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THE CHANEL MOMENT

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#FOUNDONVFILES PHOTOGRAPHER TAYLER SMITH NOTTAYLERSMITH.VFILES.COM MODEL TAYLOR KHOI TAYLORKHOI.VFILES.COM

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NEW PERSPECTIVES EDITOR-IN-CHIEF / CREATIVE DIRECTOR Stephen Gan MANAGING EDITOR Nancy Gillen SENIOR EDITOR Alexandra Ilyashov ASSOCIATE EDITOR Devin Barrett CONTRIBUTING FEATURES EDITOR Lisa Mischianti PHOTO EDITORS Goran Macura Hannah Huffman CONTRIBUTING EDITORS, ENTERTAINMENT Greg Krelenstein Amrit Sidhu / Starworks ONLINE EDITOR Mathias Rosenzweig DIGITAL EDITOR Danielle Combs ASSISTANT DIGITAL EDITOR Jake Viswanath COPY EDITOR Karly Alderfer RESEARCH EDITOR Jennifer Geddes ASSISTANT TO THE EDITOR-IN-CHIEF Raf Tillis

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ON THE COVER: SAM SMITH WEARS COAT PRADA SHIRT ALEXANDER McQUEEN GRACE ELIZABETH WEARS CLOTHING SAINT LAURENT BY ANTHONY VACCARELLO EARRINGS BULGARI ; ILLUSTRATION ALESSIO DE VECCHI V is a registered trademark of V Magazine LLC. Copyright © 2018 V Magazine LLC. All rights reserved. Printed in U.S.A. V (BIPAD 96492) is published bimonthly by V Magazine LLC. Principal office: 11 Mercer Street, New York, NY 10013.

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LOOKING FORWARD The festive fracas of the holiday season has wound down and a new year lies ahead, filled with fresh opportunities and the promise of a clean start. We’re looking forward to the next dozen months with hope and confidence about the new, the next, and the delightfully unknown: Welcome to our Discovery Issue.

It’s time to hit reset and explore a varied lineup of rising forces across disciplines—fashion, art, film, and beyond. From Parisian DJ Clara Deshayes to transgender silver-screen standout Daniela Vega and fashion rabble-rouser Dilara Findikoglu, these are the names on our radar that are sure to shift the cultural conversation forward. In addition to meeting some artists and design talents you’ll be seeing more of in the upcoming months, we’re taking a trip down memory lane with “Fashion A to Z,” a brief education on the iconic designers, image makers, models, and more that inform today’s fashion landscape.

Newness can be found even in seemingly well-trodden territory. Take, for instance, Kendall Jenner, seen here in the exaggerated silhouettes of the season, lensed by Jeff Bark and styled by Karla Welch. The same goes for celebrated model and body positivity advocate Ashley Graham, who showcases a series of striking and unexpected color-saturated beauty looks conceived by Erin Parsons and shot by Ben Hassett. And industry legend Jean-Paul Goude shares his fascinating next act as artistic director at buoyant Spanish label Desigual.

Plus, we’re taking you across America in a multi-part series highlighting great style in a slew of different cities, starring models intimately familiar with these locales.

There’s a reinvention element of sorts to cover star Sam Smith, too. The celebrated crooner has undergone a tremendous journey of self-discovery as he’s charted his very successful course in the music industry. In conversation with friend (and longtime fan) Sarah Jessica Parker, Smith ruminates on his evolving sound, experiences with love and loss while navigating his sexual identity, and refreshingly honest yet hopeful mind-set right now. Equally as riveting? The varied cast of characters—including Grace Elizabeth, 2018’s biggest new supermodel—shot by Nicola Formichetti and styled by Anna Trevelyan alongside Smith. These models and muses don the season’s most directional looks and discuss their ambitious hopes for the future.

We’re ready for you, 2018—it’s going to be a glorious ride. MR. V 32 VMAGAZINE.COM

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THE FUTURE IS NOW 36 V IMPORTANT DATES A curated edit of January and February’s must-know happenings to pencil in ASAP 38 V NEWS Essential style intel to kick off 2018, from luxe Olympics collabs to archival re-editions and so much more 40 THE NEW SOUND Parisian DJ Clara Deshayes is soundtracking the look of now 42 THE NEW LEAD With A Fantastic Woman, Daniela Vega is poised to be the first transgender star to win an Oscar 44 THE NEW VISION A duo of artists we’re keeping a close eye on in the year to come 34 VMAGAZINE.COM

46 FASHION A TO Z A comprehensive primer on fundamental fashion players who paved the way for today’s top talents 54 THE NEW CUT The rising labels bringing bold perspectives to the fashion industry 56 FULLY FRAMED Two fresh faces in Alain Mikli’s latest specs 58 NEW GIRLS NEW LOOKS Double denim and painterly pieces get the Spring spotlight 62 VOICE OF FREEDOM BY NICOLA FORMICHETTI Sam Smith—flanked by a cast of characters, including Grace Elizabeth—gets frank with friend Sarah Jessica Parker Styled by Anna Trevelyan

122 OH MY GOUDE! BY JEAN-PAUL GOUDE Newly appointed as artistic director of Desigual, the legend shares what’s on his mind these days 126 KENDALL’S SPRING AWAKENING BY JEFF BARK One of our favorite faces, like we’ve never seen her before, in Spring’s most directional looks Styled by Karla Welch 134 TRUE COLORS BY BEN HASSETT Ashley Graham is bold and beautiful in the accessories and makeup looks of the moment Styled by Anna Trevelyan 138 UNITED STATE OF FASHION Volume one of a virtual road trip to cities across the country, as seen by the rising models, stylists, and photographers who frequent them 144 LAST WORD BY JAMES VICTORE A farewell message to jumpstart the new year

HANDCR AF T ED NAGA COLLEC T ION

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JANUARY 8

DAVID BOWIE’S LAST FIVE YEARS HITS HBO In David Bowie: The Last Five Years, debuting on HBO on what would’ve been Bowie’s 71st birthday, director Francis Whately explores the sorely missed icon’s final half decade.

Whately’s first film on the icon, Five Years, honed in on “how Bowie changed stylistically and musically throughout his career, but particularly in the chosen ‘five years,’ as a fragmented approach to what appears to be a fragmented career.”

In this follow-up doc, Whately aims to show “that while those changes were important, they were also in some ways superficial; what really underpinned Bowie’s career was a consistency of themes and approaches,” the director explains. As for Whately’s intended takeaway from The Last Five Years, “I hope people see Bowie as a dignified, soul-searching genius, with great hair.”

ALEXANDRA ILYASHOV DAVID BOWIE: THE LAST FIVE YEARS PREMIERS ON HBO JANUARY 8 DAVID BOWIE (V18) PHOTOGRAPHY MARIO TESTINO FASHION CAMILLA NICKERSON

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Top row, from left: Courtesy Viceland; Photography Ryan Kobane, Courtesy Sundance Institute; Photography Benoît Peverelli, Courtesy Chanel; Photography Itaysha Jordan, Courtesy Rizzoli; Courtesy Pixabay; Tarsila do Amaral, Anthropophagy (Antropofagia), 1929, Oil on canvas, 126 x 142 cm, © Tarsila do Amaral Licenciamentos, Courtesy the Museum of Modern Art Bottom row, from left: Photography Jeong Park, Courtesy Sundance Institute; Photography Hosea Johnson, Courtesy Rizzoli; Tarsila do Amaral, Abaporu, 1928, Oil on canvas, 85 x 73 cm, © Tarsila do Amaral Licenciamentos, Courtesy the Museum of Modern Art

JANUARY 10

JANUARY 23

SLUTEVER RETURNS TO VICELAND You’ve seen Karley Sciortino’s smart, uninhibited reporting on contemporary sex and dating on the likes of Vogue.com with her column “Breathless,” as well as on Viceland’s first season of her documentary-style video series Slutever (which takes its name from her long-standing blog). This January, season two of Slutever debuts with its same no-holds-barred approach to topics ranging from unpaid sex interns to the emerging industry of sex robots. And in February, Sciortino will also release a book dubbed Slutever: Dispatches from a Sexually Autonomous Woman in a Post-Shame World, in which she shares her journey as a sex-positive woman, offers thoughts on nonmonogamy, and reclaims the word “slut.”

LISA MISCHIANTI SEASON 2 OF SLUTEVER PREMIERES ON VICELAND JANUARY 10

FEBRUARY 9

ALL-ACCESS PASS AT CHANEL JANUARY 18

SUNDANCE FILM FESTIVAL KICKS OFF The annual movie mecca that is Sundance Film Festival in Park City, Utah will take place this year with 110 films. The lineup is diverse—representing selections from 29 countries and 47 first-time filmmakers— and reflects an array of contemporary themes.

There’s a reimagining of Hamlet through the lens of female empowerment with Ophelia, starring Daisy Ridley. Monsters and Men explores the aftermath of the police killing of a black man. A coming-of-age tale, entitled The Miseducation of Cameron Post, tackles gay conversion therapy and features Chloë Grace Moretz and Sasha Lane. New prizes include the audience-selected Festival Favorite Award and the NEXT Innovator Prize, awarded by a notable figure to a film in the NEXT category. LM

SUNDANCE RUNS JANUARY 18–28 IN PARK CITY, UTAH

For nearly a decade, photographer Benoît Peverelli has been one of the fortunate few to score a coveted spot in the midst of the action at Chanel’s fashion shows.

Lensing top industry figures buzzing around backstage, as well as rows of impeccably constructed garments before the pieces are donned by models, Peverelli captures the magic in the final moments before Karl Lagerfeld’s collections hit the runway. Chanel - Final Fittings and Backstage is filled with over 3,000 magnificent photos from Peverelli’s behind-the-scenes work for the iconic fashion house and is presented in four beautiful volumes, one for each of the house’s collections: haute couture, ready-towear, Cruise, and Métiers d’Art. ELIZA WEINREB

CHANEL - FINAL FITTINGS AND BACKSTAGE IS OUT JANUARY 23 FROM STEIDL

CARNIVAL FESTIVAL COMMENCES IN RIO FEBRUARY 6

LEARN HOW TO SLAY Former Essence editorin-chief Constance C. R. White’s latest book, How to Slay: Inspiration from the Queens and Kings of Black Style, chronicles African-American style throughout the 20th century, with a strong emphasis on the past 35 years. The tome features celebrated figures spanning various fields—including music, literature, politics, and fashion—such as Michelle Obama, Naomi Campbell, Miles Davis, and Pharrell Williams.

In addition to exploring topics like hair, hats, 1960s fashion, and influences from Caribbean and African style, the book—featuring an introduction by Valerie Steele, chief curator and director of the Museum at the Fashion Institute of Technology—delves into less tangible concepts such as the notion of a diva and the interplay between attitude and personal style. AI

HOW TO SLAY IS OUT FEBRUARY 6 FROM RIZZOLI

Bring your finest jeweled and feathered looks down to Rio de Janeiro this month, because the world’s largest Carnival festival runs from February 9 to 13.

