop song or trying to secure a record deal. There is a somewhat limited audience for the kind of music we make, but when people get it, they seem to have a very genuine emotional response to it. That’s the goal, really—to make beautiful, interesting sounds. Our agenda is driven by passion, and certainly

not by money or attention.”

Though the band members have played together for years, they are only now in the process of putting the finishing touches on a debut album, which will be pressed exclusively to vinyl and released sometime early next year. While they’re all looking forward to finishing the album, it’s the prospect of touring that excites them most. “We make the most sense in a live setting,” says Del Moon. “Depending on what city we happen to be in, we love to invite friends to play with us. I love the idea that every show is a totally unique experience.”

Spending time with the band, it’s easy to see how the various personalities involved would naturally produce such wonderfully esoteric music. Even though both Del Moon and Friedberg have worked in various realms of the fashion industry, that fact rarely surfaces. Instead, conversation at the table revolves around discussions of old audio equipment, the perils of bike riding in NYC, and Pezzimenti’s love of bird watching. “It’s actually possible to re-create the rhythm and patterns of certain birdcalls with

drums,” says the percussionist, who demonstrates by whistling and tapping on a pack of cigarettes with his fingers. Everyone is duly impressed. Then Friedberg exclaims, “We need to make a song out of that!” T. Cole Rachel

Sol Del Moon (bottom, from left: Jamie Del Moon, Sabisha Friedberg, and Peter “The Blur” Pezzimenti), in New York, October 2009 Photography Peter Lindbergh Cinematography Anastas Michos Styling Parinaz Mogadassi Production design Colin Donahue Contributing art editor Dominic Sidhu Friedberg wears Dress Lanvin

Sol Del Moon’s The Dream of a Forest Regailed is out in March 2010. See the band’s music video directed by Peter Lindbergh on vmagazine.com 37

fashion

BODY LANGUAGE

Designer Mark Fast swears he haD no iDea putting plus-sizeD MoDels on his spring runway woulD attract the ire oF his show stylist, the attention oF the worlD Fashion press, anD the aDMiration oF woMen everywhere

38

Photography courtesy Catwalking

What does it take to get effusive praise from the fashion press these days? A skillful approach, a strongly visible aesthetic, and, it seems, a bit of old-fashioned feather ruffling. At least that was the magic recipe for 28-year-old Mark Fast. Held during the 25th annual London Fashion Week last fall, the young designer’s third show saw a series of body-con knit dresses sent down the runway. Itchy woolens these were not.

Brief, cobweb-strap cocktail numbers came trimmed with a smattering of mille-feuille leather frills or the glimmer of Swarovski crystals. Pencil skirts in elastomeric yarns seemed spun out of filmy, futuristic mesh. Noir peekaboo gowns carved the body into a stylized series of negative and positive spaces. And upping the wow factor even more were the models, which included not only traditional waifs, but also voluptuous, size-10 stunners—Fast’s lastminute casting decision.

Almost overnight, his cult status was solidified. Gossipmongers pounced on the rumors that his stylist had quit in a haughty huff over the change of plan, while the body-conscious masses applauded Fast and all but adopted him as their poster child for model reform. London trendsetters were soon sporting his cobwebby tights, doled out at the show. Browns and 10 Corso Como placed their orders. And Topshop—a sponsor of his catwalk show—sealed the deal on a collaboration.

Despite all the fuss, however, there is little of the provocative enfant terrible to be found in Fast: instead, the soft-spoken Canadian admits to dabbling in goth as a youth and recounts his country-mouse, Winnipeg-to-London experience with bemused gratitude. Of his so-called controversial show, he says, with a genuine note of surprise, “I had no idea it would cause such a reaction. I just thought it would be wonderful to see the clothes on a variety of bodies, to make them seem more personal and less intimidating.” And the stylist brouhaha? Seemingly just a simple disagreement. “We decided to replace the stylist with someone who was more enthusiastic about all the girls Mark wanted to use,” notes his managing director, Amanda May. “These kinds of team changes over creative differences happen all the time in our industry.”

What pervades Fast’s work is not feisty rebellion but a feeling of quiet sensitivity. It turns up in everything from his inspirations (brooding Francis Bacon works, gossamer dragonfly wings, and the decadence of ancient Egypt), to his aesthetic (romantic severity, as he calls it), to his choice of primary materials. “I’ve always liked working with knits because it’s the closest you can get to the body,” he explains. Fast acquired his purling skills at Central Saint Martins; during a stint at Bora Aksu; alongside Alber Elbaz; and, even more recently, by studying antique machinery at a German hosiery museum. “I’ve always viewed knits as more like hosiery than a fabric,” he explains.

In fact, Fast’s separates—which are hand-knit in England and Scotland then pieced together by a team of eight in his Hackney studio—do amount to artful body stockings, and suggest a seamless, slip-on approach to dressing that manages to nail the tricky trifecta of today’s design goals: easy, modern, and faintly carnal.

This zeitgeist appeal will be even easier to see once FASTER, his new, wallet-friendly diffusion line of tights, leggings, slips, and ballerina-inspired pieces, hits shelves. As for his eagerly anticipated Topshop collection—which is slated to debut sometime this spring—Fast fans will have to stay perched on the edge of their seats. He was slowly and calmly working out the production details and overall mood at press time. “I’m taking my time with it,” Fast says, “just doing what feels right.” Jessica Main

reference

FOOD FOR THOUGHT

“Futurist Manifesto of Lust,” “Manifesto of Futurist Architecture”) before the Futurists would get around to their cookery revolution. Indeed, WWI had to come and go before the “Manifesto of Futurist Cooking” appeared in a 1930 edition of Turin’s Gazzetta del Popolo. In it, Marinetti and the painter Fillia denounced pasta as “an absurd Italian gastronomic religion” responsible for lassitude and pessimism, called for the abolition of the knife and fork, and generally argued for “a total renewal of food and cooking.”

Next came the banquets, a sort of pre-publication promotional tour. The first took place on March 8, 1931, at a restaurant in Turin. The men wore tuxedos, the women fur stoles.

Among the fourteen courses served were Sunshine Soup, Sculpted Meat, and Aerofood—an all-out sensory mélange of olives and fennel, red damask and sand paper, strains of Wagner, and perfume sprayed into the air. As with all things Futurist, the evening was simultaneously tongue-in-cheek and deadly serious: Marinetti’s earnest wish that people think differently about food was both inflated and camouflaged by his theatrics. For the next two years, he took his show on the road, staging similar events in Novara, Chiavari, Bologna, and Paris (where Josephine Baker made a surprise appearance), a tour that culminated with the publication of The Futurist Cookbook in 1932.

Three years into a global recession, however, was not an esThe Futurists were, in contemporary parlance, maximizing their pecially fortuitous moment for a book devoted to a new way of brand potential. It all began on February 20, 1909, when the eating. Home cooks were preoccupied with more earthly hunItalian poet and publicity hound F.T. Marinetti announced on the gers, such as how to feed a family of four while unemployed. front page of Le Figaro that he was founding his own art avant- Marinetti, ever the spin artist, was ready with a justification in garde. “We stand on the extreme promontory of the centuries!” the book’s introduction: he declared. “We want to sing the love of danger!” Why exactly a newspaper of record agreed to print such bombastic zealotry It is not by chance this work is published during a world is a question for another day, but the fight was on: Marinetti and economic crisis, which has clearly inspired a dangerous his fellow travelers were going to destroy the past and embrace depressing panic, though its future direction remains unthe future by glorifying speed and technology and reinventing clear. We propose as an antidote to this panic a Futurist every last aspect of bourgeois culture, from painting and poetry way of cooking, that is: optimism at the table. to fashion and food.

This was a lot of ground to cover, and there were many maniIt’s a lovely and useful idea—optimism at the table—but no festos to be written (“Futurist Reconstruction of the Universe,” matter, the general public remained indifferent and Marinetti’s

How did an experimental book of recipes from 1930s italy become an ad Hoc life manual for tHis recession-weary age? tHe futurist cookbook favored ingenuity over expense, wHicH is wHy it’s at tHe top of our reading list rigHt now

food radicalism was lost to history as a mere art prank. By the time he died, in 1944, the cookbook, along with the rest of his movement, had already been passed over by more palatable futures.

The thing is, Marinetti was on to something—he just wasn’t the man for the job. It took more accessible epicures like M.F.K. Fisher and Julia Child to reach the bourgeoisie he longed to transform, turning everyday diners into an army of highly informed, ever-adventurous foodies in constant search of untrammeled culinary terrain. Over the last decade, this insatiability has slowly found purchase in two seemingly counterintuitive trends. On one hand, there’s a “new authenticity” that makes the most quotidian grocery errand into an elaborate exercise in vegetable genealogy—not since colonial times have we been so knowledgeable about the sources of our food. On the other hand, we have the foams, pastes, and gee-wizardry of so-called “molecular gastronomy,” which mostly amounts to eradicating the identity of every last slice of bacon in an effort to serve it anew. Rather than cancel each other out, both schools of thought celebrate a highly cerebral relationship to eating. They have something else in common, too: an alleged elitism. For now, at least, it’s still not cheap to eat organic, and let’s not even get into what it costs for a night out at El Bulli.

Which is why The Futurist Cookbook seems about right for our own global economic recession. Among the more delightful discoveries to be found in the book is that a Futurist meal is unbelievably gentle on the wallet. “Formulas” (their preferred word for “recipes”) hinge on pantry staples—eggs, milk, flour, bananas, anchovies—enthusiastically rearranged in new permutations. Even the entry for “seaweed foam” is actually just plain seaweed rinsed in water, dipped in lemon juice, and garnished with a “wave” of whipped cream. Fanciness is achieved by way of performance and pomp, not expense. Such concoctions might not be exactly edible, but the fun to be had while making them offers up a whole new way of being in the kitchen—an affordable new frontier. Kate Bolick Photography Alex O’Neill 39

NEW CLOTHING LINE While some people are ready to throw in the towel, Melanie Ward, the veteran stylist, creative director, and fashion editor, has taken inspiration from it. Her debut collection, Blouson Noir, a new line designed along with Graham Tabor, includes trim jackets, slouchy shorts, and wrap skirts fashioned from the soft, striped stuff of dishcloths. Combined with cropped leather harness tops, corset lacing, and raffia trim, the overall effect is fresh and clean with a dash of irreverence. “I design for an ageless woman with a strong sense of identity and style,” says Ward. “She wears her clothes with attitude. They never wear her.”

