V120 WITH BELLA HADID

800.929.DIOR (3467)

N E W E - B O U T I Q U E . D I O R .C O M

BULGARI

BULGARI

FENDI BOUTIqUES 646 520 2830 FENDI.COm

SCAN WITH THE FENDI APP TO SEE EXCLUSIVE CONTENT

ON THE COVER BELLA WEARS EARRINGS BULGARI JUMPSUIT GCDS ALL MAKE-UP DIOR BEAUTY ON EYES DIORSHOW PRO LINER WATERPROOF IN 456 MATTE LIME DIORSHOW ON STAGE LINER IN 091 MATTE BLACK ON LIPS ROUGE DIOR ULTRA CARE LIQUID IN 707 BLISS ON NAILS DIOR VERNIS IN 807 12 A.M.

FAL PRE VIEW

EDITORIAL

Editor-in-Chief / Creative Director Stephen Gan Managing Editor / Production Director Melissa Scragg Editor Devin Barrett Features Editor Samuel Anderson Deputy Editor Mathias Rosenzweig Associate Digital Editor James Manso Photo Editor Goran Macura Editor, Entertainment Greg Krelenstein / Starworks Copy & Research Editor Max Fox Assistant to the Editor-in-Chief Nicole Singer Contributing Editor-at-Large Derek Blasberg Contributing Editor James Franco Consulting Digital Editor Ian David Monroe

ART / FASHION

Art Director Gabriele Baldotto Senior Designer Djiun Wang Beauty & Special Projects Editor Stella Pak Associate Market Editor Sara Zaidane Assistant Market Editor Jessica Neises Contributing Fashion Directors Paul Cavaco Gro Curtis Contributing Fashion Editors Nicola Formichetti Anna Trevelyan Amanda Harlech Jacob K Joe McKenna Melanie Ward Carlyne Cerf de Dudzeele Jane How Clare Richardson Panos Yiapanis Tom Van Dorpe Office Manager / Distribution Assistant Julie Gray Consulting Creative / Design Greg Foley

ADVERTISING / FINANCE

Associate Publisher / Advertising Director Nicola Bernardini de Pace nico@vmagazine.com Advertising Office, Italy and Switzerland Magazine International Luciano Bernardini de Pace +39.02.777.178 Daniela Sartori daniela@bernardini.it Integrated Account Manager Jeff Greif 212.213.1155 Business Manager Kelly Keegan Managing Director Todd Kamelhar Distribution David Renard Pamela Schwilk Executive Director of Digital Media Randall Bennington Press and Events Remi Barbier remi@remibarbier.com Consulting/PR Jocelyn Mak Amy Choi Purple PR 212.858.9888

CONTRIBUTORS

Mert Alas and Marcus Piggott Patti Wilson Sølve Sundsbø Richard Burbridge George Cortina Jamie Morgan Simon Eeles Carin Backoff Sharif Hamza Dogukan Nesanir Benjamin Vnuk Cameron McCool Sean Kight Bela Borsodi Jeiroh Yanga Luke Abby Lorenzo Posocco Bethann Hardison Paige Powell Anohni Marti Wilkerson Susanne Bartsch Christopher Barnard Alex Frank Alexandra Ilyashov Ilana Kaplan Maxwell Williams Spiros Halaris

SPECIAL THANKS

Art Partner Jeff Stalnaker Julia Hackel Giorgina Jolly IMG Luiz Mattos Derek Walker Streeters Christian Banks Andy MacDonald Jillian Graham Ranya Donatelli Paula Jenner Next Kyle Hagler DNA Craig Lock Beth Dubin Art + Commerce Amanda Fiala Jessica Daly Annemiek Ter Linden Sally Dawson Paula Ekenger Heroes Arnaud Daïan Exposure NY Stacy Fischer Audrey Greene Serlin Associates Philippa Serlin Carly Louison Lisa Davies Rosie Hart CLM Jackie Chachoua Jasmine Kharbanda The Wall Group Lilly Blaustein Gregg Rudner Rachel Foster Calliste Jean François Raffalli Bryant Artists Lucy Kay East Margo Dooney Artlist Audrey Petit Grard Wilhelmina Gary Bertalovitz Option 1 Anton Ursov Supervision Rebecca McCubbin Elite Helena Ghaleth Lundlund Olle Edvard Öman Total World Elena Cavagnara Atelier Management Tamara Jacobs L'Atelier Malena Hocomb David Artists David Evans Across Media Production Leonard Cuinet-Petit Silvia Nicoletti See Management Leigh Sikorski Anne Du Boucheron Emillie Pitts Together Company Ayesha Arefin Quadriga Kathy Mohadjer Lalaland Anne-Gael Senic Roxane Dia Root Studios NYC Interns Michal Benshabat Stephanie Ge Eryk Jasinski Lulin Liu Claire Ryan Maxwell Masterson Charles Royle Ivanka Urrea Czar Van Gaal

V is a registered trademark of V Magazine LLC. Copyright © 2019 V Magazine LLC. All rights reserved.

Printed in U.S.A. V (BIPAD 96492) is published bimonthly by V Magazine LLC.

ILLUSTRATION SPIROS HALARIS LIPSTICK DIOR BEAUTY ROUGE DIOR #999 ($37, DIOR.COM)

PHOTOGRAPHY BELA BORSODI SHOE BURBERRY ELODIE TB MONOGRAM COURT PUMP ($790, AVAILABLE AT US.BURBERRY.COM)

SEASONAL FLAVORS LIKE SO MANY COVER LINES THAT HAVE APPEARED ALONGSIDE BELLA HADID, “BORN TO BE BELLA” IS A DOUBLE ENTENDRE. NOT ONLY WAS HER CAREER PRESAGED BY HER GIVEN NAME (A “BEAUTY” MARK IN MOST ROMANCE LANGUAGES) BUT SO DID HER SIBLINGHOOD WITH FELLOW PERENNIAL COVER GIRL GIGI ENSURE THAT BELLA'S BIRTHRIGHT IS TO BLAZE HER OWN TRAIL. IN OTHER WORDS, SHE WAS BORN TO BE HERSELF, ENIGMATIC AND ACUTE. IN THE SEASON’S FINEST, PHOTOGRAPHED BY MERT ALAS AND MARCUS PIGGOTT, HADID REFLECTS HER DIVINE RIGHT—TO BE AMERICAN SUPERMODEL ROYALTY. BIRTH STORIES ARE TOP OF MIND, WITH V'S 20TH ANNIVERSARY IN SIGHT. LUCKY FOR US, THREE PILLARS OF V—SHARP TAILORING, HEIGHTENED REALITY AND VOLUMINOUS SHAPE—ARE ON FULL DISPLAY THIS FALL. IN SIMON EELES AND GEORGE CORTINA'S BELLE-ÉPOQUE TAKE ON STREET STYLE, NEWCOMER OLIVIA VINTEN CHANNELS FRENCH NEW WAVE, REFLECTING THE SURGE OF TAILORED FRENCH WOMENSWEAR IN MAISONS LIKE CELINE, GIVENCHY AND DIOR. A BRIDGE FROM HAUSMANN TO WHITE-HAUTE, “NEON MOON” BY RICHARD BURBRIDGE AND PATTI WILSON EQUALS AN OUT-OF-THIS WORLD FLURO TRANCE. AND LEAVE IT TO UGBAD, ALIGHTING IN MAXIMALIST REGALIA CAPTURED BY SØLVE SUNDSBØ AND STYLED BY GRO CURTIS, TO FLY US TO THE FUTURE. THIS FALL, WE HONOR OUR ORIGINS WITH A PACKED SLATE OF FORECASTING. IN OTHER WORDS, FULFILLING OUR DESTINY. STAY TUNED. MR. V.

Hair Randy Darden Model Rachel Thomas (Wilhelmina) PHOTOGRAPHY BELA BORSODI ALL BAGS MOSCHINO (FROM LEFT TO RIGHT: $750, AVAILABLE AT NORDSTROM; $1,955, AVAILABLE AT SAKS FIFTH AVENUE; $950, AVAILABLE AT SAKS FIFTH AVENUE)

LUCKY NUMBERS 36. HEROES ALICE COOPER SANDRA BERNHARD GENESIS P-ORRIDGE PAT CLEVELAND HALSTON 42. RSVP DINNER WITH WARHOL ANOHNI’S SUNDAY SERVICE SUSANNE BARTSCH AND LOVE BALL 1989 44. SNAP SHOT LUXE BUCKET HATS STATEMENT TIGHTS WEDGES RE-BORN NEW-AGE QUILTED BAGS 48. CALENDAR MIDSOMMAR MARILYN MANSON AND ROB ZOMBIE ED HARDY EQUINOX HOTELS DAVID HOCKNEY BLINDED BY THE LIGHT 88RISING POP-KULTUR AFROPUNK CINDY SHERMAN 52. COAST IS CLEAR X SHORE IN MALLORCA 54. TWO OF HEARTS EUPHORIA STARRING HUNTER SCHAFER AND BARBIE FERREIRA 56. MOTHER OF BOUNCE BIG FREEDIA 58. ONCE UPON A TIME IN…TARANTINO’S WORLD ARIANNE PHILLIPS LEONARDO DICAPRIO BRAD PITT MARGOT ROBBIE 60. THE GIRLS ARE ALL RIGHT KOTA EBERHARDT SADIE SINK LILLIYA SCARLETT REID LEYNA BLOOM 70. THE MANY FACES OF BELLA

BY MERT ALAS AND MARCUS PIGGOTT FASHION BY PATTI WILSON MAKE-UP BY PETER PHILLIPS 78. FIERCE FALL FASHION BY SØLVE SUNDSBØ FASHION BY GRO CURTIS STARRING UGBAD 90. THE SPECTACULAR NOW BY CARIN BACKOFF FASHION BY PATTI WILSON STARRING GRACE ELIZABETH 92. BOURGEOIS TOWN BY SIMON EELES FASHION BY GEORGE CORTINA STARRING OLIVIA VINTEN 102. NEON MOON BY RICHARD BURBRIDGE FASHION BY PATTI WILSON STARRING LEXI BOLING AND REMINGTON WILLIAMS 114. SUPERPOWERS BY JAMIE MORGAN FASHION BY ANNA TREVELYAN STARRING COL3TRANE

NOW ON VMAGAZINE.COM

EXTRA, EXTRA! Buy the print-exclusive Special Collector's Zine with never-before-seen photos from our digital cover shoot with Shawn Mendes and Camila Cabello.

SOUND BITES

POWER UP

PICTURE THIS

Watch as Shawn and Camila, our digital issue cover stars, answer a rapid-fire questionnaire.

See our team-up with 8 Moncler Palm Angels, starring Col3trane. Set to the tune of his hit "Superpowers."

Wondering what to wear with Fall's first-class accessories?

See the looks from our "Snap Shot" story in full frame.