Sprawling across the popular Copacabana and Ipanema beaches, the annual celebration features a long weekend full of traditional Samba music, grand midnight balls, and vibrant street parades. Must-see events include the glamorous Magic Ball at the legendary Copacabana Palace Hotel and the lively balls held every night at the Scala nightclub. If you hope to walk in one of Carnival’s pinnacle parades, be sure to organize your costume in advance and in accordance with the Samba school you plan to join, so you can immerse yourself directly in the flavor of the festivities. SADIE BELL

CARNIVAL RUNS FEBRUARY 9–13 IN RIO DE JANEIRO

FEBRUARY 26

“TARSILA DO AMARAL” AT MOMA The lush colors of her native Brazilian landscape coupled with local themes became the artistic hallmarks of São Paulo-born Tarsila do Amaral, a seminal figure in Latin American modernism. Though she’s beloved in her homeland (and affectionately known as simply “Tarsila”), this Museum of Modern Art exhibit is the first in the United States devoted exclusively to her work. The show will center on the artist’s most prolific period, starting in the 1920s with early works produced during her time in Paris studying under the likes of Fernand Léger, proceeding to the era of Brazilian paintings that epitomize her style (including her famous Abaporu), and ending with her socially focused works of the early 1930s. LM

“TARSILA DO AMARAL: INVENTING MODERN ART IN BRAZIL” RUNS FEBRUARY 11–JUNE 3 AT MOMA

V I MPO M PO RTAN RTA NTT DDATAT ES

Start 2018 off on a high note: Revisit David Bowie’s Last Five Years, take a new perspective on sex, learn How to Slay, and more.

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V NEWS New year, new you.

All of the openings, releases, and style intel you need to know now.

GUCCI BLOOMS IN FLORENCE

The Palazzo della Mercanzia in Florence’s famed Piazza della Signoria—a site of historical and cultural happenings since the 14th century, including the recent Gucci Museo—will play host to a new concept dubbed the Gucci Garden this January. A project dreamed up by Creative Director Alessandro Michele, the space will feature a store offering one-of-a-kind items, a restaurant overseen by the three-Michelin-star chef Massimo Bottura, and exhibition areas curated by legendary fashion critic Maria Luisa Frisa. Debuting during the biannual Pitti Uomo trade show, it promises to be a buzzy event brought to you by the man who made modern blooms into a Gucci hallmark. LISA MISCHIANTI

GUCCI DIONYSUS BAGS (AVAILABLE JANUARY 10 EXCLUSIVELY AT GUCCI GARDEN, FLORENCE) PHOTOGRAPHY JASON PIETRA

BULGARI’S FESTIVE ENTRANCE TO 2018

The eight-pointed star— a metaphor for all roads leading to Rome—abundantly adorns Bulgari’s new range of Serpenti Forever bags, wallets, and cardholders for a collection that exudes the Eternal City’s aura of joy and light. The wintery offerings, released for the holidays, are rendered in ruby red, classic black, snowy white, and metallic silver or gold, making them fit for starting 2018 on an exceptionally spirited note. The label’s signature snake head also makes a striking appearance as a closure, upping both the elegance and edginess of these celestially spirited pieces. LM BULGARI SERPENTI FOREVER BAG ($3,000, AVAILABLE AT BULGARI BOUTIQUES)

PHOTOGRAPHY JASON PIETRA

MONCLER EMBRACES THE WINTER CHILL

Swiss snowboarder Iouri Podladtchikov and French freestyle skier Kevin Rolland will hit the slopes in fashion’s favorite winterwear this Olympics season. As ambassadors for the Moncler “Grenoble High Performance” collection, the duo of professional athletes worked with the brand’s design and research teams to create garments that can withstand frigid climates, yet don’t sacrifice aesthetic. The athletes share a passion for high altitude sports, just like Moncler— the brand’s M.O. is extreme adventure. “I believe that feeling good in what you’re wearing in a crucial race is essential,” Rolland says. “It’s a further platform to give the best of you.” ELIZA WEINREB MONCLER “GRENOBLE HIGH PERFORMANCE” COLLECTION IS AVAILABLE AT MONCLER’S MADISON AVENUE BOUTIQUE

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SLIDE INTO THE NEW YEAR

This spread, clockwise from top right: Courtesy Ralph Lauren; Arizona coat, Autumn-Winter 1948 Haute Couture collection, Ailée line by Christian Dior, © Paolo Roversi, Courtesy Dior; Courtesy Helmut Lang; Courtesy Moncler

FROM LEFT: SANTONI BRIGITTE SUEDE SLIPPER WITH MULTICOLOR FRINGES ($680, SANTONISHOES.COM) FRATELLI ROSSETTI BLUE SANDALS ($570, FRATELLIROSSETTI.COM) AGL JEWEL SLIDE ($440, AGL.COM) STEVE MADDEN LYRICS SLIDE ($89.95, STEVEMADDEN.COM) PHOTOGRAPHY JASON PIETRA

JOHN HARDY GOES CUSTOM

Hand woven by artisans in Ubud, Bali using a complex technique, the Reversible Classic Chain Bracelet from fine jewelry brand John Hardy is a very special piece. Now, the label lets you make it even more personal with its first-ever customization program. A total of 19 rare gemstone choices are available to embellish both sides of the clasp, creating two bracelets in one (customers can also choose either an all-silver bracelet or half-silver, half-gold). If it’s healing, energizing, grounding, or enlightening forces you seek in the new year, you can select your stones accordingly. Citrine inspires creativity and imagination, Sodalite facilitates logic and truth—the list goes on. LM JOHN HARDY BRACELETS ($995-$4,395, JOHNHARDY.COM)

RALPH LAUREN CHAMPIONS OLYMPIC STYLE

To celebrate the 2018 Winter Games in PyeongChang, South Korea, Polo Ralph Lauren has created a patriotic collection that’s true to form for the all-American brand. The pieces cull inspiration from the American flag, including navy double-fleece pants with red accent stripes, a white T-shirt emblazoned with “Team USA,” and a quarter-zip sweatshirt with red, white, and blue striped cuffs and the Olympic logo stitched to the sleeve. It’s a collection fit for champions. EW POLO RALPH LAUREN “TEAM USA” COLLECTION IS AVAILABLE AT RALPHLAUREN.COM

PHOTOGRAPHY JASON PIETRA

DIOR THROUGH THE LENS

HELMUT LANG, REVISITED

In the ’90s and early aughts, Helmut Lang’s smart minimalism became an aesthetic that defined an era.

The label’s designs were so influential on the fashion world and the cultural milieu that they mark a notable flashpoint in fashion history and remain a major touchstone for many modern brands and consumers. As an homage to this storied past and its enduring relevance, the current iteration of the label, under the leadership of editor-in-residence Isabella Burley, has launched an initiative called Re-Edition in which a selection of iconic Helmut Lang pieces are reissued from the archive for the first time ever. The project’s first capsule debuted in September to much acclaim, and this February will bring Volume II, which will offer nine pieces from 1995-2004 centered on denim, performance mesh, and graphic jersey. Going forward, keep an eye out for new items from the archive that will be continually made available to the Lang fandom. LM HELMUT LANG RE-EDITION VOL II RAW INDIGO DENIM ($295, HELMUTLANG.COM)

The Parisian elegance epitomized by the House of Dior has always felt particularly at home in the hauntingly beautiful work of legendary Italian photographer Paolo Roversi. The label and lensman have a storied joint history, and this February, lovers of fashion photography will get the chance to own an ode to their collaborative efforts with Dior Images: Paolo Roversi. The hardcover book features photographs from iconic editorials that ran in British Vogue, Vogue Paris, and W, spotlighting designs by Dior’s artistic directors Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri. Perhaps most excitingly, it even includes exclusive pictures from a photoshoot overseen by Grace Coddington showcasing designs by Christian Dior himself. Expect all of the raw, ethereal magnificence that can fit between two covers. LM DIOR IMAGES: PAOLO ROVERSI IS OUT FEBRUARY 13 FROM RIZZOLI VMAGAZINE.COM 3 9

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THTHEE N EWE W SSOUO U ND

There’s a new wave of talent shaping Paris’s creative landscape, and Clara Deshayes (a.k.a. DJ Clara 3000) is at the center of this torrent. For decades, venerable couture houses have dictated the fashion capital’s identity. Now, an underground scene is ascending to challenge the traditional fashion paradigm, and Deshayes is scoring the next-gen soundtrack.

This shift in fashion mirrors a change in Parisian nightlife—the scene has traveled to “warehouses on the outskirts of the city and become more music- and youth-oriented,” Deshayes says. “I think it’s more honest. It’s kind of recycling ’80s rave culture, but it’s definitely more lively. Ten years ago, it was not like that.”

Deshayes met photographer Pierre-Ange Carlotti in Paris, a friendship that led to her soundtracking her first fashion show, for Simon Porte Jacquemus. “It was

very ’80s, electronic, futuristic, French,” she remembers. “Simon always has a vision of a woman, and there is always a story behind the show. Most of the time it surrounds a specific moment in a woman’s life.”

In addition to Jacquemus, Deshayes has DJed numerous runway debuts, including Sanders Lak at Sies Marjan and Demna Gvasalia’s first shows for Vetements and Balenciaga. “For Jacquemus and Vetements, nobody gave a fuck when we started.

There was definitely more pressure for Balenciaga,” Deshayes explains of her musical process. Demna’s inaugural show for Balenciaga featured a reworking of “The Garden” by Einstürzende Neubauten. “I recorded all of the violins again,” Deshayes recalls. “We started with just one track and as the show unfolded, more violins came in.”

DJ Clara 3000 lives up to her futuristic moniker, one track at a time.

PHOTOGRAPHY PIERRE-ANGE CARLOTTI TEXT DEVIN BARRETT SHIRT CALVIN KLEIN 205W39NYC

The dialogue between Deshayes and a designer is crucial for a successful show. “It’s almost like psychology,” she reflects. “I feel like a shrink sometimes. It’s kind of like charming a snake—every designer has a different way of working.” The starting point might be a garment’s lining or a show venue. To wit: Vetements, for whom Deshayes also models, has picked locations like a gay sex club, a Chinese restaurant, and the Gothic Revival American Cathedral in Paris.

Deshayes explains that her generation has found its voice, especially following the November 2015 attacks in Paris, which “created a feeling of urgency. People were not locking themselves in; they were going out more.” A future-looking mindset resulted: “We don’t have any time to waste,” she declares. “We have things to say and we’re going to say them.”

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THE NEW LEAD

PHOTOGRAPHY MAX PAPENDIECK FASHION REBECCA DENNETT TEXT MATHIAS ROSENZWIEG

she was mostly seen on stage. Despite being a rela- We want to say, “Why does she have to be labeled tive big-screen newcomer, she delivers like a long-time a trans actress and not just an actress?” In Vega’s pro. “I think [this is] one of the reasons why we’re so case, the reason seems clear: To do so would be to surprised when we see children acting, because you pretend that the battle has already been won and think to yourself, How are they capable of expressing that trans people don’t face issues that cis individuall of these feelings and putting them all into acting?” als will never have to.

Vega relates to her character in ways beyond just Vega is more than happy to discuss the relation gender identity. Importantly to her, they’re both sing- between the LGBT+ community and the arts. “I think, ers—Vega learned to use her voice primarily from her basically, what’s happening is we are coming out of a grandmother. “She was blind, and one of the things she very dark period in mankind,” she explains. “Art is the helped me with was creating an image from sound,” actual vehicle to get us out of there. In Chile, and many Vega recalls fondly. “She taught me that sound actually other countries in the world, trans individuals live on has texture and you can associate it with an image.” the edge of society for the most part. And some of us, Rather than using a voice-over, Vega does all of her like me, have been lucky enough to be in the spotlight, own singing in the film, toying with the line between to become the center of other people’s attention.” the actress and the character she plays—a boundary She does, however, distinguish between her role as that director Sebastián Lelio regularly blurs through- a trans artist and the influence this may have in the out the movie. political realm. “The thing about this is that I feel a lot Standing on the right side of history, it’s tempt- of love coming towards me from every individual—not ing to downplay Vega’s gender identity and focus on just the LGBT community, from everyone,” she says. her craft, which is visceral, raw, and bone-chilling in “But I don’t really feel quite like a role model, because a way that may be life-changing for certain viewers. truly, I am an artist, I am not an activist.”