Emily Torrans Blouson Noir is available at Barneys New York and Opening Ceremony in NYC and Browns in London

NEW SHOW Artist Aaron Young has choreographed death-defying motorcycle performances and other acts of staggering yet completely fleeting beauty. This winter, he’ll open a show he says will explore “the concept of forever, without leaving a mess.” Young has captured relics of seemingly violent acts—razor wire, wrecking balls, mangled barricades—and cast them in precious materials like Murano glass or 24K gold. A series of paintings features slogans like NEVER PLEAD GUILTY stenciled on glass via blown rubber, punctuating the heat, sex, and danger the artist has channeled into this latest showing. Christopher Bartley

“The Right Way To Do Wrong” runs January 15–February 27, 2010, at Gagosian Gallery, Beverly Hills.

NEW TELL-ALL

Olivier Theyskens: The Other Side of the Picture is out in January 2010 from Assouline

NEW KICKS For her Spring 2010 collection, Vivienne Westwood joined forces with footwear brand Melissa to reimagine her signature Rocking Horse Shoe in soft, springy plastic—i.e. “jelly.” For almost forty years, Melissa has controlled a secret technology for injected thermoplastic—the peculiarly bouncy substance that seduced past design collaborators Zaha Hadid, Alexandre Herchcovitch, and Karim Rashid. The newly affordable, brightly hued Rocking Horse Shoe will also feature a detachable wing “for added aviation.” If that doesn’t put a spring in your step, nothing will.

Catherine Blair Pfander

40

NEW ART Summing up the work of Alejandro Cardenas, a Cooper Uniontrained painter (and art director for Proenza Schouler), isn’t easy.

Even though his pieces are deceptively simple, there is clearly more here than meets the eye. Who are those women in burkas?

Is that an alien playing a mandolin? What’s up with the Cyclops in a bikini? In the end it doesn’t really matter who or what these figures are, or that they’re inspired by ancient Egyptian wall paintings. Once flattened on the canvas, their arrangements in space have a subtle tension that draws the viewer in. The effect would be like watching David Lynch animate an Edward Gorey drawing: You don’t quite know where things are headed, and you’re not even sure where you are once you get to the end, but you’ve been entranced the entire time. Ken Miller “Planet Ocean” runs February 1–28, 2010, at James Fuentes LLC, NYC

Blouson Noir photography Inez van Lamsweerde & Vinoodh Matadin; Cardenas photographry Alex O’Neill; Young artwork, Untitled, 2009. Artwork Aaron Young. Courtesy Almine Rech Gallery, Brussels

Photographer Julien Claessens has spent over a decade documenting the backstage world of Belgian fashion designer Olivier Theyskens. This month, Assouline releases The Other Side of the Picture, Claessens’s intimate visual biography that offers a glimpse into the life and work of the uncompromising designer, along with words penned by Theyskens himself. Reflecting on his reign at the helm of French houses Rochas and, until recently, Nina Ricci, Theyskens shares insight into this whirlwind period as well as thoughts on his friend and collaborator. “Julien’s not running after the best-cut dresses,” Theyskens explains. “He’s running after the moment.” Indigo Clarke

news

NEW NOT-FOR-PROFIT Curator Shamim M. Momin’s recently launched West Coast mission, LAND (Los Angeles Nomadic Division), seems in part to be about finding a comfortable—albeit itinerant—home for her own unique practice. As the former contemporary curator at the Whitney, Momin’s work often seemed intent on ripping art out of safe, known spaces. With LAND, a nonprofit public art initiative, she has joined forces with Christina Y. Kim, associate curator of contemporary art at Los Angeles County Museum of Modern Art, to present artworks in a public realm. The latest project, “Via,” focuses on contemporary Mexican artists, and features temporary art installations dispersed throughout Los Angeles. “LAND possesses a level of intensity,” says Momin, “which, even given all the huge projects I have had the opportunity to do in the past, is pretty much unparalleled by anything else.” Aimee Walleston www.nomadicdivision.org

NEW JEWELS NEW RELEASE If there were any lingering doubts that the early ’80s was one of the most fruitful periods for rock music in New York City, then the long-awaited release of Interference’s selftitled debut should help erase them. Recorded in 1982, the album is the work of fringe artists Anne DeMiranis, David Linton, Michael Brown, and Joe Dizney. As Interference, the foursome was a vital part of the downtown noise-rock scene that eventually provided a platform to artists like Sonic Youth. A scant 30 months after forming, the band parted ways, leaving only one recorded album that, until now, remained legendarily unreleased. Nearly twenty-seven years after it was recorded, Interference sounds remarkably prescient: a harbinger of noisy rumblings to come. T. Cole Rachel

“The very essence of my profession as a designer is to inspire dreams,” says Lorenz Bäumer, Louis Vuitton’s newly appointed artistic director of fine jewelry. For his debut collection, entitled L’Ame du Voyage (“the Soul of the Journey”), Bäumer found inspiration in his global travels, specifically trips to Brazil, Vienna, Japan, Spain, and China.

Each extraordinary piece is composed of rare stones, such as the Jonquille Diamond or the Padparadscha Sapphire. With price points starting at $80,000 and ranging up to $2.5 million, this collection truly exists in dreams—of all but a few.

Catherine Blair Pfander

NEW kNITWEAR

Interference is out now from The Social Registry

NEW HIGH-LOW Dozol artwork, Jamie, 2008. Artwork Thomas Dozol. Courtesy the artist; Interference artwork courtesy The Social Registry; Rodarte photography Dom Smith Styling Catherine Newell-Hanson Makeup Benjamin Puckey (See Management) Hair Rebecca Plymate (See Management) Model Mariana Idzkowska (Ford NY); LAND artwork, Double Agents, 2009. Artwork Jose Leon Cerillo. Courtesy Proyectos Monclova

The chieftains of Target’s GO International program must be conducting secret polls with fashion insiders, demanding to know their ultimate fantasies. How else could they know that Kate and Laura Mulleavy of Rodarte creating an affordable, yet no less directional, capsule collection was something we’ve long dreamt about? The fruits of this union, which just recently hit stores, include skirts, tops, and sweater sets in tulle and lace—with the appropriate splashes of leopard and skeleton-print. The crochet knee-highs and lace cardigans, all priced under $80, are sure to get even the most frugal of shoppers spending. Catherine Blair Pfander

NEW PHOTOGRAPHY The bathroom might once have been safe from the camera’s intrusive lens, but photographer Thomas Dozol has worked hard to change all that. For the past three years he’s documented his close friends and family in the most intimate of poses—dripping wet, completely naked, and smack in the midst of their morning rituals. The resulting series of photographs aims to show the vulnerability and humanity of Dozol’s subjects, which range from superstars like Gwyneth Paltrow and Michael Stipe to model-rockers like Jamie Bochert to photographers like Wolfgang Tillmans. Captured with their guards down and clothes off, the subjects share glimpses into their most personal of moments. Turns out they’re just like us. Christopher Bartley

“I’ll Be Your Mirror” runs through February 14, 2010, at Envoy Enterprises, NYC

For its 50 th anniversary, legendary Italian knitwear brand Stefanel will unveil a celebratory collaboration with upand-comers Annalisa Dunn and Dorothee Hagemann of Cooperative Designs. “We were determined to work with a fresh new talent on the cutting edge,” says president Giuseppe Stefanel. “It is not enough for us to be satisfied with our own capabilities.” In creating the capsule collection, aptly titled Stefanel 50, Dunn and Hagemann were offered unlimited access to the Stefanel archive, factory, and resident “experts.” The upshot of their research, a funky fusion of bold ethnic patterns and ’80s glamour, pays tribute to Stefanel’s legacy while grounding its vision firmly in the present.

Catherine Blair Pfander

Photography courtesy Dom Pérignon

show

let them eat cake

Last FaLL dom pérignon hit VersaiLLes to honor Louis xiV with a 17th-century royaL dinner that captured the sun king in aLL his excess and eccentricity Louis XIV’s penchant for artistic grandeur was matched only by his exceptional fondness for food. In 1718, his sister-in-law, Princess Palatine, wrote that he could eat four plates of soup, a whole pheasant, a partridge, a large plate of salad, two slices of ham, mutton au jus with garlic, a plate of pastry, all followed by fruit and hard-boiled eggs. With the aim of giving a coterie of artists and editors a chance to experience the royal way of life, Dom Pérignon threw a thirty-six person dinner in October, painstakingly reproducing the King’s Table in the antechamber of the Grand Couvert, the very place where Louis XIV’s suppers took place. The occasion? The opening of “Louis XIV: The Man and the King,” an exhibition at the Château de Versailles of more than three hundred paintings, sculptures, jewels, cameos, objets d’art, and furniture that together present an intimate portrait of the royal patron. And, surrounding a pair of tables decorated with feathers, figs, and pleated damask illuminated by electric

candles (historically inaccurate, but safer than burning wicks), an army of staff garbed in period costume introduced the guests to 17th-century dining savoir faire. The “barley grain” flutes recreated for the occasion by the Cristallerie de Bayel were not set on the table but presented on demand to be swiftly drunk and placed back on a silver tray. Form, however, did not overshadow the feast, a nineteen-course banquet including a ballotine royale of pheasant, puréed chestnut soup with truffles, scallops with

oyster liquor, and green salad in gold leaf, topped off with the King’s incongruous favorite, the hard-boiled egg. But thanks to endless supplies of Dom Pérignon Œnothèque Vintage 1976, a champagne equivalent to caviar-coated diamonds, that dissonant final note didn’t burst anyone’s bubble. Simon Castets

“Louis XIV: The Man and the King” runs through February 7, 2010, at the Château de Versailles

Photography BOOGIE

empire state of mind

For six seasons, Los angeLes has been home to hbo’s hottest pLotLine: guys chasing Fame, sex, and money. now new york gets its chance

Entourage has officially become a genre. And HBO’s new show How to Make It is its first spawn. What’s amazing is that it’s taken this long.

Set between Manhattan and Brooklyn, the show tells the story of Ben and Cam (played by Bryan Greenberg and Victor Rasuk, respectively), two guys—basically losers with no jobs, no careers, money owed to drug dealers, hair-brained get-richquick schemes, etc.—who, through a mix of luck and charm, stumble into the fast lane. And then make the most of it, as New Yorkers will do.

When a show follows in the footsteps of an institution like Entourage, it’s in real danger of being overshadowed. “Obviously there’s a comparison to be made. Especially with the marketing: ‘From the executive producers of Entourage,’ and all that.

