NOBODY WALKS IN L.A. 24. Heroes 26. Vip 28. Top Ten 30. V People 36. V Trends 40. HBD2 42. 2020: A New Spring 50. American Beauty 60. Mega Margot 78. Cyber Punk 2020 88. Los Angeles Hallucination 96. What V Want
Photography Tyrell Hampton Fashion Miso Khe Dam Shoes Giuseppe Zanotti Dress Thom Browne Gloves stylist's own
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Shoes Rene Caovilla Bag Thom Browne Socks Happy Socks
HEAD OVER HEELS Welcome to 2020—or what historians may call “the twenties 2.0.” The last time 'round—that is, 1920 through 1929—revolution was afoot in just about every corner of culture, from the rise of fashion as expression (more than decadent, those sequined get-ups symbolized post-war optimism) to that Hollywood innovation f.k.a. the “talkie.” The 20th century's third decade was a particularly active one for movie culture, beginning with the inception of industry "hot spots" like Musso & Frank (est. 1919) and the Ambassador Hotel (1921) and capping off with the most consequential of celebrity watering holes, the Academy Awards, in 1929. As that decade's 21st-century counterpart kicks off, we channel the spirit of revolution, celebrating cover star Margot Robbie as the actress pivots from the political drama of Bombshell to wreaking havoc on Gotham in Birds of Prey. We also wink to the past, with one fashion story featuring a cameo by history's most famous bombshell. In the eye of media oversaturation, Robbie's mix of global fame and Hollywood prestige also feels like a throwback. As the delightfully unhinged heroine in this month’s Batman spinoff, the actress proves that the blockbuster is thriving under its female heirs, who range from wonder women to complex antiheroes like Harley Quinn, a psychological tour de force for Robbie. Of course, the Hollywood landscape was, and is, a reflection of the larger world—defined today by a kind of inclusivity and hypervisibility of which 1920s revelers could have only dreamed. Film (and fashion) have increasingly reflected this global society, a trend visualized in Nathaniel Goldberg and George Cortina's fashion story "2020: A New Spring," capturing six exceptional studies in next-gen beauty. Meanwhile on the global stage, Patti Wilson and Reto Schmid futuristically frame model Selena Forrest. And a trip down Hollywood Blvd. with filmmaker Christian Coppola sees bright young stars at an old-Hollywood haunt. Whatever the next decade holds, we have some formidable sequined pumps to fill.
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Shoes Christian Louboutin Dress Azeeza
Editorial
Editor-in-Chief / Creative Director Stephen Gan Managing Editor / Production Director Melissa Scragg Editor Devin Barrett Features Editor Samuel Anderson Photo Editor Goran Macura Editor, Entertainment Greg Krelenstein Contributing Editor-at-Large Derek Blasberg Copy & Research Editor Lynda Szpiro
Digital
Deputy Editor Mathias Rosenzweig mathias@vmagazine.com Consulting Digital Editor Ian David Monroe ian@vmagazine.com Digital Editor Abraham Martinez amartinez@vmagazine.com
Art/Fashion
Art Director Gabriele Baldotto Designer Shibo Chen Contributing Fashion Directors Paul Cavaco Gro Curtis Fashion & Market Editor Aryeh Lappin Fashion Assistant Sam Knoll 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 Beauty Editor Stella Pak 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 luciano@bernardini.it Daniela Sartori daniela@bernardini.it Marketing & Special Projects Manager Sara Zaidane sara@vmagazine.com Managing Director Todd Kamelhar Business Manager Kelly Keegan kelly@vmagazine.com Distribution David Renard Office Manager / Distribution Assistant Julie Gray Press & Events / Purple PR Andrew Lister Jocelyn Mak Amy Choi amy.choi@purplepr.com
Contributors
Chris Colls Charlize Theron Nathaniel Goldberg George Cortina Ryan McGinley Patti Wilson Reto Schmid Marcus Ohlsson Raquel Welch Henrik Purienne Doug Inglish Christian Stroble Christelle de Castro Christian Coppola Sean Knight Cameron Postforoosh Tyrell Hampton Miso Khe Dam Marissa Klurstein Marissa G. Muller Owen Myers Terence Pepper Ryan Jenq Camilo Fuentealba
Special Thanks
THE NEW HOLLYWOOD
Next Kyle Hagler Gabriel Rubin IMG Lisa DiRucco Luiz Mattos Derek Walker The Society Alec Mather Darren Jay Elite Richie Keo Elite Paris Patrick Simon Ford James Wood Fusion Dora Szasz Muse Derek Troy Heroes Jonathon Reis Serlin Associates Philippa Serlin Studio Cavaco Casey Smith Exposure NY Stacy Fischer Audrey Greene The Wall Group Gregg Rudner Elena Lakomkina Lillie Blaustein Jason Woo Ridley Christopher Anna Stovitz Streeters Cristian Banks Andy MacDonald Charlotte Alexa Daniel Weiner Paige Philipps Tyler Williamson Jillian Graham (D+V Management) Sarah Clements Ian Milan Charles McDermott The Lindsay Thompson Company Lindsey Thompson Artistry London Ian Waite Management Artists Shae Cooper Agence Carole Artlist Paris Audrey Petit-Grard Matthieu Bourdet Artist Unit Sonia Hamidi Walter Schupfer Simona Coppola Forward Artists Leela Veeravalli Atelier Managament Tamara Jacobs Vonetta Baldwin The Paramour Estate Equinox Hotel Hudson Yards
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Czar Van Gaal Dania Curvy Joahnnalee Ucol Nicole Territo Lilly Schoenbaum Nicole Pagoumian Morgan Harrison Raina Bell Shane Bundrant Monica Tsai-Ni Lee Kevin Ponce Dylan Kelly Fred Sahai Ryan Killian Krause Valerie Stepanova Brooke Kushwaha Angelica Manos Cullen Ormond Vienna Vernose Mina Erkli Ella Christensen
HEROES Terry O’Neill In November, the world bid farewell to a maestro of celebrity portraiture. Whether snapping high-watt glamour or stars at their most intimate, O’Neill made Hollywood myths a reality. A film icon and former National Portrait Gallery curator remember the late photographer RAQUEL WELCH I first met Terry in London in the mid-’60s, on the set of One Million Years B.C. for Fox Studios. When Terry came up to me and introduced himself, he said, “You must be Rocky.” This surprised me because “Rocky” was my nickname in high school, but no one on set knew that. So I asked him, “How did you know that’s [my nickname]?” And he said, “Oh, I know things.” And that was the beginning of a beautiful friendship. Terry shot [countless] images of me—someone recently told me [the number is] over 5,000! I don’t think I’ve seen them all. Nor can I pick a favorite! We always had great fun on our shoots, and the photos reflected that. Terry [became a backstage fixture], photographing B.C. and [British spy comedy] Fathom, [among others]. When Myra Breckinridge, [the 1970 comedy based on Gore Vidal’s novel], came along, I requested that he [be there]. He took photos of me around the Fox lot, wearing my [American flag] costume from the film. Terry was so easygoing; we even [shot a few] in my backyard—the ones of me [in the flag bikini] against a white backdrop. The pose was reminiscent of a famous statue at the Chateau Marmont. We would also snap between takes, when my dressing room was available. The lighting in there was nice…Slightly reminiscent of Degas. AS TOLD TO SAMUEL ANDERSON 24
TERENCE PEPPER I met Terry O’Neill at his first show [in] London in the ‘70s, around the time I started working at the National Portrait Gallery. By 2003, when Terry’s book Celebrity was set to publish, I’d known him for 25 years, and had wanted to collaborate for [just as long]. But the only [gallery space] available [at NPG] then had a [policy against] showing any borrowed [artwork]. To get around the rule, I schemed to have the Gallery acquire [Terry’s work]. That’s why there are 70 of Terry’s images in the collection today: of Jean Shrimpton, Twiggy with her mum, the Beatles...When Terry died in November, the NPG website had record traffic from everyone viewing them. It was only natural that Terry would befriend his subjects, as he did Elizabeth Taylor, whom he photographed on a number of occasions. [The first time] was when she was living in Hollywood and filming The Blue Bird at [director] George Cukor’s house. David Bowie was a friend of Terry’s, and Cukor was considering [Bowie] for the film. Elizabeth said to Terry, “Can you arrange a meeting?” When the day came, Bowie was four hours late…But Taylor, famous for her lateness, just put her arms around him and made him feel welcome. [She and Bowie] were good friends from then on. TERENCE PEPPER CURATED “CELEBRITY” BY TERRY O’NEILL AT THE NATIONAL PORTRAIT GALLERY IN 2003. AS TOLD TO DEVIN BARRETT
Photography Terry O’Neill David Bowie and Elizabeth Taylor captured at George Cukor’s house, circa 1970
VIP
VIP Dan Colen, At Least They Died Together, 2018; Performance with Dan Colen and Dimitri Chamblas, 60 minutes. © Dan Colen. Courtesy of the artist and Gagosian. Photography Mike Selsky.
