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D I O R . C O M - 8 0 0 .9 2 9. D I O R ( 3 4 67 )
ZENDAYA MICHAEL BAILEY-GATES at the WARNER BROS. STUDIOS, LOS ANGELES – 21st NOVEMBER 2021 photographed by
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ZENDAYA MICHAEL BAILEY-GATES at the WARNER BROS. STUDIOS, LOS ANGELES – 21st NOVEMBER 2021 photographed by
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SILVER LININGS
Photography Ryan Jenq
EDITORIAL
Editor-in-Chief / Creative Director Stephen Gan Managing Editor / Production Director Melissa Scragg Editor / Sales & Distribution Director Czar Van Gaal Digital Director Mathias Rosenzweig mathias@vmagazine.com Managing Digital Editor Dania Curvy dania@vmagazine.com Social Media Manager Kevin Ponce kevin@vmagazine.com Senior Editor Alex Blynn Photo Director Goran Macura Creative Producer Felix Cadieu Entertainment Editor Greg Krelenstein Contributing Editor-at-Large Derek Blasberg Weibo Editor Meng Ji Copy & Research Editor Lynda Szpiro Executive Assistant / Editorial Assistant Jacob-Cole Norton
ADVERTISING/FINANCE
Publisher 93HUB Nicola Bernardini de Pace nicola@93hub.nyc Advertising Office, Italy and Switzerland, Magazine International luciano@bernardini.it Managing Director Todd Kamelhar Distribution David Renard
ART/FASHION
Associate Art Director Shibo Chen Consulting Creative / Design Greg Foley Freelance Graphic Designer Abigail Leuchter Lettering Design Haoze Xue Fashion Director Gro Curtis Fashion & Market Editor Aryeh Lappin Assistant Market Editor Sam Knoll Fashion & Beauty Assistant Stephan La Cava Contributing Fashion Editors
Anastasia Barbieri Nicola Formichetti Anna Trevelyan Carlyne Cerf de Dudzeele Paul Cavaco Jacob K Amanda Harlech Joe McKenna Melanie Ward Jane How Panos Yiapanis
CONTRIBUTORS
Hedi Slimane Richard Burbridge Sølve Sundsbø Nathaniel Goldberg Amanda Merten Blair Getz Mezibov Celia Azoulay Alvaro Beamud Cortés Nicholas Georgiou Mat Maitland Ryan Jenq Alex Brannian Ricardo Beas Juan Veloz Jason Rembert Louisa Meng Shaojun Chen James Bee Brandon Salazar Tan Kala Herh Ahad Sanwari Trishna Rikhy Bailey Bujnosek Sam Tracy
SPECIAL THANKS
Art + Commerce Annemiek Ter Linden Arnault Kononow Dana Heis Amanda Fiala John Van Alstyne Art Partner Alexis Costa Jennifer Zambrano Exposure NY Stacy Fischer Kirby Calvin WYO Artists Karen Long Interlude Project Elena Mereu Elena Cimarosti Outcast Studio Lisa Liu The Lindsay Thompson Company Lindsay Thompson DNA Valerie Bullen BLANC Alexandre Lamare IMG Luiz Mattos Derek Walker Daniel Naval Elite Pedja Govedarica The Lions Christana Tran NEXT Arthur DeMarchelier The Society Cheri Bowen George Speros The Industry Domonick Hannosh Coven Management Duane Gazi-White Viva Julie Ben 16 Men Louis Labrosse Streeters Rayna Donatelli Tyler Williamson Paula Jenner Sasha Respinger Forward Artists Shae Cooper SEE Management Leigh Sikorski A-Frame Hannah Hardison Kramer + Kramer Jay Sternberg The Wall Group Mandy Smulders Kit Lejarraga Bryant Artists Romain Romieu Management + Artists Angelo Benkaddour Costa Styling Inc Nicole Lewis Interns: Matthew Velasco Sonya Olomskaya Emma Walpole Carlos Chinn Jesse Leonard Cecilia Gardner Sarah Mercho Nicole Chaux Colleen Rodgers Angelina Zaphyria Caias Kim
PRESS & EVENTS
Purple PR Andrew Lister andrew.lister@purplepr.com Amy Choi amy.choi@purplepr.com Dylan Hunt dylan.hunt@purplepr.com V Magazine is a registered trademark of V Magazine LLC. Copyright © 2022 V Magazine LLC. All rights reserved. Printed in U.S.A. V Magazine is published bi-monthly by V Magazine LLC.