COAT DOLCE & GABBANAA DRESS ARAKSS EARRINGS VINTAGEE ON HAIR R+COO OUTER SPACEE FLEXIBLE HAIRSPRAYY ON LASHES M.A.C INN EXTREME DIMENSIONN MASCARA IN 3D BLACKK ON EYES M.A.CC KOHL POWER EYEE PENCIL IN FELINEE

Makeup Julianna Grogan (Bryan Bantry) Hair Helen Reavey (Bryan Bantry) Production Paul Preiss (Preiss Creative) Photo assistant Bryan Banducci Stylist assistant Brittany Lovoi Location The Box

In a powerful role as protagonist Marina in A Fantastic Woman, Daniela Vega harvests the fertile artistic grounds that lie at the intersection of human identity, desire for love, and indefatigable resilience. Her character, a transgender singer and waitress living in Chile, suffers both an emotional and physical beating after her significantly older lover Orlando (Francisco Reyes) dies suddenly of an aneurism, leaving authorities and Orlando’s family suspicious and hateful of Marina. It’s arguably one of the most compelling depictions of the human condition seen on the silver screen in years, and Vega is now being pegged as the first transgender actress likely to win an Oscar.

This performance stems both from Vega’s talent and her ability to relate to her character. “I would say that experience is actually fundamental and essential when it comes to giving life to a specific character in a movie,” Vega says about her portrayal of Marina. “By experience, I mean my experience as a person in life, not in terms of how many movies I have been in.” For the record, this is Vega’s second film (the first being The Guest). She began acting in 2011, but until recently,

Chilean star Daniela Vega redefines Fantastic.

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With genre-bending bodies of work that span a range of mediums and materials, these artists are names to know in today’s evolving scene.

TEXT ALEXANDRA PECHMAN

SOPHIA AL-MARIA PORTRAIT BY EMMA HARDY

In her 2012 memoir The Girl Who Fell to Earth, which describes the experience of growing up between Qatar and the U.S., the artist Sophia Al-Maria introduced the term “Gulf Futurism.” The concept now underlies much of her work, including forays into the entertainment industry. A writer and director as well as artist, Al-Maria’s 2016 video Black Friday and its 2017 sister series “EVERYTHING MUST GO” respond to apocalyptic levels of consumerism in the Middle East. Last year, Black Friday was screened around the world, including a showing at the UCCA in Beijing and a solo presentation at the Whitney Museum in New York.

“I was living in the Gulf and I was feeling very much as though I was on this hellish hamster wheel that I couldn’t get out of, constantly returning to the same entrance of the same shopping mall,” Al-Maria, who currently lives in London, recalls of her inspiration.

The 34-year-old has become increasingly established in art-world circles, and now, Al-Maria is planning a crossover into television and film. This has informed her new body of work, namely video installations

starring the actress Bai Ling. In February, she will show the series at London’s Project Native Informant, and a version of the work will also travel to Art Basel Hong Kong in March, she says. In one video piece, Ling appears in the guise of the classical figures typical of Hollywood studios’ opening title credits. In another video, Ling recites her own tweets about female empowerment into the camera.

“It wasn’t specifically informed by the things going on, but it was an endemic situation I was responding to,” Al-Maria notes about the “especially poignant” timing of the new work amid the increased transparency regarding sexual harassment in Hollywood.

Al-Maria’s newest screen projects on the horizon include writing a television series set in 1950s Tangier about Anaïs Nin, as well as planning a feature film to direct—a “Gulf Gothic” set in the Middle East. However, art will always be a central part of her output.

“It’s so important to have something that you’re cheating on the main work with,” Al-Maria says. “The key for me is having some kind of creative instability.”

This page: Sophia Al-Maria, Installation view of Sophia Al-Maria: Black Friday, July 26-October 31, 2016, Whitney Museum of American Art, New York, Courtesy the artist and the Third Line, Photography Ronald Amstutz Opposite page: Kelly Akashi, Two Sides of One Story, 2017, Bronze and glass, 4 × 7 × 5 in, Courtesy the artist and Ghebaly Gallery, Photography Kelly Akashi

TH E NEW VISION

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KELLY AKASHI PORTRAIT BY ROBIN HARPER

As she leads me around her Inglewood, California studio, sculptor Kelly Akashi runs her finger along a blown-glass work. “I touch everything,” she says with a laugh.

One can understand why: Glancing around, there are experiments like an oyster shell filled with glass; tin-foil trays of gem-colored wax; or a life-size, speckled glass apple. Akashi’s sculptures use materials and textures such as bronze, wax, and glass to create self-contained—and incredibly tactile—microcosms.

On the day we meet, Akashi is preparing a solo booth at Art Basel Miami Beach with her L.A. gallery, Ghebaly, and has just wrapped up her first major museum solo show—at SculptureCenter in New York City—titled “Long Exposure,” which examined themes related to the body and temporality.

As the name of the show suggests, Akashi originally studied photography, but she realized the processes surrounding the medium interested her as much as the finished product. “Candle-making was the obvious next step—they illuminate themselves,” she explains of the transition, adding that she saw candles as “evidence of time and accumulation.” She notes James Welling, the pioneering photographer known for working with multiple photographic mediums, as a major influence on her work. “I still talk about things in the language of photography,” she admits.

Her work quickly moved on to using glass and bronze in order to create her own vessels for candles. The obsession with sculpting stuck. Learning how to manipulate new materials, she says, “is like building a vocabulary.”

This year, Akashi’s work will also appear in a group show at her alma mater Otis College of Art and Design in Los Angeles, and her rise speaks to the explosion of L.A.’s artist scene. A born-and-raised Angeleno, Akashi has lived in the city most of her life, even “when a lot of people didn’t move here and there weren’t as many spaces,” she says. She may have lived and studied in Germany for two years, but the change of scenery only made her more certain about her place in L.A. As far as her place in the art world at large, Akashi is charmingly humble. As she puts it, “I’m just a nerd about art.”

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FASHION A TO Z

To better appreciate fashion’s next-gen figures, study up on this curated dossier of trailblazing talents, from the living legends to the late-and-great leaders who laid the groundwork for today’s industry power players.

TYPOGRAPHY ALEX TROCHUT EDITED BY ALEXANDRA ILYASHOV, LISA MISCHIANTI, DEVIN BARRETT

The inimitable Tunisia-born couture designer was revered for his sculptural designs that deftly showcased the body. Alaïa’s offerings peerlessly telegraph sexuality, celebrating rather than objectifying the female form. Having studied sculpture as a teenager, much of his inspiration was culled from his fine arts

BEENE, GEOFFREY

The Louisiana-bred designer initially set out to be a doctor, but dropped out of medical school and headed to California. Out West, Beene made his foray into the fashion industry thanks to a merchandising and window display gig at a boutique. In the late 1940s, he studied fashion in both New York and Paris, and then worked for a slew of American fashion houses throughout the ’50s. In ’63, Beene launched his eponymous fashion house (one of the first American designers to do so). Beene explored design and draping innovations through his work, which highlighted the female

background. Considered by many to be the arbiter of the supermodel, he populated his catwalks with the biggest personalities long before talents like Gianni Versace were doing so. Alaïa also launched lifelong friend Naomi Campbell’s career when she was just 16. He was prescient in his unapologetic bucking of

ALAÏA, AZZEDINE

the traditional fashion system and its (ever-expanding) calendar of collections, eschewing seasonality in favor of timeless, meticulously crafted pieces. Although he passed away in Paris in November 2017, he’s left behind a truly legendary career and an immense void in the fashion industry. PHOTOGRAPHY JEAN-PAUL GOUDE (V6)

body in innovative ways. He was an early adopter of the now ubiquitous diffusion line business approach, debuting Beene Bag in ’74. Some of his best-known sartorial creations include novel takes on the jumpsuit and the bolero. He’s also credited with conceiving the structured paper-doll silhouette of the ’60s. Two decades later, Beene went in the opposite direction entirely, exploring weightlessness via sophisticated illusion seams and delicate materials like chiffon and lace.

In 2004, Beene passed away at his NYC home at the age of 77. PHOTOGRAPHY TERRY RICHARDSON (V4)

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With his strong-shouldered, boldly constructed pieces rendered in vibrant colors, this French fashion designer exploded onto the scene in the late ’70s. His eponymous label, the House of Montana, epitomized the tastes of the time, quickly becoming an industry darling with its highly anticipated runway shows.

By the early ’80s, Montana had expanded into menswear with Montana Hommes, and he remained wildly in-demand for the rest of the decade. In the early ’90s, he

designed couture for Lanvin—earning two Golden Thimble awards—and married model and muse Wallis Franken. But as the ’90s progressed, popular aesthetics changed, seeing the House of Montana lose traction and eventually go into receivership in 1997 (just one year after his wife’s tragic death). In the years that followed, Montana exited the fashion scene. Yet, over the course of the decades since his departure from the industry, his vision has continued to influence design heavyweights like Alexander McQueen, Riccardo Tisci, and Olivier Theyskens.

CLAUDE MONTANA

This page, clockwise from top left: Victor Virgile/Gamma-Rapho via Getty Images; Time Life Pictures/Pix Inc./The LIFE Picture Collection/Getty Images; Archival Fiorucci published originally in V5; Maron Films/Sugarloaf Films Inc/Ronald Grant Archive/Alamy Stock Photo

DONYALE LUNA In 1963—when she was only 14—the Detroit native was discovered by photographer David McCabe, who lensed the likes of Twiggy and Andy Warhol. The following year, Luna started working with Richard Avedon, later signing a contract with the famed photographer. In 1966, Luna became the first black model on the cover of British Vogue, in an image captured by renowned rock photographer David Bailey, who shot legends such as the Beatles. One of the very first black supermodels, Luna’s career was cut tragically short: In 1979, she died from an overdose at the age of 33. Yet, Luna remains an important pioneering figure.

EDIE SEDGWICK

A prototype and pioneer of the contemporary It Girl concept, Sedgwick was a model, actress, and socialite in 1960s New York City. A Warhol muse and member of his Factory set, she appeared in a variety of his films, including Poor Little Rich Girl (a reference to the fact that Sedgwick came from a wealthy, well-to-do family). Following this period, she also became entrenched in the inner circle of musician Bob Dylan.

Famed for her charming allure and her signature black tights, leotards, minidresses, and chandelier earrings—plus those wide eyes and that cropped silvery-white haircut—she was proclaimed a “Youthquaker”

by Vogue. The product of a tumultuous past, she died of an overdose in 1971 at the young age of 28. Nevertheless, she remains an enduring icon.

FIORUCCI Dubbed the “daytime Studio 54,” this legendary concept store/cult label is a pillar of pop culture history.

Founded in the late 1960s by Italian designer Elio Fiorucci, by the mid-’70s it had locations in London, Milan, and Manhattan—the last of these being an iconic outpost on 59th and Lexington. The store offered playful, irreverent fashions fit for a night out, the earliest iterations of designer stretch denim, and cheeky,

collectible merchandise adorned with its cherubic logo.

But Fiorucci also transcended retail: It was a haunt for artists, designers, creatives, and notables of every stripe. Madonna famously launched her career there; Andy Warhol was a regular; Cher, Elizabeth Taylor, and Jackie O could be spotted shopping its racks. In 1984, Fiorucci’s doors closed, but it saw a relaunch in 2017 under the ownership of Janie and Stephen Schaffer.