34

O P E N I N G J U LY 2 0 1 9 , H U D S O N YA R D S , N YC E Q U I N OX- H OT E L S .CO M

FOR THOSE

WHO WANT IT ALL

HEROES ALICE COOPER TAKES THE STAGE

PHOTOGRAPHY RICHARD AVEDON TEXT ILANA KAPLAN Five decades in the making, Alice Cooper’s now-ubiquitous hard-rocker mythos—one of flamboyant irreverence and Twilight Zone-meets-Vaudeville visuals—is the kind a younger generation could take for granted. But Cooper seems more concerned with staying active than redeeming his points as a trailblazer. “Younger audiences have only heard of the legend of Alice Cooper, but they have never seen Alice Cooper,” he says. Lucky for them, Cooper’s robust touring schedule, both as a solo act and lead vocalist for Hollywood Vampires, his supergroup with Johnny Depp and Aerosmith’s Joe Perry, offers ample opportunity for new recruitment: “Once they see [me], they become fans.”

Cooper’s music has reflected a cheeky, haunted-house mirror image of American life since the 70s, with trenchant anthems like “Billion Dollar Babies” and “School’s Out” winning fans in everyone from burnout youths to Frank Sinatra. From his gender-fluid alias to his hair-metal locks, as Richard Avedon captured in 1972, Cooper’s presentation was as radical then as it is iconic today. Nowadays he can be selective about the projects he pursues, but that hasn’t made him any less prolific. Closely following a seven-date West Coast mini tour with Hollywood Vampires, supporting the group’s June LP Rise, he’ll embark on a co-headlining tour with Halestorm. “There is a big difference between wanting to tour and having to tour,” he says. “I’ll go and play 130 or 140 [dates] with the Alice Cooper show, but it’s because I want to, not because I have to.”

36

His Hollywood Vampires side hustle, launched in 2015, embodies Cooper’s fun-loving approach to rock and roll. The band is a derivation of a namesake drinking club founded by Cooper alongside a laundry list of hall-of-famers, including The Who’s Keith Moon, John Lennon, Ringo Starr and John Belushi. And while intoxication may no longer be a tenet, the new Vampires offer its members an outlet for inspired hedonism. “The Vampires is more like a bar band— just a bunch of guys having fun,” says Cooper.

For Alice Cooper the band, the level of rigor is another story. In addition to the high production value—think special effects and narrative-driven shows (“I don’t think we’ve ever done a show that hasn’t been produced from the beginning to the end,” he says)—Cooper works with a stable of world-class classic rock musicians, many of whom have been members since the beginning. In particular, he credits longtime bandmates like guitarist Nita Strauss and drummer Glen Sobel with helping him to deliver a top-notch multisensory experience after all these years. “I surround myself with the best players ever,” he says. “Nita is the best guitarist out there, and same for [Sobel’s] drumming.”

But it’s among his fellow Hollywood Vampires that Cooper upholds that devious mandate, first unleashed in 1972, the same year he and Avedon crossed paths: School’s out, so forget your daily responsibilities, and rock out. “I think Johnny Depp likes touring more than he likes making movies,” says Cooper with a somewhat devilish smile.

ALICE COOPER AND HALESTORM 2019 SUMMER TOUR KICKS OFF JULY 17TH

Alice Cooper, New York, May 4, 1972; Photograph by Richard Avedon Copyright © The Richard Avedon Foundation

Sandra Bernhard, 1988 © Robert Mapplethorpe Foundation. Used with permission.

SANDRA BERNHARD STRIKES A POSE PHOTOGRAPHY ROBERT MAPPLETHORPE TEXT ALEXANDRA ILYASHOV The endlessly versatile Sandra Bernhard—actress, standup, radio-show host, cabaret singer—has had just about every sort of gig that showbiz offers. But after decades of creating her own variety pack of a career, her role as Nurse Judy on Pose was one that came ready for the tackling: creator Ryan Murphy tailored a Season 1 bottle episode just for Bernhard’s Judy, a nurse in a New York City AIDS ward circa 1988. “Anytime somebody creates a role for you in a project, now more than ever, it’s just incredible,” says Bernhard. Season 2, which premiered on June 11, saw Judy become a regular, lending Bernhard the kind of complex character she relishes, but for which she has often had to fight. “It’s a dramatic role, but there are elements of humor and humanity [to it] that a lot of people just have not offered me in roles before,” Bernhard says. “Now, my focus is back on my acting, and I really want that to take off after Pose.”

While nurse is one job title Bernhard hadn’t held, dramatizing the AIDS crisis onscreen wasn’t exactly a stretch. “It had a lot of resonance [for me],” she says. “I was in New York doing my one-woman show then, in the center of what was happening at that time. A lot of my friends were getting sick and starting to fade away.”

After moving to the city in the ’70s, Bernhard earned cult stardom at a clip, inhabiting bohemian performance circles. Having seen New York in all its shades, Bernhard served as a link between Pose’s young cast and the time

38

period it’s set in. “It was a different world [back then] and yet, being around all of these young, fabulous trans actresses on Pose, it was fun to talk about how things were,” she says. And while she has the straight-talking perspective of a longtime LGBTQ-allied advocate and elder, Bernhard is quick to acknowledge the progress she has witnessed firsthand. “It’s very inspiring to see how far culture has come, that there’s a whole show built around a world that was totally marginalized and now is being celebrated in Pose, and in so many other shows and films,” she says.

Even so, as an alumna of New York’s homegrown art and fashion scenes known for her appearances on Letterman’s Late Show and Isaac Mizrahi’s Unzipped, Bernhard nurtures a healthy case of nostalgia. “The authenticity, the rawness, the ability for people to live in the city, to afford to be right in the thick of it and be creative... Those are all things I really miss,” she says. “It’s a shame. There’s a bank or a nail salon on every corner.”

For all the changes and challenges Bernhard’s community has seen, Hollywood’s ebb and flow is one that doesn’t seem to faze her. “I didn’t go into the buisness with a plan of attack, and I’ve never had once since. You have your high tides and low tides,” she says (her Sandyland show on SiriusXM, for one, is still going strong). “I’ve always had other things to keep me busy. As you mature, who you are gets more authentic. That’s where I’m at right now.”

POSE AIRS TUESDAYS ON FX

GENESIS P-ORRIDGE TRANSCENDS AGAIN

Photography Hedi Slimane (V105)

PHOTOGRAPHY HEDI SLIMANE TEXT SAMUEL ANDERSON This fall, Mute Records will reboot five albums from the catalogue of Throbbing Gristle, the post-punk, ideology-slinging group cofounded by Genesis P-Orridge in 1975. Planned amid P-Orridge’s declining health and lingering tensions within the band, the slated re-releases promise to blur the lines between creation and annihilation, past and present— as P-Orridge has done ceaselessly for decades.

Born Neil Megson in 1950 in Manchester, P-Orridge arrived in London as punk was in full swing. But P-Orrdige (who uses “s/he” and “h/er” pronouns) and like-minded transgressors would start their own experimental factions; besides founding Throbbing Gristle and coining the term “industrial music,” s/he would establish Thee Temple ov Psychick Youth, an “anti-cult” aiming to transcend normativity in all its forms.

These movements would mutate over decades, inspiring generations of punk offspring. Singer Ellery Roberts of Lost Under Heaven and WU LYF recalls his initation to P-Orridge’s work as paradigm-shifting. “Once I got a copy of the Psychick Bible, [I came] to appreciate that perspective— of feel[ing] marginalized or alienated from culture,” he says.

“What I was trying to create with WU LYF, [or] the ‘Lucifer Youth Foundation,’ was sort of a PG-13 version of TOPY.”

Since he launched Heaven with partner Ebony Hoorn, the specter of Genesis P-Orridge still looms large: “We will often realize something we’re doing is a bastardized rehash of an idea that Genesis had 20 years ago,” Roberts laughs.

While P-Orridge’s longtime, now-estranged creative partner Cosey Fanni Tutti has recently recalled a toxic work dynamic within Gristle, P-Orridge took on a wise-parent role later on. “Our last show before having our son was with Gen[esis],” says Wes Eisold of synth-pop band Cold Cave.

“S/he gave us advice that no one else had: to just do what you’re doing and take your child with you everywhere.” In V72, P-Orridge discussed h/er no-holds-barred approach to life and art: “The objective was to become so intertwined that we could locate each other after death,” said P-Orridge of late wife Lady Jaye. “It’s not about transformation but resolution—getting to where we are supposed to be.”

For Roberts, the radicalism of such a philosophy lies not in anarchy but in optimism: “[That] consciousness stops with the body—that kind of scientific, rational materialism in which I was brought up—rings a little hollow to me,” says Roberts. “I’m inspired by those who speak [on existence] in creative terms. And maybe one day [Genesis’s] perspective will be the consensus on the subject. We’ll see.”

THROBBING GRISTLE REISSUES WILL BE AVAILABLE THIS FALL FROM MUTE

Pat Cleveland (R) dancing down the runway with Sterling St. Jacques (L) during a fashion show, 1977 (Photo by Robin Platzer/Twin Images/The LIFE Images Collection/Getty Images)

PAT CLEVELAND WALKS THE WALK TEXT BETHANN HARDISON I always call her “Patricia.” I’m the only one who calls her [that]. Patricia and I became buds through Stephen Burrows and his crew, which was a great force—a posse.

When I’d started to work as a model, we traveled together, which brought us a kinship and a closeness. We would confess to each other how nervous we were to go out [on the runway] each time. You would never think that [because] we were the best at what we did. She would get out there and turn out and create a tornado. As a model, she really brought more to it than anyone expected. I would always remind her that we were pedigreed horses, ready to ride. That’s the [horse] who’s probably going to win the race, who just wants to go. The energy, the holding, the waiting, that two seconds. We would just look at each other, wink or hold each other’s hands really quick.

Pat was in total control. She was always moving, always talking, always laughing—always. When you say somebody is a trip... [that’s Patricia]. Oh, she’s a trip! She was the one who continued to inspire [for seasons and for decades] to come. She was not the average model.

Pat was the kind of person that every fashion designer would want to use. She was a Halston girl, but if you ask

40

her, the first name she is going to say is Stephen [Burrows].

Their relationship was so different from anyone else. As much as Pat could be very Stephen Burrows-esque— shaking her head and partying—she could also bring the sophistication. She definitely [was a] “chameleon.”

She can reinterpret what [designers create], and make it her own, but she takes it someplace you’d never expect.

She completely understands whom she is addressing, which is the audience.

Pat’s memories are quite special; she can remember the things that we did during this crazy time. I don’t doubt anything she tells me. [I remember going on trips], to places like Brazil; Stephen always believed we had to take lots of toys—toys are clothes, that was the expression. You could just see the clothes being thrown up in the air. Pat was trying on everything and just squealing like a pig. Even at the beach, it was always a look. You always saw us coming.

What’s surprising is when Pat was living in Italy, she became a partner of an Italian modeling agency, while she was still modeling. Opportunities like that just fell to her feet.

As I think about Patricia, I have so many thoughts. I don’t have many memories of many people. But Pat I can remember. The story of Pat is completely unique.