The Hills Have Eyes In his recent book, South African photographer Henrik Purienne explores the physical beauty and the horror of his adoptive home, the Hollywood Hills. Los Angeles does not [always] have a pretty face, yet you cannot look away. When I first arrived here, I thought it was the most disgusting place I’d ever seen. Then something strange happened: I missed it when I left. And I felt at home when I returned. [To this day] the mood of the Hollywood Hills really reminds me of Cape Town, South Africa, my hometown. Some days, when I wake up to blue skies and the arid hills, it takes me a second to realize that I’m in fact in California. There’s no [sense of] time, really. [But] it is a great place to mix business with pleasure. Living by appointment, as John Cassavetes said. I like being isolated, surrounded by creative collaborators and nature. The contrast between nature and concrete is very exciting. So is the light, the views, and the privacy. Physically, my house on the hill is 1930s French countryside meets 1980s mirroredwall porn set. Mentally, it’s a cloud floating high above everyday nonsense. The steam room in the pool house, overlooking the hills of Beachwood Canyon, is my favorite space. It’s super trippy—I call it the “time-machine.” Photographically, my book [Jeux de Peau] is just a documentation of subjects and objects floating in space. Portraits of those close to me. There’s so many absurdly wonderful plot lines unfolding [in Los Angeles] every day, it’s almost surreal. Scored to an ambient soundtrack by Brian Eno and Harry Budd. Dreamy and introspective. Twice removed from what is known as “reality.” On a clear day, you can see forever. JEUX DE PEAU IS AVAILABLE NOW (VISIT IDEANOW.ONLINE FOR STOCKISTS)
Welcome to the Wild, Wild West Ryan McGinley You had the idea [for what became High Noon] while on a road trip in 2003. This was the trip you went on with [late artist] Dash Snow? Dan Colen Yeah, I was driving across [North America] and taking pictures with a Mamiya 4x5 camera that [photographer] David Sherry had taught me to use. I drove all over, all the way down to the [base] of Mexico. I’d sold my first few paintings, so I had a little bit of money, [but was still] camping out everywhere... In the winter! The first time I thought to paint landscapes was when I got back from that trip, in 2004. RM Had you traveled before then, like as a kid? DC No. There wasn’t much traveling when I was young, [so] television became the portal to other places in general. Also, growing up in New Jersey, I was always inspired by the Hudson Valley painters—[especially] Claude Lorrain. RM Thinking about the Hudson Valley school of painters, those paintings have so much dimension. [By contrast], when I look at these desert paintings, they’re so flat. You bring them back to cartoons, [like] they’re 2-D. DC I think these paintings allow me to explore that childhood experience of [watching] television—seeing this light projected out of the [screen], allowing you to get a glimmer into these other places. Cartoons, especially the ones created by Chuck Jones, became the places I was most interested in. Jones is [best known for] his Warner Bros. cartoons—Bugs Bunny, Looney Tunes. All of those shows were really important. With my artwork, I’m trying to allow the viewer to be challenged by how they interact with it, or whether they can interact with it [at all]; in the desert, everything feels infinite and unquantifiable. The desert paintings are life-size, which is really important. [These pieces] try to break down space more than any [of my] other paintings. RM It’s interesting that you originally showed these works [at Gagosian’s] Beverly Hills [space]. They remind me of backdrops you would see on a Universal Studios lot. DC I want them to function on a lot of levels. From a distance, they feel like a backdrop because they are a backdrop. Up close, I’m using the paint in a very specific way, in which I’m thinking about them more as objects rather than images. The material presence is very palpable. There’s a lot of grit to them even though there’s no texture. With these paintings, the light is absorbed into the surface. The paintings glow a bit and create this optical experience and it feels like there’s a fuzz. That fuzz is present in both the desert and in front of a TV screen, [creating] an atmosphere that, in a way, [feels like] evidence of the spirit world. Because of that, [the desert] is an amazing place to think of supernatural or spiritual experiences. I’ve gone on many road trips, and the desert is really what stands out; it’s such a wild place. And with the Wile E. Coyote landscapes, you kind of get transported. There’s this idea that you could be on Mars, but you’re just in this [natural] space. RM After seeing one of your performance pieces [at Gagosian], At Least They Died Together, I was like, “Since I’ve known him for 20 years, let me think about this...” I 26