Bulgari B.zero1 Ring (in 18k white gold with diamonds) Serpenti Viper Ring (18k white gold with diamonds) Serpenti Ring (in 18k white gold with diamonds and emeralds) B.zero1 Ring (in 18k white gold with diamonds) Fiorever Ring (in 18k white gold with diamonds) ($4,950-$47,600, available online at Bulgari.com) Attention, material girls! Taking center stage throughout Bulgari’s dazzling offerings is the most eclectic array of boundless expression. Bejeweled in emerald bling, the iconic Serpenti Ring twists and twines alongside a curated selection of glitz and glimmer. A love affair between the most precious jewels and 18k white gold flaunts its perfect amour in the Fiorever Ring, a four-leafed design for prosperous kismet. It’s a tried-andtrue tale as old as time: diamonds are truly a girl’s best friend. SAM TRACY
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table of contents
ETERNAL ECLIPSE
On the Cover Billie wears Top Casey Casey Sheer top, worn under, vintage Gucci from Artifact NY Earrings and ring, in mouth Yvmin x Didu from Please Do Not Enter LA Necklace Dalmata
IN THIS ISSUE: 52. HEROES 56. VIP 58. MODERN MYTHOLOGY 62. V NEWS 66. V TRENDS 68. V GIRLS 70. BACK TO BILLIE 76. JOY OF SPRING! 96. MIAMI VICE 106. JEWELS MOST PRECIOUS 114. HEDI SLIMANE’S RAP DIARY 122. CHARACTER STUDY
Bulgari Serpenti Tubogas Watch (five-spiral watch in 18k pink gold and stainless steel with diamonds) ($33,000, available online at Bulgari.com) With a ceaselessly wrapping band for an endlessly lush wearing experience, Bulgari invents time travel—diamond-encrusted, no less. The elegant Serpenti Tubogas Watch gracefully pirouettes up your arm for a showstopping presentation. The pink gold and stainless steel strap calls for an encore five times over as the Italian tastemakers know one twirl will simply not do. ST
CIRCLE OF LIFE
Bulgari Serpenti Viper Necklace (in 18k yellow gold with diamonds) B.zero1 Necklace (in 18k yellow gold with diamonds) ($5,250-$20,800, available online at Bulgari.com) Feast your eyes on a bite of luxury. Sensuous décolletage adornment takes shape in spirals. Drawing inspiration from the millennium’s trailblazing B.zero1 collection, bijouterie evolves into storytelling icons of empowerment and new beginnings. Quintessential classic modernity defines the serpentine coil of 18k yellow gold, presenting a brave second skin for the most audacious accessorizer. Bulgari reinvents its most storied token of Italian sartorial savoir-faire in a continuous renewal of emblematic rebirth. ST
EDITOR’S LETTER It can be a comfort to know that life is often more circular than it is linear. Familiarity helps to give us a sense of where we’re going and what may lie in wait for us. Like the seasons which come back to visit us again and again, patterns reassuringly repeat; soon after something goes out of style, it’s back in—but reimagined in a fresh and exciting new way. Whatever the message or communication or art form may be, familiarity in the new is a welcome part of one’s lived experiences. V135 is a product of that cyclical concept. Take the return of Hedi Slimane, the creative director of the French fashion powerhouse Celine and a longtime photographer who has been a member of the V family for many years prior to shooting our current cover superstar, Billie Eilish. Likewise, here we see a pared-down Eilish for her second V cover, the last of which was in 2019 for our 20th anniversary issue. Within these pages, the global artist is seen ready for 2022 in a return to her core aesthetics. Also in this issue, Slimane continues his work in V documenting our musical zeitgeist with Hedi Slimane’s Rap Diary, wherein his lens is turned toward today’s top-tier rappers, focusing on powerful lyricists like Young M.A, Leikeli47, and Kari Faux, who are using
their voices to level up for the future. Elsewhere in V135, the established merge with the burgeoning as industry icons like Joan Smalls and Guinevere van Seenus join today’s game-changing models like Precious Lee and Sherry Shi for a stunning, totally-of-the-moment fashion editorial, shot by the legendary Richard Burbridge. This reminds us again of how widely recognized creatives can merge with fast-rising talent to make art, which is both familiar yet completely new at the same time. And even amidst the bitter cold of winter in which this issue was conceptualized, created, and eventually birthed, there was a sense of calm in the knowledge that spring was coming—that once again, warmer days would help to galvanize our readers to don the looks found in these pages, or attend the world tour for Eilish’s monumental second album, or plan a getaway inspired by one of our captivating story locales. This season, V are planting seeds of hope and art and glamour that will come to blossom in a few short months. By keeping that positivity in the backs of our minds, we can all make getting through the tough times feel not so tough at all. MR. V
Stylist Alex Brannian Photo assistant Ethan Herrington
editor’s letter
WHETHER FASHION, MUSIC OR DANCE, THESE THREE TRAILBLAZERS CONTINUE TO CREATIVELY SHAPE THE WORLD AROUND US
TRACEY MILLS THE MASTERMIND BEHIND Y2K’S CULT BRANDS IS TAILORING FASHION’S FUTURE Photography Juan Veloz Fashion Jason Rembert The early 2000s saw a slew of styles that have since defined the era: rhinestonestudded baby tees and low-rise jeans–but, perhaps, the most iconic of them all were those Von Dutch trucker hats. Known affectionately as “the uniform” by Paris Hilton, Von Dutch came to define the turn of the millennium and all the excitement and anxiety that came with the technology revolution. But what’s most intriguing about the craze that surrounded Von Dutch is that its success was largely influenced by a young 23-year-old–one whose identity was relatively unknown. Today, the genius credited with cementing Von Dutch’s pop culture status is Tracey Mills. He catapulted the Americana brand to the realm of celebrities, stirring up buzz and creating hype like never seen before. The young entrepreneur forged personal relationships with celebrities, working symbiotically with them instead of their managers or press teams. “It wasn’t work for me, I enjoyed bringing something to the table,” Mills says from his home in Los Angeles. Even then, Mills was an unmistakable figure everywhere he went, cultivating an air of hauteur in streetwear (he favored velour tracksuits, basketball snapbacks and a good pair of jeans). But, he shares that he was more interested in basketball and following in his Cleveland Cavaliers brother’s footsteps than a career in fashion. Regardless, he shares he always had an interest in panning for fashion gold, industry valuables no one had uncovered yet. Mills first encountered Von Dutch while hanging out with his cousin Breyon, who was wearing a pair of denim with “dope patchwork” on the back of it. “The community that I come from, we’re always trying to find a new thing and be the first one,” he elaborates. “So it was like I discovered gold.” At the time, he was working at his brother’s custom car company, 310 Motoring, and it was there where he developed relationships with many of his brother’s famous friends. Over debates about spot or clear coat paint jobs, he 52
shared his affection for Von Dutch and if it piqued their interest, brought them to Von Dutch’s L.A. flagship (so frequently, the store associates knew him by name). Eventually, he caught the attention of Christian Audigier, the then-creative director of Von Dutch. The French designer offered Mills the VP of marketing position for the brand (and the pair formed a partnership and friendship that lasted until the designer’s death in 2015). After Von Dutch, Mills followed Audigier to Ed Hardy where he established the brand as another emblem of Y2K. At a time when the industry was mostly white and notoriously elitist, Mills was the rare Black creative at the top of their field. Instead of being discouraged by the status quo, he broke down barriers and carved a space for himself and other Black voices. As one of the most influential voices in fashion, Mills shares that he sees personal style as a kind of religion, and considers it essential to practice what he preached. It was this combination of enviable style and personable nature that drew celebrities and designers alike to his realm. “He has,” as Kanye West said in a 2016 interview, “the rare ability to talk to us and understand us and it’s genuine.” But Kanye isn’t the only industry heavyweight who’s gravitated to the compelling magnetism that is Tracey Mills. In 2019, Mills worked with Rihanna on her first Fenty collection and just this year, he collaborated with Jason of Beverly Hills, the jeweler behind those NBA Championships rings, to create The Trust Bracelet. But that’s not the only initiative he’s working on. This winter, he founded Destroy the Box, a clothing brand that emboldens wearers to live outside the norm. And with these new initiatives, we are reminded that whether he’s collaborating with a large team or running a project all on his own, there’s only one Tracey Mills. And perhaps, he didn’t “discover gold” in Von Dutch, so much as he transformed it into the valuable IP it is today. KALA HERH Head to Vmagazine.com to read the extended interview.