HALSTON SUITS UP

Courtesy 1091 Media © Estate of Charles Tracy

TEXT CHRISTOPHER BARNARD What is a king without a kingdom? Shakespeare has Lear, history has Louis XVI and fashion has Halston. The agony and the excess of the first American celebrity designer, born Roy Halston Frowick in Depression-era Des Moines, is both an irresistible ultrasuede fantasy and cautionary tale to aspiring brand builders — a fashion god proven all too mortal with a stroke of the pen.

The documentary Halston by director Frédéric Tcheng, out now in limited release, examines the rise and fall of its subject less as a disco-Icarus who flew too close to the sun but more as a talented visionary foiled by boardroom politics. “I saw it as a corporate thriller,” says Tcheng.

“Usually with documentaries you have to push the story a little further to make it more exciting, but with Halston, his life was exactly like a movie.” The plot of this very real life drama goes something like this: Midwestern boy makes it as a Manhattan milliner for the likes of Jackie O, Barbra Streisand and Audrey Hepburn, then conquers the runway with an era-defining silhouette of clean, minimal lines for his celebrity pals (Liza, Bianca, Marisa) in the ’70s. But the go-go ’80s brought ill-conceived deals with JC Penney and Esmark Inc., who grew wary of the designer’s demands and extravagances, eventually forcing Halston to abdicate his glamorous throne (and more cruelly, the rights to his name).

It is one thing to know the name Halston but another to consider the story behind it. Tcheng dramatized the process

of excavating Halston’s red-tape-laced downfall by enlisting a brainy avatar in the form of Tavi Gevinson, who narrates the film and appears as a “research assistant.” Plumbing through the designer’s archival tapes, the film sheds light on the bottom-line-obsessed machinations of Halston’s investors. Through original memos and rare, never-before seen footage, the story unravels like a whodunit (with several culprits).

Gevinson, actress and erstwhile publisher of Rookie, the online teen magazine, was in the throes of her own existential struggle between art and commerce while shooting the documentary: “When the business side and the art side can’t get along, it either falls apart or it becomes unrecognizable,” Gevinson says. “That was very interesting to me at the time and still is.” Gevinson decided to close Rookie at the end of 2018 rather than seek a buyer or investment, avoiding a Halston-ian fate of her own.

The designer succumbed to complications from AIDS in 1990 but his legacy as a self-made arbiter of style lives on as effortlessly and infinitely as one of his silk jersey creations. With the help of Leslie Frowick, the Halston’s niece, Tcheng also elucidates Halston’s working-class upbringing in Iowa, something Halston obscured as his fame grew, giving the film a soul others have lacked. In Halston we get the definitive portrait—not only of a brand, but also of Roy Halston Frowick, the person and the king.

HALSTON AIRS AUGUST 18 ON CNN

42

RS V P

DINNER WITH WARHOL I started taking photographs while studying abroad, but didn’t really get into it until I moved to New York, in December 1980. It was a combination of being influenced by Andy Warhol, and I was also a part-time photojournalist for a Japanese magazine called Brutus. Interview came later, in ’81, after I’d knocked on their door and asked for a job.

I didn’t realize I was [entering] this scene. That’s what it was, in hindsight, but at the time none of us knew. We were young and [had just] moved to New York. At the time, you didn’t really move here unless you were in finance, with the end goal of making a fortune. But [our] goal was about being creative with no ceilings—to really go for it and do whatever you wanted to do, and to be around like-minded people. To be where your passions lied. Coming from Oregon, I thought, this is it; I loved the city and the way it felt. So much energy and creativity. The fast pace... I liked everything about it.

This image was taken at a Japanese restaurant called Nippon. The owner of it later become the first chef in America to be allowed to serve potentially deady fugu, or blowfish, the most poisonous fish [available] in America. He had been a university professor in Tokyo. He had a fancier Nippon around East 57th Street, but this was the more casual, country-style Nippon, at Third Avenue and 60th Street. I was with Andy Warhol, Grace Jones and Dolph Lundgren, as well as Richard Bernstein.

Andy and Grace were very close friends and Andy really loved going [to Nippon], going to the movies, and then Serendipity’s afterwards for a sundae.

That was like a [quiet] evening [for him]. At Interview back in the day with Andy, everyone had these really elaborate parties and dinners. Going out to dinner with a bunch of friends [wasn’t] considered “going out.” Sometimes, after being out every single night, we’d have eight [new] invitations, but we’d go, “Oh, we can’t go out.” [A small dinner] is sort of what Andy loved to do when he wasn’t running around.

Going out to dinner was a big thing with artists because they normally worked in studios alone all day, so that was the time to come together.

Everyone really looked forward to it. Especially someone like my friend Tama Janowitz, who would be alone in her apartment writing all day. She loved it; it gave her extra energy and material to write about.

Nippon wasn’t a hip restaurant, but that’s what we liked about it—low lighting, bamboo, very simple. It felt more like you were in Kyoto. It was serene and contemplative compared to a lot of the other restaurants. The music wasn’t contemporary—the owner seemed to prefer opera. He was a really special and cultured [person]. At the time, he would go down to the White House to [serve as chef] for different ceremonies, like parties for the ambassadors from Japan or the Prime Minister.

This was right around the time Keith Haring painted Grace Jones. I just remember going to the studio [for that]. The dynamic was great. Grace Jones— she had such a wonderful sense of humor. Such a diva, but she’s fun.

On another evening at Nippon, they had a lobster tank and Andy ordered the lobster. When it came to the table, he was horrified that this living creature was killed. He [had been] seeing a lot of crystal therapists [so it figured]. After the lobster, he became macrobiotic. [If nothing else], he was experimental.

ANDY WARHOL, GRACE JONES AND ACTOR DOLPH LUNDGREN AT NIPPON IN 1985, COURTESY OF PAIGE POWELL. PAIGE POWELL IS NOW AVAILABLE AT GUCCI WOOSTER BOOKSTORE

ANOHNI’S MONDAY SERVICE Anohni We performed as Blacklips Performance Cult, every Monday starting at 1:00 am. Marti took this at our third show at the Pyramid.

Marti Wilkerson That night was my first time seeing the Blacklips Performance Cult at the Pyramid Club. I’d met Anohni just that week when she handed me a flyer for [that night’s play], “Revenge of Blacklips.” The lateness of the hour, the strange plots, the club going on around us—it was like a tawdry jewelry box.

A Our flyers said things like, “Be beautiful, worship the devil.” I invited all sorts, in bars or on the street, to come and perform. It was about as underground as [you could go] at that time. Pretty quickly, we grew as a collective. Some of the more enthusiastic members started calling us a “cult,” but there was nothing satanic about us. It was the time of Jesse Helms and art censorship, [and] AIDS was still in full force. We were saying “Fuck you” to what was happening in our community.

MW One night [the show] would be Charlie’s Angels, reinterpreted as the Manson murders, and the next would be something out of a silent film—a beautiful procession, to contrast with the horror. It swung between extremes.

A The plays were a free-for-all: some amazing, some terrible. You never knew.

MW Some of the plays had a mockingly religious element; one was called “The Ascent into Heaven,” with “sassy Jesus” and “Gothic Mary.” Many ended once all the characters had killed each other. But the very last thing, I distinctly remember, was Anohni would sing a song—something beautiful and ghostly.

A The first night Marti came, I remember I sang one of my own songs, “Blue Angel.” My stage name was “Fiona Blue” in those days. [She] was my way of assuming more confidence... It’s not something I talk much about, but [she had] a more aggressive performance style. We were all really into gender expressionism and pre-war Berlin—that sense of a decrepit cabaret. We were obscure, still on the periphery; the audience was generally a toothless assortment [laughs]. I was still grappling with my [sense of self] onstage. I was really young, but I wanted to create a sense of heightened feeling in the room.

Like Joey Arias as Billie Holiday as opposed to mainstream drag. It was like an athletic pursuit: getting a room full of drunk people to cry in three minutes.

MW Anohni’s song would bring a closure and catharsis to the evening. Her voice, even back then, really affected [us]. By the end of “Blue Angel,” we were all in tears. It was otherworldly. The Pyramid was our sanctuary.

FIONA BLUE WITH BLACKLIPS PERFORMANCE CULT AT PYRAMID CLUB IN 1992, PHOTO BY MARTI WILKERSON

LOVE BALL ‘89 Before nightlife, I had a store [in New York] selling London designers like Body Map and Vivienne Westwood. But there was nowhere for people to go in the fabulous clothes I was selling. I wanted a space that [encouraged] dressing up, so I started [a party] all about head-to-toe looks—being seen and high energy. That was always the message [of all my parties].

One night I came home just depressed and devastated; I’d had another friend pass away [from AIDS] and it all felt so surreal. Two of my closest friends, roommates who also worked at the shop, had also died of AIDS; it wasn’t one or two deaths, but a series. At one point Kenny Kenny had said, “You should give a night’s proceeds to an AIDS organization.” I thought, that’s not enough. But a lightbulb went off: Why not borrow the format of the Harlem house balls, and invite companies to pay to be their own “house” for a night?

First I called Annie Flanders of Details, who agreed to [secure] ads, and Simon Doonan [of Barneys]. So in an hour two massive people were [on board], and by the end sponsors included everyone from Body Map to Absolut Vodka, and Thierry Mugler [pictured], David Byrne and Iman had agreed to judge.

For the venue, I wanted an old-school space, large enough to put on a show. Roseland Ballroom was always the one, but institutions like that normally charge union fees—$10 to screw in a lightbulb. But for us, Roseland agreed to break the union [contract]; that was a real coup. The guestlist came together easily: Whoever bought a ticket could come, no VIP or anything. Fuck the guestlist; it was about charity.

Planning took a year, A to Z; I had a hand in everything. A million people helped, but in the end, it was my party. One of the reasons I agreed to Love Ball III this summer was the CFDA partnership; on my own, it was almost too much. That first night, I was running around like a headless chicken. But after the opening number, which had skateboarders flying over the crowd, [I paused]. I started crying—like, oh my God, this is happening. It was really the first time the fashion community had come together and acknowledged that we were all a part of this [epidemic].

Anyone that mattered to me was there. It was the most eclectic group— Anna Wintour and Isaac Mizrahi, Leigh Bowery and Pepper LaBeija of House of LaBeija, as well as the [corporate managers] of companies like Calvin Klein and Kiehl’s, all drinking champagne served by drag queens. I think that was one of the first times [many of them] had ever seen drag. Madonna was a bit of a surprise—you never know who will actually show up. But the message was the same—to celebrate life, and bring on the feathers and glitter!

The end of the night was the most beautiful... I came out to thank all the guests, and the first person I saw was Bill Cunningham... I missed him at Love Ball III. He was right in front of me, and behind him was a standing ovation. I thought, this is the definition of love. I felt the love go through me, and back out through my outstretched hands. We raised $400,000 that night, [but] that feeling was worth a billion. I could have moved mountains, feeling that way.

SUSANNE BARTSCH

LOVE BALL JUDGE THIERRY MUGLER AND SUSANNE BARTSCH AT LOVE BALL I, 1989, COURTESY OF CFDA

SNAP SHOT FLASH FORWARD TO FALL, PREVIEWED HERE IN TREND SETS OF SIX.