thought of you dancing, and then I remembered you were a basketball player and a skateboarder when we were kids, which are very performative in a way. I thought, Dan was like the Tasmanian Devil, a dirt tornado. But he’s also Wile E. Coyote, breaking through walls. I was thinking of [how that related to] you working with [choreographer] Dimitri [Chamblas]. I love what you guys came up with—the idea of the cowboy dying. DC The performance is meant to be sad and funny at the same time. I [had been] consider[ing] all the friends that we’ve lost. There are so many different ways to die... Can there be a euphoric experience? Can there be an excruciating experience?...I had conceived of [a few concepts] prior to meeting [Dimitri], but when we met, and I shared some of my ideas and what I’d been learning, he suggested we perform [what became] At Least They Died Together together. RM Well, the title is a reference to a Dash Snow collage, right? It’s the one of the two men [holding on] for their life, nude, hanging from these rocks at the top of a waterfall. How did you and Dimitri come up with the [choreography]? DC The choreography was made up of these ten ways to die, imagining elegance in the body through falling and dying. The ten prompts are: die forward, die backwards, die to the left, die to the right, die by one bullet, die by many bullets, die slow, die quick, die on your knees, and wither from pain on the ground. Part of the choreography was that we weren’t bound to each other’s movement, except for one rule: When the person decided to stand up from their last death, they couldn’t start dying until the other person stood up. So while I was playing dead, he would just be swatting flies and wiping the sweat off his brow. He was having to act bored, as a cowboy [would be] in the desert, waiting for nothing to happen. RM The performance makes me think of that classic expression: If you fall down, you get back up. My favorite [part] is the dirt. Whenever I get to photograph someone, and we’re outside, I always tell the person to kick the dirt up because it creates this amazing atmosphere around them. DC Right, it was really special. The whole gallery was just in a dust cloud... RM What’s your favorite Western? DC Growing up, [it was] Shane. It was something I [watched] with my dad. RM I love that movie. I love it when the kid says, “Don’t go Shane. Come back!” That always brought a tear to my eye growing up. DC With the paintings, it’s all about locating my experience [of] growing up. And then also my experience of getting older. Whether we’re talking about cartoons or television or the Arizona desert, [the question is], what do we do with all of the things that influenced us? [Especially] things that seem to have less of a [true] place in the world today [than before]. Something like a cowboy is definitely one of those things. HIGH NOON IS AVAILABLE FEBRUARY 2020 FROM GAGOSIAN SHOP MADISON AVENUE ($80, GAGOSIANSHOP.COM)
Photography Henrik Purienne
Before yeehaw culture struck, Dan Colen was finding inspiration in the trend’s cinematic roots, as seen in his Spaghetti Western-style performance art and High Noon painting series. Now out with a namesake book, the artist saddles up with childhood pal Ryan McGinley
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Voices
After helming Joan Jett biopic The Runaways, cult-film queen Floria Sigismondi (right) lends a youth-driven touch to Henry James’s The Turn of the Screw. The pastoral fright-fest, based on James’s classic, stars Mackenzie Davis alongside child-star royals Finn Wolfhard and Brooklynn Prince. The Turning opens Jan. 24. SAMUEL ANDERSON
This Aperol-colored weave is a treat, whether you’re toting old MetroCards or fresh picnic fodder. Durable and midsized, the Italian craftsmanship makes for a spring fling to last. Salvatore Ferragamo Arid Coral Wicker Boxyz Handbag ($2,700, available at Ferragamo boutiques nationwide and Ferragamo.com) SA
Transparency is in, as Emporio Armani’s SS20 collection, “AIR,” attested. That breezy theme goes portable with this plexiglass bag, offered in fulltransparency and red-tinted versions. With white leather trim and silver hardware, the design balances minimalism and statement-piece status. Emporio Armani Nola Transparent Top Handle Bag ($495, available at Armani Fifth Avenue, 717 5th Ave, New York, NY 10022) CVG
Composer Max Richter alternates between prestige-TV gigs (The Leftovers) and densely avant-garde solo work (Kafka-inspired electronica). “Voices,” a live show of new material based on the political arc of the last 10 years, is sure to be equal parts theory and theatrics. “Voices” at the Barbican Centre in London, Feb 17–18. SA
TOP Guitar Hero CFDA nominee Mike Amiri merges his love for music and keen eye for design to deliver the Guitar Bag. Available in suede, leather and embossed croc leather, the guitar-shaped backpack features an amp-jack-inspired closure. Amiri Embossed Croc Guitar Bag ($1,890, available at Amiri.com) CZAR VAN GAAL
ModelLand 10 years in the making, Tyra Banks’s fashion-centric fun emporium will bring over 20,000 square feet of interactivity to Santa Monica Place this year. With story-driven attractions (think runways and photoshoots), plus Tyra’s pledge to rebrand the beautiful life inclusively, this first-of-its-kind endeavor is sure to bring a life-size smize to your face. ModelLand opens Winter 2020. SA 28
Golden Ratio Plates, please! Enter the Issey Miyake dimension with this quintessentially geometric accessory, which melds rose-gold warmth and armored edge. Issey Miyake Bao Bao Bag ($830, available at Issey Miyake boutiques and Isseymiyake.com) SA
Clockwise from top left: Photography Camilo Fuentealba; Max Richter at “Great Wall SLEEP” performance, 2019 Based on the graphic novel Akira by Katsuhiro Otomo. First published by Young Magazine, Kodansha Ltd. ©Mushroom/Akira Committee. Licensed by Funimation® Productions Ltd. All rights reserved. .Photography Camilo Fuentealba; Mark Ronson, Photography Chris Colls (VMAN41).
Orange Crush
Clockwise from top left: Actress Denna Thomsen as Miss Jessel (left) and director Floria Sigismondi (photo courtesy of Biz3); Photography Camilo Fuentealba; Photography Camilo Fuentealba; Courtesy ModelLand; Photography Camilo Fuentealba.