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A TO Z

GIANNI VERSACE HIRO This influential fashion photographer has lent his surrealist aesthetic to fashion editorials, album art, striking still lifes, and more for the past half-century. Born in Shanghai, China to Japanese parents, Hiro spent his childhood in China, his teen years in Japan, and then moved to the U.S. to take photography classes. After training under Richard Avedon, Hiro had a decades-long stint as the sole contracted photographer at Harper’s Bazaar beginning in 1957. His work, also appearing in French Vogue and Mirabella, was praised for its distinctive palette, masterful light play, and unorthodox composition, and was celebrated with three concurrent retrospectives in 2016. PHOTOGRAPHY HIRO (V14)

JERRY HALL One of the first supermodels of the 1970s, Hall was the prototypical blonde bombshell. The Texas-born beauty got her start at age 17 in Paris and her first big break courtesy of being lensed by Helmut Newton. After a relationship with British musician Bryan Ferry, Hall and the Rolling Stones’ Mick Jagger started dating—they stayed together for two decades and had four children. Hall was synonymous with an unabashedly glamorous late-’70s and ’80s aesthetic: She and Jagger were fixtures at Studio 54 during its brief but illustrious run. Over the years, she has made a foray into the realm of acting and her career has included parts in the Tim Burton-directed Batman, an on-stage production of The Graduate, and Absolutely Fabulous: The Movie.

PHOTOGRAPHY KARL LAGERFELD (V100)

IMAN Born in Somalia, Iman was discovered by photographer Peter Beard while she was studying at Kenya’s University of Nairobi. In the 1970s and ’80s, she quickly went on to grace a multitude of runways and editorials in major glossies—her first major shoot was an Arthur Elgort-lensed Vogue spread in 1976—and helped pave the way for models of color. As Iman’s career took off, she contended with (and was quite vocal about) being pitted against one of the only other prominent black models of the time, Beverly Johnson.

In 1994, post-retirement, she launched her own eponymous makeup line. Iman was married to David Bowie for 24 years, until his untimely passing in 2016. PHOTOGRAPHY INEZ & VINOODH (V5) 48 VMAGAZINE.COM

This page, clockwise from top left: Gianni and Donatella Versace, Photographed in V5; Maria Beadeux (V14), Photography Hiro; Jerry Hall (V100), Photography Karl Lagerfeld Fashion Amanda Harlech

During his 25-year career, Gianni Versace created a legacy of sensual, boundarypushing designs. Hailing from the Southern Italian coastal town of Reggio Calabria, the designer often infused Grecian, Italian Baroque, and Estruscan themes into his unapologetically outré collections. Launching his career in 1972, Versace injected edge and eclecticism into the then fusty fashion sphere via scintillating silhouettes and bold patterns. In July 1997, the designer was murdered outside his Miami Beach home at age 50. Following his death, Gianni’s sister, Donatella Versace, took over the reins of her late brother’s brand. This year, the 20th anniversary of Versace’s death was commemorated on the house’s Spring ’18 runway with a dazzling finale of ’90s supermodels Naomi Campbell, Claudia Schiffer, Cindy Crawford, Carla Bruni, and Helena Christensen donning Gianni’s signature lamé gowns.

KATHARINE HAMNETT

This page, clockwise from top left: Courtesy Katharine Hamnett; Norma Kamali (V43), Photography Inez & Vinoodh Fashion Joe McKenna; Courtesy Bottega Veneta

LAUREN HUTTON

After moving to New York City, the Charleston native spent three months as a Playboy Club waitress before kicking off her modeling career. Her signature gap-toothed smile and bold personality won over the likes of Richard Avedon and Irving Penn.

Starting in the late 1960s, she also tackled myriad acting roles.

In addition to films, Hutton’s on-screen pursuits included a twoyear, 150-episode eponymous talk show in the mid-’90s. In 1973, Hutton scored a monumental Revlon contract, raking in the biggest cosmetics deal ever at the time. (That lucrative contract helped increase modeling rates and paved the way for today’s highly paid contracts with major cosmetics brands.)

Revlon parted ways with Hutton in 1983, due to her age (she was 40 years old). Five years later, Hutton launched a modeling comeback, proving that there could and should be opportunities for models that would’ve previously been considered past their prime.

During the ’80s, Hamnett emerged as a fashion designer and passionate activist for a variety of causes: gay rights, anti-nuclear proliferation, environmental issues, and anti-war efforts. Hamnett’s signature protest tees were emblazoned with phrases like “Choose Life,” “Stop Acid Rain,” and “U.S. Go Home,” the last of these being created for feminist anti-nuke protesters. She also designed ready-to-wear collections with politically charged themes, like “Post Materialism” and “Cancel the Third World Debt.” Additionally, Hamnett’s provocative ad campaigns helped establish today’s advertising code. In September 2017, the ardent activist released a sustainable seasonless collection, much of which is based on original patterns from her archive.

Some of Hamnett’s newest T-shirt designs include “Cancel Brexit” and “Stop Killing Whales.” She has also recently launched a “Choose Love” tee—a riff on her “Choose Life” design—in tandem with British nonprofit Help Refugees. PHOTOGRAPHY PETER LINDBERGH

MELLEN, POLLY

This legendary stylist and fashion editor got her start as a Lord & Taylor salesgirl.

During stints at Harper’s Bazaar and Vogue, the Connecticut native helped shape iconic imagery under the tutelage of Diana Vreeland and Grace Mirabella. Over the course of her lengthy editorial career, kicking off in the 1950s with a fashion editor role at Mademoiselle, Mellen developed long-running relationships with celebrated photographers like Richard Avedon, Helmut Newton, and Irving Penn. After parting ways with Vogue in the early ’90s, Mellen spent eight years as creative director at Allure before retiring in 2001. PHOTOGRAPHY INEZ & VINOODH (V22)

NORMA KAMALI

Known for her quintessentially contemporary pieces—like the sleeping bag coat and heeled sneakers—the native New Yorker originally aspired to be a painter and attended FIT. (She also briefly worked at an airline in order to snag the employee discount on flights.) She opened her own boutique in 1968, which stocked a range of British brands. Later, she started designing her own eponymous line. Kamali also helped popularize big shoulder pads circa the ’80s and was way ahead of the curve on the athleisure trend—she and Donna Karan were early pioneers of stylish yet comfortable dressing. In 2016, Kamali was honored with the CFDA’s Geoffrey Beene Lifetime Achievement Award. PHOTOGRAPHY INEZ & VINOODH (V43) VMAGAZINE.COM 4 9

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OLIVIERO TOSCANI

PIERRE BERGÉ

The prominent business partner and former lover of Yves Saint Laurent, Bergé hailed from coastal France and moved to Paris as a teen with ambitions to be a journalist. He met Saint Laurent in 1958 and the couple founded the fashion house in 1961, unveiling its first fashion collection in 1962. Bergé and Saint Laurent split up romantically in the ’80s, but remained lifelong business partners up until Saint Laurent’s passing in 2008. Bergé took an innovative approach to building a successful fashion business, recognizing the lucrative appeal of readyto-wear and making savvy sales and investor decisions. After Bergé’s influential and contentious run in the fashion industry (he was widely considered quite a polarizing personality), he was appointed by President François Mitterrand in 1988 to helm Paris’s opera houses. In September 2017, Bergé passed away at the age of 86.

This page, from top: Courtesy Benetton; Pierre Bergé, Photographed in V17

Beginning in the 1980s, the groundbreaking photographer has been responsible for decades of incredibly iconic and controversial advertising campaigns for brands like Benetton and Esprit. For the former brand, he lensed indelible images that reflected, and often challenged, timely cultural issues from 1982 to 2000. Seen here is one of his best-known pieces, of a priest kissing a nun. Other subjects addressed in his striking shots include AIDS patients, political prisoners, and death row inmates—a far cry from traditional fashion advertising castings. In 2015, Toscani released a book of his work, More Than Fifty Years of Magnificent Failures, chronicling his game-changing advertising imagery as well as editorial shoots for titles like Vogue, Elle, and i-D. He rekindled his relationship with Benetton in 2017. PHOTOGRAPHY OLIVIERO TOSCANI

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A TO Z

QUANT, MARY

This page, clockwise from top left: Keystone Pictures USA/Alamy Stock Photo; Pat Cleveland (V17), Photography Charles Tracy

In 1960s London, Quant made a name for herself by being one of few high-end designers to directly address the youth-fashion tastes of the time. As the owner of her own shop during this era of liberation and rebellion, she noticed that her clients were looking for ever higher hemlines, so she began to craft garments that fit the bill. As a result, she is credited with the creation of the modern-day miniskirt (and later became a champion of hot pants). The miniskirt undermined conservative norms and helped change the trajectory of women’s fashion, and it remains an enduring wardrobe staple today. In 2015, Quant was made a Dame for her significant role in this fashion movement.

RICHARD AVEDON

STEPHEN BURROWS

The New Jersey-born designer studied at FIT, later launch- diversity in the fashion industry and is widely considered ing—with friend Roz Rubenstein—his own brand for depart- to be the first African-American designer to achieve interment store Bonwit Teller in 1969. After Burrows’s ready-to- national fame and recognition. His pieces were beloved wear designs debuted, he was introduced to Henri Bendel’s by the Studio 54-frequenting disco set and his celebpresident, Geraldine Stutz, and went on to work with the rity clientele has included the likes of Diana Ross, Cher, luxury retailer for decades. In 1970, a shop-in-shop dubbed Farrah Fawcett, Barbra Streisand, and Liza Minnelli.

“Stephen Burrows World,” filled with the designer’s color-sat- Among his newer fans, he can also count Taylor Swift, urated pieces, opened at the Fifth Avenue department store. Oprah, and Naomi Watts. In 2006, Burrows received the In the ’70s, Burrows’s work was featured in the “Battle of “Board of Directors Special Tribute” from the CFDA. More Versailles” catwalk sartorial showdown between French and recently, Burrows made his vibrant, slim-cut designs more American designers (like Oscar de la Renta and Halston). accessible thanks to a 2010 collaboration with big-box Burrows helped pave the way (albeit gradually) for more behemoth Target. PHOTOGRAPHY CHARLES TRACY (V17)

In the ’60s and early ’70s, the iconic American fashion and portrait photographer was on staff with Harper’s Bazaar.

This was followed by a lengthy jag as Vogue’s lead photographer, where he shot the majority of the fashion glossy’s covers in the early ’70s through the late ’80s. Avedon also lensed an array of impactful fashion ads over his career, including his decade-defining ’80s imagery for Calvin Klein Jeans starring Brooke Shields. In addition to this, he also maintained an exceptionally close 18-year relationship with the house of Versace. Beyond his expansive oeuvre of fashion photography, Avedon shot enormously significant portraits of a range of culturally pivotal figures across a variety of disciplines, from Allen Ginsberg to Marilyn Monroe and Dorothy Parker. These are best encapsulated in his 1964 coffee table tome, Nothing Personal. PHOTOGRAPHY HIRO (V14) VMAGAZINE.COM 5 1

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A TO Z

The face of the Swinging ’60s, Penelope Tree’s modeling career took off after an electrifying appearance at Truman Capote’s Black and White Ball, where she caught the attention of photographer Richard Avedon.

With her round eyes, defined cheekbones, and almost otherworldly aura, it didn’t take long for Tree to become a muse to Avedon and other photographers, like Cecil Beaton and David Bailey—the latter of whom became her live-in boyfriend in London. Tree’s unique fashion sense made a mark on the era, with Bailey lauding her as among the originators of the “Flower Power” phenomenon. Her impact was even felt by the Beatles: When asked to describe Tree in three words, John Lennon is famously said to have replied, “Hot, hot, hot, smart, smart, smart!”

VERUSCHKA

ULTRA VIOLET

All purple everything, from hair to makeup to clothes, became the signature monochrome look of Isabelle Collin Dufresne, a.k.a. Ultra Violet. A French artist and actress, Dufresne moved to New York as a teen and developed a close relationship with famed surrealist Salvador Dalí, who later introduced her to Andy Warhol. Throughout the 1960s, Dufresne was adopted as one of Warhol’s “superstars” at his legendary Factory. She appeared in a number of Warhol’s films, beginning with The Life of Juanita Castro, and ran with his notorious crowd. Before her death in 2014, she distanced herself from the Warholian lifestyle of her youth, but she will always be remembered as a legendary iconoclast.