PHOTOGRAPHY JEIROH YANGA FASHION SARA ZAIDANE

LUXE BUCKET HATS

CLOCKWISE FROM TOP LEFT NANA WEARS HAT AND TOP VALENTINO INDIA WEARS HAT AND DRESS CHRISTIAN DIOR EARRINGS CARTIER AYOBAMI WEARS HAT AND TOP NINA RICCI NANA WEARS HAT AND CLOTHING TOM FORD AYOBAMI WEARS HAT LACOSTE TOP AG JEANS TURTLENECK FENDI INDIA WEARS HAT AND TOP GUESS SUNGLASSES MCQ

44

STATEMENT TIGHTS

CLOCKWISE FROM TOP LEFT

TIGHTS GCDS TIGHTS VERSACE TIGHTS AND TOP FENDI RINGS ATELIER SWAROVSKI TIGHTS AND GLOVES COLLINA STRADA TIGHTS AND GLOVES GUCCI RINGS ATELIER SWAROVSKI TIGHTS CALZEDONIA

WEDGES REBORN

CLOCKWISE FROM TOP LEFT SHOES CHANEL SHOES AND PANTS CELINE BY HEDI SLIMANE SHOES AND TIGHTS MIU MIU SHOES STEVE MADDEN PANTS DKNY SHOES BRUNO MAGLI PANTS AG JEANS SHOES GIUSEPPE ZANOTTI

46

Models Ayobami Okekunle (IMG), India Graham (IMG), Nana Skovgaard (IMG) Makeup Liset Garza (The Wall Group) Hair Jerome Cultera (L’Atelier) Location Root NYC

NEW-AGE QUILTED BAGS

CLOCKWISE FROM TOP LEFT

INDIA WEARS BAG, TOP, EARRINGS BALENCIAGA NANA WEARS BAG AND DRESS BOTTEGA VENETA BRACELET DAVID YURMAN INDIA WEARS BAG, TOP (WORN UNDER), JUMPSUIT GCDS AYOBAMI WEARS BAG AND TOP MAISON MARGIELA GLASSES OLIVER PEOPLES INDIA WEARS BAG AND DRESS THOM BROWNE NANA WEARS BAG OFF-WHITE C/O VIRGIL ABLOH TOP MARCELO BURLON RING AND BRACELET CARTIER

48

MIDSOMMAR Like its vowel-challenged title, Ari Aster's Hereditary follow-up is an anxiety-provoking reversal of expectations. Follow a band of happy campers, led by Florence Pugh (Little Women), as their summer excursion turns dark-sided at the hands of an outdoorsy cult. Grammar freaks need not apply.

MIDSOMMAR (A24) HITS THEATERS JULY 3

MARILYN MANSON AND ROB ZOMBIE Sweet dreams are made of metal—who are Rob and Marilyn to disagree? While the “Twins of Evil” tour, first launched in 2012, drove a rift between its co-headliners, this summer's encore suggests that rock’s premier rabblerousers will hold themselves to civility— at least while they're not performing.

"TWINS OF EVIL: HELL NEVER DIES" TOUR KICKS OFF IN BALTIMORE ON JULY 9

ED HARDY Emblematic of a celeb-driven fashion craze, the iconic tattooist proves indispensable at San Francisco's premier high-art temple.

Though he shuttered his ink practice in '08, Hardy's stamp is forever branded on the public consciousness: “It was surreal to see celebrities wearing my designs,” he tells V. “And a testament to [tattoos] as a clear, populist [vision of] human emotions."

"ED HARDY: DEEPER THAN SKIN" OPENS AT THE DE YOUNG MUSEUM IN SAN FRANCISCO ON JULY 13

EQUINOX HOTELS AT HUDSON YARDS Giving new meaning to "24-hour fitness," the Equinox Hotel at Manhattan's newly christened Hudson Yards will include a 600,000-squarefoot fitness club (Equinox's largest ever) and offer untold indulgences, from something called "high-grade STC (Sound Transmission Classification)" for disturbance-free sleep to after-hours menus by Stephen Starr, the hospitality titan behind Le Coucou.

EQUINOX HOTEL HUDSON YARDS OPENS ON JULY 15

DAVID HOCKNEY Jack Hazan’s A Bigger Splash (1974) is a quasifictional framing of a young David Hockney’s artistic flourishing in London, after a break with ex-lover and muse Peter Schlessinger. “They were separated, but David was renting Peter a flat [a few] hundred yards [away],” says Hazan. “He was desperate but of course [the relationship] was hopeless.” With this summer’s re-release by Metrograph Pictures, which hit New York screens in June, the vibrations of early Hockney have surfaced yet again.

A BIGGER SPLASH OPENS IN LOS ANGELES ON JULY 22, FOLLOWED BY SELECT SCREENINGS NATIONWIDE

Edited by Samuel Anderson; Midsommar courtesy of A24; Marilyn Manson V75 photo: Hedi Slimane; Virile Music, 1992, courtesy of de Young Museum; Equinox courtesy of Equinox Hotels; still from A Bigger Splash 1974, courtesy of Metrograph

03 09 13 15 22

JULY

AUGUST BLINDED BY THE LIGHT From the director of Bend It Like Beckham comes the adrenalized tale of a Muslim teen growing up in '80s London who finds salvation in the music of Bruce Springsteen.

Performances by newcomers Viveik Kalra and Nell Williams (Game of Thrones) thawed every frozen heart at Sundance.

BLINDED BY THE LIGHT (WARNER BROS) OPENS AUGUST 14

88RISING'S HEAD IN THE CLOUDS FESTIVAL Cofounded by singer and face of Louis Vuitton Kris Wu, pop collective 88Rising declares artist-specific "szns" based on their ever-expanding rotation of über-influential artists. With their sophomore Head in the Clouds festival returning this month, August is no doubt 88Rising szn, this time bringing Joji, Jackson Wang, Niki and others to a Downtown Los Angeles outdoor stage.

HEAD IN THE CLOUDS RUNS AUGUST 17

Viveik Kalra as Javed in Blinded by the Light, photo: Nick Wall courtesy: New Line Cinema/Warner Bros; 88Rising's Head in the Clouds festival, 2018 Photo: Cody Burkhardt; Planningtorock, courtesy of Pop-Kultur; FKA Twigs V93, photo: Inez and Vinoodh; Untitled Film Still #56 by Cindy Sherman, 1980. Courtesy of the artist and Metro Pictures, New York

POP-KULTUR Where will you find CocoRosie billed along with underground Ukrainian rappers? Look no further than Berlin’s multidisciplinary, hierarchy-free take on the summer festival, a cutting-edge mix of pop culture and post-pop forces, from Planningtorock, whose “How Will I Know” rework played at Chanel Cruise, to alt-MC Mykki Blanco.

POP-KULTUR BERLIN RUNS FROM AUGUST 21 TO 23

AFROPUNK Afropunk, emphasis on “punk,” is the rare summer celebration with a clear social objective: to “[resist] those who strive to oppress,” say its organizers. Equal parts ideology and ear candy, the lineup for "Afropunk: We See You," the 2019 edition, ranges from community elders like Jill Scott to bright young truth-tellers like FKA twigs, Rico Nasty and Tierra Whack.

AFROPUNK BROOKLYN RUNS FROM AUGUST 24 TO 25

CINDY SHERMAN Following a many-headed retrospective on view now at London's National Portrait Gallery, this hardbound offspring is another look into the artist's feminist kaleidoscope. Though borne of her U.K. showcase, the first to include her seminal "Untitled Film Stills" series, it reflects the essential American woman—tirelessly prolific, multifaceted, and ever-shapeshifting.

CINDY SHERMAN (RIZZOLI) HITS STANDS AUGUST 27

14 17 21 24 27

BODY OF WORK WITH MONOGRAM-FREE CALFSKIN AS CANVAS, SIX MASTERS PUT THEIR SIGNATURES ON LOUIS VUITTON'S EVER-VERSATILE CAPUCINES HANDBAG. NOW ON VIEW.

Grooming Claudia Lake (Contact NYC) Model Walter Savage (Option1 Models)

PHOTOGRAPHY BELA BORSODI

JONAS WOOD “I still can’t believe people buy my paintings.

I guess it’s a cool blessing just to see people reacting positively to the work. I am hoping that the same kind of energy will apply with this bag collaboration. It was cool that we were able to recreate all the details of [my paintings] using totally different materials."

50

ALEX ISRAEL "I decided to reimagine the surface of the bag as one of my wave paintings. We're a beach culture here in Southern California, and waves dictate the rhythm and pace of L.A. life. What originated as a flat, animated image took on a more sculptural, squishy, wetsuit-inspired quality."

URS FISCHER "The things I chose are, in themselves, perfect shapes, so there was nothing else to add. An egg is already amazing; if it were spherical it would be boring. Fruits are made to be very attractive, in the same way that flowers are; that is how plants communicate and, in a way, it’s also how they have sex.”

BAGS LOUIS VUITTON (ARTISTS FROM LEFT TO RIGHT: JONAS WOOD, ALEX ISRAEL, URS FISCHER, NICHOLAS HLOBO, SAM FALLS, TSCHABALALA SELF)

NICHOLAS HLOBO "I stitch on my paintings and drawings, and my sculptures are created by layering found materials such as leather, [tires] and copper pipes. I started by looking at the Louis Vuitton motifs, in particular the flower. I felt that I could interpret it as something growing from the bag—literally emerging from it."

SAM FALLS "I realized that the best way to approach this project was to just do what I do—make an artwork. I grew up on a farm in Vermont with my mom, an artist who painted botanicals on silks. We started by replicating some of the plants using embroidery, and then used it as part of the surface of the bag."

TSCHABALALA SELF "The crux of my artistic mission is based on personal experience... Growing up in Harlem influence[s] this aspect, because I saw so many different kinds of people, all from within one community. It reaffirmed the idea of multiplicity—of expression, identity, and aesthetics, all coming from one small [place]."

INVENTION

Makeup Patrick Glatthaar (Total World) Hair Kalle Eklund (Lundlund) Model Nina Marker (Elite)

COAST IS CLEAR

DRESS BLUMARINE SHOES ATTICO EARRINGS Y/PROJECT BAG JACQUEMUS TIGHTS AND GLOVES STYLIST'S OWN

X SHORE IS THE FIRST ELECTRIC LUXURY BOAT TO EVER CRUISE THE HIGH SEAS. FOR A TEST DRIVE, V FOLLOWS THE SWEDISH COMPANY TO THE WATERS OF MALLORCA. LIFE VESTS AND FALL/WINTER ENERGY ADVISED. PHOTOGRAPHY BENJAMIN VNUK FASHION DOGUKAN NESANIR TEXT ALEXANDRA ILYASHOV

COAT SALVATORE FERRAGAMO DRESS NEITH NYER SHOES DORATEYMUR

Konrad Bergström’s affinity for the ocean is generations deep. “Both my grandparents are from [seafaring] families,” he says. “I’ve always felt one with the sea.” The Swedish entrepreneur's inextricable links to the ocean also exposed him to its flawed relationship with earth's ever-exploding population: “As a child, I could go out and fish pretty easily.