Grooming Joanna Simkin (The Wall Group)
Tracey wears top Kapital Jewelry his own
heroes
JEWEL THE FOLK-ROCK ICON GETS BACK TO HER ROOTS Photography Dana Trippe Just as her name suggests, singer-songwriter Jewel is a gem. Not just any stone, but one that radiates with an undeniable beauty that can only stem from within, and gets more precious over time. For almost three decades, she’s blessed the world with comforting songs, distilling the most complex human emotions into relatable lyrics and expressions. The folk music phenom first emerged onto the scene at age 20 with her first studio album, Pieces of You. “It was definitely a trip to realize that a thousand words changed the trajectory of my life,” she shares from her home in Colorado, where she’s been spending time with her 10-year-old son, Kase Townes. That debut album has since gone 12x platinum. And with all the success that has come it’s weird to think it might have never happened for Jewel. As we pass the 25th anniversary of her breakthrough, Jewel shares that she was initially hesitant to sign with the label and create an album: “I almost didn’t sign my record deal because I didn’t want to kill myself,” she says candidly. “I didn’t want to put myself in a bad position or just chase fame only to want to die.” Born Jewel Kilcher, the now 47-year-old grew up in Homer, Alaska. At the age of five, she began developing her musical craft performing with her parents at a local hotel. But her childhood wasn’t always easy, Jewel shares that her dad was often abusive to her and her brothers. And at the age of 15, she found herself alone and living out of her car. Through navigating the challenges she faced simply trying to survive, Jewel discovered the power in prioritizing her happiness. “I had to realize that my anxiety was an ally, and not an enemy,” she shares. Utilizing journaling and meditation, Jewel began to take control of her destiny and focus on what she wanted to do with her life. That year, she was discovered performing at a San Diego coffee shop and later signed to a label. But she never thought she would get to
the level of stardom she’s at right now–sharing, she didn’t pursue singing for fame, rather for the financial security it provided. And it is this core ethos that stays with her to this day: her happiness is number one and everything else is secondary. If you ask Jewel the secret to her success, specifically how she’s been able to hold on in an unpredictable music industry, you might be surprised by her response. The four-time Grammy Award-nominated artist shares that the secret lies in “prioritizing her mental health.” And with box breathing, body scanning and other techniques she’s practiced over the years, she’s aiming to inspire the next generation of creatives to priortize their mental health. Nearly 20 years ago, Jewel partnered with the Inspiring Children Foundation to create a program that helps young adults take control of their lives through mindfulness, or as Jewel defines it, “the act of being consciously present.” Yet, despite all the accolades that she’s witnessed over the years, Jewel isn’t slowing down. “I want to be one of the best singer-songwriters of all time,” she explained. And her latest album, Freewheelin’ Woman, is a step closer to that goal. Jewel regards the project as yet another milestone in her lifelong devotion to living her truth. Freewheelin’ Woman shares her experience of “overcoming obstacles and then celebrating that triumph.” Encompassing folk, pop and R&B, Jewel weaves in themes of womanhood, independence, but most of all, hope. The somber soliloquies disguised as songs flow over like a soothing salve, comforting your deepest anxieties and worries. In “No More Tears” and “Half Life” Jewel bears her own hardships and heartache. While “Alibis” radiates the joy in conquering those tribulations. With breathtaking vocals and meticulously crafted lyrics, the album serves as her most unbridled body of work to date. KH Head to Vmagazine.com to read the extended interview. Freewheelin’ Woman is out on April 15, 2022 53
heroes
STEPHEN GALLOWAY THE MOVEMENT MAESTRO MAKING HIS NEXT BIG MOVE Photography Inez and Vinoodh The creative movement director to the stars and Boston Ballet choreographer in conversation with Principal Dancer of American Ballet Theatre, Calvin Royal III, detailing his latest artistic endeavor. Calvin Royal III: I don’t know if you remember this, but I actually met you on the set of a L’Oréal campaign with Inez and Vinoodh. Stephen Galloway: Of course! What do you mean? How would I not remember that? CR: It was just so epic for me, because it was the first time that I actually worked with a creative movement director on any set. I remember feeling like you helped me to feel so disarmed in the midst of the chaos happening on set. And then also working with these iconic photographers, it was really just such a special moment. SG: It’s a full circle moment. I’ve been, of course, following your rise as well, and I am so proud! I’m happy it all worked out and you are doing the interview. CR: Definitely a full circle moment and it’s an honor to be interviewing you. You’ve done so much, how does all of the success feel at this point in your life? You moved to L.A., you’ve worked with so many companies, brands, and models. How does that feel now, looking back? SG: Well, to be perfectly honest, it feels like it did when I first started. I often think about that, but it’s all still new to me. I’m often asked, what is the formula? And I can honestly say that there is no formula. Each time I walk onto the set, whether it be into the studio, or into the costume department or onto a film set—I really do approach it as if it’s my first and possibly my last time doing what I love. That being said, there is a certain inner quiet of all of the information that I’ve been lucky enough to have acquired from so many of the incredible people that I’ve been fortunate to work with over the years. CR: And more recently you’ve been doing amazing work at the prestigious Boston 54