Thanks to her willowy, 6-foot-tall frame and sultry aesthetic, the German model ushered in a new paradigm of beauty in the 1960s. She scored her first Vogue cover in 1963 (she went on to grace 11 covers of the magazine over the course of her career) and shot with talents like Helmut Newton, Irving Penn, and Richard Avedon. Born a countess in East Prussia (now Russia), she moved to New York when she was 22 to pursue a modeling career, changing her name from Vera to Veruschka. Over the years, she had a string of onscreen roles in both American and German shows and films. She still makes catwalk cameos, and starred in Acne Studios’ Resort 2018 lookbook.

VIVIENNE WESTWOOD

One of the most significant British fashion designers of the 20th century, Dame Westwood is all but synonymous with the birth of the punk fashion movement. Beginning with her early days in the ’70s dressing the Sex Pistols alongside her one-time partner Malcolm McLaren, she brought subversive, provocative elements to the forefront of fashion. In 1981, she staged her debut runway show “Pirate,” and has continued to push boundaries and innovate.

(She is credited with reviving the corset, debuting underwear as outerwear, and even inventing the “mini-crini” skirt).

Bold political messages have always been and continue to be a defining element of Westwood’s work and these days, she has her sights set on causes like climate change.

PHOTOGRAPHY WARREN DU PREEZ & NICK THORNTON-JONES (V10)

This page, clockwise from top left: Pictorial Press Ltd/Alamy Stock Photo; Jack Mitchell/Getty Images; Vivienne Westwood (V10), Photography Warren Du Preez & Nick Thornton-Jones Fashion Victoria Bartlett; Everett Collection Inc/Alamy Stock Photo

TREE, PENELOPE

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XANADU

This page, from top: Everett Collection, Inc./Alamy Stock Photo; Courtesy SHOWstudio; Zandra Rhodes (V14), Photography Robyn Beeche, London Look, 1982

The 1980 musical film starring (and featuring music by) Olivia Newton-John flopped cinematically. But in the vein of Saturday Night Fever, the campy spectacle of a flick featured excellently over-the-top costumes and memorable music that are emblematic of a particular decade. In Xanadu’s case, the getups capture a certain strain of bohemian, dreamy, fairy-esque dressing (akin to Stevie Nicks’s style at the time) that was popularized between the glammed-out disco days of the ’70s and the excess and power suiting of the ’80s.

YOHJI YAMAMOTO

The avant-garde Japanese fashion designer is renowned for his tailoring, oversize shapes, predilection for the color black, and masterful draping. Raised in Tokyo, Yamamoto went to law school, but subsequently decided it wasn’t the right field for him.

Instead, he opted to help out in his mother’s dress shop. After she encouraged him to get formal training, he attended Bunka Fashion College (an alma mater shared by equally important talents like Junya Watanabe and Kenzo Takada). After spending a year in Paris, Yamamoto returned to his hometown to launch his own ready-to-wear label and accrued a spate of buyers throughout Japan. Over the past three decades, the designer has expanded his brand to include a handful of diffusion lines at varying price points, including his duo of primary lines, Yohji Yamamoto and Y’s.

He also frequently collaborates with other brands, including his Y-3 range for Adidas and a pair-up with Hermès. PHOTOGRAPHY NICK KNIGHT

ZANDRA RHODES

Wonderfully loud textile designs (and a signature shock of neon hair) became Zandra Rhodes’s calling card. When her early textile work was deemed too wild by traditional British manufacturers, she decided to go ahead and craft her own dresses from her fabrics, making the prints integral to the garments’ design.

After a joint venture with Sylvia Ayton, Rhodes set up her own West London

shop in 1969. The same year, she took her collection to New York where Diana Vreeland soon championed her garments in Vogue. With this success, she started selling to Henri Bendel, followed

by Neiman Marcus and Saks. Since then, her unconventional and storied work has been worn by everyone from Freddie Mercury to Princess Diana.

PHOTOGRAPHY ROBYN BEECHE (V14)

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T H E NEW CRR A CRAFT

Spotlighting designers boldly disrupting the status quo.

DILARA FINDIKOGLU

PHOTOGRAPHY BEGUM YETIS TEXT MATTHEW DOMESCEK A London-based designer from Istanbul, Dilara Findikoglu’s eponymous brand marries punk bondage silhouettes and classic menswear tailoring, referencing sweeping historical moments to reflect on the characters of society and “to say something about now.” As Findikoglu explains, “Every season I try to find a concept or problem that bothers me, so there’s a lot behind the collection besides the clothes. I try to talk about equality and fight against things I find unfair.”

Her most recent collection contemplates the “hierarchy of society,” with looks representing “the believers, the rebels, the thinkers, the royals, religious leaders, politicians, and the God.” Rapper Brooke Candy walked the runway as the “Prime Minister” in a red and black houndstooth Chanel-esque suit trimmed in safety pins.

As a teenager, Findikoglu read that her idol John Galliano studied at Central Saint Martins. At 19, she moved to London to do the same. “I was like, If he’s from there, I want to go there too, so I can be as good as him.” She went on to intern under Mr. Galliano at Maison Margiela, but her debut collection was rejected by the CSM Master’s program, provoking Findikoglu to stage her own guerilla fashion show outside the CSM show. Since that moment, the brand has been no stranger to controversy, be it a subversion of the fashion calendar or a runway show presented in a Anglican church later denounced as satanic by the conservative press. Despite this, Findikoglu claims, “What I do feels natural to me. When you try to do something a bit weird that doesn’t fit into society’s rules, they think it’s controversial.

If you ask me, in my own world, everything I do is very normal.”

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SYMONDS PEARMAIN PHOTOGRAPHY TYRONE LEBON TEXT DEVIN BARRETT

Symonds Pearmain, a complex London-based collaboration the crowd as she danced, posed, and smoked—each look between designer Anthony Symonds and stylist Max Pearmain, embodied a different character. “We didn’t know what she was blurs many lines. Is it clothing? Is it art? Moreover, does it going to do,” Pearmain recalls. “It wasn’t product-led, it was matter? The duo’s work is intriguing, fun, and “about curios- moment-led.” Pearmain and Symonds work in the framework ity, pleasure, enjoyment,” Symonds explains. of art: Collections are sold by appointment through galleries, “The fashion context is very, very rigid,” Symonds says. eschewing the seasonal fashion cycle.

“We were interested to see if we could reinvigorate the creSymonds Pearmain’s multidimensional, energetic work is ative process, to make the product interesting and compelling, an exciting anomaly in the cluttered fashion sphere. “It’s about but also add in layers of meaning, and—in a way—sincerity.” having a kind of rarefaction, but it’s also about establishing a Luxurious track pants, sweatshirts, and the like make up the relationship with people, a degree of intimacy,” Symonds says. range of unisex casualwear, each piece with a twist: crotch- The twosome strive to spark conversations through their work, less track pants and asymmetrical tops that reveal an exposed creating a meaningful connection with the consumer. breast, for example.

Per Pearmain, the label is built on passion and optimism: The duo’s first presentation, “Retail Baroque,” teetered on “We’re both joyously associated with clothes. It’s a positive expethe theatrical. Lily McMenamy sauntered around the Horse rience about positive fashion.” Symonds agrees and adds, “For Hospital, an underground club in London, interacting with me, freedom comes from a playfulness that’s mischievous.”

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12/19/17 12:49 PM

JESSE GWIN

HOMETOWN: Yonkers, New York BIG BREAK: A Patrick Demarchelierlensed Baby Gap campaign at 10 months old MODEL GENES: Jesse’s father, Thom Gwin, was a face of Ralph Lauren and Tommy Hilfiger in the ’90s

SUNGLASSES ALAIN MIKLI AYER IN BLACK AND GREY MIRROR BLACK

FU L LY FRFRAMEM D

The season’s most exciting fresh faces test drive Alain Mikli’s daring new shades.

Photography Boo George Fashion Deborah Watson 56 VMAGAZINE.COM

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Makeup Yuki Hayashi (Streeters) Hair Thom Priano Models Jesse Gwin (Soul Artist Management) and Elibeidy Dani (IMG) Prop stylist Gillie Mills (The Magnet Agency) Movement director Emma Chadwick (Streeters) Digital technician Bror Lvefeldt Agency producer Casey Murphy (Streeters) Casting Sydney Bowen (Streeters) Photo assistants Matthew Joy, Mark Lincoln, Ryan Garcia Stylist assistants Caroline Shin and Kavanaugh Oktavec Makeup assistant Tashi Honnery Location Pier 59

ELIBEIDY DANI

HOMETOWN: Vallejuelo, Dominican Republic BIG BREAK: Walking in (and closing) a Burberry show ALTERNATE DREAM CAREER: Dentist SUNGLASSES ALAIN MIKLI LE MATIN IN WHITE POINTILLÉE AND SILVER MIRROR

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Leah in double denim.

PHOTOGRAPHY KEVIN JUDE FASHION REBECCA DENNETT

JACKET MATTHEW ADAMS DOLAN JEANS J BRAND BOOTS R13 EARRINGS JOHN HARDY

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JACKET AND SKIRT COACH 1941 TOP JEAN ATELIER EARRINGS JOHN HARDY

HAT ADAM SELMAN TOP JEAN ATELIER SKIRT GUESS SKIRT (UNDERNEATH) ARMANI EXCHANGE

DRESS AND SKIRT MANILA GRACE JEANS (UNDERNEATH) J BRAND BOOTS R13 EARRINGS JOHN HARDY

This Page: Makeup Grace Ahn (Julian Watson) Hair William Schaedler Model Leah Rodl (Silent Models NY) Digital Technician Michelle Sweatt Photo assistants Fletcher Anstis and Edmond Yu Makeup assistant Sena Murahashi Location Vivid Kid Catering Court Street Grocers; Opposite page: Makeup Ingeborg using Nars Cosmetics Hair Stefano Greco (Bryan Bantry) using Mr. Smith Model Ebonee Davis (The Lions) Photo assistant Jeremy Young Stylist assistants Erica Messentier and Mayara Biral

NEW G I RLS NEW L OOKS

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CLOTHING, SHOES, EARRINGS BALENCIAGA

DRESS MOSCHINO EARRINGS BULGARI

DRESS CÉLINE BOOTS STEVE MADDEN

COAT AND SHOES CALVIN KLEIN 205W39NYC

Ebonee in painterly pieces.

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12/18/17 8:56 AM

V ARE THE WORLD

A new year means a fresh start, and we’re kicking off 2018 with tremendous optimism about the future. Today’s creative scene is defined by a veritable explosion of individuality. Here, we set a celebratory tone with an issue dedicated to a rising generation of diverse talents who are shaping today’s cultural landscape.

This year, anything goes—join us in this brave new world.

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12/15/17 11:00 AM

VO I CE O F FREEDOM Sam Smith leads the charge for a bold new year alongside an eclectic posse of talents.