Then, all of a sudden the fish were more or less gone.”

With a business background in audio tech, Bergström has held the rights to Cross Shore, a safety-centric powerboat company, since 1996. But he says a full relaunch required a turning of the tides. "No one wanted 'safe' boats," he says of the notoriously traditional boating industry.

His concept was more disruptive: an electric speedboat

52

designed with Swedish sleekness in mind (think tawny leather seats and teak and aluminum accents). After witnessing Tesla’s 2012 debut and bringing aboard a former Ikea director, Bergström knew an aesthetic and philosophical overhaul was on the horizon. "[Sustainability] makes even more sense on the water,” he says. “[Boating is] like driving a car at a 50-degree angle uphill.”

Bergström's three maiden X Shore models, starting at $300,000, are slated for delivery this month. In lieu of oilleaks, these ultra-lightweight crafts are propelled by battery, for up to two hours straight at 25 knots. Though luxe, the boats are projected to command high volume and reduced prices by 2022: "Our vision is to become the people’s boat."

w w w.avant - toi.it

SCREEN

AS HIGH-CHASING BAD GIRLS ON HBO, IRL PALS BARBIE FERREIRA AND HUNTER SCHAFER RECAST THE ARCHETYPE. PHOTOGRAPHY CAMERON MCCOOL FASHION SEAN KNIGHT TEXT SAMUEL ANDERSON

54

When HBO’s Euphoria hit screens in June, filling the network’s GoT-shaped void with a pure-cut dose of contemporary teen life, its trippy dramatics and issue-tackling realism had been preceded by a much-publicized production. While Zendaya’s lead role as the high-chasing Rue and Drake’s attachment as executive producer accounted for much of the buzz, the show’s unorthodox recruiting tactics didn’t stop there. Hunter Schafer and Barbie Ferreira, both non-professional actors who happen to deliver two of the show’s most surprising and complex performances, each came across the show’s open casting call on Instagram.

On paper, Schafer plays Jules and Ferreria plays Kat, two ennui-stricken friends in Rue’s orbit. The first episode establishes their respective archetypes: Jules the put-upon transfer student and Kat the posturing bad girl. But each of their storylines touch on distinctly of-the-moment themes, from body shame to identity politics to app hookups gone wrong. While the show, trafficking in narrative clout and meta-narrative social savvy, may seem particularly suited to both Schafer and Ferreira's progressive modeling tracks, their well observed performances suggest major dramatic careers to come.

Ferreira says 16-year-old Kat reflects much of her personality pre-modeling. “[16] was a special age for me, because that’s when I started breaking out of these insecurities, and just thinking that I am not worth it,” says Ferreira, who, after being scouted by American Apparel in high school, became an early drumbeater of the body-positivity movement. After she and her recently divorced mom moved from Queens to suburbia, Ferreira, like Kat, put up walls around her creative impulses. “I mean, I am like a theater kid; all I wanted was to be on Disney Channel. I would try my hardest to see managers by myself without my mom,” she says. “[But] I started isolating myself even more after [I started modeling] because my classmates never really gave a fuck about me… Our experiences aren’t identical, but the feelings are all the same. The lines are blurred between where Kat ends and where I begin.”

Meanwhile, in North Carolina, Schafer harbored no such showbiz dreams. “I was never really into acting; I was so shy and not sure of myself. I didn’t ever see myself being able to do [this],” says Schafer. After being diagnosed with gender dysphoria in ninth grade, Schafer's first taste of the spotlight was as a plaintiff in the ACLU's lawsuit against the state's anti-LGBT law HB2, which forced trans people to use public restrooms according to their assigned gender. Before serving

as the face of the "bathroom bill" and then as a model for the likes of Versace, Helmut Lang and Miu Miu, Schafer says she experienced some trauma similiar to that of Jules, which the role brought back to the surface. "Of course, it was uncomfortable to revisit those places in my life because I was pretty insecure at the time and I did not really know who I was," she says. “The way I have functioned, as a human being, is to push through [painful experiences] and work really hard, so that I had a good future. [But] a hundred percent, Jules and I have a similar transition timeline, as far as [being] in high school and dealing with that in front of your peers.”

Ultimately the similarities between Schafer's past and Jules's present endowed her with a whole new outlook. “Acting blew my mind,” she says, recalling her first session with an HBO-enlisted coach. "It’s definitely been therapeutic to look back at those points in my life and to relive them," she says.

"It’s like picking old scabs on purpose because you want to bleed a little again.” Acting out the first episode's climax, which takes place at a crowded party, was a learning curve, Schafer adds: "Frankly I was terrified for that scene because I never had to be that open in front of a camera before and there were like 200 extras watching it happen... I had never screamed at anyone like that before in my real life."

Between filming or rubbing shoulders with Drake ("It was fun to be in the middle of work, and then be like, 'Oh, Drake’s here,'" says Ferreira of set life), Schafer and Ferreira, who had briefly met in New York, found a chance to reconnect on set, free from modeling-world varnish. "We [met] at some random fashion-y event, some award show, so we didn’t really hit it off," Ferreira recalls. "But now Hunter is like my best friend. We had two very different spirals in high school, but the bottom line was that we both needed to get out of wherever we were. To this day, we'll be in the car together, and just scream, like, ‘Sis… What is going on?!’ She is the only [other] person who gets it.”

Whatever turbulence they experienced in high school has made multi-hyphenate status that much sweeter. “[We] both are so thrilled about the transition [to acting]," echoes Schafer. "While modeling was fun and we got to travel and make some cool work, doing this project together and getting to be artists together is immeasurably valuable.”

With Euphoria mid-season and continuing to garner buzz, the saga of Ferreira and Schafer has only begun to take shape.

But as their characters and careers illustrate, stories are best when you don’t know the ending.

Makeup Emily Cheng (The Wall Group) using Chanel Hair Rachel Lee (Atelier Management) Production Olivia Rosenberg

TWO OF HEARTS

SCREEN

HUNTER WEARS DRESS SIES MARJAN BOOTS SIMONE ROCHA BARBIE WEARS ALL CLOTHING PRADA

MOTHER OF BOUNCE

BIG FREEDIA WEARS JACKET MSGM TOP WOLFORD EARRINGS ADINA’S JEWELS

BIG FREEDIA HAS NEVER BEEN SHY. BUT WITH HER PRIDE-TIMED SINGLE “CHASING RAINBOWS” AND AN EP EN ROUTE, THE QUEEN DIVA IS SHATTERING GLASS CEILINGS AND EXPECTATIONS. PHOTOGRAPHY LUKE ABBY FASHION SARA ZAIDANE TEXT SAMUEL ANDERSON

This year marks the 20th anniversary of “An Ha, Oh Yeah”— Big Freedia's 1999 debut, an airhorn heralding both the rise of bounce, a once-underground subgenre characterized by relentless baselines and call and response, and that of its undisputed mother. Two decades on, that Freedia “came to slay, bitch” rings truer than ever. While samples by the likes of Drake ("Nice For What") and Beyoncé ("Formation") have dispatched Freedia's pressurized vocals to the masses, it's Freedia in the flesh—north of 6' 3" in heels, with a mane of ebony waves—that has sealed her status as a gender-nonconforming icon, perhaps best epitomized by her appearance at this year's Met Gala where she twerked on the red carpet in custom Gypsy Sport.

Though Freedia’s assertive, hips-forward posture is emblematic of bounce music at large, it has always been in opposition to the musical status quo. “Being gay and coming out with bounce music, we had push back, of course; it really made a lot of the straight artists upset," Freedia says.

“We definitely made some noise and shook some people up.

Like, they were not happy about that.”

After a decade in the underground, Freedia caught the ear of Lil Wayne, who sampled her track “Gin In My System.”

But strides in the industry came with a catch. “[People] started calling it ‘sissy bounce,’” she says. As she recounts

56

on her new single with Kesha, "Chasing Rainbows," the first of an aptly titled August EP Louder, Freedia knew such labels well. “I had to fight because I was always being called ‘sissy’ growing up," she says. Before bounce, her outlet for high flamboyance was leading the church choir alongside her godmother while still in high school. “She helped me a lot in coming out of that shell and feeling protected in a place where I didn’t feel welcome, which was the church,” Freedia says. “But the good outweighed the bad."

After a friend offered Freedia a one-off session in the recording studio, she soon became a crossover New Orleans success. “People knew me [by] ‘the Freedia call,’” she says. “It was my signature in choir and [later] in the club. As I got older, and my career started to take off, the women of the church [continued] supporting me. Some of the church folks would be in the club, rocking with me.”

While Freedia has survived across seemingly opposing ecosystems, she says her new EP represents the meeting of “Freedia the Queen Diva” and her younger self. “It’s a mix of early and new; some stuff that I went through as a child and into where I am at now,” she says. Not a fan of labels, she espouses living one’s truth out loud, whatever that may be: “If you’re a sissy, be the best sissy you can be. It doesn’t matter as long as you know who you are.” Let Freedia ring.

Makeup Kuma for M∙A∙C Cosmetics Hair Evanie Frausto

SOUND

ROOTNYC.COM

FILM

ONCEUPON A TIMWORLE D TARANTINO’S

IN. .

DON’T EXPECT TO SEE ANY TIE-DYE OR FRINGE IN QUENTIN TARANTINO’S HIPPIE HOLLYWOOD. HERE, CELEBRATED COSTUME DESIGNER AND FANTASY SPINNER ARIANNE PHILLIPS BREAKS DOWN THIS SEASON’S MOST HIGHLY ANTICIPATED FILM. INTERVIEW DEVIN BARRETT

58

Photographs by Andrew Cooper © Sony Pictures Entertainment

FILM

V What was your starting point for Once Upon a Time in...Hollywood?

ARIANNE PHILLIPS This is my first time working with Quentin [Tarantino]; I would’ve done anything with him. The starting point is always the script—that is the center of everything. And this was unlike any I’d ever read. It was meticulously detailed and beautifully written, with so much character development. And it’s so richly layered with multiple storylines. Since it’s a movie about Hollywood, you have the opportunity for storytelling both “onscreen” and off.

In a period piece like this, [especially one] set in 1969, it was very important to specifically identify what was [aesthetically] and socially happening in Hollywood [then].

That was super meaty to dig my teeth into. Quentin is also unlike most directors, in that he really has the [vocabulary] to talk about costume [design]. I’ve been super lucky over my career; I’ve worked with Tom Ford and Madonna, and Quentin is right up there with them, in terms of his astute ability to describe what he’s after. There wasn’t any lack of inspiration; it was more about making choices.

V So much was going on in 1969 all over the country. How did you highlight this tumultuous period as it manifested in Hollywood specifically?

AP 1969 is so pivotal because Hollywood was changing, as was the culture [all] around [it]. People didn’t necessarily dress in new clothes, [even within] a whole mix of socioeconomic [classes]. “Hippie Hollywood,” [as Quentin called it], was all about the youth-culture movement. This was what was new, this was what was happening politically, it was about self-expression, and it was hot on the heels of the Summer of Love. L.A. was a place that had its own style.