And Mark Wahlberg’s affiliation of course,” admits the show’s creator, Ian Edelman. “But I don’t have a problem with that. It will go away once you see the show. It’s a different experience.”

The story is definitely different. The characters are working for something, instead of having it handed to them by inscrutable 42

studio bosses. As a character, New York is much more visceral than Los Angeles. And Hollywood’s thirst for fame is replaced

by New York’s hunger for creative legitimacy.

But the “experience” is actually pretty similar. There is the sense that the show is happening as you watch it—that if you look out your window, you might see the boys walking by. The side characters feel very real—in the first episode an art photographer played by James Ransone is clearly supposed to be Ryan McGinley. And of course there are cameos by iconic New Yorkers (when Ben and Cam buy a roll of stolen Japanese denim, John Varvatos teaches them how to launch a denim brand).

By no means is this reality TV, but there is a bit of that feeling.

It’s the Entourage experience through and through.

Not that New York is always a willing collaborator. In the

show’s pilot, getting a rich guy into Beatrice leads to seed money for the denim brand. But after the pilot was shot, Beatrice closed.

So they edited in the Jane Hotel. Then the Jane Hotel closed.

Word spread that Beatrice would reopen, and as of press time, no one was sure what club would be in episode one.

But Edelman doesn’t worry too much about staying ahead of the beat. “We’re not chasing,” he says. “We want people to relate to Ben and Cam and understand what they’re going through, not make them untouchably cool.” They’re like a million guys we all know: “Grew up skateboarding in New York.

Crossed paths with a lot of people. Sort of cool-adjacent.”

Jacob Brown

How to Make It premieres on HBO in February 2010

WORK IN PRO GRESS Photography Jason Schmidt

REPEAT PERFORMANCE

Seated atop hiS recreation of allan Kaprow’S Yard, artiSt william pope.l reflectS on the nature of reinvention and collaboration, and giveS credit where credit iS due

Here is a photo of me by Jason Schmidt, my black self sitting on a mountain of rubber in my reinvention of Allan Kaprow’s 1961 environment called Yard. I call mine To Harrow. My version is composed of tires, cardboard, Vaseline-filled body bags, plaster body parts, incandescent light bulbs (white and red), surveillance cameras, and an audio track of an Obama impressionist, Cyrus Malik, reciting a compost of the words of Kaprow, Pynchon, Cronenberg, and yours truly. There I go again!

Talking about myself as if it were I who matters in this ransom of absence. Indeed, reinvention, as a genre, is a cross between parricide, biopic, and necromancy. Helen Molesworth, bless her aura, curated me into this ghost-hunt. Hauser & Wirth New York, as steered by Marc Payot, Blair Taylor, and Iwan Wirth, spared no dime in helping me transform Kaprow’s playground into a meadow of want. William Pope.L 44

work in progress

IN THE FLESH

Artist MickAlene thoMAs hAs spent yeArs pAinting A coterie of blAck heroines in her signAture pop-bright, grAphic style. now her work is coMing to life, inspired equAlly by bAlthus And toni bAsil In this photograph, I am standing in front of a couple of Tom Wesselmann paintings wearing a Jose Duran original ensemble. Seven models from my Oh Mickey performance surround me. We are prepared for our project for the Kreemart and the American Patrons of Tate, who have combined to support a unique art event at the Haunch of Venison Gallery in New York City. The Oh Mickey piece is based on my video and painting installation Oh Mickey! (2008), which was inspired by a Balthus painting called La Toilette. In the Balthus, a young girl is wearing tube socks and red slippers, standing alone in an intimate interior space. In my piece, I have a model standing in one of my installations completely nude, except for tube socks and red heels, singing Toni Basil’s “Mickey” song. With this work, I am playing with the complex relationship between the artist and the muse, exposing the neurosis of the artist’s ego. For the Kreemart performance, I worked with seven women wearing white tube socks and shiny red high heels while serving cake. The only way to get a piece of cake from them is to repeat the secret password, “Oh Mickey, you’re so fine, you’re so fine you blow my mind, oh Mickey, oh Mickey!” Mickalene Thomas 47

Colin Firth

film

the truth about toM ForD

EvEryonE knEw hE could put togEthEr a glossy packagE, but a singlE Man showEd thE world that toM Ford had a soul, and wasn’t aFraid to barE it. now, with oscar buzz hEightEning, hE talks about FilM, thE FuturE, and why a rEturn to woMEn’s Fashion May bE in thE cards. MaybE Julianne Moore

Photography Tom Ford 49

“In My aDult lIFe I’ve unDerstooD that IF I put an enorMous aMount oF love anD honesty Into soMethIng, usually that shows In the enD.” –toM ForD

Matthew Goode Tom Ford’s Los Angeles office has a most peculiar feature: a giant two-way mirror that preys on the narcissism of passersby, thus providing (according to Ford) hours of entertainment. He’s seen Britney Spears touching up her makeup before braving the paparazzi and Nicole Richie rearranging her layers—both blithely unaware of the handsome man observing from within.

But with the designer’s latest venture, as a film director, Ford has found himself in front of the mirror, looking at his own reflection and allowing the rest of the world to watch him. His first film, A Single Man, based on the novel by the same name from Christopher Isherwood, tells the story of an important day in the life of George Falconer, a heartbroken Englishman living in L.A. and reevaluating his quality of life. It’s a character Ford tells us he can relate to.

Ever since Colin Firth, who plays George, took home the Best Actor prize at the film’s premiere at the Venice Film Festival, buzz has been building. And with awards season around the corner, we decided to take a closer look at the film’s main characters, shot by Ford himself, and find out what the perpetually put-together designer-director is up to now. (Hint: it looks like he’s doing womenswear!) Derek Blasberg DEREK BLASBERG When did you first read this Isherwood story?

TOM FORD I read it right around the corner, on Larrabee Street, where I lived in my early 20s in the early 1980s. I was single at the time, and I just fell in love with the character George; he was

so believable to me, and I would fantasize about bumping into him and helping him.

DB Did you ever meet Isherwood?

TF Yes, my first boyfriend, Ian Falconer—whose last name was the basis for George’s last name in the movie, as he doesn’t have one in the book—was living with David Hockney, and David knew Christopher. I met him a couple of times. We weren’t friends; I’m sure I was just some kid to him. Once at David’s, I did some mescaline and ended up shaving off one of my eyebrows.

DB You’re kidding. Sometimes eyebrows don’t grow back!

TF It took six weeks to grow back. I was an actor then and I couldn’t work. Anyway, we went to [the club] Studio One, and I can remember that everyone was a pigeon. So I freaked out and went home and was having major hallucinations. I can remember fighting with my eyebrow: “If I could just shave it, shave it off, just get rid of it…” So I shaved it. I never did mescaline again.

DB That story is retold by George in your movie, and he tells it with the same calm and candor as you do.

TF If you watch George, that’s me. Calm on the outside—cool, collected, and together.

DB And on the inside?

TF Emotional and romantic and dark. I had a friend of mine say to me the other day, “I’ve always thought of you as a beautiful lacquered box from the 1920s with a platinum handle. But now, after seeing the film, I know there’s something inside the box.”

DB Why do you think people see you as one-dimensional?

TF I think fashion people get a hard rap. It’s because we work in one thing, and a lot of times people don’t realize that’s just part of what we do—that there’s depth, that we have thoughts and feelings, romance and depression, sadness and happiness.

DB Speaking of fashion, what about this womenswear we’re all hearing about?

TF Ha! I’m not sure about that yet.

DB C’mon, tell us. Are you doing womenswear?

TF Most likely. I’m not positive. At its earliest, it would be Fall 2011. That would be the earliest season I could have it in a store, if I were to start right now.

DB It’s not like you’ve been fully out of the game, though. I know you did Tim Jeffries’ wife’s wedding dress, and the green dress Julianne Moore wore to the premiere in Venice.

TF I make things for friends. But I don’t have an atelier, so it’s very hard to do. It’s different than when you have forty people in your own atelier, like I had at Saint Laurent. I’m also off the cycle.

Fashion is like a soap opera, and I haven’t seen a few episodes.

I need to get back into it.

DB Have you missed it?

TF I miss designing for women, because it’s a lot of fun. You can do so much more. Women’s fashion in our culture is the most representative of what the beauty standard is at the moment: When we’re in a flashy moment, women can be flashy. When we’re understated, women are understated. Men? I love what I do with menswear, but it’s much more subtle.

DB Do you watch what others are doing?

film

Nicholas Hoult TF I do, but it’s sporadic. I haven’t looked at anything from this season because I’ve been busy promoting this film. But before Christmas, I’ll sit down and look at everything on Style.com.

DB Any favorites?

TF Nicolas Ghesquière was always my favorite. I think Stella [McCartney] has really come into her own—I don’t think she’s ever looked better in her life, and she’s in an absolutely good place with her brand. I’ve always been a fan of Alexander McQueen, and Tomas Maier. I love Karl [Lagerfeld]. There’s a lot of people I love. I mean, Miuccia [Prada]? C’mon! I’m not talking about specific collections, but in terms of what they stand for. I think fashion has a lot of great people.

DB Didn’t you once say that making this film was, in a way, like collaborating on a womenswear collection?

TF Yes, you have to have a vision, and you have to be able to communicate it to others and encourage them in a way that you get the very best. For me, at least, what I do in fashion is very true and honest, but it’s only part of me. It is more superficial. I put a large part of myself on the runway, but I’m not putting my soul on the runway. Some fashion designers do, some are artists; I am a commercial fashion designer, who is artistic and participating in an artistic endeavor. But it has never been art for me.

DB Is this film?

TF I’m not trying to say that my movie is art, but it was the most purely expressive thing I’ve ever done.

DB So how did it feel to come out of that lacquer box?

TF It felt wonderful to do, but it scared me. Now I’d like to close that box again.

DB What were your concerns?

TF There is a lot of my own life in the film. People say that when you start to write something you should always write what you know, so I had to ask myself, I know what I am as a fashion designer, but what am I about as a filmmaker? What do I believe in? Why should anyone see a Tom Ford film?

DB Were you worried about reviews?

TF When you put that much of yourself out there, of course you’re terrified. Terrified! But I’ve never let potential terror or fear stop me. In my adult life I’ve understood that if I put an enormous amount of love and honesty into something, usually that shows in the end.

DB How was your first stab at directing?

TF I read somewhere that a good director does his directing when he casts his film.

DB You just give them the intention.