Interview Sarah Jessica Parker Words Karl Lagerfeld, Giorgio Armani, Raf Simons, Jeremy Scott, Dan and Dean Caten, Thom Browne, Molly Goddard, Grace Elizabeth, Nico Tortorella, Betsy, Catherine Baba, Hoyeon Jung, Assa Myriam, Nassim Guizani Photography Nicola Formichetti Fashion Anna Trevelyan

62 VMAGAZINE.COM

SAM WEARS CLOTHING GIVENCHY EARRING AND RING (THROUGHOUT) HIS OWN

FROM LEFT: JAAD WEARS JACKET EMPORIO ARMANI SAM WEARS COAT JUUN.J T-SHIRT HIS OWN GRACE WEARS DRESS DIOR EARRINGS BULGARI JULES WEARS JACKET EMPORIO ARMANI

SAM WEARS NECKLACE CHANEL FINE JEWELRY ON FACE GUCCI GUILTY ABSOLUTE BEARD OIL

FROM LEFT: GRACE WEARS DRESS AND BOOTS DIOR EARRINGS BULGARI JULES WEARS PANTS AND BELT DSQUARED2 ON BODY HERMÈS EAU DE NÉROLI DORÉ FACE AND BODY MOISTURIZING BALM

JAAD WEARS CLOTHING BALENCIAGA

GRACE WEARS DRESS AND JEWELRY CHANEL

SAM SMITH BY SARAH JESSICA PARKER Sam Smith is exactly the voice of freedom we need right now: disarmingly honest about his sexuality, sense of self, and fame. Here, the immensely talented artist leads the charge for an eclectic, vibrant cast of new faces and creative forces shaping today’s dynamic cultural landscape. In an intimate conversation with friend Sarah Jessica Parker, Smith candidly reflects on his emotionally charged career trajectory and personal life, and shares his renewed sense of hope about what lies ahead. ALEXANDRA ILYASHOV SAM SMITH Hello, this is Sam! SARAH JESSICA PARKER Hi Sam! Who said big recording artists aren’t punctual!

SS [laughs] I’m very punctual. How are you?

SJP I’m well. How are you?

SS I’m good. I’m sitting here having a glass of wine.

It’s really nice. The last three or four weeks have been absolute madness.

SJP First of all, congratulations! I’m so excited to be talking with you. When the first single came out, I was completely gobsmacked, and the album is just magnificent. I expected nothing less, but I feel like you’re the real troubadour of our time.

SS Aww, thank you so much. I’m so happy you like the new music. I’ve been so nervous about keeping fans from the first record onto the second.

SJP A sophomore album must be very scary—all your own expectations and what you want your audience and fans to experience. You sort of disappeared for a period to take time for yourself, write, and record.

How do you maintain that relationship [with fans] and also move forward as an artist and as a young man growing up, whose ideas about himself are changing?

SS The key to getting back into a creative space in the last year and a half was home. I needed to be around my family and friends again. After the success of the first record, and especially after the Oscars and everything, I felt like my job and life weren’t relatable to my family and friends, and that really scared me. It was important for me to prove to myself that I could get back to normal, and then, I could write music from a real place again. I went home, living with my best friend and my sister, and we did the things that you do at age 25. It was very, very boring [laughs]—a lot of nights just sitting around, watching TV, and talking. But I got a crash course in being my age again. I grew up a bit too quickly, getting a record deal and with what happened with In the Lonely Hour. I got a lot of money

and I didn’t know how to deal with that. All of my other friends who are 25, they don’t have money, they’re still struggling to pay their rent in London.

SJP The relationship with money is so curious, strange, and complicated.

SS As a kid, I was very lucky: For five or six years of my life, my mom came into a lot of money. The opposite also happened, where she lost a lot of money and we didn’t have anything. So, I experienced two different sides. When my family hears about the money I make, they’re not celebrating like, “Oh my God. This is incredible.” If anything, they’re helping me try to figure out how to deal, because I find it scary. I get to travel, eat in beautiful restaurants, and take my family on amazing holidays. I feel so lucky and blessed, but I also am very aware that money is scary and it can change people.

I’m not a massive spender. My friends and I love chilling at Nando’s [laughs], this really good chicken shop where we just watch TV and eat chicken. It’s about getting back to the simple things. Pretending that I was just a normal 25-year-old guy, I kind of convinced myself that I am.

SJP Well, I think you are. Everyone has a version of normal. Your intense desire for connection, for finding who you are in the world—developmentally speaking, those are spot-on mid-20s questions. You are such a great interpreter of love, loss, and solitude, and there’s this interior monologue on your first album. But your second album feels sort of like an exorcism [laughs].

You talk about love in a very different way, like you’re more in control of it. You’re not cynical at all, but you sound less naïve. Did that coincide with things happening politically in your country, in our country, and to you maturity-wise?

SS Oh, completely. In the past few years, I became a gay man properly. When I wrote that first album, I was in love with a straight man, he didn’t love me back, and I was very comfortable in my longing.

With this record, I became a gay man. I started having proper relationships with men. Sometimes they were in the wrong and treated me in a bad way, and sometimes I was in the wrong. Being gay also falls into politics and what’s happening in the world right now. In the time I [took a break], Trump became president. I also went to Iraq, to refugee camps 40 minutes from Mosul, with a charity called War Child [an NGO that works to assist children in conflict zones].

It was the most unbelievable experience of my life.

SAM WEARS TIARA NICOPANDA NECKLACE CHANEL FINE JEWELRY

“Art in general can really save us all right now.”

–Sam Smith

GRACE WEARS NECKLACE CHANEL FINE JEWELRY ON EYES GIORGIO ARMANI EYES TO KILL PROLINER IN OBSIDIAN BLACK ON LIPS GIORGIO ARMANI ECSTASY SHINE LIPSTICK IN FOUR HUNDRED

FROM LEFT: JAAD WEARS CLOTHING GIVENCHY SAM WEARS CLOTHING GIVENCHY JULES WEARS CLOTHING BALMAIN

FROM LEFT: AUGUSTA WEARS CLOTHING GUCCI GRACE WEARS JUMPSUIT AND BELT GUCCI SUNGLASSES CHRIS HABANA X PRABAL GURUNG ON HAIR KMS THERMASHAPE HOT FLEX SPRAY

“Everybody looks to a new year with lots of hope, promise, and potential.

What are you looking forward to?”

–Sarah Jessica Parker “I hope I fall into a deep, beautiful relationship where I allow someone to love me back as much as I love them.”

–Sam Smith

SAM WEARS SHIRT PRADA T-SHIRT (UNDERNEATH) HIS OWN PANTS GIVENCHY

“What does breaking the rules mean to you now?”

–Sarah Jessica Parker “It means happiness. It sounds really strange, but I became so comfortable in my loneliness. I became best friends with my sadness and I lost my friendship with my happiness.”

–Sam Smith

I’m very ashamed that as a kid, I didn’t read the news that much. I was more bothered about going out with my friends than about what was going on [politically], because the news was just depressing to me.

After that trip, I felt a huge amount of guilt. I feel like a grown-up, and I’ve opened my eyes to what’s going on in the world. Also, with what’s happening politically, as an artist and songwriter, I always go back to what Nina Simone said about writing about your times and using our voices. I feel like art in general can really save us all right now.

SJP You talked about how you feel like you finally became a gay man. You’re of a particular generation where ideas about “the rules”—how one is supposed to be in the world, that there’s a right and wrong way to be a gay man—I don’t know that that applies anymore. I think it’s so interesting you’ve felt that you fell short in some way of being the right kind of gay man.

I just read that New York Times article [about Smith, which highlights how he frequently cries during the interview] and I was like, Hmm, what an interesting discussion about making someone feel like they didn’t do something right. It’s peculiar to me.

SS That article set me free in a way because I feel like people can really understand my truth. My biggest aim in my life is to just be a kind, good person. That’s all I’ve ever wanted.

SJP I know that about you. It’s palpable.

SS Thank you. When the New York Times [ran] that and people took it the wrong way, it was just really heartbreaking. I’m just figuring out what it means to be gay.

When I made that first album, I was 19. I had never been in a relationship. I didn’t have any gay friends. Now, I have gay friends, and it’s changed my life. I was not aware that with fame, people really start to pay attention to what you say about everything. I wasn’t wised up enough. I’m too honest sometimes. I was just so shocked at how unforgiving the media can be sometimes. But I’m really happy with that article because people can see that I’m coming from a good place.

Also, I don’t have a lot to go by as a gay man in music: Even the George Michaels and Elton Johns weren’t out at the beginning of their careers.

SJP You haven’t had a reference to emulate. What do you feel hopeful about now?

SS It’s exciting seeing people walking the streets and fighting for what they believe in. It’s nice to see people protesting—that excites me. On a personal level, I’m in a relationship right now and for the first time, I think I deserve to be happy. I’m actually asking myself if I’m going to be writing some happy love songs soon.

Also, I’m really proud because, even with this whole dreaded second album thing the industry makes everyone concentrate on, I’m putting out a second album that couldn’t be more me—and it couldn’t be gayer. I’m so proud of that. I’m excited to be singing songs like “Him” in parts of the world that maybe aren’t as open in terms of sexuality. To be that raw in front of people is daunting and scary, but the high is incredible.

SJP It must be so thrilling. When you’re shooting for film or television, it then goes through this whole period of post-production. By the time it comes out, often I feel so far away from the work. You’ve had new experiences since finishing your second album. It must feel

like a younger person, even though it’s a much more mature, informed album.

SS It’s very weird. When I released In the Lonely Hour, I was still very much in love with the person I wrote the album about, so the songs were a real form of therapy. I was singing them as I was in pain. With this album, it’s very strange, I really am past some of the dark things I’m singing about. I can get the message across more because, looking back, I really understand why I wrote these songs. A lot of this album for me is about self-love. When I was writing it, I had a really bad relationship with myself. I didn’t like who I saw in the mirror, and now I really kind of like myself. I enjoy my own company and I feel like I deserve to be loved back. It makes it easier to promote the album. It’s like showing people an old photo album: Sometimes you’re cringing at the bad outfits you’ve worn in the past, but you’re still looking back with love and respect.

SJP Between now and when you go on tour, how much of the time is yours?

SS It’s a lonely process and sleep deprivation is a huge part of it. The most important part of being a pop music singer is the team you surround yourself with. My team knows how emotional and sensitive I am and they’re very passionate about me, making sure I have days here and there to see my family and friends.

SJP You’re so lucky that you’re surrounded by people who really have your best interests in mind. There are so many cautionary tales of people who’ve just been wrung out. How do you protect your voice?

SS Well, tequila shots is a definite no. I didn’t drink for three months, but recently, because the album has done really well, it was important to give myself a little bit of a break. Depriving yourself of a good glass of wine can sometimes add more stress. I don’t really have dairy. And Gaviscon is my best friend right now, I take a high dose before I go to bed—it’s an antacid.

Very sexy [laughs]. And I train my voice every single day, just like an athlete goes running. I treat my voice like a muscle: I do vocal exercises and actual vocal lessons weekly. It’s about treating those vocal chords in the way that they should be treated. They’re the smallest muscle in the body, so you’ve just got to treat them like a very fragile china doll. I think it’s important that people know in this pop music climate, the demand for promotion is so intense. A lot of artists mime and don’t actually sing. When Adele cancelled her Wembley Stadium show, it absolutely broke my heart, because she is incredible—she did hundreds and hundreds of shows and she didn’t mime once. People need to be more forgiving.

SJP Yeah. I always ask about process because I think we don’t really know if we’re not in that discipline ourselves. Everybody looks to a new year with lots of hope, promise, and potential. What are you looking forward to?

SS I hope I fall into a deep, beautiful relationship where I allow someone to love me back as much as I love them. I hope my family and friends get happier and stay healthy. I want to fall in love with music more—I’ll never, ever stop learning about and studying my voice.

SJP I think dreaming and curiosity are the gateway to every possibility, hope, and potential, but so many people feel afraid. How would you encourage people

to commit to those dreams, even when they feel really defeated, whether by environment, circumstances, lifestyle, or finances?

SS Everything you need is within you—all your power and dreams—you just need to harness it. I did this thing as a kid, which I always tell people to do—it’s one of the main reasons why I’m where I am. I had my first manager when I was 11, a record deal when I was 14, and by the time I was 18, I felt quite exhausted, like I’d been robbed of my childhood. I said to myself, “I’m going to give myself a set amount of time and I might give up.”