The Turning
Frieze Los Angeles
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Set on the Paramount backlot, the Londonbased art fair’s secondever West Coast edition will lean into tinselly fanfare, highlighting film, fashion, and entertainment in addition to the best contemporary art this side of La La Land. Frieze Los Angeles at Paramount Pictures Studios, Feb.14–16. SA
4xFAR Festival
This luxe, 35-acre adventure-land may share a location with the Coachella music festival, but its presenter, Land Rover, packs in a few extra comforts. Besides musical headliners like Mark Ronson, expect campsite mixology and outdoorsy workshops taught by surfer Laird Hamilton. 4xFar, Coachella Valley, CA Jan. 18–19. (4xFar.com) SA
Green Light Allow luxury Italian fashion house Fendi to re-introduce one of this season’s most enviable accessories. For Spring 2020, Silvia Venturini Fendi revamped her Peekaboo handbag’s trademark porous construction, now offered in compact raffia, latticework leather, and open-weave “FF” toile. Fendi Green Latticework Leather Handbag ($7,200, available at Fendi.com) CVG
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Blu Hunt, Actress In The New Mutants, this April’s X-Men spinoff, the Sacramento-born Blu Hunt plays Dani Moonstar, whom she describes as a “bad bitch.” Though oft-deployed in our empowerment-hungry era, the “bad-bitch” distinction is especially apt; Moonstar’s superpower, telepathically exposing enemies to their darkest and most terrifying fears, can only be categorized as bad-bitch behavior. “She’s really tough,” adds Hunt, “and she doesn’t play into any clichés.” And part of that is thanks to the casting of Hunt; as a descendant of the Oglala Lakota tribe, Hunt is demographically in sync with Moonstar, one of the Marvel-verse’s first and only Native women. As such, Hunt has recently seen her share of real-life fears come to pass. “Trump has been doing damage to Native land and destroying sacred monuments ever since he’s been in office,” she recounts. But Hunt, who was raised on Scorsese and Harmony Korine films, suggests her role as Moonstar could at least offer a cultural corrective to her peoples’ recent political setbacks: “Representation right now is extremely important,” says Hunt. In The New Mutants, Hunt’s Moonstar finds partners in badassery in Magik and Wolfsbane, played by The Witch’s Anya Taylor-Joy and Game of Thrones’s Maisie Williams respectively. Adding depth to the mix is Josh Boone, who previously directed YA heart-tugger The Fault In Our Stars. “I’d describe [the film’s dynamic] as Nightmare on Elm Street meets The Breakfast Club,” says Hunt. “It’s really scary, but beneath the horror it’s very emotional.” Next up for Hunt is the politically charged Dave Eggers adaptation Fathers & Prophets, a welcome immersion into intense filmmaking for the actress. “It’s a very intense drama,” she says. “I might have to shave my head!” It’s all in a day’s work for a fearless actress like her: “I think you should come out of every [project] not being the same person.” OWEN MYERS
Meet six young catalysts reshaping the Hollywood landscape Photography Doug Inglish Fashion Christian Stroble
Jake wears jacket, pants, shirt Gucci Hat stylist’s own
Jake Picking, Actor They say they don’t make them like they used to, but the leading-man virtuosity of Boston native Jake Picking suggests otherwise. With the comic sensibilities of Jim Carrey (his idol), the boyish showmanship of Mark Wahlberg (Picking shares his fellow Bostonian and Patriots Day costar’s fondness for rapping), and a jawline that Al Hirschfeld might have chiseled, the actor seems grafted together from bygone eras, or ones due for a reboot. Those timeless airs made Picking a natural choice for the star-loving Ryan Murphy, who tapped the 28-year-old to play Rock Hudson. Hollywood, Murphy’s ambitious pop-historical saga reanimating mid-century Tinseltown, sees Picking alongside Jim Parsons as Hudson’s high-powered agent Henry Willson, as well as Golden Age peers played by Darren Criss, Samara Weaving, and Maude Apatow. Although in Hudson’s case, the 1940s might better be described as a gilded cage: Despite embodying a platonic male-actor ideal, Hudson’s seemingly sudden death by AIDS in 1985 would cast a shadow of forced secrecy on his macho legacy. “I think what we’re making is really a non-sanitized version [of history], and that’s great,” says Picking. “It’s a celebration and an unveiling.” Though his works-in-progress foretell a fast-track to recognition (he’s also in 2020’s Top Gun: Maverick), Picking, who vowed to, if necessary, “eat out of tuna cans” upon moving to L.A., puts process ahead of ego: “The audience should feel like a fly on the wall— that’s the goal,” he says of inhabiting Hudson. “[Which makes] it hard not to take work home, especially when you’re playing someone legendary...I feel like that can be unhealthy.” While the tradition of the self-sacrificing star finds a complicated precedent in Hudson, Picking hopes his portrayal will make good on those sacrifices: “Honestly, I think that sometimes [Hudson] viewed himself as a villain, because of the secrets that he had to keep,” says the actor. “[His story] is a tragedy...But I think he was a hero.” SAMUEL ANDERSON 30
Blu wears dress Etro Earrings Bulgari
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Mikey Madison, Actress Even among one of recent memory’s most star-studded casts, Mikey Madison’s role in Once Upon a Time In Hollywood was nothing if not memorable. After all, it was Madison as notorious Manson-girl doyenne Susan Atkins who said, as a pistol-shot to the film’s climactic bloodbath, “I say fuck ‘em, I say let’s cut their cocks off and make them eat it!” If a star wasn’t born then, it was when Madison’s Atkins meets her end via flamethrower at the hands of Leonardo DiCaprio’s Rick Dalton. Madison’s reverence for Tarantino-style drama shines through the intense gore of that role. “[Tarantino] is a true artistic genius,” she says. “Working with him was wonderful.” Growing up in the San Fernando Valley, Madison studied Tarantino movies like other kids learn times tables, eventually taking her fandom to high-flying lengths. “Me and my dad flew to New York to see The Hateful Eight in 70mm, because we couldn’t get tickets in L.A.!” she says, pausing for a short laugh. “We had to see it like that.” As a lucky charm, Madison kept that screening’s ticket stub while auditioning for and eventually shooting Once Upon. But she didn’t leave it all up to superstition: A self-professed flea-market devotee with an ear for Jimi Hendrix and The Mamas and The Papas, Madison took care with her first-audition look. “My first audition was with Quentin, [so] I came barefoot in my best vintage dress,” she recalls. In addition to seamlessly fitting into costume designer Arianne Phillips’s ’70s vision, Madison went one step further: “I [brought] a painting I’d made [while] in character, [based on one] that [Susan] had painted on an acid trip.” However convincing Madison was as Atkins, her Tarantino debut may have raised eyebrows among fans of her longest held role. As the bratty and unfiltered high schooler Max on FX’s Better Things, Madison’s teen angst stops just short of murderous. “I think Max is the character that I’m least like...I like being really different from her,” says Madison, before conceding: “As I’ve grown into a woman, Max has [grown] as well.” Given her range of roles, it’s clear that Madison can grow in whichever direction she chooses. OM
Phillip wears shirt and shorts Stella McCartney Shoes Dsquared2 Necklaces Cartier Socks Happy Socks