TF One of the greatest moments I’ve ever seen on film was Bill Clinton being questioned about Monica Lewinsky. It’s breathtaking. Someone asks, “Did you sleep with Monica Lewinsky?”

And Bill says very calmly that he hadn’t. Then he’s asked, “Did you insert a cigar in Ms. Lewinsky’s vagina?” There’s this wave that just moves over his face and you can just feel Clinton thinking, “How do they know that? FUCK!” He says he didn’t, but his face says everything. Nothing moves: it’s just this wave that washes over him. One of the things I told to Colin when we shot

the scene where he hears the news about his lover’s death was that it was all about his face, that it was all about that contained anger. And then all I had to do was keep the camera there and watch him do that.

DB Was it intimidating on your first day of shooting?

TF I was very conscious of making it look like I knew exactly what the fuck I was doing. But, sure, I didn’t sleep the night before because I was terrified of having to say “Cut!” in front of a bunch of people.

DB When you were filming, were you soaking in the moment?

TF I loved every single moment of the process.

DB And was the film’s release and the accolades the glorious moment you’d been waiting for?

TF No, it’s my least favorite part. Promotion? It’s the least enjoyable. Same with fashion: I like designing, I like making the garments. But I hate doing interviews, I hate being photographed. No one believes that, but it’s true. I hate having my picture taken.

DB Really, Tom? TF Yes! Look at the movie. It says everything you want to know about me. Now I’m going back in my lacquered box.

The cast of Tom Ford’s A Single Man in Los Angeles, November–December 2008 A Single Man is out now from The Weinstein Company

FASH ION PE OPL E AR E PE OPL E TOO

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Artist Jonathan Horowitz is known for his smart and subversive artworks that comment on fame, politics, pop culture, and society.

In an exclusive project for V, he combines a taste for kitsch vintage ďŹ gurines with some of the boldest names in the fashion stratosphere to produce a clever send-up of personality and

iconography. Coming off a survey exhibition at New York’s P.S.1 Contemporary Art Center, Horowitz is keeping plenty of worthy targets in his crosshairs. Here are a few of his fashion favorites.

Artwork Jonathan Horowitz

art

Diane Kruger Inglourious Basterds

“When I first got the script, I couldn’t believe that after all these years of trying to get rid of my German accent to play American roles, finally along came a part that was not only a great part, but also perfect for me. I had so many references in mind automatically for this character. It was just something that I had not been allowed to play in America.

My character is in a very privileged position as a famous movie star, so her life is at ease, and yet she chooses to use that power and her acquaintances in the high ranks to be a spy and rid her country of an evil. She’s a very brave person, she’s incredibly smart, and that has to be conveyed from the first time you see her on screen. The minute she speaks, she has to demand attention, and when she speaks, nobody else does.

There’s a certain energy to her that I don’t think I naturally have, and it was very hard for me to bring that to set every day.

I think maybe the fear and the fatalist knowledge that she’s going to die when she steps into that room with Landa towards the end, that’s the most real that I was throughout the whole process of creating her character. I had never died in a movie and I was very scared of that scene and being strangled and what that would be like to play. There are a lot of my own fears coming through in that scene.”

Sweater Etro

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Zooey Deschanel (500) Days of Summer

“The film doesn’t really help me tell my character Summer’s story.

It’s extremely subjective and there’s a certain amount of distance from her, but I thought it was an opportunity to tell her story with fewer tools. It was a fun challenge. I tried to find the truth in every moment, even the whimsical ones. I was very diligent about that–not playing for cuteness or comedy–but also giving her a well- developed inner life. She’s so much more honest than most people in that situation. She tells Tom [her love interest, played by Joseph Gordon-Levitt] what she wants, completely, from the beginning, and is extremely consistent about it. I think that’s probably part of what makes her this effortlessly successful person that he sees. She’s honest and direct and she’s very much herself.

She’s the type of person who always gets an apartment for under its value and is always successful and sort of has the golden touch, which is hard to play, because no one sees themselves that way. I think that’s very much a product of it being so subjective. The way I got over it was putting it out of my mind. If the movie were told from Summer’s perspective, it would be a very different movie.”

Top H&M

In 2009, sIncerIty won out over star power, and these actresses ushered In the age of the nuanced, sensItIve starlet. here, they talk about theIr standout roles as nazI deserters, scI-fI heroInes, and patIent teachers In the fIlms of the year Photography Paul Jasmin Styling Jessica de Ruiter As told to Jonathan Shia

Michelle Monaghan Trucker

“What drew me to the role was that it was one that you don’t often get to read in Hollywood. I was intrigued by the challenge of playing somebody who wasn’t at first glance somebody you could identify with. She’s not even likable by most people’s standards. I was intrigued by the fact that she’s not a victim. She’s very honest; she doesn’t apologize for herself. She’s not your typical gal who plays the girlfriend and gets all dolled up and has a tough time because she doesn’t know what to wear. She’s down-and-dirty and she knows what she wants and she’s not really cut out for motherhood and it’s not something that she wants and it doesn’t interest her. I compared her to a wild mustang that could never be corralled.

I used that a lot in the film. I had a tattoo of a mustang on my shoulder and my emblem on my truck was a mustang, little things like that as a reminder of who I thought she was.

You have these struggles as people—like, you don’t want to be a mom, and you don’t know how to get through life, and you’re not perfect, and those are interesting roles to me. I know they’re not everything that’s out there, so there’ll probably be a few more girlfriend roles along with maybe a couple more truckers.”

Dress Dsquared

Bryce Dallas howarD

Terminator Salvation

“The thing that’s most compelling about my character is that she’s totally unapologetic for who she is, what her impulses are, what she wants, how she’s going to get it. She’s not a sociopath, or anything like that, but she’s one degree away from it. I think because of my own nature, I’m always apologetic, I’m definitely not an insecure person, but I don’t like to take up a lot of space.

She, however, has this weight to her and she does fill up a room and it was really cool to be in her shoes.

The notion of someone teetering on the verge of insanity is tricky, because you don’t ever want to do too much, and then you don’t want to underplay it either. This is someone who was hospitalized as a teenager, a really specific kind of person. It was kind of good timing for me. I had just had a child and I wasn’t doing so hot emotionally. I was in the midst of postpartum depression and to do a role like that just a few months after having a child, while grappling with my own sense of composure—it was a good moment for me to be exploring that in an artistic capacity. I could relate a lot to somebody who was feeling chaotic. I could definitely begin to at least empathize.”

Sweater Boy by Band of Outsiders

film

Paula Patton

Precious: Based on the Novel ‘Push’

by Sapphire

“I was afraid to play the teacher. I didn’t know how to come at the character, so when I met with [director] Lee Daniels, I said, I really need to find a real Ms. Rain, and we found this woman named Janet Jones, who’s a teacher in New York City at a similar school. I shadowed her for weeks and asked lots of questions and then I felt like I had at least some of the tools I needed and the nuances of being a teacher. Also, my mom was a teacher for thirty-five years and she was one of those teachers who always went above and beyond the call of duty, and she was a great inspiration for me.

My character is in many ways not like me, but there are elements of myself that I had to connect with to play her. I’m a nurturing person, so it was natural for me to care about these young girls. One of the difficulties of playing this character was how much she has to mask her emotions. She obviously cares deeply about these young girls, but she can’t let them see that. She shows that she loves them, and that she believes in them, which is something they maybe haven’t ever had before, somebody saying, “I think you can be better than what you are.”

These girls are very streetwise and they’ll take her kindness as weakness, so she can’t show them how much she cares and how deeply they affect her.”

Dress H&M

film

Zoe Saldaña Avatar

“When I read the script, I was petrified by it and that made me even more addicted to wanting to be a part of it. [Director James Cameron] is an amazing filmmaker—he’s a visionary. Not only have his films changed the way we look at cinema, they’ve also changed the way we make cinema. To be part of a pioneer movement when it comes to motion capture and Avatar, you can only feel blessed.

The part that I worked on was solely motion capture. For two years, I was able to give my imagination permission to wander infinitely. It was long enough for me to be okay allowing my imagination to wander and create and aggrandize and minimize. It is absolutely necessary to do a lot of background work, to do a lot of research and a lot of rehearsals, because you are pulling rabbits out of fucking thin air when you do motion capture. That said, once all that preparation is put in place, it’s the most liberating process, because once you remove all the embellishments to character—hair, makeup, wardrobe, lighting, weighting—you’re just left with your director, your actors, your story, and your characters, and all you do is create an amazing sandbox where everything is just consistently flowing.

The kind of characters that these creatures embodied required a lot of study of not only animals, but also children.

There’s an innocence that we really wanted to incorporate.

I became this little scientist and that was the methodical part. The physical part was wushu, which is a very graceful form of martial arts, archery, horseback riding, and movement. I needed to deconstruct myself and build myself from thin air.”

Jumpsuit Erin Fetherston

Makeup Kathy Jeung for M.A.C (The Magnet Agency) Hair Craig Gangi for Oribe Hair Care (Tracey Mattingly) Photo assistants Jaesung Lee, Taylor Peden, John Maxwell, Clark Hsaio, Grant Shumate Makeup assistant Marco Souza Videographer Geoff Chu Special thanks Milk Studios, L.A. and Smashbox Studios, L.A.

Vera Farmiga Up in the Air

“What Alex represents is a very modern heroine in a postfeminist time when women want to achieve it all, career and family. This character embodies how difficult it is for women who want it all, and the complex choices we have to make between family and career, romance and respectability. I think she does it with dignity and coolness and self-possession. She has so much confidence—she’s very in tune with her sensuality, her sexuality, and her sense of humor. I think integrity of self is what she stands for.

What was so appealing to me about this character is the very masculine take on feminine desire. It was fun to play this woman who’s a romantic operative, totally unapologetic and shameless and very masculine in her sexual prowess, and yet also very feminine and warm and appealing. I love a good old-fashioned romance, and this one came in the form of a very modern relationship.

Honestly, every romance I have ever had has informed this role in some way. It really wasn’t so much research as it was clicking into the banter and the rhythm, which is the sexiest thing about the script. I’m probably slightly more old-fashioned than she is and to honor that power and yet support her femininity and to establish that great warmth—that was the tricky part. The key to my character was having her be so demanding and liberated sexually, but also dignified. I would like to think that I possess confidence and self-assurance and class and a good sense of humor about myself. I’d like to imagine myself gliding through life as effortlessly as she does.”