One day, I sat down and drew loads of pictures of all my dreams on one piece of paper. I drew myself performing in the O2 Arena in the U.K., a Grammy, me with children and a husband. I stuck that piece of paper onto the mirror in my bedroom, and every single day, I looked at it when I was getting ready. I almost feel like I manifested it. Your imagination is a powerful thing— use it, run wild with it. Who knows what will happen.

SJP You and I have talked a little bit about self-image.

How comfortable are you feeling on camera today versus two years ago?

SS It’s completely different. I think that’s come with me losing weight. When I was shooting my first music videos, I just wasn’t happy with the way I looked, so I was trying to control the way the camera moved. I got a bit obsessive. I was constantly looking in the mirror, pinching my waist, weighing myself every day. Now, I’ve gotten to a place where I really love my stretch marks and I just enjoy my body. My job is very self-indulgent: I have to listen to my voice daily, I make decisions on what tour posters or album covers look like, I look at my face while sitting in the makeup chair. I get kind of sick of myself, so I trust my team. But my body image is always going to be an issue. I need to constantly train myself to watch the right sort of films, to not look at certain ads and think that’s how my stomach should look. It’s something that I’m fighting every day. I think men should talk about it more.

SJP Most people feel the same way and struggle to compete with those same images. What does breaking the rules mean to you now?

SS It means happiness [laughs]. It sounds really strange, but I became so comfortable in my loneliness. I became best friends with my sadness and I lost my friendship with my happiness. Not only to be happy for myself, but to make other people happy.

SJP So, your desire to make other people happy is not in order to be liked, but so you can share happiness.

SS It’s a whole new thing for me. I was waving the sadness flag for so long. Now, it’s quite a risky thing for me to wake up in the morning and be okay with the fact that everything is actually okay. If everything is okay in your life, then let’s make everything good in other people’s lives at the same time.

SJP That’s a really nice, lovely sentiment, and especially right now, when there seems to be a delight in being unkind, unfriendly, and saying things to each other with impunity. Thank you for being so kind to me and letting me probe a bit. I’m so proud of you.

SS Oh, thank you so much. You’re honestly such a beautiful influence in my life. It’s so lovely to talk to you and I hope we can go for a drink soon.

SJP I’m waiting. I’m here whenever you have time.

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NICO WEARS CLOTHING, JEWELRY, ACCESSORIES HIS OWN

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“It’s our task to inspire and to be an example for other people. If we, as creatives, can be an inspiration for how the world should look, it’s something we should take as a very important task in our existence.”

–Raf Simons

NICO TORTORELLA, ACTOR

“My body of work has mirrored my internal transformation with grace and fluidity.

My first love was the stage, the metamorphosis in front of audience. That performative spark found flame in my television work—most recently in Younger—as well as a slow-burning film library. My podcast, The Love Bomb, celebrating nontraditional relationships and marginalized individuality, represents my responsibility to a community much greater than myself. Now is the time to share all stories. I’m crafting two books that will drop in the next couple years. The first is All of You, a collection of poetry, and the second is a narrative hybrid. My hope for the future is simple: Continue to love myself, love what I do, and find love for every single person in the world, however difficult that may be.

There is more good in the world than evil, and the light always outshines. Question everything around you, always.”

NICO WEARS SWEATSHIRT NICOPANDA PANTS HIS OWN

ELLEN WEARS CLOTHING ADAM SELMAN EARRINGS HAUS OF TOPPER

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“I hope this upcoming year is full of excitement and adventure. The next generation isn’t afraid: People are becoming more open to ideas and to one another.

It’s very inspiring.”

–Grace Elizabeth

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“I hope our generation will make history and lead the way to much more diversity in fashion, and give confidence to a lot of boys and girls!”

–Assa Myriam

FROM LEFT: ASSA WEARS CLOTHING GARETH PUGH VINCENT WEARS CLOTHING ALEXANDER McQUEEN EARRING DIABOLI KILL

HOYEON WEARS HAT AND COAT BURBERRY

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“Curiosity, confusion and chaos is the perfect recipe for fresh creativity.”

–Nicola Formichetti

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“The insistence to resist without defeat. The integrity to persist without manipulation. The motivation to exist to the beat of one’s individual drum. The passion to continue the celebration.”

–Catherine Baba, Stylist

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“Thinking alike is a great danger in the changing world, and in 2018 the world will change even more.”

–Karl Lagerfeld

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“What I’m hopeful for is that the next generation is nicer and more respectful to each other.”

–Thom Browne

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“We need to celebrate everyone’s differences and see more inclusion, kindness and understanding.

It’s simple–be cool, be nice.”

–Dan and Dean Caten

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LEOMIE WEARS DRESS MOSCHINO ON FACE NARS NATURAL RADIANT LONGWEAR FOUNDATION

“I’m excited about the next generation precisely because they see clearly through all this bullshit and are not fooled by the shenanigans that have been working for decades to oppress people and stagnate the process of progress.”

–Jeremy Scott

“One of my many hopes for the new year ahead is to be able to pick up a great book in English and fully understand it without translation. I’ve been focusing on learning English as my second language and I dream of one day soon being fluent!”

–Hoyeon Jung

HOYEON WEARS CLOTHING TOM FORD EARRINGS DIABOLI KILL BRACELETS TIFFANY & CO.

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“Today’s youth fascinates me.

They’re quick and frank.

I’m impressed by their determination and also by their creativity, which always goes in new directions, thanks to the technology they have available today and to the constantly evolving means of expression.”

–Giorgio Armani

GRACE WEARS CLOTHING AND ACCESSORIES GIORGIO ARMANI ON FACE ESTÉE LAUDER DOUBLE WEAR NUDE FOUNDATION

BRANDON WEARS CLOTHING KENZO JEWELRY CHROME HEARTS

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JACOB WEARS CLOTHING COACH 1941

AUGUSTA WEARS TOP WENDY JIM

ALESUWA WEARS CLOTHING BRANDON MAXWELL

YASMIN WEARS DRESS MOLLY GODDARD

“I am excited that the next generation feels so politically engaged. They seem motivated to make changes and question things while accepting differences, which can only be poisitive!”

–Molly Goddard

NASSIM WEARS COAT MARQUES’ALMEIDA SHIRT YOHJI YAMAMOTO PANTS AND BELT WENDY JIM

“I think this new generation is on the road to greater open-mindedness, whether sexually or socially. I feel more acceptance and human cohesion.”

–Nassim Guizani

BRANDON WEARS UNDERWEAR CALVIN KLEIN 205W39NYC

ROMAN WEARS CLOTHING CALVIN KLEIN 205W39NYC PRE-SPRING 2018

SORA WEARS DRESS STELLA MCCARTNEY

NICO WEARS JEWELRY HIS OWN

ELLEN WEARS CLOTHING BALMAIN EARRINGS LARUICCI

BETSY, MUSICIAN Mononymous Welsh singer-songwriter Betsy grew up on a goose farm in rural Pembrokeshire before moving to London to study fashion at Central Saint Martins. Later, she headed to Paris, scoring a gig designing at Balenciaga. Her stint in fashion lasted only a year before she switched gears to pursue a career in music, releasing her self-titled debut in fall 2017. Next up, she’s hoping to spend more time stateside: “I came for a writing trip to L.A. and fell completely in love with the place.” She credits having “balls of steel” and “not living life with regrets” for the courage to leave her small town roots and later, to swap her design dreams for a career penning and crooning lush love songs. “I don’t want to wake up at age 70 and think, Oh, I really wish I’d tried that,” Betsy explains. “For me, it’s better to try and fail than to not try at all.”

BETSY WEARS COAT GIVENCHY EARRINGS Y/PROJECT ON LIPS CHANEL ROUGE COCO LIP COLOUR IN CARMEN ON NAILS CHANEL LE VERNIS NAIL COLOUR IN SHANTUNG

BETSY WEARS HAT JACQUEMUS SHOES GIUSEPPE ZANOTTI

“I feel like we are the first generation to be able to easily share our art around the world, with platforms like Spotify and YouTube.

There are so many ways you can get your work out there and make yourself heard.”

–Betsy MAKEUP (DAY 1, 2, 3) SATOKO WATANABE (ARTLIST PARIS) (DAY 4) GRACE AHN (JULIAN WATSON AGENCY) HAIR (DAY 1, 2) SHON (JULIAN WATSON AGENCY) USING DYSON SUPERSONIC (DAY 3, 4) HELEN REAVEY (BRYAN BANTRY) USING KMS MODELS (DAY 1) AUGUSTA ALEXANDER (WIENER MODELS), MATTHIEU CHARNEAU (SUCCESS MODELS), ASSA MYRIAM (HEROES MODEL MANAGEMENT), NASSIM GUIZANI (ROCK MEN), CATHERINE BABA, YASMIN GEURTS (MUSE MANAGEMENT NYC), LEOMIE ANDERSON (FUSION MODELS), BETSY, VINCENT GARNIER, MAX SOKOLINKSI (DAY 2) SAM SMITH, GRACE ELIZABETH (NEXT MODELS), JULES HORN (IMG), JAAD BELGAÏD (NEXT MODELS) (DAY 3) HOYEON JUNG (THE SOCIETY MANAGEMENT), BRANDON GOOD (NY MODEL MANAGEMENT), SORA CHOI (WILHELMINA MODELS), NICO TORTORELLA (IMG) (DAY 4) ELLEN ROSA (DNA MODELS), ELLA BALES (IMG), OLAJUWON ANDERSON (HEROES MODELS) (DAY 5) JACOB HANKIN (SOUL), ROMAN KEREKES-SHAW (NEXT MODELS), ADESUWA (SILENT), SAMILLE BERMANNELLI (ELITE) PRODUCTION (ALL DAYS) GORAN MACURA (MACURA PRODUCTIONS) DIGITAL TECHNICIAN (DAY 1, 2) JEROME COURDERC (DAY 3) ERIC LIN (DAY 4) KASANDRA TORRES PHOTO ASSISTANT (DAY 1, 2) ROMAIN HIRTZ (DAY 3) MAX TAYLOR (DAY 4) JAMIE STRACHAN AND CAL CHRISTIE STYLIST ASSISTANT (DAY 1, 2) DIEGO DIEZ (DAY 3, 4) KRISTTIAN CHEVERE MAKEUP ASSISTANT (DAY 1) DELPHINE PREMOLI (DAY 2) YUSAKU NAKAHARA (DAY 4) SENA MURAHASHI AND LAUREN SEARLE HAIR ASSISTANTS (DAY 1, 2) RYAN WOOD AND KAZUHIRO NAKAMURA TAILOR (DAY 2) CAROLE SAVATON POST-PRODUCTION VIANCA MALDONADO, TRAVIS CHANTAR CASTING (ALL DAYS) HARBINGER CREATIVE LOCATION (DAY 1, 2) STUDIO ZERO (DAY 3, 4) PIER 59

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GOUDE! The legendary art director and image maker playfully reimagines Desigual.

Photography Jean-Paul Goude

THIS SPREAD: CLOTHING AND ACCESSORIES DESIGUAL

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“Striped shirts and baggy pants have been my trademark for years. Why that particular silhouette? I can’t help it! I guess it’s in my DNA.” —Jean-Paul Goude

J

Jean-Paul Goude is an O.G. multihyphenate: For decades, the creative force has indelibly impacted the fashion and advertising realms with his work as an illustrator, graphic designer, photographer, and filmmaker for esteemed brands like Chanel, Alaïa, and Hermès, as well as via his creatively fruitful relationship with Grace Jones. He’s also dabbled in lively fare like lensing Kenzo’s riotous, pattern-packed collaboration with H&M in 2016 and reinventing Lacoste’s signature alligator logo. But rejiggering the aesthetic of an entire fashion house is one of the very few roles he hadn’t taken on over the course of his lengthy career—until now, thanks to his recently appointed position as artistic director at Desigual.