Ballet. How did that come about? I hear you have a ballet in the works! SG: Oddly enough, I’ve had a relationship with Boston for quite a while, because when I was the creative movement director of The Rolling Stones, the tours would always open in Boston for some reason. So, we would always utilize the studios for rehearsals. And I love the company so much, every time I was there, it was always in the back of my [mind] that we should do something. The opportunity to work on the project came around in 2017, that’s when it started to come to fruition. But there were all kinds of setbacks. There were challenges with obtaining musical rights because no one’s ever really choreographed to the music of The Rolling Stones on the planet. There’s one song, I think it’s “Little Red Rooster,” which it has been done for, but they have never given the rights to anyone. So, I’m grateful that they allowed me to choose these six songs. This project came about very organically. It’s been a joy and a pleasure to work on it and it’s called DEVIL’S/eye. But DREAMstate is what the entire program is called. CR: What was your inspiration for the piece DEVIL’S/eye? SG: It’s definitely its own voice, because in a weird way, this is the first ballet I’ve ever done. For this piece, there are those six great songs that I’ve always loved. But it’s been a challenge because these songs mean so much to so many different people. “Jumpin’ Jack Flash,” “Wild Horses,” and a few other of The Rolling Stones’ hits. And that was the challenge we faced. But from the beginning, I said, “I’m not going to try and interpret these songs.” This is not an interpretation of the lyrics, I’m using the songs as the music, and everyone will connect with what they want to. It’s not a message ballet. It’s just great music, great dancers, interesting choreographic steps, great lighting, and great costumes! Head to Vmagazine.com to read the extended interview. DEVIL’S/eye premieres March 17, 2022
Photographs provided courtesy of Robert Carrithers and Lina Bertucci
VIP
A LOOK AT ICONIC EPICENTERS OF ART AND MUSIC THAT IRREVOCABLY CHANGED THE LANDSCAPE OF POP CULTURE
Art Mat Maitland
DANCETERIA Kim Gordon of Sonic Youth and Duran Duran’s Nick Rhodes connect to remember one of New York’s lost music institutions that fueled an underground scene of creatives in the late ‘70s to mid ‘80s–subsequently birthing future icons like Madonna and more. Nick Rhodes: I remember never, ever getting out of there before it was light in the morning. (Laughs) It was a lot of fun, though. I got introduced to Danceteria and that scene when I first came to New York. I didn’t really know anyone. The band and I were kids that had grown up in Birmingham, England…I think we were in our late teenage years our first time there. Andy [Warhol] pretty much introduced me to that whole amazing downtown crowd in New York, and Keith Haring, Jean-Michel Basquiat, Kenny Scharf, Stephen Sprouse, Debbie Harry, and all of those people. Kim Gordon: Yeah, it was always late when we got out. I think Danceteria and that time period, in particular, will always be special to me. I actually did a mini documentary about Danceteria for the Art and Architecture [exhibition] at the ICA (Institute of Contemporary Arts) in London a few years ago. It basically was exploring how Danceteria was a mega structure, a utopia where the ground floor was where the band played. The second floor was a disco floor. On the third floor you had the video lounge, kind of like a cafe. There were many floors within the structure and each floor had a different feel to it, a different vibe. NR: It was very cool that it was on different floors. And that definitely made it interesting because if you got a little bored with whatever you were doing on one floor, there was always something else going on on another one, that’s for sure. Danceteria was definitely ahead of its time. I remember when we were there, I thought to myself, “Wow, I’ve never seen anything like this.” We didn’t have anything like that in Europe at that time, there wasn’t anything close to it. Danceteria was a whole universe on its own. I remember meeting really interesting people there. I guess people are always interesting by two or three in the morning, right? (Laughs) KG: No it was definitely an interesting crew of characters. I know Madonna used to hang out there, early on before she was famous. I remember seeing her sitting 56
on Mike Gira’s lap from The Swans. Everyone knew who she was, she just wasn’t mainstream yet, but she definitely had some music out at that point. NR: She was cool and was always with the artist Martin Burgoyne who very sadly became the first person that I ever knew who died of AIDS. Do you remember Mary Paul? She was always around there as well, always had a Polaroid camera and she designed jewelry? KG: I think so, did she have blonde hair? NR: Everyone had blonde hair, then. (Laughs) KG: That’s true. (Laughs) NR: No but truly, I think what made it so special was that everyone could connect there. I would hang out with Jean-Michel Basquiat, Andy [Warhol], and Keith [Haring], but also you could see Madonna who was rising at the time. It was a hub for connecting with different people from all different walks [of life]. Danceteria was one of those times when I think people were quite happy to mix more. It wasn’t split more into tribes like other clubs; the fashion people over here, the art people over there, that’s what was special about Danceteria. It really was a proper melting pot. I don’t think we ever performed there but I’m sure you guys did, right? What was that like? KG: Yeah, we did! It was a big deal to us to play [at] Danceteria. I remember there being a big pillar at the front of the stage. And halfway through our performance, I remember the gate coming down and we had to stop playing. I tried looking for video or photos from that night but I can’t find any. I think that’s what’s special about this time period. It’s almost like you had to be there to know. It wasn’t heavily documented like we do with everything today, we go off of our memories. It’s this mythology of cool. NR: It’s deeply rooted in the pop culture of New York from that period. I think that all artists and musicians will remember it fondly because we all had such a great time there. Even though we were very young, we’d seen a load of clubs, but Danceteria was different. Head to Vmagazine.com to read the extended interview.