Jacket Etro T-shirt Benetton

anna KendricK Up in the Air

“It’s incredibly rare to find a role that’s this juicy written for a young woman. For the most part, girls my age in movies exist to fall in love with a guy who’s on a journey and she’s just sort of something that happens along the way. Here I get to have my own journey and my own problems and I fall apart and have to pick the pieces back up, and it has nothing to do with the fact that she’s young and female. She just happens to be young and female.

I certainly never seriously considered a corporate lifestyle, but especially for women, I think that it feels as though that’s the final place where you need to prove yourself and that if you can conquer that world, then you’ve sort of managed to conquer the fact that you were born a woman. I think if I didn’t have certain emotional outlets, particularly acting, I could have ended up more like my character. I can see how frustrated she is being a woman and not being taken seriously and what that makes her do and the way that makes her behave.

I’m drawn to characters who are more outspoken and more independent than I am in life. They give me a chance to say all the things I wish I could say that I don’t. They let me exercise a part of myself that I don’t on a daily basis.”

Top Chloé by Hannah MacGibbon

ULTRA VIOLET

For the new Balenciaga Fragrance, nicolas ghesquière drew on the house’s couture legacy, then threw in a whiFF oF Floor wax For good measure

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Balenciaga Paris, the eagerly anticipated first fragrance by Nicolas Ghesquière, is a strange scent. A vivid violet tinged with metal and soaked in a little cedar, it is neither romantic nor urban nor green nor woodsy. Rather, it is its own thing entirely— intelligent and refined, referential yet wholly unfamiliar. It is exactly what one would expect from a man who delivers the unique and unexpected season after season.

“It’s a resolute fragrance,” Ghesquière has said. “It seems light.

It knows how to be mysterious. Yet it leaves a lasting trail behind it.” It is perfect, he notes, for putting on your trench coat.

And for a house that was, for the most part, nonexistent in the fragrance market, Balenciaga Paris will become an instant touchstone.

According to Coty’s Catherine Walsh, who worked closely

with Ghesquière on its creation, it all began in Balenciaga’s archives: A cape designed by Cristobal was the inspiration for the bottle’s shape; its elegant, streamlined packaging recalls that of Balenciaga’s first fragrance, Le Dix, launched in 1947; and the cracked ball stopper takes its cue from an antique enamel vase Ghesquière found. “He wanted to twist and turn these classic elements into something new,” Walsh said, adding that while the scent came quickly (it is based on his favorite smells—floor wax, flowers, and gasoline among them), he was a little obsessive about the outer carton. “He arrived with a massive brief filled with photographs and jewels and shoes,” she explained. “It really is an alchemy of fashion and fragrance.” Karin Nelson Photography Shu Akashi

Photo assistants Shohei Shoji, Dave Ngo, Quang Trinh Production Alan Woo

scent

diary The xx at Music Hall of Williamsburg, October 23

Hockey at the Mercury Lounge, October 22 Maluca downstairs at Santos Party House, October 24 Sean Lennon at Le Poisson Rouge, October 22

Glasser backstage at Pianos, October 24

The Smith Westerns outside Pianos, October 24

Via Tania at Le Poisson Rouge, October 22

Special thanks Sean Hanratty

hot rocks

From West Palm Beach to london, neW York’s Favorite rock Fest cmJ takes on ever-grander ProPortions.

John norris shares the highlights

Historically, CMJ buzz decided which indie acts would go on to get serious college radio airplay. So when radio went into decline— displaced by the Internet—so did the music festival. But, over the last few years, it has refound its footing. Thanks in large part to its location (New York), the bands breaking at CMJ have been the bands blowing up on the blogs (also in New York). And that’s never been truer than this year. Take Florida’s Surfer Blood: with a dozen shows in five days and a ridiculously likeable first album, the band’s postfest buzz has yet to cease. Likewise, Chicago’s Smith Westerns— garage rockin’ teens armed with bouncing tunes usually about girls— delivered night after night of good times that people are still talking about. Portland’s Hockey proved attractively Strokes-ian both in sound and sizeable U.K. following, and made a good case for more attention being paid them here at home. Doing the solo thing, as Atlas Sound, Deerhunter’s Bradford Cox played songs from his new

album Logos, reminding the world why the Georgia genius is one of indie rock’s treasures. And representing for the home team was Brooklyn’s Tanlines, a twosome that traffics in sunny, tropics-tinged pop, and sparked even more interest by introducing a spin-off act called Restless People.

But, truth be told, at CMJ this year there was everyone else—and then there was the xx. The art-school kids from London, who turned out one of the more stunning debut releases in recent memory, stood four abreast, silhouettes back-lit in green and blue, barely bobbing or uttering a word. They calmly lived up to their advance billing, turning out song after song of crafty, sexy electro. As for the band members, at times during the week they seemed a bit shell-shocked by it all.

Or maybe they were just hungover. John Norris

Photography Cameron Krone 61

Black-and-white self-portrait Rie Rasmussen

trip Grace Jones was all a blur performing for and wearing Marc Jacobs Rie Rasmussen, in Givenchy, pensive in the makeup chair

Dree Hemingway testing out the zippers on her lace Givenchy look

Rio at night: no shirt required

Leo, Rie, Riccardo Tisci, and Francisco Costa— a gruesome foursome on top of the Fasano

Caroline Ribeiro hyrdrates backstage

Mariah Carey, paired with Calvin Klein for her multi-octave performance Calvin Klein made a compelling argument for its undergarments in the pool on the roof of the Fasano Hotel

IT HAPPENED IN RIO

Last OctOber, the fashiOn pack fLew sOuth—waaay sOuth—tO catch the music and mayhem Of fashiOn rOcks 62

When Fashion Rocks, the annual style-meets-music extravaganza that raises money for children’s charities, blew into Rio de Janeiro last October, the entire town came out to celebrate. Or at least it seemed that way when Mariah Carey arrived at the Copacabana Palace and thousands of fans blocked the streets, chanting her name. Inside, a bemused Mario Testino considered chastising the kids for screaming “Mari-ah” instead of “Mari-o.”

On the first day of festivities, two South American trends emerged: sexy people—like locals Alessandra Ambrosio and Isabeli Fontana—and a devil-may-care attitude. The dinner that Donatella Versace hosted for Testino in honor of his newest book, MaRio De JaneiRo Testino, started three hours late. But there was an upside to the delay: at a live auction held at the end of the boozy evening, a jersey signed by the entire Brazilian football team sold for more than $1.5 million.

The following night was the main event in which fashion labels paired with performers on the catwalk. Diddy opened the show with Versace, bringing the crowd to their feet as he congratulated the city on getting the 2016 Olympics, then dedicating his Notorious B.I.G. anthem “I’ll Be Missing You” to Gianni Versace.

Next, in quick succession, came Estelle for the Brazilian label Lenny then Ciara for Givenchy, who gave quite the acrobatic performance in Riccardo Tisci’s black leather leggings. One of Rio’s biggest commodities—skin—was a focal point of Grace Jones’s performance for Marc Jacobs. Only in this town would the concert’s director zoom in on the 60-something’s bare buttocks as she wiggled them, to the audience’s delight. That wasn’t the only controversial behavior of the evening: Ms. Carey, the grand finale, showed up late, forgot to introduce Calvin Klein’s Francisco Costa after her set, and blocked traffic with her phalanx of security. Some people, however, didn’t mind the wait: after he received the firstever Fashion Rocks Photography Achievement Award, Testino happened upon a very tan, very handsome Brazilian model, who promptly undressed for a quickie photo session in Versace’s suite. “Get my daughter out of here,” Donatella joked. Not that it fazed the photographer. “Darling, you would see more than this on the beach,” he retorted. “This is Rio!” Derek Blasberg Scenes from Fashion Rocks, Rio de Janeiro, October 2009 Photography Derek Blasberg

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WestWard Ho! Starting over SoundS about right. ditch the city thiS Spring and head for the hillS in anything Slouchy, Suede, or SuperSexy Photography Amy Troost Styling Catherine Newell-Hanson From left: Kelsey wears Shirt H&M Shorts Guilty Brotherhood Bag Chanel Fringed bag Guess by Marciano Shoes Gianvito Rossi for Altuzarra Belt Vicki Turbeville Scarf D&G Nicola wears Shirt Diesel Shorts, bag, boots D&G Belt Vicki Turbeville Hat Worth & Worth

Makeup Sil Bruinsma for M.A.C (Streeters) Hair Rudi Lewis (Julian Watson Agency) Models Nicola Haffmans and Kelsey Van Mook (Next) Photo assistant Darren Hall Stylist assistant Catlin Myers Digital technician Jonathan Pilkington Retouching Norkin Digital Art Ltd.

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v-BAY luxury within reach

Feel rich no matter the state oF your bank account. these shiny baubles look like they’d cost a million, but they don’t even come close

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1 Carly Margolis/All for the Mountain brass ring $230 2 David Yurman silver, topaz, and diamond ring $1,950 3 Swatch steel ring $70 4 Cartier gold, diamond, and silk cord bracelet $1,700 5 Gucci gold ring $825 6 David Yurman silver, onyx, and diamond cuff $1,900 7 David Yurman silver, amethyst, and diamond ring $1,900 8 Diesel and Ugo Cacciatori gold bracelet $400 9 David Yurman silver, moonstone, and diamond ring $2,700 10 Van Cleef & Arpels rose gold and carnelian bracelet $1,100 11 Bulgari gold and diamond ring $1,410 12 D&G Jewels steel, pearl, and resin ring $125 13 Georg Jensen silver bangle $680 14 Tiffany & Co. silver and diamond bangle $850 15 Tiffany & Co. silver and citrine ring $800 16 Swarovski gold plate and crystal rings, set of three $180 17 Bulgari gold ring $970 18 Diesel and Ugo Cacciatori gold ring $175 19 David Yurman gold and silver bracelet $995 20 Bulgari white gold ring $1,020 21 Van Cleef & Arpels white gold ring $1,550 22 Dior Fine Jewelry white gold ring $1,650 23 Swarovski rhodium plate and crystal earring $170 24 Gucci white gold ring $990 25 Dior Fine Jewelry gold and diamond ring $710 26 Stephen Webster white gold plated silver ring $260 27 Swatch steel bracelet $75 28 Louis Vuitton gold ring $945 29 Van Cleef & Arpels gold and mother-of-pearl earrings $1,600 30 David Yurman silver, smoky quartz, and diamond ring $1,950 31 Swatch steel ring $70 32 Solange Azagury Partridge (RED) silver and lacquer ring $1,500 33 Dior Fine Jewelry white gold and diamond ring $490 34 Tiffany & Co. platinum and diamond pendant $2,000 35 Alexis Bittar crystal earring $195 36 Tiffany & Co. platinum, pink sapphire, and diamond charm $2,325 37 Gucci rose quartz and gold ring $1,690 38 Dior Fine Jewelry gold and diamond ring $450 39 Gucci gold ring $990 40 Van Cleef & Arpels white gold ring $600 41 Louis Vuitton white gold ring $2,000 42 Cartier gold “100th Anniversary Centennial Hallmark Charm” $1,075 and gold chain $1,200 43 David Yurman white gold and diamond bow charm (with chain) $675 44 Gucci rose gold ring $990 45 Swarovski gold plate and crystal ring $125 46 Tiffany & Co. silver key charm $100 47 Tiffany & Co. rose gold key charm $250 48 Bulgari white gold and diamond ring $1,520 49 Van Cleef & Arpels rose gold ring $1,400 50 Swarovski rhodium plate and crystal earring $125 51 Aesa silver, gold plate, and morganite necklace $200 52 Dior Fine Jewelry white gold and diamond ring $775 53 Tiffany & Co. gold and pearl oyster charm $850 54 Louis Vuitton gold ring $1,830