V How would you define that “hippie Hollywood” aesthetic?

AP The important thing to me and Quentin was not to take the cheap shots. Meaning, one of the things we agreed upon early on is not to have any tie-dye or fringe in this movie. It’s too easy. [The fashion landscape] was a mix of the Hollywood crowd that could afford to buy designers like Ossie Clark, Paraphernalia and Holly Harp, and the kids who were cutting up their jeans, wearing their dads’ T-shirts, which was how we [envisioned] the Manson family [in the film].

Also L.A. was a place that had its own style [and its own style icons]—[from] Dennis Hopper to Jim Morrison, you had such a force of style that was happening here. If you look at ’69 in London, or ’69 in New York it’s different from California.

One of the craziest things I noticed, in looking at pictures [from that time], was that most people were barefoot. You would see all of these barefooted kids on Hollywood Boulevard. They weren’t transients—it was [just] the style. Sharon [Tate] was famous for going barefoot; apparently she hated wearing shoes. [But even back then] they had rules; you couldn’t go into restaurants without shoes on, so Sharon would famously put rubber bands between her toes [to simulate] flip-flops.

V How did you go about styling the real-life figures in the film, like Sharon Tate?

AP This movie is so interesting because we have a fictional story at the center. Then we also have real life characters—Bruce Lee, Sharon Tate, Roman Polanski. It’s so juicy for a costume designer to have that ability to marry those worlds. Sharon was photogenic, a great beauty, and has lived on to be a style icon. [But] in the moments with Sharon, played by Margot Robbie, we really wanted to pay respect to who she was [as a person]. Luckily for us, Deborah Tate, Sharon’s sister, was a consultant on the movie. It was incredible to have access to some of Sharon’s clothes and jewelry.

Together, Quentin and I identified what we wanted to recreate, [also keeping in mind] that we were making an entertaining film, not a documentary.

V How did you go about developing Leonardo DiCaprio and Brad Pitt’s styles?

AP Leo’s character, Rick Dolton, is an actor who was a big TV cowboy star in the ’50s.

Hollywood is changing, maybe a little faster than him. He’s presentational, a movie star—there’s an expectation when you see him. When you [pass] him on the street, he has a sense of ego about him.

Then you have Brad Pitt’s character, Cliff Booth, who has been his long-time stuntman. His job is as the support guy, the behind-the-scenes, low-key guy. You see [that type] in L.A. all the time—guys who work on movie sets, who [always] wear cargo shorts... Those guys never wear pants. This is the world that I work in.

A talisman for Brad’s character is an original belt buckle from the Stuntmen’s Association, which is [the union] you would have belonged to as a stuntman in 1969.

Owning one of these belt buckles was a privilege. I happened to find an original one—a eureka moment! [On the other hand] he wears moccasins—which [he can pull off] as this confident stuntman who kicks ass.

Both their characters [appear] on TV shows or movies [within the film], so we had [two sets of looks] for each—one for on-set, one for off. That made for lots of [creative opportinuity]; when Rick Dolton is in character, then of course Leo is going to be dressed like that character. So we had lots of costume changes.

V This project marks the first time Leo and Brad are seen onscreen together. What was it like working with the two of them?

AP Leo, Quentin, and I were in the fitting room [a lot], figuring out who Rick Dolton was from the visual side, which was really important. [Both Leo and Brad] are incredible collaborators, and there’s no mistaking why they are who they are. Plus, they have an ease with Quentin. So I was the new kid on the block. It was like being invited to the best dinner party ever, where we are all cooking together. It was really exciting to be there and to work on something where we could really create these characters together. The actors’ process in the fitting room is like hallowed ground. And both [Leo and Brad] were 100 percent game. I mean, [it’s] like a dream, right?

THE GIRLS ARE ALL RIGHT. PHOTOGRAPHY SHARIF HAMZA FASHION LORENZO POSOCCO TEXT MAXWELL WILLIAMS

60

KOTA EBERHARDT X-MEN'S NEXT VAMP

KOTA WEARS COAT BOSS BRA DKNY RINGS BULGARI EARRING ALAN CROCETTI

The first thing one notices in Dark Phoenix's promo imagery may be the presence of Selene. The vampiric villain, making her first appearance in the live-action X-Men universe this summer, is played by Kota Eberhardt, who, on a call from her Bushwick home, points us to another first for the franchise— a subtle call out to Indigenous culture. “[My character's tattoos] are indicative of Indigenous culture; I’m part Sioux,” Eberhardt says. “I like that they pay homage to that. Those tattoos are not an appropriation thing— they're on someone of Indigenous blood. So, to me, it’s really super meaningful.”

Though Selene is a relatively deep cut even for wellversed Marvel fans, the character possesses an inventive range of pyrokinesis, clairvoyance, and body-snatching. “She has many names: the Black Queen, the Moon Goddess, Mistress of the Fire,” says Eberhardt. “She’s one of the most incredible underrated Mutants ever. She’s 17,000 years old, and considered to be secretly the most powerful. She has tons of physical attributes, and powers that make her super dynamic. I'm curious to see where [Selene] goes.”

An established model, Eberhardt may be most recognizable from her appearance in Pharrell’s “Happy” video. But modeling, let alone blockbuster drama, wasn’t always in the cards. Growing up in suburban Virginia, she lost her mother at 17 to addiction. Her single father then raised her, intent on scholarly pursuits. Eberhardt was a cardiovascular research student at Howard University when the camera came calling (literally—Bruce Weber discovered her while she was relaxing at Virginia Beach). “It’s a crazy journey,” she laughs. “When I found acting, and the ability to express myself, it made a lot of sense. I felt like why I was doing medicine was to make drugs that did good for the world. When I discovered that I could do the same thing in acting, that I could heal people—that by liberating myself in storytelling, I could liberate others—it was an amazing revelation for me.”

The next step for Eberhardt is to write her own films, enabling her to tell her full story. “I want to tell the story of my mother’s life,” she says. “I want to tell a story about reckless youthfulness, femininity, sexuality. What it means to be black in America or Native [in America]. Really big concepts."

SADIE SINK STRANGER NO MORE

SADIE WEARS COAT CHANEL TOP GUESS

When Sadie Sink was little, she and her brother would watch live tapings of Broadway plays obsessively, then attempt to recreate the shows for their family. “My mom, eventually, was like, ‘Okay, you guys need to get out and do this stuff already,’” she says. “So we moved out into community theaters in our small town, and then eventually regional theater in Houston, and then somehow—both me and my brother around the same time—sent in tapes to audition for Broadway shows, and my brother got into Elf on Broadway and I got Annie.”

This earned Sink even more acclaim; she played a young Queen Elizabeth in 2015's The Audience starring Helen Mirren before pivoting to TV and film (The Americans; Unbreakable Kimmy Schmidt; The Glass Castle). But not until signing on to Stranger Things 2 did, as Sink recalls, "everything change.”

The attention drove the now-17-year-old to have to go most places incognito, donning a hat and sunglasses. While fan fervor during the show's off-season is less intense, its third installment, which hit Netflix on the Fourth of July, is bound to set off plenty more fireworks.

“I can’t say too much, but Season Three is my personal

favorite,” says Sink. “This time, you not only get the sci-fi, supernatural element that Stranger Things is known for, but you also get a deeper look into the characters’ personal lives at the beginning of the season. It’s nice to get to know your characters when they’re not in the Upside Down or fighting Demagorgons or dealing with government conspiracies.”

Next up for Sink are starring turns in a few more scary scenarios: Eli, a supernatural thriller set in a haunted hospital (launching on Netflix this year), and the second installment of the R.L. Stine trilogy Fear Street, which is set for 2020. In between, she’s focusing on a healthy lifestyle off-camera— she’s been vegan for four years—lots of yoga, and, of course, scouting out future productions.

“For me, it depends on the character,” Sink explains.

“When I’m looking at a potential project, I have to love the script, but I’m really looking for cool characters that are going to be fun to play, that I can not only relate to, but that will also be a challenge." She pauses for a second, then adds: "I’d love to try some kind of period piece. But instead of the 1980s [like Stranger Things], more like the 1800s."

LILLIYA SCARLETT REID ART-HOUSE VIDEO VIXEN

LILLIYA WEARS COAT BOSS NECKLACE CARTIER EARRINGS HER OWN

"Someone looking at my Google search history would probably be freaked out, like, ‘This girl has issues,’” says Lilliya Scarlett Reid with a snicker. Reid, 18, is talking about painting, which she has done for as long as she can remember. “I’ll look at surgical pictures or photos from autopsies for reference. I’ll have those images in my head, and that’s what I’ll paint."

Reid's burgeoning acting career takes on similar tones.

Her first major part was on Chambers, a Twin-Peaks-meetsSupernatural bonechiller that debuted on Netflix in late April.

Reid plays the spectral role of the late Becky LeFevre, a high achiever whose seemingly charmed life comes to an untimely, mysterious end. As Becky's organ-donated heart wreaks uncanny havoc on its recipient, the cracks in her family (mom Uma Thurman, dad Tony Goldwyn, and twin brother, played by Nicholas Galitzine) emerge.

“It was [a] really interesting [role] to play; we’re close in age, but [unlike Becky] I wasn't a normal teenager at all, because I did homeschool," Reid says. "I had to put myself into the shoes of this girl who was amazing at everything; that was her thing. But then she also had all this secret damage,

62

and a secret life. She was being tormented.”

The daughter of two writers, Reid moved from Livingston, Montana to L.A. when her father landed a showrunning job.

There Reid began going out on auditions to act, but hindered by her height, she found little success at first. “I’m 5-foot-11 so I’ve always been taller than the age I would be playing. It was really frustrating,” Reid says. Of course, it's that outlier trait that has since landed her a Versus Versace campaign and the holy grail of a modeling track: the music video cameo.

In 2018, Shawn Mendes enlisted her to put her hands all over him for his "Nervous" video.

These days Reid is continuing to go on auditions, and simultaneously focusing on her painting career. But a dive into her artistic oeuvre, which conjures the impressionistic gore of Francis Bacon or Goya, suggests a possible backup career. “I’m very into oral hygiene,” she says. “I used to [only paint] teeth. I just love them." However idiosyncratic, Reid's interest in dental care seems rooted in the soul-baring work of acting after all: "It’s the only part of your skeleton that is exposed,” she adds with an audible smile.

Makeup Janissa Paré (Together Company) Hair Braydon Nelson (Streeters) Digital technician Gabriel Hernandez (Capture This Digital) Photo assistants Tim Hoffman, Shen Williams-Cohen Makeup assistant Nona Emerald Hair assistant Shawn Nakamura Location ROOT Brooklyn

LEYNA BLOOM QUEEN OF CANNES

LEYNA WEARS TOP, PANTS, BELT SAINT LAURENT

BY ANTHONY VACCARELLO BRA DKNY

In Port Authority, protagonist Paul arrives in New York from the Midwest and is immediately captivated by a young voguer in the street named Wye, played by Leyna Bloom. “She’s a super humble girl,” says Bloom. “She works at a coffee shop, and she does ballroom by night. She knows where she belongs in the world, and she just wants people to come together and be happy. She wants everyone to feel connected, and I love that.”