Phillip Youmans, Director Before hitting Netflix in November, Burning Cane was a Tribeca Film Festival buzz magnet, its quiet, verisimilar drama offering a seldomseen look at Southern semi-rural life. Adding to the buzz was the notable age of the director, Phillip Youmans, who, at just 19, may have seemed an unlikely candidate to tackle themes like stymied social and economic progress, or the hypocrisy of the church. Indeed, the film’s sole young-person character, the passive Jeremiah, doesn’t say much. And yet, while Burning Cane is by no stretch a kid’s movie, it is about kids, according to Youmans. “For me, the entire story is about Jeremiah,” he says. “People use him as a justification for their actions, and say he’s the important thing, but their actions routinely display the contrary.” While Youmans grew up in a “rigid Protestant ecosystem,” not unlike the one portrayed in Burning Cane, the New Orleans native says his film has no agenda. Instead he hopes the story enables a sort of “free association,” in which “people can bring their own feelings and interpretations to the table.” In fact, Youmans credits his early-arriving success with the adults he grew up around, namely his mother Cassandra, a producer on the film. “It’s so interesting, because she is still very religious, but she’s also encouraged active dialogues about [religion], and is okay with the fact that I directly question it,” says Youmans. Further credit goes to the teachers at Youmans’s performing arts high school in New Orleans (“Shout out to Mr. Webb!”) as well as to Ava DuVernay, who made the winning bid on Burning Cane. “[That was] a humbling thing for sure, and it’s also just like a pinch-me moment,” says Youmans, calling in from DuVernay’s production company headquarters on the day of Cane’s Netflix premiere. “I think today is definitely a homecoming situation.” But the young filmmaker doesn’t intend to lose sight of his place of origin. “I could give my authentic insight [because] it was a subject that I knew about, a world that I experienced growing up,” he says. “The fact that it has resonated with people really has just given me that confidence, and excited me to get back on set.” SA 32
Mikey wears coat, top, skirt Prada
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Zelda Barnz, Writer
Chase wears bra, pants, coat,shoes Fendi Belt Salvatore Ferragamo Necklaces (top to bottom) Cartier, Bulgari, Swarovski Earrings Bulgari
Chase Sui Wonders, Actress Chase Sui Wonders’s trio of upcoming projects reads like a reel of future 2020 alt-hits: There’s On the Rocks, written and directed by Sofia Coppola, an untitled Judd Apatow/Pete Davidson film, and the Lena Dunham-produced HBO Max pilot Generation. With these masters of humanistic storytelling in her corner, Sui Wonders is poised to have a net-positive impact on pop culture. “I try to create as much as possible and absorb as much culture as possible,” she says. “It feels like such a crazy divisive time, and everything just hits you like an explosion. So the unifying [potential] of cultural output is really inspiring to me.” If her hectic filming schedule is any indication, chaos can be part of the actress’s process. Such is true of Sui Wonders’s near-miss path to landing the part on Generation, a lighthearted but realist take on teen life today co-created by 18-year-old Zelda Barnz. “This is a crazy story,” she says. “But I was filming a skateboarding show on the Williamsburg Bridge and I completely ate it. I’m down and out, and then I had an allergic reaction to hazelnuts and had to go to the hospital—and that was when I got the callback from the director...It was fate!” While Sui Wonders’s upbringing in Detroit was not always so action-packed, it was not without its moments of thrall, in large part courtesy of her famous aunt, the designer Anna Sui. Relation to fashion royalty meant periodic trips to New York Fashion Week, which Sui Wonders recalls as “inspiring.” Further inspiration awaited at Harvard, where she studied under auteurs like Guy Maddin (The Saddest Music in the World). “It was very special,” she says of the school’s film program. “Like a little gem cave.” But to equate Sui Wonders’s Ivy League and high-fashion pedigree with any sort of snobbish cultural bias would be a false move. Though she’s an unapologetic arthouse buff (and a regular at New York’s indie-leaning Metrograph theater) there’s a clear winner when it comes to the question of Sui Wonders’s most-watched film: “Die Hard!” she responds, without missing a beat. OM 34
Makeup Artist Valery Gherman (The Wall Group) Hair Dennis Gots (The Wall Group) Digital technician Maxfield Hegedus Photo assistant Ryan Moraga Stylist assistant Abby Hercules Production assistant Denise Solis
Coming-of-age stories are old—like Homer’s-The-Odyssey old. But whether you call it a coming-of-age, a bildungsroman, or (ugh) YA, such stories will never stop being told and retold. That is, as long as people like Zelda Barnz exist. At 18, Barnz has already written and produced her first pilot, Generation, for HBO Max, under the tutelage of fellow scribe Lena Dunham, a co-producer on the show. Despite her early station in life, Barnz has been telling stories for years, having taken a vow in the second grade. “I was always really bad at everything [except writing]. So I had a total identity crisis when I was eight years old, and just accepted [that I would] be a writer,” she says. The vocation had its drawbacks: “I didn’t really learn how to interact with people until I was 12 or 13; I would have much preferred to stay home [and read],” says Barnz. Luckily her parents, Daniel and Ben Barnz, were seasoned storytellers themselves. When it came to constructing the drama of Generation (later to be played by young stars like Chase Sui Wonders and Justice Smith), Daniel, whose directing credits include the Jen Aniston-led drama Cake, was there for punch-ups. “He helped me develop characters and plot, [and made] it feel more like a TV show than a novel,” Barnz says. With her proximity to Hollywood’s creative class, Barnz took matters into her own hands upon detecting a lack of authenticity in today’s popular young-adult narratives—especially vis-à-vis queer representation. “From the very beginning, the [main] reason I wanted to create [a show] was to represent queerness in my generation...I feel like a lot of high-school shows right now tend to have a token gay character,” she says. “But it turns out roughly 40 percent of my generation identifies as LGBTQ+.” Barnz’s vision of queer inclusivity isn’t just progressive in its percentages, but also in its commitment to portraying joy. “I think one thing that high-school shows right now are struggling with is the joy-factor of being a teenager,” she says. “I think there can be a lot of joy, even in the difficulty of being ages 13 to 19.” SA
Zelda wears dress MSGM Necklace Swarovski
V TRENDS The new decade is now trending, but nostalgia’s here to stay, as four studies in fashion memory illustrate
Photography Cameron Postforoosh Fashion Aryeh Lappin
60s
Clockwise from top left Sarah wears romper Christian Dior Sunglasses Gucci Necklace Swarovski Ring Cartier Shoes Giuseppe Zanotti
Najiyah wears dress and shoes Gucci Ring Cartier Lilly wears coat Louis Vuitton Earrings Tiffany & Co.
Hannah wears dress Gucci Shoes Giuseppe Zanotti
Hannah wears dress Fendi Earrings, necklace, ring Bulgari
Clockwise from top left Najiyah wears all clothing and accessories Celine by Hedi Slimane
Lilly wears top and pants Redemption Top (worn underneath) Missoni Necklace Swarovski Cuffs Tiffany & Co.
Sarah wears all clothing and accessories Celine by Hedi Slimane
Hannah wears dress and headscarf Etro Cuff and rings Tiffany & Co.