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Vests, shorts, tank, belt Haider Ackermann Clutch Giuseppe Zanotti Design Bag Trussardi 1911 Cap Dsquared

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Go Commando

Do you feel a Draft? Show your harDer SiDe in the SeaSon'S rough anD tumble military gear, aS Seen on moDel-turneD-filmmaker rie raSmuSSen. we won't aSk if you Don't tell Photography Amy Troost Styling Catherine Newell-Hanson

Jacket, top, pants Balmain

Swimsuit Adidas by Stella McCartney Pants G-Star Green bag Proenza Schouler Black bag Dior Large green bag Louis Vuitton Belt from Iceberg Army Navy Watch Swatch Cuffs Vicki Turbeville Necklaces model’s own

Makeup Sil Bruinsma for M.A.C (Streeters) Hair Rudi Lewis (Julian Watson Agency) Model Rie Rasmussen (One Management) Photo assistant Darren Hall Stylist assistant Catlin Myers Digital technician Jonathan Pilkington Retouching Norkin Digital Art Ltd.

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Sweatshirt with corset Alexander Wang On skin and eyes, M.A.C Mineralize SPF 15 Foundation/Loose in light and Kohl Power Eye Pencil in feline On hair, Frédéric Fekkai Full Blown Volume Lifting Hairspray

Makeup Lisa Butler (Tim Howard Management) Hair Didier Malige for Frédéric Fekkai (Bryan Bantry) Manicure Deborah Lippmann (The Wall Group) Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistant Tony Irvine Makeup assistant Asami Lighting technician Jodokus Driessen Digital technician Brian Anderson Studio manager Marc Kroop Catering Mangia Special thanks Pier 59 Studios, NYC Printing Box

dakota fanning

At 15, she’s tAken on roles more emotionAlly chArged And intellectuAlly chAllenging thAn Actresses twice her Age. But when she’s not plAying vicious vAmpires or strung-out rock stArs, she’s living every girl’s high-school dreAm. welcome to the douBle life of dAkotA fAnning Photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna The hardest thing to do in Hollywood is age gracefully. That goes double for child stars, most of whom find themselves put out to pasture at the onset of puberty. Those not forced into early retirement are often ill-equipped to handle the pressures and temptations of celebrity. But for 15-year-old Dakota Fanning, adolescence is proving to be quite a boon. Transformed from adorable, saucer-eyed moppet into winsome ingénue, Fanning 2.0 has nabbed high-profile roles in the megablockbuster Twilight franchise and the indie biopic The Runaways, made the varsity cheerleading squad, and was voted homecoming princess at her North Hollywood high school. Pretty impressive, but we’ve come to expect no less from the kid whose résumé overflows with A-list collaborators such as Steven Spielberg, Denzel Washington, Robert De Niro, and Sean Penn.

There are a few things one has come to expect when interviewing the starlet as well. Number one: her mother, Joy—a former tennis pro with a warm smile and strong Southern twang—somewhere in the vicinity. Number two: a polite, upbeat demeanor. And number three: A certain percentage of Fanning’s responses will be delivered on autopilot. For example, on playing Jane, the villainous vampire in The Twilight Saga: New Moon and Eclipse: “It’s really fun to play evil characters. I’d never done that before, so it was interesting to be mean. My favorite part was the red contact lenses.”

Looking chic in a black sequined jacket, white T-shirt, black leggings, and thigh-high boots by Isabel Marant, Fanning becomes more animated when the subject turns to fashion, citing Elizabeth and James, Chanel, and Marc Jacobs as favorite lines. “Now that I’m getting older, I’m finally getting to the point where I can fit into those things. I’ve always been really small, really short, and I’m finally starting to be able to wear a size 0 without having to take it in like five inches.”

Her petite body type was well suited to the ’70s glam wardrobe of hot pants, halter tops, and skin-tight jumpsuits worn to channel Cherie Currie, the badass lead singer of the Runaways, in the upcoming biopic. Twilight star Kristen Stewart was serendipitously cast in the role of Joan Jett. Having previously hit it off during the few days of filming New Moon, the pair really bonded over the course of The Runaways shoot. “Dakota is an astounding human being, incredibly intimidating, and one of the smartest people I’ve ever met,” Stewart says. “She’s become one of my best friends. We’re so comfortable together that we have a second language.”

Based on Currie’s memoirs, The Runaways dishes the dirt on the teen-girl rock band’s meteoric rise and tumultuous unraveling, including episodes of druggy debauchery and a lesbian make-out session. “I really enjoyed doing that subject matter for the first time in a biopic, because it really happened—it’s not just a made-up story about a 15-year-old kid running wild,” Fanning says. “It’s a true story of her evolution from good Valley Girl to bad rock-and-roll princess.”

Apart from their ages, there’s very little the star and her subject have in common. Fanning says she’s never done anything bad enough to get grounded. Though she calls herself a night owl, the activity you’d most likely catch her doing after midnight is watching the Game Show Network with her mom.

When asked if she feels pressure to be a role model for kids, Fanning replies, “I think that when you’re in the public eye, you automatically become a role model, because people are reading about you and looking at pictures of stuff you’ve done. So I definitely think you have to make good choices. But, you know, no one’s perfect, everyone makes mistakes. I have made mistakes and I will make mistakes. I’m only human.”

Given all the negative attention directed at Fanning and her mother over her involvement in Hounddog, aka “the Dakota Fanning rape movie,” one might expect the young actress to harbor some trepidation over The Runaways’ edgier elements.

But she’s quite matter-of-fact when discussing them, relating, for instance, that the substance used to simulate cocaine was crushed-up B vitamins. “Kristen and I were like, our hair is gonna grow a lot from these.” Regarding the much ballyhooed kissing scene between them, Fanning sums it up succinctly, “It’s passionate—they [Currie and Jett] were just as close as two could get.”

The one element that gave Fanning pause was the music.

“I don’t really get nervous when I’m working, ’cause it’s just where I feel at home. That’s what I love to do, so I get excited more than nervous. But singing is completely not my element, it’s not where I’m comfortable,” she explains. “It was really good to have Cherie there to guide me through, because I had never done anything like that before.”

Fanning developed a tight relationship with her character’s real-life counterpart. “She came to my house and we spent a few hours working on the songs,” Currie recalls. “I’d sing a line, and she’d say, ‘Okay, I got it.’ And she had it! She blew me away.”

The original Runaways front girl says she envisions Fanning becoming a rock star in her own right one day. “She’s a great singer and a great stage performer. When I saw her up onstage in that corset performing ‘Cherry Bomb,’ I cried.” And she reports that Fanning is as nice as she is talented. “On the last day of filming, she gave me this beautiful scarf she had knitted on set.

I don’t know when she had the chance—I never saw her doing it,” she recalls. “It even has a little label sewn on that says ‘Knitted

by Dakota Fanning’—isn’t that cute?”

So what’s on the horizon for Fanning? She has yet to realize her long-held dream of working with Jodie Foster. But, in the meantime, there’s a term paper on The Scarlet Letter due.

Pauline O’Connor Dakota Fanning in NYC, October 2009 The Runaways is out in March 2010 from Apparition 67

gabourey sidibe The young sTar of The year’s mosT harrowing film loves boys, adores her family, digs who she is, geTs sTarsTruck, and may jusT sTrike oscar gold for a breakThrough role she played wiTh sTarTling acuiTy. offscreen, she’s every biT as real as her undeniable TalenT Photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna The waitress at the Greek restaurant in Queens where Gabourey asked me the other day, ‘Did you do a double take when you first Sidibe is having a bowl of lobster bisque one windy fall afternoon met her?’ And I was like, I’m still doing a double take.” can barely contain herself. She has seen the trailer for Precious, The love and respect is mutual. “She is an Academy Awardthe gut-wrenching film about an abused and illiterate 16-year- winning actress,” Mo’Nique stated, months before the nominations old girl, and has recognized its star, wearing a hot pink sweater, had been announced. “That’s what she is as an actor. I don’t know recounting, between spoonfuls of soup, how Oprah first hugged any other actor who would have given that type of performance.” her. (“She rubbed my back, then my shoulders, then she held The beaming waitress brings over plates of baklava, on the both my hands, then one hand, then called over a photographer— house. all in slow motion.”) “I’m sorry, but are you in that movie?” the Sidibe’s life may have changed, but she is still the same, she waitress asks, eliciting a cherubic smile from Sidibe. “I knew it!” says. She likes to dance, hang out with her friends, is wildly she effuses, her face turning red. “I called up my cousin and said, boy-crazy, and wishes ’N Sync would get back together. She You know who’s in my restaurant right now? And she goes, ‘No feels awkward discussing with people what she does, and gets one, like usual.’ She didn’t believe me, but whatever. Could you embarrassed when the car service comes to pick her up. “The sign the menu for me?” company’s called Diva!” she shrieks, shaking her head. “That’s Nowadays, this sort of thing happens a lot to Sidibe. And, as the last thing I want people to think I am.” She has just finished a Brooklyn-born, Harlem-bred girl, who, until recently, was a psy- shooting her second film, Yelling to the Sky, with Zoë Kravitz, chology major at Lehman College in the Bronx, it is a bit surreal. and has spent the better part of 2009 traveling from one film festival to another. But hanging with celebrities still freaks her “My life is so much different than I ever imagined it being,” she says once the waitress has disappeared. It is, however, uncan- out. “Once I meet them, I have to leave before I say something nily similar to the fanciful life the character Precious imagines really embarrassing,” she explains. At a party in Cannes, Quentin for herself—with glamorous red carpets and adoring fans and Tarantino had to hold her arm to keep her from getting away. being photographed for the cover of a magazine. “I even got the “That dude’s funny, but intense!” she says. And at the Toronto Film Festival, she literally retreated from Oprah. “I’m probably guy,” Sidibe notes, referring to Barret Helms, the “light-skinned boyfriend with nice hair” whom Precious fantasizes about. “We the only person who’s ever run from her.” don’t go out, but he’s my roommate now.”