vip
MOTOWN RECORDS Motown is a record label. Motown is a style. Motown is a touchstone. But, above all, Motown is a family. When Berry Gordy Jr. first ventured to create his very own independent record label back in 1959, then-named Tamla Records, the musically inclined and entrepreneurially driven Gordy family stood behind him. What started as a passion project by one man and the support of his seven siblings became one of Detroit and America’s leading musical powerhouses, delivering hit after hit through the ‘60s and ‘70s. Starting with Jackie Wilson and Smokey Robinson, then with the Supremes and Temptations, all the way to Marvin Gaye, the Jackson 5, and Lionel Richie, what brought Motown together was the quality of unification. It helped break down racial barriers nationwide by creating a sound that spoke to everyone and made them feel seen and appreciated with stories of love and life through smooth stylings. Despite being a cultural juggernaut mere years after its inception, with its artists essentially living in the top 10 of and over 450 employees at its peak, Motown never felt like anything less than a collaborative environment that encouraged the growth of those who were part of it. The magnetic appeal of the institution easily bled into its output, producing music, movies, even TV shows that embodied its universal, soulful, timeless appeal. Put on any mainstream record from that era and to this day, once you hear that familiar sound, you’ll feel like you’re home. AHAD SANWARI Otis Williams, the last surviving original member of Motown’s The Temptations takes a look back at how the hit-making factory came to be, the artists on the label’s roster, and how the legacy of Motown lives on. Otis Williams: Berry Gordy first saw one of the earlier groups I was a part of, which was Otis Williams and The Distants, and at the time we had a very popular song called “Come On.” Mr. Gordy was impressed with the success of the record so much so that he said, “I’m starting my own label, come see me when you’re ready.” And as fate would have it, we ended up doing just that in 1961, and we signed with Motown as the Temptations. V Magazine: As new artists, was it daunting to sign with a label in its infancy? Did
you think Motown would become the phenomenon that it did? OW: We didn’t know Motown was going to turn out to be such a noteworthy record label that it is. All we wanted to do back in the day, during the ‘60s, like any other artist, was to get a record deal and make good music. That was our mindset, and I look back on it and it was destiny. Like I’ve always said, it was God and his infinite wisdom who brought a group of talented people together, and led us to create the hit records that Motown is known for today. So much came from that little, twostory family [home] that Motown started in. It was during a pivotal time in American history, you know, the ‘60s was one of the most tumultuous decades. That two-story family [home] was the [breeding-ground] for all of the artists of Motown and we had such a profound impact on the world…I’m just happy to have been a part of that. V: Motown not only had chart-topping artists but some of the strongest producers, I believe quite a few of the artists like Smokey Robinson, doubled as producers? What were those early days like recording songs in the two-story family home? OW: One of the memories I always like going back to is when Smokey Robinson called us down to Motown because he had a song that he wanted to produce for us. The group and I went to Motown that evening, and it was a cold winter night. When we got there, Smokey passed out the lyrics to “The Way You Do the Things You Do,” and the five of us were sitting there as Smokey sat at the piano playing the melody of the song. And I’m looking at the lyrics “You gotta smile so bright, you could have been a candle, I’m holding you so tight, you know you could have been a handle.” Immediately I thought this is some funny stuff here. (Laughs) I guess we trusted the process, because we went in and recorded it. Then we came out [of the booth], Smokey was there leaning against a console, cool as a cucumber—and we listened to the song. I have to say...I didn’t think it was funny anymore after hearing it. Smokey is so talented; he can take something that’s nonsensical and somehow make it make sense. That’s one of the early moments of our time at Motown, and the song was a hit, so I always think back to how the it came about. That was the Magic of Motown. Head to Vmagazine.com to read the extended interview. 57
MODERN MYTHOLOGY
On skin Clarins Nutri-Lumière Day Cream
MEET FOUR OF GREECE’S CREATIVE FORCES WHO ARE TESTAMENTS TO THE STEADFAST ARTISTRY OF THE MEDITERRANEAN Photography Alvaro Beamud Cortés Fashion Nicholas Georgiou
NEGROS TOU MORIA Negros Tou Moria or Black Morris—both are names you should know. The latter is a stage name, a translation of the former that encapsulates the essence of his being. The other, a birth name, is a play on Geros tou Moria, a legendary Greek soldier. For the up-and-coming Greek rapper, these names represent his artistry, a melting pot of his heritage and his future. Born to Ghanaian parents in the Athenian neighborhood of Kypseli, Morris found music and hip-hop as a way to reconcile the economic and political confusion he felt and as a way to pay tribute to his early influences: his father, a DJ and drummer, and Snoop Dogg, whom he first saw as a 58
five-year-old in his “Who Am I (What’s My Name)?” music video. Currently working on an album he already deems will be “the best album in the country,” Black Morris is bringing the best of Greek and Ghanaian legacies to the forefront with his Rebetika-inspired beats. With words that aim to not only elevate his culture but also make them a part of mainstream conversation, he speaks to the universality and permanence of music, wherever it may be from. “My favorite aspect when it comes to music is that, as a musician, you’re going to live forever, and that’s a privilege from God.” AHAD SANWARI
v people Eleni wears dress and shoes Valentino