70s
Makeup Akiko Owada Hair Evanie Frausto (Streeters) Models Sara Soric (Muse), Lilly-Marie Liegau (Next), Hannah Holman, Najiyah Imani (Heroes) Manicure Maki Sakamoto (The Wall Group) Photo assistant Matchull Summers Makeup assistants Satsuki Soma, Hinako Takagaki Location Root Brooklyn
80s
Clockwise from top left Hannah wears dress and earring Moschino
Sarah wears dress Blumarine Earring model’s own
Lilly wears dress and earrings Moschino
Najiyah wears dress Saint Laurent by Anthony Vaccarello Earring Emporio Armani
Clockwise from top left Najiyah and Hannah wear all clothing and accessories Givenchy
Sarah wears all clothing and accessories Versace
Sarah and Lilly wear all clothing and accessories Tom Ford
Najiyah wears dress Tod’s
90s
HBD2, Dsquared2! Between them, identical-twin creative directors Dan and Dean Caten have spent a half-century embodying Canadian-Milanese fashion. Here, a double-stuffed celebration of their brand’s 25th birthday Photography Christelle de Castro Fashion Anna Trevelyan V Happy birthday! How does it feel to be celebrating 25 years as a brand? Dean and Dan Caten We are very proud and deeply thrilled to have reached such an important milestone for the brand and for ourselves! We are grateful for everything and are as committed and dedicated today as when we were designing clothes for our sisters’ special occasions. When we started, we said to each other, “This is our one shot.” We could have always gone back to Canada and still been satisfied that we’d tried. That’s also why we chose to come to Europe. If we had gone to New York, we would have been a bus ride away from home and we could have given up quicker. We wanted to put an ocean and a language barrier between us and our goal, to make giving up as difficult as possible. Yesterday it was a dream, and today it is a reality. V How has the brand changed since its inception a quarter-century ago? D&DC Since the beginning, our vision was to create innovative yet wearable clothes for people like us—people who work, play, and party. Clothes that make you feel comfortable and at ease day and night. It’s always been what we like. It has just evolved [over the years]; we covered more [territory] from formal events to sports. Now you can go to the beach, ski, work, or celebrate a special occasion [in our clothes]. V How have you both changed, and what have you learned about each other? D&DC We have learned that it’s not as hard as everybody says. You just need to be focused. You need to believe in yourself, dream big and work hard to get what you have always desired. As for us, we have learned to understand and always better each other as we cannot live without the other. Work-wise, we never make a decision if we’re not in agreement. 40
Hair and Makeup Anna Wagner Models Jazzelle (The Society Management), Adrien (NEXT Miami) Producer Nicole Allison Photo assistant Johnny Komar Stylist assistant Kristtian Chevere Production assistant Michael Wysocki
Jazzelle and Adrien wear clothing and accessories Dsquared2
A NEW SPRING Next-generation supermodels take center stage in Spring’s standout looks
Photography Nathaniel Goldberg Fashion George Cortina
Chun Jin wears dress and belt Saint Laurent by Anthony Vaccarello
Sijia Kang wears dress and headpiece Marc Jacobs
On hair Oribe Dry Texturizing Spray
On skin Eric Buterbaugh Rose Oud
Tang He wears dress and boots Maison Margiela On hair Oribe Soft Lacquer Heat Styling Spray
Lina Zhang wears skirt (worn as dress) Versace On hair R+Co Vicious Strong Hold Flexible Hairspray
Chu Wong wears dress Gucci Headpiece Maison Margiela On skin Monastery Lapiz Matte Body Oil
Makeup Lloyd Simmonds (Artlist Paris) Hair Marc Lopez (Artlist Paris) Models He Cong (IMG), Chun Jin (Ford), Sijia Kang (Elite), Lina Zhang (Elite Paris), Tang He (Next), Chu Wong (The Society Management) Manicure Typhaine Kersual (Artists Unit) Production Michael Lacomblez (Louis2) Digital technician Aurèle Ferrero Photo assistants Corinne Mutrelle, Isaac Berzosa Stylist assistant Fiona Hicks Production assistant Pierre Sénéchal (Louis2)
american beauty Blending utopia, dystopia and suburbia, this cinematic fantasy, starring the Spring 2020 collections, starts the year on a climax Photography Marcus Ohlsson Fashion Gro Curtis
From left to right Mads wears all clothing and accessories Saint Laurent by Anthony Vaccarello
Meghan wears all clothing and accessories Vera Wang
Faith wears all clothing and accessories Burberry
Shayna wears all clothing and accessories Chanel
Maty wears all clothing and accessories Balenciaga
Mads wears dress, shoes, jewelry Celine by Hedi Slimane Sunglasses Oliver Peoples
Meghan wears dress Christian Dior Gloves Vera Wang Sunglasses Oliver Peoples
From left to right Meghan wears all clothing and accessories Gucci Ayobami wears dress and shoes Valentino Sunglasses Oliver Peoples Faith wears all clothing and accessories Simone Rocha Shayna wears all clothing and accessories Rick Owens Maty wears all clothing and accessories Tom Ford Mads wears top, skirt, earrings Versace Shoes Vera Wang Sunglasses Oliver Peoples Socks stylist’s own
Shayna wears top Fendi Jewelry Erdem Veil stylist’s own
From left to right Faith wears jacket, top, shorts, jewelry, belt, shoes Saint Laurent by Anthony Vaccarello Sunglasses Oliver Peoples Veil and tights stylist’s own
Maty wears jacket, top, shorts, jewelry, belt, shoes Saint Laurent by Anthony Vaccarello Sunglasses Oliver Peoples Veil stylist’s own
From left to right Ayobami wears all clothing and accessories Louis Vuitton Meghan wears all clothing and accessories Maison Margiela Faith wears all clothing and accessories Givenchy Mads wears all clothing and accessories Giorgio Armani Shayna wears all clothing and accessories Erdem Maty wears top, skirt, shoes Miu Miu Gloves Vera Wang Bracelet Simone Rocha Sunglasses Oliver Peoples
Makeup Morgane Martini (The Wall Group) Hair Joey George (Management Artists) Models Ayobami Okekunle, Faith Lynch, Mads Mullins, Shayna McNeill, Maty Fall, Meghan Roche (IMG) Set design Gerard Santos (Walter Schupfer) Production Charles McDermott, Ian Milan (D+V) Digital technician Alonzo Maciel Photo assistants Ross Singer, Josh Mathews, Henry Lopez Makeup assistant Mika O Hair assistant Jennifer Covington Bowers Production assistant Alonzo Hellerbach Retouching Madly Unda (IWonderU/Studios)
Margot wears Dress and bracelet Chanel Tights Wolford On eyes Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner in Khaki Intense
MEGA margot Fresh off the megaton explosivity of Bombshell, Margot Robbie stars in and produces her biggest project yet, Birds of Prey Photography Chris Colls
Fashion Paul Cavaco
Interview Charlize Theron
Coat Versace Top Guess On lips Chanel Rouge Splendide in Candy Red
“I always want to feel a little bit scared when I take on a role. And to be pushing myself in some way.” �Margot Robbie
Shirt, pants, boots Vetements
This spread Top Hermès Swim cap stylist’s own
Hat Moschino
Top and shorts Tom Ford On eyes Chanel Calligraphie de Chanel Longwear Intense Cream Eyeliner in 65 Hyperblack
Shirt and pants Michael Kors Collection On face Chanel Éclat Magnétique de Chanel Illuminating Powder in Metal Peach
On face Chanel Sublimage L’Eau Démaquillage Refreshing and Radiance-Revealing Cleansing Water
All clothing and accessories Moschino
On eyes Chanel Calligraphie de Chanel Longwear Intense Cream Eyeliner in 65 Hyperblack