An established but underground-by-nature dance circuit catering to trans and queer people of color, the voguing scene is in the midst of a pop-cultural boon, with creators like Ryan Murphy adapting it for his glossy FX series Pose. Then in May, Bloom, who like Wye is a member of New York ball culture, became the first trans woman of color to lead a film at Cannes—a platform she used to channel her communityoriented roots. “I took every woman who is trans with me to Cannes,” Bloom says.

Port Authority's first-time director Danielle Lessovitz made sure to involve prominent members of the New York "kiki"—a youth-centric offspring of ballroom. “This is Leyna's first feature, and the same is true of anyone in the kiki scenes,”

says producer and manager Damian Bao. Trained as a ballerina, Bloom was performing on the American Ballet Theatre stage by 14. She played the Scarecrow in a production of The Wiz at the South Shore Cultural Center in her hometown of Chicago, and has been modeling since she moved to New York, walking for Tommy Hilfiger in Paris and for Chromat.

As graceful as she is, gliding from runway to stage to screen, Bloom says starring in a Cannes-worthy film (produced by Martin Scorsese no less) didn’t come without a fight.

Though now on the precipice of stardom, she says her journey included a period in which she teetered on homelessness—an experience she credits with keeping her grounded. Back on her feet and then some, Bloom hopes to chassé through the industry's many-layered glass ceilings.

“There’s nothing that can limit me now; I want to be a Bond Girl. I want to go to the audition to be Cleopatra,” she says. "I want to work with filmmakers who take risks. I think we’re in a time where we can do that: take where we’re at right now and really make it explode... All over the world."

Fall Winter 2019 / 2020

MILAN SHOWROOM, T. +39 02 784340 BLUMARINE.COM

120 FIND A NEW LIGHT AS ONCE-IN-A-GENERATION COVER GIRL BELLA HADID EMBODIES THE FUTURE OF BEAUTY, WE DIVE INTO A PARADIGM-SHIFTING RANGE OF FALL COLORS: NEW-WAVE FLUORO, FRESH FACES OLIVIA VINTEN AND UGBAD ABDI, AND SUPERHUMAN READY-TO-WEAR. ARTWORK BELA BORSODI

THEFACESMANY OF BEL A EMBODYING EVERY FACET OF MODERN SUPERMODELDOM IS THE DECADE-DEFINING DARK ANGEL BELLA HADID. AS TRANSFORMED BY CREATIVE AND IMAGE DIRECTOR OF DIOR BEAUTY PETER PHILLIPS, HADID SHOWCASES THE VARIOUS SHADES OF FALL. PHOTOGRAPHY MERT ALAS AND MARCUS PIGGOTT FASHION PATTI WILSON

JACKET BALENCIAGA ALL MAKE-UP (THROUGHOUT) DIOR BEAUTY ON FACE (THROUGHOUT) DIOR FOREVER 24H* WEAR HIGH PERFECTION SKIN-CARING FOUNDATION IN 1N FLASH LUMINIZER RADIANCE BOOSTER PEN IN 001 IVORY DIORSKIN NUDE AIR LOOSE POWDER IN 010 IVORY ON CHEEKS ROUGE BLUSH COUTURE COLOUR LONG-WEAR POWDER BLUSH IN 047 MISS DIOR BACKSTAGE GLOW FACE PALETTE IN 001 UNIVERSAL

COAT AND HAT CHRISTIAN DIOR ON CHEEKS ROUGE BLUSH POWER LOOK IN 783 CONFIDENT DIOR BACKSTAGE GLOW FACE PALETTE IN 001 UNIVERSAL ON LIPS ROUGE GRAPHIST IN 784 DRAW IT ROUGE DIOR ULTRA CARE LIQUID IN 966 DESIRE

JACKET SAINT LAURENT

BY ANTHONY VACCARELLO ON EYES 5 COULEURS POWER LOOK IN 517 INTENSIF’EYE DIORSHOW ON STAGE LINER IN 091 MATTE BLACK ON LIPS DIOR LIP GLOW IN 001 PINK ON NAILS DIOR VERNIS IN 502 RUSH HOUR

ON EYES DIORSHOW BROW STYLER IN 002 UNIVERSAL DARK BROWN DIORSHOW MONO PROFESSIONAL EYE SHADOW IN 071 RADICAL DIORSHOW MONO PROFESSIONAL EYE SHADOW IN 006 INFINITY ON LASHES DIORSHOW MAXIMIZER 3D TRIPLE VOLUME PLUMPING LASH PRIMER DIORSHOW ICONIC OVERCURL PROFESSIONAL MASCARA IN 090 OVER NOIR ON LIPS DIOR ADDICT LACQUER PLUMP IN 538 DIOR GLITZ

JUMPSUIT GCDS ON EYES DIORSHOW KHÔL IN 099 BLACK KHÔL DIORSHOW PRO LINER WATERPROOF IN 456 MATTE LIME DIORSHOW ON STAGE LINER IN 091 MATTE BLACK ON LIPS ROUGE ULTRA CARE LIQUID IN 707 BLISS

Makeup Peter Phillips (Art +Commerce) Hair Shon Hyungsun Ju (The Wall Group) Model Bella Hadid (IMG) Manicure Chisato Yamamoto (David Artists) Set design Jabez Bartlett (Streeters) Production Across Media Production Executive Producer LĂŠonard Cuinet-Petit Producer Silvia Nicoletti Production coordinator Noot Coates Digital technicians Niccolo Pacilli, Marco Torri Photo assistants Sinclair Jaspard Mandy, Joshua Tarn Stylist assistants Peter Aluuan, Zarina Humayun Makeup assistants Estelle Jaillet, Kathinka Gernant Hair assistant Ross Kwan Production assistants Ivano Pagnussat, Patrick Cavendish, Rosie Ashley Post-production Manager Niccolo Pacilli Location Big Sky Studios

FFAILEFRASHICEON THIS SEASON SPARKED A BEAUTIFUL FUSION OF READY-TO-WEAR AND COUTURE, IGNITING DRAMATIC VOLUME AND A MAXIMALIST SENSIBILITY. HERE, RISING STAR UGBAD ABDI SOARS TO NEW HEIGHTS. PHOTOGRAPHY SØLVE SUNDSBØ FASHION GRO CURTIS

DRESS AND CHOKER GUCCI EARRINGS SHAUN LEANE ON LIPS L’ORÉAL INFALLIBLE 8 HR LE GLOSS IN TRUFFLE

ALL CLOTHING BALENCIAGA

ALL CLOTHING AND ACCESSORIES ALEXANDER McQUEEN

COAT, TOP, PANTS, SCARF CHANEL GLOVES INES HAT PHILIP TREACY ARCHIVE SHOES GIORGIO ARMANI

JACKET, TOP, SKIRT PRADA HEADPIECE PHILIP TREACY GLOVES INES

JACKET AND PANTS GIORGIO ARMANI EARRING AND BRACELET SHAUN LEANE

COAT AND BELT SALVATORE FERRAGAMO HAT PHILIP TREACY ARCHIVE GLOVES INES

DRESS AND HEADPIECE RICHARD QUINN TOP PACO RABANNE NECKLACE ATELIER SWAROVSKI ON EYES L’ORÉAL INFALLIBLE 24 HR EYE SHADOW IN GLISTENING GARNET

COAT AND TOP GIVENCHY HAT PHILIP TREACY ARCHIVE GLOVES INES VEIL AND BELT STYLIST’S OWN

ALL CLOTHING AND ACCESSORIES ERDEM

Makeup Val Garland (Streeters) Model Ugbad Abdi (Next) Manicure Chisato Yamamoto (David Artists) Production Sally Dawson, Paula Ekenger Digital technician Lucie Byatt Photo assistants Simon McGuigan, Richard Kovacs, Sebastian Kapfhammer Stylist assistant Emma Bundy Makeup assistant Joey Choi Retouching Digital Light Ltd Location Big Sky Studios

COAT, TOP, BELT CHRISTIAN DIOR HEADPIECE PHILIP TREACY ARCHIVE GLOVES INES SHIRT STYLIST’S OWN

THE SPECTACULARNOW NEW YORKERS CAN BE JADED. IT’S NOT EVERY DAY THAT FRESH TALENT ARRIVES IN TOWN AND STOPS EVERYONE DEAD IN THEIR TRACKS. HOWEVER, JAPANESE DESIGNER TOMO KOIZUMI ISN’T THE SLIGHTEST BIT ORDINARY. HIS FANTASY-LIKE CREATIONS SPARK VISIONS OF EVERYTHING FROM VIDEO GAME HEROINES TO SPOOLS OF COTTON CANDY. PHOTOGRAPHY CARIN BACKOFF FASHION PATTI WILSON TEXT DEVIN BARRETT

Pat McGrath did the make-up, Guido Palau did the hair, Anita Bitton did the casting, actress Rowan Blanchard opened, and Marc Jacobs offered up the space. Tomo Koizumi’s debut, standing-room-only runway show in February during New York Fashion Week was a moment for the fashion history books.

Surprisingly, Koizumi isn’t a well-connected protégé of John Galliano or Rei Kawakubo, but instead a Tokyo-based costume designer, discovered on Instagram in a rare spark of social media bliss by stylist Katie Grand. Within 15 minutes of Grand and Koizumi speaking, a show was born. Karen Elson, Bella Hadid, Joan Smalls, Taylor Hill and more were sauntering around the basement of Jacobs's Madison Avenue boutique, sporting clouds of flourescent polyester organza. This is the designer to know now.

V Tell us a bit about your first show in New York. What was the most memorable moment?

TOMO KOIZUMI Everything was so unreal to me. People involved with the show are very well-known in this industry. I was super happy, but a bit nervous. Katie [Grand] handled everything. Last time I was in New York for the Met Gala, I met many people at the party and most knew my show and designs. It really surprised me.

V We know you have an affinity for fantasy. Tell us about the fantasy you’re creating. What does the world of Tomo Koizumi look like?

TK Harmony—tons of colors and feminine details. I don’t want to make [difficult garments]. I’m making dresses [in order to share] my aesthetic with the world. I’m designing dresses for images.

V What are some of your influences?

TK I’m inspired by John Galliano’s Dior Haute Couture [collections], Buddhist statues, ancient Japanese royal costumes, colors of modern paintings.

Exaggerated and harmonized things. I can feel something religious from them and I want to create something [similar].

V Many of your creations have incredible volume. What draws you to these shapes?

TK I’ve been working as a costume designer for more than seven years. I need to create a dramatic moment for the stage. That’s why I always make dramatic shapes and colors. I want to make people excited to see pictures with my dresses.

V Who is your ideal woman?

TK Any woman with attitude.

V What do you hope for next?

TK I hope I can make something meaningful in the world. My team is really small. I’d really like to work with a big commercial company—ideally we can produce more wearable pieces soon.