ELENI FOUREIRA For as long as she can remember, Eleni Foureira has been making music–first singing in the girl-power band, Mystique, and now as a solo artist establishing her own sound. “I always wanted to be a singer,” Foureira says. “Don’t know why but I was born to do it. I had that instinct.” And if you’ve heard her latest single, “Fotiá” (with Evangelia), you know the instinct to make good music is all too true. She has already taken Greece by storm, becoming the most-streamed artist in Greece in 2021. But for Foureira that’s not enough; the 34-year-old has her sights set on world domination. Yet, if her latest
releases are any indication, she is well on her way to international stardom. Known for her thunderous electropop songs, she has already shared her artistry with a global audience–collaborating with Snoop Dogg a few years back and sharing the stage with Madonna in 2019. And, luckily for us, there is much more to come. Foureira recently teased that there is a new album in the works, centered around female empowerment. When asked what kind of inspiration she wants her fans to take away from the new music, Foureira shares, “I want to give women a space to feel their own strength and tell their stories. That is power.” KALA HERH 59
v people
Makeup Athina Karakitsou Hair Marco Minunno Producer Lida Aslanidou Production manager Yiannis Savvidis Digital technician Kostas Kokonos Photo assistant Simone Triacca Location Citrus Studios
Ros wears top Prada
ROS GEORGIOU Ros Georgiou has spent the last decade modeling for some of the biggest names in fashion, including Louis Vuitton, Marc Jacobs, and Versace. But it wasn’t the allure of high-profile campaigns and sashaying down runways that drew the Athens-native to the glamorous career. Like most teenagers, 17-year-old Georgiou simply wanted money to go out more. After a friend sent her pictures to an agency, she signed with them as a way to earn quick cash. “Little did I know that you get paid after three months, and the first month is all about building your book,” she shares. “Well, 10 years later, here I am, definitely having money to go out!” While modeling allowed her the chance to see the world and work with renowned 60
creatives, Georgiou felt she still hadn’t found her true passion. “At times it felt like I was at least going in the right direction, but sometimes [it] felt like total chaos,” she recalls. Her search came to an end at age 24, when she began watching “real cinema”—artsy, aesthetic-driven films like David Lynch’s Mulholland Drive—and realized her calling lies behind the camera. Having helmed projects for Vogue Greece and CAP 74024 among others, the budding filmmaker looks forward to expanding her cinematic horizons. “Directing [for me] is a compulsion more than anything else,” she says. “My favorite part is all of it.” BAILEY BUJNOSEK
v people Adam wears all clothing and accessories Prada
ADAM KHALIL If life is a dance, 19-year-old performer and model Adam Khalil is the choreographer of his own destiny. Practicing the arts of voguing and ballroom dance at the House of Kareola in Athens, the half-Egyptian, half-Polish dancer is a well of self-expression, a creative body fusing energy and boundless feminine inspirations into his movements. Discovered by a drag queen on a night out, Khalil’s place in the arts and performance scene was kismet: “Back then, I didn’t have that much confidence because I grew up in a conservative region,” he reflects. “Until that moment I was never given space to express myself in such a way.” Khalil could very well be the
10th Greek muse; the one that stands for empowerment and creativity, for a feminine touch that draws on his divine inspirations of Simone de Beauvoir, Madonna, Angela Davis, and Maria Callas. “I want to make people find their own confidence through mine,” says Khalil, channeling his power through freestyling and voguing with his “ultra-feminine character” on stage, and his place in the LGBTQ+ place off stage. “My identity as part of the queer community has a vibrant role in what I do in my performance,” says Khalil. “How it is evolving, breaking, reconstructing, and redefining. The total freedom of being what I feel like is the only way for me to express truly, authentically.” TRISHNA RIKHY 61
V NEWS FASHION IS PUSHING FOR POWERFUL NEW MODES OF EXPRESSION IN TREASURED ACCESSORIES FOR SS ‘22
Photography Ricardo Beas Fashion Aryeh Lappin
Aviana and Chloe wear all clothing and accessories Fendi On eyes Pat McGrath Labs Perma Precision Liquid Eyeliner in Xtreme Black
Fendi creative director Kim Jones is looking back at the house’s history. His point of focus: the disco age. It was a time of glamorous Studio 54-type clubs filled by iconic muses like Grace Jones, Jerry Hall, Pat Cleveland, and Tina Chow, many of whom had yet to be discovered. A time when postmodern artists were breaking down the restrictions that had kept the art world exclusive far too long. This was the moment surrounding Puerto Rican fashion illustrator Antonio Lopez when he roared onto the scene in the 1960s. A brilliant talent gone too soon; Lopez is the inspiration behind Jones’s sophomore ready-to-wear collection at Fendi. Rising up the ranks of the New York and Paris fashion industries alongside frequent collaborator Juan Ramos, Lopez created some of the most definitive illustrations 62
of his time. He booked jobs for practically every big name in fashion, inspired by a rotating coterie of models, muses, and fellow creatives like Karl Lagerfeld, who was just beginning his exalted tenure at Fendi. Fendi’s new ready-to-wear collection introduces Lopez’s illustrations to a new generation. Lace, silk, and leather garments, signature Fendi bags, and a plethora of accessories bear the distinct Lopez style. The iconic Baguette takes on a whole rainbow, while a stunning resin-encased heel embodies the energetic vibe of the aspirational muses dubbed “Antonio’s Girls.” From the boldest dress to the subtlest hair accessory, Fendi situates Lopez’s work in a new era—one closer to the diverse, enthralling world he envisioned decades ago. BAILEY BUJNOSEK
www.mcmworldwide.com