t’s no wonder that, for Margot Robbie and Charlize Theron, the fandom is mutual. Both left their continents of origin to become Hollywood royalty, and recently starred together in Bombshell as anchorwomen battling sexist double standards (or worse) in the workplace. Once typecast as the “gold-digging girlfriend,” a pre-fame Robbie might’ve empathized with her fictional character, Fox News producer Kayla Pospisil. But of course, Robbie’s career quickly outgrew anyone’s expectations (including her own), as the Aussie’s ever-lengthening actor-producer credits continue to prove. Her next-up Batman spin-off, Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn will be her company LuckyChap’s highest-budget endeavor to date. Marissa G. Muller Margot Robbie Charlize, thank you for doing this! Do you want to share a pickle? I’m not normally a big pickle eater, but I’ve been really liking them… Charlize Theron Yes, I want to share a pickle with you! How could I say no? MR I just learned, like a few years ago, that pickles are actually cucumbers. CT [Laughter] That is amazing to me. My daughter thinks cucumbers are pickles. She calls cucumbers “pickles.” I’m like, that’s not a pickle…[On that note], let’s talk about your childhood. I’m picturing you spearfishing off the Gold Coast and catching your dinner as a 12-year-old. MR Literally, yeah [laughs]. So, I actually very much had that rural Australian experience. [When I was young] we moved out to the hinterland, which is part of the Gold Coast. We lived on acreage, so it was definitely [in line with a certain image of Australia]. People in America are like, were there kangaroos and koalas outside your bedroom window? And I’m like, well yes there were, but that’s not a normal thing in Australia, necessarily! I feel like I really got all the best of Australia. CT So, when did you discover movies? MR We had a limited and eclectic collection of VHS tapes, which I watched a thousand times over. I’d be rattling off lines in the kitchen, and my mom was like, “How do you remember all this? Are you making this up?” [Even] so, I never said, “I’m going to be an actor.” I think it was probably a similar thing as when you were growing up in South Africa... CT Yeah, no. It’s like talking about a unicorn. It doesn’t exist. MR Yeah, it’s not an actual job. And even after I was working full-time at 17 on Neighbours, my family was like, “So… what’s your plan? What are you going to do for a job and career?” CT Did you have to really convince your parents? What did they want you to do? MR I don’t know! I think the best-case scenario would have been going to university. CT Boy, were they wrong [laughs]. MR I never did go to university! But I went with my friends to all the university initiation-week parties. CT Smart! The best part! So what was the next step, after [working on Neighbours]? MR To begin with, I was just stoked to not get fired. But after that, there seemed to be two options available: One, stay on Neighbours; many of my castmates on that show had worked there for 30 years, and I could have had a very comfortable, nice life [by doing that]. But I knew I didn’t want that. [The other option] was taking a chance on America. And I’d seen some costars try their luck in L.A. So I spent the next three years saving up and working on dialects, because I couldn’t do an [American] accent to save my life, and I went for door number two. CT Wow…So when you started, did you have any fear of being typecast? MR It wasn’t until after Wolf of Wall Street that a lot of similar roles started coming in. I realized, gosh, I’m going to have to do something very different, to kind of let people know I’m not going to keep playing the gold-digging wife forever. And it’s not that I don’t want to [ever play] a gold-digging wife—I had the best time playing [Naomi]. But I had exercised that muscle. I had come to understand her. I wanted to read a character, and think, “I have no idea how to do that.” I always want to feel a little bit scared when I take on a role. And to be pushing myself in some way. But before that, I just wanted to get any job. [My first real role] was on a TV show called Pan Am, and I shot that for a year, in New York. I was playing a very sweet, naive young woman experiencing the world for the first time, and having a blast. And I was maybe not as innocent as her, but I was definitely having the same sort of thing; like, wow, the world is so big and amazing, and I’m in New York City, it’s so crazy…My first time on a set, I wanted to know what everyone was doing, and why. I kept asking the DP, “What lens are you on, and why that?” Eventually he just brought me a book and was like, “Read that, it’s got all the answers!” It was so kind, and I still have the book. It was an interesting read, and answered a lot of my questions, so I’d stop bothering him... CT Maybe that was it, but at what point did you feel that you wanted to produce your own films? MR It’s a funny thing…I’ve spoken about this with some other actresses. Fame is such a weird thing. It has this way of coming on very quickly. And I felt very untethered by it. I was searching for different ways of taking control of my life, to get where I wanted to be. As a producer, you get to be a part of everything. And not just on set, but in the years it takes up to that point. I like exercising that business-savvy part of my brain—even doing the tax-incentive shit. CT How long was it before I, Tonya came around? MR That was the second film [we produced at LuckyChap]; we gave ourselves a manifest to begin with, and that was to tell female-driven stories and to work with as many first- and second-time directors as we could. CT And what about that project made you say, “I have to do this”? Did you know about her [Tonya Harding]? MR No, I had never heard her name. And I actually thought it was fictional. Like, okay, this gets a bit absurd in some places, people are going to think we’re taking the piss now. But the most absurd parts were absolutely all factual. CT That’s so interesting that you knew nothing about her. To me, she feels like Elvis. And I imagine, if [the role] came to me, that’s how I would look at it. I think that’s maybe the key to why you tapped into an aspect of [the character] that didn’t feel sensational. You tapped into the emotional story of this woman who was struggling with a lot of shit. And she did terrible things, but her circumstances were also not great. MR Yeah! It was perfect that I didn’t know about it. Because I had no preconceived notions. As an actor, the first thing is trying to understand her point of view. I’m reading lines that say, “Nancy gets hit one time and the whole world shits. For me it’s an everyday occurrence.” I read that and think, yeah, I agree! Why is everyone so hard on you? I don’t get it! So I’m really glad I didn’t know anything. It made it so much easier to understand her. CT Do you remember the first time we met? MR Yes! On a shoot, [a couple years back]. You were practically naked. CT I had a lot [going on]. “She’s wearing a sheet, she’s got a toddler screaming and she’s gushing to an actress she wants to work with…” How strange is it that three years later, I called you up about [Bombshell]? MR Since we’re on that topic…Why did you think of me for this role? I never got to ask… CT First of all, oh my god, are you insane? [It was] a no-brainer, Margot Robbie. But second of all, this is an ensemble cast; there’s not a lot of time for you to flesh out [your character]. We needed an actor who could really tap into all the emotions, economically and effectively. And you have done that in spades. [And from the moment you agreed to it] you were so committed to the project. You were doing it with us. What was it that made it so clear to you? MR I mean, I could literally [repeat] everything you just said, because it was a no-brainer. The opportunity to work with you…I secretly just wanted to watch you produce. Like, I don’t know if I’m doing this right—handling the producing, the acting, and life. It would be really nice to [watch someone else do it]. But more than anything, I wanted to be a part of this story, and I wanted people to experience Kayla’s experience. Which, as you see in [one] scene, is so hard to define. He assaults her without getting up from his chair. I thought that was something that people needed to see. CT Margot. I love you. MR I love you, too. You’re a great reporter. CT How much do I get paid for this? MR You get one jar of pickles.