Oscar-talk makes her shy too. In fact, it seems to be the only Indeed, Sidibe’s story is the stuff of Hollywood legend: encour- subject the otherwise chatty 26-year-old won’t fully engage in. aged by her friends, she went to the Precious audition on a whim. “I’m incredibly flattered that people think I will be nominated,” she Her mother, Alice Tan Ridley, an R&B singer and former public says politely. And nothing more. school teacher, who, years earlier, had been approached by the Her family. She could go on forever about her family. Her director Lee Daniels to play the part of Mary (she declined), had mother, who still lives in Harlem: “Ever since I moved out, she’s always wanted her daughter to act. Sidibe was more practical. like a puppy dog to me—so adorable.” Her father, a taxi driver from “I’m not what most casting directors are looking for,” she explains.

Senegal who lives in Brooklyn: “I wanted to not tell him about the “It would have been a long struggle, and I decided not to take movie. I thought it would be hilarious if he just saw a commercial it.” However, after seeing some five hundred girls, the casting for it. But my mom told him, ’cause she doesn’t appreciate a good director Billy Hopkins found exactly what he was looking for in joke.” Her brother, a security guard: “He thinks I’m funny. He Sidibe—which is to say, a girl who understood Precious, perhaps said, and I quote, ‘She’s like a mix between Chris Farley and Ted even knew her, but, with her intelligence and exuberance, was Danson.’” Her younger twin sisters: “They’re too cool for school. in no way like her. She got a callback in less than an hour. “My People will ask them, ‘Is that your sister?’ And they’re like, ‘Uhmother helped me rehearse the night before,” Sidibe says, “and huh.’” No doubt, their self-confidence was handed down from she just started crying.”

Sidibe: “I used to get hurt so badly. Any bit of criticism, I would The role of Mary, Precious’s monster of a mother, went to cry. But at some point I just realized, I count more than anyone Mo’Nique, the larger-than-life comedian and actress whom else, or anybody’s opinion, because I’m living my life—I’m captain Sidibe has looked up to all her life. “Growing up, there weren’t of this ship, without a first mate. And I really, really like who I am,” a lot of actresses and singers who looked like me,” she explains. she says. “I really, really dig me.” Karin Nelson “There were no real times that I thought maybe I can do it, until Mo’Nique came along. She’s a plus-sized woman who didn’t Gabourey Sidibe in NYC, October 2009 care about one day being skinny. All my life I’ve been hearing that I’ll never amount to anything until I am skinny. And she dis- Precious: Based on the Novel ‘Push’ by Sapphire is out now proved everything that everyone has ever told me. Someone from Lionsgate 68

Bra Lane Bryant Necklace Barbie Luxe by Patricia Field On lips, Shu Uemura Rouge Unlimited Lipstick 289 and Gloss Unlimited pr059n

C E L E BR AT ING 25 Y E A R S W I T H A N E W IC ONIC BO OK

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The shape of The season is whaTever shape you happen To be, and Those hard-line rules of size and sTyle have never felT more ouTdaTed. every body is beauTiful, and here’s The proof 71

From left: Tara wears Vest G-Star Jeans Seven7 exclusively at Lane Bryant Shoes Versace Candice wears Bra Agent Provocateur Jeans Guess Shoes Gucci On lips, YSL Makeup Rouge Volupté Silky Sensual Radiant Lipstick in red muse Michelle wears Jacket Levi’s x House of Holland Jeans Guess Shoes Versace Marquita wears Top Pringle of Scotland Jeans J Brand Shoes Nicholas Kirkwood On cheeks, YSL Makeup Crème de Blush Cream Blush in silky praline

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What’s the skinny on today’s models? Big is Bigger than ever, and these BomBshells of plus-size are proving that there’s plenty of room in the fashion World for Women Who look like...Women Photography Sølve Sundsbø Styling Nicola Formichetti

Marquita wears Sweater Pringle of Scotland Bangles Fallon Shoes Sergio Rossi

Kasia wears Bodysuit Agent Provocateur Bag (strap worn as belt) Marc Jacobs Bangles and ring Alexis Bittar Shoes Chanel On cheeks and lips, YSL Makeup Blush Variation in silky nude and Pure Lip Gloss in pure coral

Michelle wears Corset and briefs Dolce & Gabbana Bangle Fallon

Candice wears Jeans Guess Tara wears Jeans Seven7 exclusively at Lane Bryant

Tara wears Earrings and bangle Rachel Leigh Spiked bangles Fallon Shoes Dior On lips and eyes YSL Makeup Pure Lipstick in sublime red and Long-Lasting Eye Pencil in intense black

“I loved the opportunIty to show that you can be beautIful and sexy outsIde the narrow InterpretatIons that normally defIne us.” –sØlve sundsbØ

Tara wears Top Armani Jeans Earrings Rachel Leigh Bangle Ben-Amun by Isaac Manevitz Spiked bangles and large studded bangle Fallon

Candice wears Swimsuit and shoes Gucci Large bangles and cuff Alexis Bittar Textured silver bangles Fallon

Candice wears Bodysuit Dsquared Michelle wears Dress Topshop Earrings Noir Bangle Dsquared On eyes, YSL Makeup Ombres Duolumières Eyeshadow Duo in mink brown

Makeup Frank B (The Wall Group) Hair Esther Langham (Art + Commerce) Models Candice Huffine, Marquita Pring, Michelle Olson, Tara Lynn (Ford NY), Kasia P (Click) Photo assistants Karina Twiss and Ashley Reynolds Stylist assistants Emily Eisen, Jessica Shaw, Enrica Ferrazza, Angelo deSanto Videographer Bell Soto Digital technician Nicola (Republik) Tailor Alberto Rivera (Lars Nord) Printing Box

See a behind-the-scenes film of this shoot on vmagazine.com

IntroducIng KenIta r. MIller, star of the MusIcal the color PurPle Photography Bruce Weber Styling Joe McKenna

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Shirt and shorts Miss Sixty

Shorts Tommy Hilfiger

“When I fIrst met KenIta she remInded me of a frIend that I loved, eartha KItt. KenIta has that same punch that eartha had and It goes throughout her Whole body In every Way, shape, and form.” –bruce Weber

Shorts Tommy HilďŹ ger

Shorts Tommy Hilfiger This story, all other clothing and accessories purchased on location in Liberty City, Florida

Makeup Kay Montano Hair Didier Malige for Frédéric Fekkai Stylist assistant Tony Irvine Prop styling Dimitri Levas Production Dawn Boller (Tandem Productions) Location Liberty City, Florida

In Barcelona, puBlIc nudIty Is not only accepted, It’s encouraged. supermodel IrIs struBegger exercIses her rIght to Bare all, provIng that skIn Is always In and confIdence Is always requIred Photography Sebastian Faena Styling Andrew Richardson

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Necklace and boots Dolce & Gabbana Gloves Atsuko Kudo

Dress Rodarte On brows and lips, NARS Eyeliner Pencil in black moon and Sheer Lipstick in belle de jour

Fur cape Fendi Stockings Stockingirl Stocking toppers Atsuko Kudo Shoes Nicholas Kirkwood Bracelet Ilias Lalaounis for Sophia Kokosalaki On hair, L’OrÊal Paris Studio Line Pure Wet Gel

Swimsuit Jeremy Scott

Belt Michaela Buerger Stockings Fogal Stocking toppers Atsuko Kudo Shoes Pierre Hardy On hair, L’Oréal Paris Elvive Nutri-Gloss Light Reflecting Serum

Dress Marc Jacobs Stockings Stockingirl Stocking toppers Atsuko Kudo Shoes Jil Sander On cheeks and eyes, NARS Blush in exhibit A and Eye Shadow in grenadines

Makeup Dotti (Management Artists) Hair Alain Pichon for L’OrÊal Paris (Streeters) Model Iris Strubegger (Supreme) Photo assistants Anouk Nitsche and Fernanda Porto Stylist assistant Connie Berg Production Eddy Bravo (Entijuana Barcelona) Production assistant Mariana Rufrano Runner Toni Millan

one size If It’s brIght enough, tIght enough, or eye-poppIngly prInted enough, odds are It’ll work on any fIgure. crystal renn, model and author of hungry, and Jacquelyn JablonskI, sprIng’s new star, show off the season’s most sIzzlIng looks Photography Terry Richardson Styling Mel Ottenberg

This spread: Jacquelyn (left) and Crystal (right) wear Top Ralph Lauren Collection Skirt Proenza Schouler Belt Viktor & Rolf Shoes Versace Clutch Giorgio Armani Socks We Love Colors Scrunchie Marc Jacobs Earrings, purple necklace, gold bangle Patricia von Musulin Red necklace, neon green bangle, Lucite bangle Cara Croninger Blue bangle, green-and-yellow bangle, ring Alexis Bittar Yellow cuff with spikes M.C.L by Matthew Campbell Laurenza 98

fits all

This spread: Jacquelyn and Crystal wear Bodysuit and bra Dolce & Gabbana Leather belt Burberry Prorsum Jeweled belt New York Vintage Bangle (worn in hair) Patricia Field Gold necklace, blue-and-yellow jeweled bangles, leopard bangle Alexis Bittar Red-and-gray necklace, square Lucite bangle, blue marbled cuff Cara Croninger Lucite bangle with ivory inset Patricia von Musulin On eyes, Giorgio Armani Cosmetics Smooth Silk Eye Pencil in black

This spread: Jacquelyn and Crystal wear Top Versace Skirt and shoes Proenza Schouler Belt Kokin Socks We Love Colors Bangle (worn in hair), silver bangle, Lucite bangle, blue-and-gold jeweled bangles Alexis Bittar Lucite necklace Alexis Bittar for Michael Kors Gold bangle Patricia von Musulin Black-and-gray necklace, red bangle, blue marbled cuff Cara Croninger Black-and-yellow striped cuff Giorgio Armani On hair, KĂŠrastase Paris Vernis Nutri-Sculpt Ultra-Shine Top Coat