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DAVID YURMAN GOES SUSTAINABLE For David Yurman’s new Cable Edge collection, sustainability and unparalleled craftsmanship go hand-in-hand as the house unveils a new formation of its iconic cable designs. “It is an iteration of our artistic signature, playing with light and angles to create an almost velvety sensation,” says Evan Yurman, president and chief creative officer for David Yurman. “A modern interpretation for both men and women, the designs are crafted from recycled sterling silver and yellow gold with hand-set, ethically sourced diamonds. It’s truly one of my favorite collections we have done.” With the new assortment focusing on re-adapted classics, the next chapter of modern materials for the house sees its apex in the pieces, offering a lit-from-within approach to the collection’s design—providing a subtle luster which gives each piece a unique look. With inspirations deriving from the varying forms of modern architecture and Evan’s early metal pieces from his time apprenticing as a blacksmith, the new sustainable pieces, offered to both men and women, continue to amplify and elevate the core values of what David Yurman is all about, as Yurman says, “Sustainability has become an imperative in our industry, and it’s something that we have always been focused on. The recycled materials behave almost exactly like mined materials. We are hoping that more and more of our industry peers will discover the ease, beauty, and ethics of using more sustainably sourced materials.” KEVIN PONCE Nova wears jewelry David Yurman
ARMANI GOES ART DECO Timeless. Elegant. Sophisticated. All true sentiments one uses when discussing the genius creations of Giorgio Armani. The same can be said for the house’s latest chapter of their fine jewellery sector as Mr. Armani imaginatively travels back to the Art Deco design era for an inspiring collection that fuses the boldness of geometric shapes and the abundant use of fine materials. “This period of design has always held a fascination for me. I am instinctively drawn to the simple elegance of Art Deco and its predilection for geometry,” says Armani, himself. With a glamorous collective of dazzling carnelian spheres in angular elements that are embellished with sapphires, the fresh series of sparkling pieces in hues of warm reds and blacks which echo the Spring/Summer ‘22 collection entitled “Métissage,” holds true to Armani’s core ethos as he says “My customer values elegance over show, style over fashion, longevity over trend. I speak to an attitude, not a specific region, background or generation.” With a uniformity in high levels of artisanship, the brand’s unparalleled aesthetic remains unwavered in this latest series, as Giorgio says “There is a consistency to what I design because I have a very clear and personally held aesthetic of simple elegance, married to a profound belief in the importance of comfort and function. This, ultimately, constitutes the ethos of Giorgio Armani.” KP
BULGARI GOES HOME “That’s Amore” as the saying goes. But for Bulgari, that’s “Amoroma” this season, as the house unveils their latest creative concept for their SS ‘22 leather goods & accessories collection. With the title fusing “Amore” (which translates to love in Italian) and Roma (the birthplace of the house since being founded in 1884), the new lineup of tasteful treasures sees the capital of the nation as its one true source of undying beauty. “You can see the love that Bulgari has for Rome as its greatest source of inspiration exudes from every perspective,” says Mireia Lopez Montoya, head of Bulgari’s accessories business unit. “An unending creative heritage powered up by fresh, new attitudes and unexpected metamorphosis of the emblematic Serpenti icon.” With a range of accessories that boast the brand’s core ethos in luxurious materials and finishes, the Serpenti full metal mesh mini bucket bag is living up to Bulgari’s gold standard in quality as the petite carryall is crafted in a precious metal material that undergoes a gold-plated bath and takes over eight hours of expert craftsmanship for completion. “Working with this type of mesh is very difficult,” says Montoya. “What we really wanted was to show its sinuosity and the wonderful sensation to the touch which reveals the preciousness of this bag, a small jewel to be worn.” And as the Eternal City continuously exudes creativity and endurance for the house, the Bulgari woman will always follow suit as she evolves for a modern tomorrow. KP Aviana holds bag Bulgari 64
Makeup Kuma (Streeters) Hair Eric Williams (Streeters) using Kêrastase Models Nova Orchid, Chloe Tang, Aviana McClish (Muse) Photo assistants David Eristavi, Alex APtsiauri Stylist assistant Stephan LaCava Makeup assistant Ayana Awata Hair assistant Karla Serrano Location Pier59 Studios
Chloe wears Giorgio Armani Fine Jewelry
V TRENDS
Bra Coach Jacket and vest Guess Skirt Saint Sintra Headscarf and bag MCM Rings Tiffany & Co. On lips Dior Beauty Rouge Dior in 100 Nude Look
THIS SEASON, THE WORLD’S FASHION HOUSES SEEM TO BE TELLING US: ‘‘THE HIGHER THE HEM, THE CLOSER TO GODDESS’’
Photography James Bee Fashion Brandon Salazar Tan
Lexie wears Dress Dsquared2 Petticoat (worn under) Saint Sintra Headpiece Lynn Paik Ring Tiffany & Co. Tights Falke
Mari wears top Missoni Skirt Tommy Hilfiger Necklaces (worn as belt) Messika On lips Fenty Beauty Gloss Bomb
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Makeup Kevin Cheah (Kramer + Kramer) Hair Kazuhide Katahira Models Mari Taylor, Lexie Tapper (The Industry) Manicure Nori (SEE Management) On-set producer Jayne Her Digital technician Jacky Jiang Lighting technician DiChen Chen Stylist assistants Sasha Leon Jauregui, Jules Wettreich Location VNS Studios
Dress GCDS Petticoat, worn under Saint Sintra Bracelets Tiffany & Co. Earrings and necklace Marland Backus
PRESENTS
BELIEVE IN TIME Solange as Mother Earth
Magnified by Guo Pei
T H I N K A C E N T U RY A H E A D ©2022 E. RÉMY MARTIN & C ®., LOUIS XIII ® COGNAC GRANDE CHAMPAGNE, 40% ALC. VOL. IMPORTED BY RÉMY COINTREAU USA, INC., NEW YORK, NY
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V GIRLS MEET BOYS WORLD: THE GENRE-BENDING QUINTET HARMONIZING THEIR WAY TO THE TOP OF THE CHARTS
Photography Louisa Meng Fashion Shaojun Chen Text Bailey Bujnosek