Necklace (worn as bracelet) Chanel
“Fame is such a weird thing. It has this way of coming on very quickly. And I felt very untethered by it. I was searching for different ways of taking control of my life, to get where I wanted to be.” �Margot Robbie
Dress and hat Yohji Yamamoto
Top and pants Bottega Veneta
Bodysuit Norma Kamali Belt stylist’s own
Earrings Margot’s own On face Chanel Les Beiges Water-Fresh Tint
Makeup Pati Dubroff (Forward Artists) Hair Diego Da Silva (Streeters) Manicure Tom Bachik Production Carly Louison (Serlin Associates) Digital technician Jeanine Robinson Photo assistant Daniil Zaikin Stylist assistant Elliot Soriano Makeup assistant Dom Thaysen Location Milk Studios LA
CYBER PUNK 2020 Goth becomes her. Cloaked in the romance of the Spring collections, Selena Forrest embodies a new kind of American gothic Photography Reto Schmid Fashion Patti Wilson
Selena wears skirt and shoes Louis Vuitton Bodysuit Fleur du Mal Bra Baserange Stockings (throughout) Wolford Earrings (throughout) model’s own
Dress Giorgio Armani Jacket Commission Gloves Wing + Weft Hat Bondinage
Top, pants, shoes Burberry Gloves Wing + Weft
Top, skirt, bolero, boots Rick Owens Gloves Wing + Weft Bracelet Ambush
Dress and shoes Gucci Sunglasses Gentle Monster Gloves stylist’s own
Jacket Act n°1 Bra and shorts Guess Shoes Miu Miu Belt Ambush Hat Esenshel
Jacket, pants, shoes, bag Amiri Fabric (worn under) stylist’s own
Top and skirt Givenchy Necklace Ambush On eyes Maybelline Color Tattoo 24 HR Longwear Cream Eyeshadow Makeup in Risk Maker
Dress and shoes Prada Necklace Kwaidan Editions
Makeup Erin Parsons (Streeters) Hair Tina Outen (Streeters) Model Selena Forrest (Next) Manicure Naomi Yasuda (Management + Artists) Photo assistants Chris Parente, Jesse Gouveia Stylist assistant Taylor Kim Location Equinox Hotel Hudson Yards
Dress, shirt, bag Valentino Hat J.R. Malpere Gloves Wing + Weft
“I’ve lived here for five years and I would describe the current L.A. landscape as ‘oat milk.’ I like how the city is a true melting pot of people and cultures. I don’t have any ‘dream roles’ but I’d love to do a film back in Israel.”
“Coming to L.A. for the first time was a dream come true. I [came] to be on Ellen. It was my first time on an airplane and staying in a hotel. I got to order room service and watch TV. ” �Mason Ramsey, musician Ramsey closed out 2019 with two headlining tours.
�Odeya Rush, Pink Skies Ahead (2020)
los angeles In Hollywood, dreams of stardom ensure constant renewal. Here, a rising filmmaker storyboards the dream’s next chapter with a cast and crew of actors, musicians, masqueraders, and more Photography Christian Coppola Fashion Sean Knight
Odeya wears Shirt and skirt Louis Vuitton Tights Wolford Earrings Bulgari On eyes Pat McGrath Labs Blitz Astral Quad
Mason wears Suit and shirt Gucci Tie Saint Laurent by Anthony Vaccarello Hat and lasso his own
“I’m always drawn to powerful, smart, kind characters; I like to learn something from them. We can all learn from books and movies that change our points of view.” –Milly Shapiro, Hereditary (2018) Stay tuned for music in 2020!
Milly wears Dress Dries Van Noten Earrings and ring Tiffany & Co. On lips Clarins Water Lip Stain & Lip Comfort Oil Duo
“My dream is to dance in movies—to have a career like Fred Astaire or Bob Fosse, only in today’s time, and with contemporary dancing. I feel like that’s missing.” –Haley Lu Richardson, Unpregnant, After Yang (2020)
Haley wears all clothing and accessories Moschino On hair SEEN Blow-Out Creme
“I’ve been dreaming of doing a really dramatic role where I get to push myself. Every film is different. Sometimes I go extreme and write in a journal and obsess over the character.
“I’ve lived in L.A. for more than a year. Something I like: the beach. Things I dislike: the air quality and traffic.” –Angus Cloud, Euphoria, Season 2 (2020)
–Mckenna Grace, Ghostbusters 2020 (July 2020)
Mckenna wears Dress and sweater Miu Miu Top her own Headband stylist’s own On lips Shiseido LacquerInk Lip Shine in Coral Spark
Angus wears Coat, shirt, pants, tie Gucci Watch Bulgari Glove Vera Wang
“I moved out to L.A. as soon as I had costumes and pictures together. I’ve had so many different parallels [with Marilyn]. I’ve always identified with her. I have a really great life and can’t imagine I would have this much fun had I not been doing Marilyn.”
“The current landscape of Los Angeles is arid, desolate, and basically on fire. This is also true of Hollywood, which it seems to me, is a fractured concept; shards of new stories and storytellers but no collective whole.” –Avan Jogia, The Stranger on Quibi (2020) Jogia is the author of Mixed Feelings: Poems and Stories.
–Holly Beavon as Marilyn Monroe
Holly wears clothing and accessories her own On nails Essie Gel in Not Just a Pretty Face
Makeup Jenna Kristina (The Wall Group) Hair Rachel Lee (Atelier Management) Production Krista Worby, Dennis Martin Prop stylist Taylor Robinson Stylist assistants Bin Nguyen, Taylor Erickson Makeup assistant Carol Choi Hair assistant Ramdasha Bikceem Retouching Alex Hainer Location The Paramour Estate
Avan wears jacket Berluti Shirt Missoni Pants and shoes Gucci Watch Cartier Earring his own
Set Deisgn Jeremy Parker
WHAT V WANT Smells like Celine. Hedi Slimane unveils a suite of fragrances for the house, charting an olfactory journey from the nightclubs of Paris to the beaches of California Photography Ryan Jenq Text Devin Barrett
Hedi Slimane further illustrates his vision of the storied Parisian house with 11 new fragrances, nine of which are available now (two will be released later this year). The collection is designed with no gender in mind, and offers the first Celine fragrances since 1964. And as such, the range hints at glimmers of the past—specifically touchstones of Slimane’s own life, namely his club kid days. Trips to Le Palace at age 15 informed Nightclubbing, which smells of Galbanum with accents of tobacco. Unsurprisingly, it’s a perfume for night, promising sensuality and intrigue. Meanwhile, in a different time zone, Eau de Californie is a tribute to California (where Slimane lived for ten years), and is
described as “an acoustic and solar perfume.”Think earthy elements of palo santo fused with powdery notes, marrying the worlds of West Coast ease and Parisian sophistication. And if you’re a fan of Slimane’s “Rock Diaries” from the pages of V, you’ll surely fall under the spell of Reptile, the olfactory manifestation of the rock persona, elegance tinged with poisonous notes. The full range is a trip through the world of Celine—the world of Slimane. Count us in! COLLECTION HAUTE PARFUMERIE CELINE BY HEDI SLIMANE ($220 FOR 3 OUNCES, $320 FOR 6 OUNCES, AVAILABLE AT CELINE.COM)
800.929.DIOR (3467)
E - B O U T I Q U E . D I O R .C O M