GRACE ELIZABETH WEARS TOP AND SKIRT TOMO KOIZUMI SHOES MIKHAEL KALE SOCKS LOU DALLAS ON EYES ESTÉE LAUDER SWEET BEAUTY LAVENDER EYES

Makeup Benjamin Puckey (Bryant Artists) Hair Panos Papandrianos (The Wall Group) Model Grace Elizabeth (Next) Stylist assistant Taylor Kim

BOURGEOIS

TOWN AND JUST LIKE THAT, THE FRENCH BOURGEOIS WOMAN FROM THE '70S IS BACK. SWEEPING CAPES AND MASCULINE TAILORING ILLUSTRATE A TRAFFIC-STOPPING SILHOUETTE, SEEN HERE ON BRILLIANT NEWCOMER OLIVIA VINTEN AS SHE HITS THE STREETS OF PARIS. PHOTOGRAPHY SIMON EELES FASHION GEORGE CORTINA

CLOTHING, BOOTS (THROUGHOUT), ACCESSORIES CELINE BY HEDI SLIMANE

CAPE AND TOP CHANEL ON EYES YSL BEAUTY COUTURE VARIATION PALETTE

COAT BALENCIAGA BELT GIVENCHY

COAT AND PANTS MARC JACOBS

CAPE MIU MIU PANTS CHRISTIAN DIOR

JACKET, TOP, SKIRT CHRISTIAN DIOR GLOVES BALENCIAGA

ALL CLOTHING AND ACCESSORIES CELINE BY HEDI SLIMANE

Makeup Tom Pecheux (Caliste) for YSL Beauty Hair Marc Lopez (Artlist Paris) Model Olivia Vinten (DNA Models) Set design Chloe Guerbois (Quadriga) Production La Moustache Paris Digital technician Nicolas Fallet (D-Factory) Photo assistants Paul Jedwab, Mehran Pakgohar Stylist assistants Moses Moreno, Alexandra Hicks

DRESS AND CAPE VALENTINO ON HAIR BIOLAGE CURL DEFINING ELIXIR ON LIPS YSL BEAUTY ROUGE PUR COUTURE THE SLIM MATTE LIPSTICK IN BLACK OPIUM

NEON

MOON ELECTROCHARGED FASHION TAKES ON A DARK, SOPHISTICATED FORM THIS FALL. THE RESULT IS OTHERWORLDLY. PHOTOGRAPHY RICHARD BURBRIDGE FASHION PATTI WILSON

LEXI WEARS JACKET, VEST, SKIRT DSQUARED2 TOP DOPE TAVIO BOOTS THESE PINK LIPS CHOKER BITCHFIST TIGHTS LEG AVENUE HEADBAND STYLIST’S OWN

REMINGTON AND LEXI WEAR DRESSES AND BELTS SAINT LAURENT

BY ANTHONY VACCARELLO HATS STUDMUFFIN TIGHTS WE LOVE COLORS ON FACES MILK MAKEUP BLACKLIT KIT

REMINGTON WEARS JACKET AND TOP GUCCI JUMPSUIT THESE PINK LIPS VEST STEPHEN SPROUSE VINTAGE GLOVES WING & WEFT HEADBAND STYLIST’S OWN

SOOJ WEARS JACKET, DRESS, SHOES TOM FORD CHOKER, BELT BITCHFIST

LEXI WEARS DRESS FENDI BOOTS AGENT PROVOCATEUR HAT EUGENIA KIM BEANIE (WORN UNDER) STUDMUFFIN CHOKER BITCHFIST BRACELET CHROME HEARTS TIGHTS WE LOVE COLORS

LEXI WEARS JACKET, TOP, SHORTS HERMÈS COAT (WORN OVER) DOPE TAVIO BOOTS GCDS VISOR NATASHA MORGAN

LEXI WEARS DRESS, SHORTS, TIGHTS VERSACE JACKET CHRISTOPHER JOHN ROGERS NECKLACE BITCHFIST GLOVES WING & WEFT HAT STYLIST’S OWN ON EYES M.A.C PRO PALETTE PAINTSTICK X 12

REMINGTON WEARS TOP, SKIRT, TIE GIVENCHY COAT OFF-WHITE C/O VIRGIL ABLOH GLOVES AND BOOTS THESE PINK LIPS GLOVES (WORN UNDER) WING & WEFT HAT TAGO TIGHTS LEG AVENUE

LEXI WEARS COAT AND BAG BALENCIAGA CHOKER BITCHFIST TIGHTS WE LOVE COLORS

REMINGTON WEARS JACKET AND BELT LOUIS VUITTON SWEATER PHILIPP PLEIN BOOTS GIUSEPPE ZANOTTI HAT KOCHÉ TIGHTS MAISON SOKSI

LEXI WEARS DRESS AND TOP PRADA COAT STEPHEN SPROUSE VINTAGE FROM NEW YORK VINTAGE BOOTS THESE PINK LIPS TIGHTS WE LOVE COLORS HAT AND BELT STYLIST’S OWN

REMINGTON WEARS JACKET AND BOOTS GCDS DRESS STEPHEN SPROUSE VINTAGE FROM LYNN BAN ARCHIVE HAT HOUSE OF LAFAYETTE CHOKER MONTAQUE GLOVES THESE PINK LIPS ON EYES POP LUXE NIGHTLIFE

REMINGTON WEARS JUMPSUIT 0 MONCLER RICHARD QUINN HAT NINA RICCI CHOKER BITCHFIST

Makeup Kanako Takase (Streeters) Hair Shingo Shibata (The Wall Group) Models Lexi Boling (HEROES), Remington Williams (DNA Models) Manicure Gina Edwards (See Management) Digital technician Gabriel Hernandez (Capture This Digital) Photo assistants Peter Siskos, Scott Barraza Stylist assistant Taylor Kim Makeup assistant Kuma Hair assistant Elizabeth Shanefelter

SUP E

RPO

AFTER TOURING WITH DUA LIPA AND RELEASING HIS FIRST EP, BRITISH R&B ARTIST COL3TRANE PREPARES FOR MUSIC-WORLD DOMINATION. HERE, HE JOINS FORCES WITH THE LATEST MEMBER OF MONCLER’S GENIUS FAMILY: PALM ANGELS. PHOTOGRAPHY JAMIE MORGAN FASHION ANNA TREVELYAN TEXT ALEX FRANK

WER S

ALL CLOTHING AND BOOTS (THROUGHOUT) 8 MONCLER PALM ANGELS COL3TRANE WEARS RING (RIGHT HAND) BULGARI RING (LEFT HAND) ATELIER SWAROVSKI NECKLACE HIS OWN

ODILE AND CAMILLE WEAR EARRINGS BULGARI

20-year-old R&B singer Col3trane is feeling hazy, having celebrated in advance of his EP, Heroine, which would drop a few days later. He calls this releaseweek regimen “running wild,” before clarifying: “I am not wild out here, but I am fucking lit,” he says on the phone, at his girlfriend’s house in Surrey, outside London. He sees the rowdy days and late nights of youth as grist for future pop songs, so is game to put in the research.

A songwriter as well as a singer, Col3trane released his first mixtape in 2018. With his EP in the bag, he has yet to set his sights on a full-length album—partly because he thinks he hasn’t logged enough lived experience to fuel a longer-form work. “I don’t feel like I am at a stage in my life to do a whole album,” he admits. “To really dig that deep into who I am as a person; I have some more things that I want to do.”

Born and raised in London, Col3trane, né Cole Basta, writes from the timehonored perspective of the lovelorn bad boy, alternating between hyper-sexual posturing (“Money, pussy, power, that’s my superpower/I’ma fuck around and fuck around and fuck for hours,” he croons on “Superpowers” featuring GoldLink) and confessional vulnerability. “[The songs] are about feeling lost and then feeling found. Feeling salvation. Whether it be with girls or with drugs or whatever,” he says. On “The Problems in Us,” he promises a paramour he’s “soberin’ up” and can be her “best man on [his] worst behavior.” Then there’s “Divine Intervention,” a reflection on the precariousness of young life.

“Someone close to me had an accident that could have happened to me,” he

says cryptically. “It’s just about being an irresponsible young adult and feeling powerless. I don’t like talking about shit, so with sad things, or things that make me anxious, music is a pure release. To make me feel better about things without actually having to confront them.” Having tackled relationship stresses and mortality on Heroine, it’s no wonder he’s ready to ease into a little post-release levity.

Music has served as Col3trane’s primary outlet since taking up drums at eight and singing in the school choir. The son of a Rust Belt-born mother and Egyptian Deadhead father, he found his way to a wide audience like so many aspiring MCs—SoundCloud. After mastering at-home production techniques (having snagged his brother’s GarageBand at 15 or so) his deeply felt tracks soon found traction on the streaming platform. “It snowballed, snowballed, [and] snowballed,” he says.

Not yet of legal U.S. drinking age, Col3trane is knee-deep in the self-discovery of early adulthood, all the while figuring out how to retain his homegrown, bluesy authenticity, in an industry designed to snuff it out. “I learned a lot in the last year or two about myself,” he says. “I don’t want to be rushed.”

And so, at this early, notoriously conflicted chapter, one wonders what Col3trane might say to that hallmark of adulthood, the ever-nagging uncertainty, the forever-lingering question mark: “What do you want?” He pauses, perhaps still a bit bleary. “I don’t know, man,” he says. “I don’t know.” Exactly the right answer for a 20-year-old.

“[THE SONGS] ARE ABOUT FEELING LOST AND THEN FEELING FOUND. FEELING SALVATION WHETHER IT BE WITH GIRLS OR WITH DRUGS OR WHATEVER.” —COL3TRANE

COL3TRANE WEARS SHOES NIKE RING (RIGHT HAND) BULGARI RING (LEFT HAND) ATELIER SWAROVSKI

Makeup Laura Dominique (Streeters) Hair Shiori Takahashi (Streeters) Models Nova Orchid (Premier), Odile Jordan (Select), Camille Munn Francis (Select) Manicure Nickie Rhodes-Hill Production Lisa Davies (Serlin Associates) Digital technician Cavit Erginsoy

COL3TRANE WEARS RING ATELIER SWAROVSKI

HEAD TO VMAGAZINE.COM FOR AN EXCLUSIVE “SUPERPOWERS” MUSIC VIDEO FEATURING COL3TRANE!

Photography Bela Borsodi

WHAT V WANT CAT’S CRADLE BY CARTIER

Cartier’s iconic pet panther gets a jaw-dropping makeover this fall.

Curled up across the face of the new Panthère de Cartier watch, the feline symbol is illustrated in diamonds, black lacquer spots, and an emerald cat’s eye, while the 18K white-gold bracelet is set with a lion’s share of brilliant-cut stones, amounting to a staggering 999 diamonds in total. If that wasn’t blinding enough, consider layering it with the mini Panthère de Cartier.

CARTIER PANTHÈRE DE CARTIER FIGURATIVE DENTELLE WATCH AND MINI PANTHÈRE DE CARTIER WATCH (PRICES UPON REQUEST, CARTIER BOUTIQUES)

GLOVE MAX MARA