Goude’s new post means that he’ll be lending his joyous signature aesthetic to the eccentric, color-saturated Spanish brand. He’s been tasked with refreshing the Barcelona-based label’s overall image, in addition to lending his vision to smaller-scale but ultra-tangible elements, like Desigual’s store design and advertising campaigns.

Adding to our excitement about Goude’s work with Desigual: He’s designing clothes for the brand, too—another first for Goude. In September, he unveiled a capsule collection for the label at New York Fashion Week, which will be available in select stores in February. Here, the visionary candidly discusses how he’s translated his own design hallmarks into a buoyant perspective for Desigual’s brand identity. ALEXANDRA ILYASHOV

V It’s January 2018 and Spring collections are hitting stores. How does it feel knowing that the pieces you created may actually be worn all over the world?

JEAN-PAUL GOUDE It’s an exciting prospect, but I’ll believe it when and if it happens. The clothes will not hit the stores before the end of February, and only then will I allow myself to either rejoice or lament. Yet the fact that what started as a jokey challenge has become a real collection—even if it’s only a capsule—is of course wonderful. But at the same time, it makes me dizzy, almost scared. I’ve never dealt with the business side of fashion, even though I’ve been involved with fashion all my life, through my magazine work, advertising, and various theatrically oriented gigs. This time it’s the real thing and it’s no joke.

V Designers at leading houses are often called creative directors, and you are—without question—a creative director, but you worked with images before moving on to design with your new stint at Desigual. Has the transition been easy for you?

JPG I would not call what is happening a transition; I’d rather think of it as a natural extension of what I’ve always done. This time, I’m more focused on clothes than on characters.

V There are many Jean-Paul Goude signature “codes,” like striped tops, sailor looks, or baggy pants. Are there

other elements you want to point out that you brought to the collection that was shown?

JPG It’s true that striped shirts and baggy pants have been my trademark for years. Why that particular silhouette? I can’t help it! I guess it’s in my DNA. This is why I didn’t hesitate to blatantly revise and possibly enhance it. Also, since–in my opinion–the “code,” as you call it, has never been well adapted to a line of clothing, I decided to move forward with my own offthe-wall version of it.

V How did you accomplish this in your recent collection for Desigual?

JPG It’s what we tried to do when we combined masculine tailoring with ultra-feminine can-can underpants or garment details like sailor collars with large, brightly colored shirts, bathing suits, and polka-dotted sneakers.

V What are some of the biggest highlights of the collection, in your opinion?

JPG I like the beachwear stuff we produced: long Vietnamese-inspired, semi-transparent tunics, worn over a bathing suit, that suggest nudity in a very subtle way. Worn with our Korean-inspired summer straw hats, it’s as sexy and practical as it is elegant.

V Any other favorite pieces you hope will be big successes in your Desigual capsule?

JPG Hopefully everything!

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S P R ING AWAKE NING

Jenner shows a whole different side of herself in Spring’s eccentric, boundary-pushing looks and exaggerated silhouettes.

Photography Jeff Bark Fashion Karla Welch 126 VMAGAZINE.COM

DRESS AND BOOTS CALVIN KLEIN 205W39NYC TIGHTS STYLIST’S OWN

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THIS SPREAD: CLOTHING AND SHOES PRADA TIGHTS AND SOCKS STYLIST’S OWN

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CLOTHING, SHOES, ACCESSORIES BALENCIAGA ON EYES ESTÉE LAUDER PURE COLOR ENVY EYE SHADOW PALETTE IN DARK EGO

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CLOTHING AND SHOES CÆ’LINE

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MAKEUP LISA HOUGHTON (THE WALL GROUP) HAIR TEDDY CHARLES (THE WALL GROUP) MODEL KENDALL JENNER (THE SOCIETY MANAGEMENT) PRODUCTION SUSAN GIN PHOTO ASSISTANTS CHRIS WHITE AND TIM MAHONEY MAKE UP ASSISTANT SASHA BORAX HAIR ASSISTANT JOHANS VANDOORNIK SPECIAL THANKS WILL TAYLOR AT INK & ORANGES

CLOTHING SAINT LAURENT BY ANTHONY VACCARELLO TIGHTS WOLFORD

ON LIPS ESTÉE LAUDER PURE COLOR ENVY SCULPTING LIPSTICK IN EMOTIONAL

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HAT AND EARRINGS GUCCI RESORT 2018 ON LIPS MAYBELLINE COLOR SENSATIONAL LIPSTICKS IN FUSCHIA FEVER AND DEEPEST CHERRY ON EYES MAKE UP FOR EVER AQUA XL CREAM SHADOWS IN MATTE FUSCHIA AND MATTE YELLOW

TRUE COLORS Ashley Graham breaks the mold in the most striking accessories and makeup looks of the moment.

Photography Ben Hassett Fashion Anna Trevelyan Beauty Erin Parsons

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BAG FENDI ON HAIR ORIBE THICK DRY FINISHING SPRAY ON EYES MAYBELLINE THE 24K NUDES EYE SHADOW PALETTE ON LIPS M.A.C GRAND ILLUSION GLOSSY LIQUID LIPCOLOUR IN PEACE, LOVE, UNITY, RESPECT

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EARRINGS LOUIS VUITTON BAG LOUIS VUITTON MASTERS, A COLLABORATION WITH JEFF KOONS ON FACE LAURA MERCIER FACE ILLUMINATOR HIGHLIGHTING POWDER IN ADDICTION

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EARRINGS GIORGIO ARMANI ON LASHES MAYBELLINE TOTAL TEMPTATION WATERPROOF MASCARA IN VERY BLACK ON EYES MAYBELLINE EYESTUDIO MASTER DUO LIQUID EYELINER IN BLACK LACQUER

MAKEUP ERIN PARSONS (STREETERS) MAYBELLINE’S GLOBAL MAKEUP ARTIST HAIR DIEGO DA SILVA (STREETERS) MODEL ASHLEY GRAHAM (IMG) MANICURE ALICIA TORELLO (THE WALL GROUP) DIGITAL TECHNICIAN CARLO BARRETO PHOTO ASSISTANTS ROEG COHEN AND JAMES CLARK STYLIST ASSISTANT KATHERINE VINA MAKEUP ASSISTANT AYA WATANABE HAIR ASSISTANT RACHEL POLYCARPE LOCATION VSCO STUDIO

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“Individuality means feeling comfortable enough to be your authentic self. I hope we continue having progressive conversations about inclusion and equality, and that the next generation sees themselves represented more diversely in the media.”

–Ashley Graham 12/19/17 8:21 AM

UNITE D S TATE OF FASHION VOLUME I

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V embarks on a bold new fashion series exploring dynamic cities across America, documented by photographers and models with strong local ties.

CHASE, TAYLOR, MACKINLEY WEAR CLOTHING, SHOES, ACCESSORIES DSQUARED2 CHASE WEARS ON HAIR R+CO MOTORCYCLE FLEXIBLE GEL

MODELS CHASE, TAYLOR, AND MACKINLEY HILL (IMG)

TAYLOR WEARS ON FACE LANCÔME TEINT IDOLE ULTRA CUSHION FOUNDATION

CHASE, TAYLOR, & MACKINLEY HILL IN BOULDER PHOTOGRAPHY ROBIN HARPER FASHION SHABDIECE ESFAHANI SHOT AT DEVIL’S THUMB RANCH

“I love how chill it is in Colorado. The fashion scene is pretty snowboarding- and skiing-influenced.” —Taylor Hill VMAGAZINE.COM 13 9

LILY WEARS HAT BOOT BARN DRESS AND SHOES CHLOÉ

LILY ALDRIDGE IN NASHVILLE PHOTOGRAPHY CRAIG SALMON FASHION SORAYA DAYANI SHOT AT BOOT COUNTRY ON LOWER BROADWAY

“I’m so proud to have lived in Nashville for 11 years. I’ve seen the city’s incredible growth and evolution, including food, art, music, and fashion. Nashville is electrifying!” —Lily Aldridge 140 VMAGAZINE.COM

HAIR AND MAKEUP ALICIA MARIE CAMPBELL (SEE MANAGEMENT) USING TARTE COSMETICS AND ORIBE MODEL LILY ALDRIDGE (IMG) PHOTO ASSISTANT BRYAN PATTON

ON HAIR ORIBE FEATHERBALM WEIGHTLESS STYLER

HANNAH WEARS DRESS BRANDON MAXWELL BELT W. KLEINBERG BUCKLE MAIDA’S BELTS AND BUCKLES EARRING AND RING (RIGHT HAND) SPINELLI KILCOLLIN RING (LEFT HAND) ANNA SHEFFIELD

MAKEUP ERIN LEE SMITH (ATELIER MANAGEMENT) HAIR LEONARDO MANETTI AT IONSTUDIONYC MODEL HANNAH FERGUSON (IMG) PHOTO ASSISTANT SETH HANON BTS ERICA ALEXANDRIA SILVERMAN

ON LIPS HOURGLASS OPAQUE ROUGE LIQUID LIPSTICK IN CANVAS

HANNAH FERGUSON IN AUSTIN PHOTOGRAPHY HARPER SMITH FASHION PAUL FREDERICK SHOT AT TACOS ON RANCH ROAD 969

“There’s a popular slogan ‘Keep Austin Weird’ that truly resonates with the community.

I think Austin leads and encourages people to push their boundaries.” —Hannah Ferguson VMAGAZINE.COM 14 1

JAC WEARS CLOTHING AND ACCESSORIES MONCLER GAMME ROUGE

JAC JAGACIAK IN CHICAGO PHOTOGRAPHY RYAN LOWRY FASHION STELLA EVANS SHOT AT MARGIE’S CANDIES

“I enjoy Chicago’s art scene a lot. It’s a city filled with young people.

There is this great ambitious, academic kind of atmosphere.” —Jac Jagaciak 142 VMAGAZINE.COM

HAIR AND MAKEUP TONYA NOLAND (FORD ARTISTS) MODEL MONIKA JAGACIAK (IMG) PHOTO ASSISTANT LYNDON FRENCH BTS VIDEO PEGAH PASALAR

ON CHEEKS CHANEL JOUES CONTRASTE POWDER BLUSH IN INNOCENCE

PRECIOUS WEARS CLOTHING AND SHOES MSGM

MAKEUP PIPER VON HOENE HAIR GINGER ROWLAND MODEL PRECIOUS LEE (IMG)

ON BODY TOM FORD SOLEIL BLANC SHIMMERING BODY OIL

PRECIOUS LEE IN ATLANTA PHOTOGRAPHY PAUL THATCHER FASHION MEGAN MCDONALD SHOT AT MAJESTIC DINER

“Atlanta is growing faster than ever. The music scene was already solidified in the ’90s, but now it’s become a little Hollywood.” —Precious Lee VMAGAZINE.COM 14 3

LAST WORD As a parting message, graphic designer James Victore reminds us to go boldly into the future, wielding our idiosyncrasies as our greatest assets. Victore’s work has appeared in museums like MoMA and the Louvre and he’s served as a professor at Manhattan’s School of Visual Arts. He also gives live lectures as well as online talks in his series “Dangerous Ideas,” in which he underscores the importance of thinking and living uniquely. “I try to get designers and entrepreneurs to see that their strongest tools are their opinions and their innate abilities to be their weird selves,” he says. It’s a fitting note on which to conclude our celebration of creative freedom and a worthy mantra for the year ahead.

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