This spread: Jacquelyn and Crystal wear Dress Danielle Scutt Belt Giorgio Armani Shoes Pierre Hardy Socks We Love Colors Yellow necklace, heart necklace, blue marbled cuff, Lucite ring Cara Croninger Green necklace and gold bangle Patricia von Musulin Purple Lucite bangle Burberry Prorsum Clear Lucite bangles and blue jeweled bangle Alexis Bittar Blue cuff with spikes M.C.L by Matthew Campbell Laurenza Ponytail holder made by hairstylist On lips, Giorgio Armani Cosmetics Lip Wax in nude beige

Makeup Frank B (The Wall Group) Hair Peter Gray for Cutler Salon and Redken Models Jacquelyn Jablonski and Crystal Renn (Ford NY) Manicure Lisa Logan (Stephanie Murray Management) Photo assistant David Swanson Stylist assistant Lester Garcia Location Milk Studios, NYC Studio manager Seth Goldfarb Retouching Dtouch

Dress and capelet Comme des Garçons Toy headpieces (worn throughout) and bow-tie leggings stylist’s studio

The self-made, rough-and-Tumble glamour of CourTney love Couldn’T feel more of-The-momenT. In an ode To The queen of grunge, whose new album Is ouT ThIs monTh, supermodel naTasha poly pIles on The ruffles, prInTs, and gIrlIsh fInerIes of sprIng Photography Glen Luchford Styling Panos Yiapanis 106

Shirt (worn as scarf), rufed top, skirt (worn as bustier) Marc Jacobs On lips, Elizabeth Arden Ceramide Plump Perfect Lipstick in perfect petal

Jacket Roberto Cavalli Rufed top with pearls Marc Jacobs Tulle-and-tartan skirt and lace bra stylist’s studio

Crystal top, satin top, briefs Prada Customized bra (worn on top) and bow-tie leggings stylist’s studio On skin, Elizabeth Arden Ceramide Skin Smoothing Loose Powder in light

Dress Proenza Schouler Kilt (worn as top) and bra stylist’s studio Bangles Rick Owens

Dress Givenchy by Riccardo Tisci Petticoat and leggings stylist’s studio On skin, Elizabeth Arden Flawless Finish Foundation in ivory 21

Jacket and bustier Louis Vuitton Necklace John Galliano On hair, Sebastian Microweb Fiber Elastic Texturizer

Dress and shirt (worn as bustier) Miu Miu

Makeup Lisa Houghton (Jed Root) Hair Karin Bigler (ArtList Paris) Model Natasha Poly (Women) Manicure Typhaine Kersual Photo assistants Martin Baebler and Doug Bruce Stylist assistant Matt Carroll Stylist’s studio Philly Piggott and Hannah Belbern Location Door Studios, Paris www.doorstudios.com Lighting Jack Webb Digital technician Sascha Heintze Production Kona Mori (Art Partner) Retouching House

“An iconoclAst meets the icon of clAss.” –KArl lAgerfeld

Miss Dirty Martini wears Cutout bra, garter belt, garter Lyla for Chantal Thomass Tights Chantal Thomass Jewelry, chain belt, glove, shoes, bag, brooches Chanel Pasties her own On skin, Les Trompes l’Oeil de Chanel Temporary Tattoos “Coco” wears Clothing and accessories Chanel

c o c o A g o-g o Miss Dirty Martini has MaDe a living out of Making an entrance. anD sure enough, the burlesque star’s MaD, late-night spin through the chanel atelier enDeD up blowing the roof off of 31 rue caMbon. coco woulD be spinning in her twinset, if she wasn’t a part of the show Photography Karl Lagerfeld Styling Jacob K 115

“posing on the double c’s, modeling liKe my life depended on it, i thought, Why not? Why cAn’t designers mAKe fAshion thAt mimics the Architecture of hips And busts And then choose models thAt WeAr it perfectly?”

–miss dirty mArtini

Bra and briefs Rigby & Peller Shoulder pads Comme des Garçons Leggings Chantal Thomass Headband Limi Feu Neckpiece, necklace, cuffs, bag Karl Lagerfeld Shoes Rupert Sanderson for Karl Lagerfeld Glove Cornelia James On lips, Chanel Rouge Hydrabase Creme Lipstick in vamp

This spread: Fringed bra, briefs, belt Miss Dirty Martini’s own Suspender belt and stockings Chantal Thomass Hat Pam Hogg Jewelry, hair combs, shoes, bag Dolce & Gabbana Gloves Cornelia James On eyes and cheeks, Chanel La Ligne de Chanel Professional Eyeliner Duo in noir and Joues Contraste Powder Blush in imprevu

Makeup Peter Philips for Chanel Hair Kamo for mod’s hair Talent Miss Dirty Martini and Jane Schmitt as “Coco” Manicure Naomi Yasuda (Creative Management NYC) Stylist assistants Siobhan Lyons and Clemence Lombert

V loVe u just the way u r Tall, Thin, shorT, curvy. Punk, PreP, dom, deb.

Whoever you are, and Whoever you WanT To be, We’re WiTh you all The Way! Photography Terry Tsiolis Styling Jay Massacret

Inga (right) Height 5'11" Bust 36" Waist 29.5" Hips 42.5" Dress, bodysuit, necklace Dolce & Gabbana Dan (left) Height 6'2" Chest 38" Waist 31" Pants Roberto Cavalli 120

Eniko (center) Height 5'10.5" Bust 34" Waist 24" Hips 35.5" Bodysuit and bra Louise Goldin Shoes Alexander McQueen On lips, M.A.C Lipstick in dark side Guillaume (left) Height 5'8" Chest 31" Waist 23.5" Top Gap Leggings Alexander McQueen Boots Dr. Martens Brendon (right) Height 5'11" Chest 32" Waist 27" T-shirt American Apparel Leggings Ohne Titel Shoes Givenchy by Riccardo Tisci

Tao (right) Height 5'10" Bust 31" Waist 24" Hips 34" Jacket, jumpsuit, clutch Giorgio Armani Earrings Jack Vartanian Shoes Lanvin On hair, Redken Vinyl Glam 02 Mega Shine Spray Scotty (left) Height 6'5" Chest 38" Waist 28" Jacket Dior Homme Skirt T by Alexander Wang Hat New Era

Elle Height 5'4" Bust 32" Waist 28" Hips 29" Dress Jean Paul Gaultier Bracelet, earrings, shoes Dolce & Gabbana Vladimir Height 6'1" Chest 40" Waist 32" Vest Bess NYC Pants Diesel

From left: Amy Height 5'7" Bust 34" Waist 25" Hips 34" Jacket, bodysuit, pants, shoes Alexander McQueen Bracelet (worn as necklace) Balenciaga by Nicolas Ghesquière Gloves LaCrasia Frey Height 6'2" Chest 38" Waist 31" Pants Thom Browne Top Tripp NYC Shoes Pleaser from Patricia Field Tights American Apparel Kate Height 5'9.5" Bust 31" Waist 24" Hips 34" Sweater Stefanel Headband Natalia Brilli

Regina Height 5'11" Bust 33" Waist 23" Hips 35" Dress Salvatore Ferragamo Necklace Atelier Swarovski by Christopher Kane Earrings Erickson Beamon On eyes, M.A.C Powerpoint Eye Pencil in industry and Eye Shadow in contrast Martin Height 5'10" Chest 35" Waist 28" Vest Keko Hainswheeler Sweatshirt John Galliano Pants Trussardi 1911

Constance (far right) Height 5'11" Bust 34" Waist 24" Hips 34.5" Sleeveless jacket, pants, top, shoes Balenciaga by Nicolas Ghesquière Ben (left) Height 6'2.5" Chest 41" Waist 33.5" Briefs John Galliano Ladyfag (center) Height 5'8.5" Bust 35" Waist 27" Hips 35" Blue bodysuit Danielle Scutt Black bodysuit American Apparel Belt Dsquared Shoes Miu Miu Tights Falke

Reina (top) Height 5'10" Bust 30" Waist 24" Hips 34" Jacket Dior Pants Guilty Brotherhood Shoes Ann Demeulemeester Tights Wolford AJ (bottom) Height 6'1.75" Chest 40" Waist 31" Vest and jeans McQ Alexander McQueen

Makeup Pep Gay (Streeters) Hair Nicolas Jurnjack for Cutler Salon and Redken Models Dan Felton, Frey Mudd (Red), Inga Eiriksdottir, AJ Abualrub (Ford NY), Regina Feoktistova (Women), Eniko Mihalik, Constance Jablonski (Marilyn), Tao Okamoto, Reina Montero, Kate Kosushkina (Supreme), Ben Bellucci, Vladimir Ivanov (Wilhelmina), Elle King (IMG), Martin Cohn (DNA), Guillaume Boulez, Brendon James Porter, Ladyfag, Scotty Simmons, Amy Morse Manicure Tatyana Molot for O.P.I. (Artists by NEXT) Photo assistant David Schulze Stylist assistants Olivia Kozlowski and Enrica Ferrazza Makeup assistant Yadim Carranza Hair assistants Eloise and Christa Casting Anita Bitton and Pamela Tapper (The Establishment NYC) Location Formula Studios, NYC Tailor Sam Walls (Lars Nord) Digital technician Milk Digital Production Deborah Sudak Printing Sebastien Servel (Dtouch NY)

singled-out as V-day approaches? don’t freak. there’s a bevy of hot-blooded (and bodied) men and women ready to defrost even the coldest of hearts and sheets. so, don’t be coy, be the courter. and, remember, being coupled on Cupid’s day is nice, but, let’s face it, sometimes love bites. Cuddle buddies don’t (unless, of course, you’re into that). nicole Lopresti

V-BUY

v63 spring preview 2010

photography Brady Donnelly and Alex O’neill TO see MOre v-MAiLers, Or TO BeCOMe One, visiT vMAgAzine.COM. Or e-MAiL A reCenT pHOTO (300 Dpi), YOUr nAMe, Age, OCCUpATiOn, AnD CiTY OF resiDenCe TO vMAgAzine@visiOnAirewOrLD.COM

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1927

The swimming of the English Channel.

ROLEX. FOR LIFE’S DEFINING MOMENTS.

OYSTER PERPETUAL DATEJUST