Seated on the couch in the living room of their Los Angeles home, the girls that make up Boys World give off the fun, relaxed vibe of the friend group you’ve always wanted. The natural camaraderie between the quintet—Olivia Ruby, Lillian Kay, Makhyli Simpson, Queenie Mae Villaluz, and Elana Caceres—is evident from the start of our Zoom call. When they’re not finishing each other’s sentences with a kind of telepathic intuition, they’re cracking each other up with inside jokes. At one point, Simpson asks what Coldplay’s “Yellow” sounds like and the other girls launch into the chorus, harmonizing effortlessly. It’s hard to believe that, just three years earlier, the girls were complete strangers. Scattered around the U.S., forming a girl group was the last thing on their minds. While they all dabbled in singing, posting song covers and original compositions online, their lives were preoccupied with the worries of everyday teens. That all changed when, one by one, the girls got a DM from KYN Entertainment executives. In April 2019, Boys World (AKA “Best Of Your Self” World) was formed. The members relocated to L.A. and started the development process, dropping their debut single, the R&B-infused pop song “Girlfriends,” at the end of 2020. “It felt like the perfect girl anthem to debut with,” Caceres says. The group followed “Girlfriends” with a string of catchy singles, including the empowering “Wingman.” The track is an anthem for single ladies everywhere, its upbeat lyrics reminding listeners that it’s “[not] a brand new thing / that a queendom doesn’t need a king.” Building a sizeable fanbase thanks to their repeat-worthy tracks, personal styles, and creative music videos, Boys World’s efforts culminated in the 2021 debut EP, While You Were Out. Featuring a mix of existing singles and new songs, the EP explores various relationship pitfalls. The rap-infused “Tiptoe” calls out a cheater, while the ethereal “Touched by an Angel” warns an ambivalent S.O. to appreciate his girlfriend before he loses her. While You Were Out marked the first project from a major U.S. girl group since Fifth Harmony’s split in 2018. “It can be nerve-racking, a little bit, knowing that the ‘Western girl group’ is kind of just us right now,” Villaluz admits. One way in which they’re setting themselves apart: social media. From comedic TikToks to #squadgoals Instagram photo shoots, Boys World provides a steady stream of behind-thescenes content for their followers. Even when they’re outside of the studio, living together allows the band to keep their creative juices flowing. “We’ll start talking about Euphoria, and then end up talking about a single that we want to put out. It melds perfectly,” Simpson candidly shares. Moving forward, the group hopes to continue honing their artistry and, eventually, release a cohesive set of singles that push the limits of their sound. As Kay explains, Boys World “didn’t know what we were” when they first started working together. Now, they’re ready to share the evolution of Boys World with a fanbase that’s come to identify with the girls and their music. “There’s so much to work on, and so much we want to put out there,” Villaluz says. The rest of the group chimes in with agreement: Boys World is in it for the long haul. 68
v girls
From left to right Lillian, Queenie, Makhyli, Elana, and Olivia wear all clothing and accessoires Moschino
Makeup Lorem ipsum Hair Lorem ipsum Digital technician Lorem ipsum Lighting technician Lorem ipsum
In hair Oribe Superfine Hair Spray
Makeup (Lillian, Makhyli, Olivia) Marcela Osegueda Makeup (Queenie, Elana) T’ai Rising-Moore Coat Lorem Hair Laura ipsum Dudley Dress LoremBiscette ipsum Hair assistant Amadora Jewelry Location Lorem Tempipsum Studio
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BACK TO BILLIE SEVEN-TIME GRAMMY WINNER BILLIE EILISH WAS THRUST INTO THE SPOTLIGHT WHEN SHE WAS STILL A TEENAGER. WITH THE RELEASE OF HER SECOND ALBUM HAPPIER THAN EVER, WE SEE THE NOW 20-YEAR-OLD SUPERSTAR GRAPPLING WITH FAME AND, PERHAPS MORE IMPORTANTLY, RETURNING TO HERSELF. TODAY, EILISH IS LEARNING HOW TO BE A PUBLIC FIGURE WITHOUT CARING ABOUT WHAT THE PUBLIC FIGURES Photography Hedi Slimane Text Mathias Rosenzweig Fashion Amanda Merten
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Top Tripp NYC, Billie’s own Hat Poche Studio Arm warmers Ampeom Rings Lizz Jardim + Billie’s own Earrings, vintage stylist’s own
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wouldn’t leave L.A. if the whole place tipped over into the ocean,” late author Eve Babitz wrote for her character Mary in 1977’s Slow Days, Fast Company: The World, The flesh and L.A. “She was too tough and too fragile for anyplace else.” In her music video for “everything i wanted,” Billie Eilish and her brother Finneas drive a car along the streets of Los Angeles before submerging themselves in the Pacific. “I had a dream,” she sings, “I got everything I wanted / Not what you’d think / And if I’m being honest, it might’ve been a nightmare.” That city, famously, is one where dreams and nightmares abound. It’s where Marilyn Monroe was born and became a star, but also where fellow Hollywood darling Sharon Tate was murdered. It’s home to Malibu’s pristine beaches, which inspired sex-fueled shows like Baywatch, just as it’s home to over 62,000 wildfires each year. Billionaires, those Americans who’ve “made it,” live a short Tesla-drive away from roughly 8,000 homeless people lining Skid Row. In L.A., utopia and dystopia coincide. It is the tension between these two extremes that has formed much of Eilish’s artistry—tough, but fragile, the stuff of dreams and nightmares. “I live a very high-highs and low-lows type of life,” Eilish says over the phone from L.A. It’s midnight in California, and she’s just wrapped rehearsals for the current world tour of Happier Than Ever, her sophomore album. “I’m just that kind of person. Everything feels huge or tiny.” For Eilish, the 20-year-old artist who no longer needs an introduction, the highs have included (but are not limited to): seven Grammy wins, three MTV Music Video Awards, billions of streams, a famed and teary run-in with her childhood idol Justin Bieber at Coachella, 100 million Instagram followers, a documentary (Billie Eilish: The World’s a Little Blurry), and the opportunity to write and perform the new James Bond theme song for No Time to Die. “It’s such an enormous honor to be a part of the small group of people that have been involved in the musical aspect of the Bond franchise,” she says. “It’s a huge dream that my brother and I have been dreaming about for as long as I can remember.” Hailing from Highland Park, Eilish attributes much of her success to the city where she grew up. In August of last year, she released a streamable performance of her latest album for Disney+, titling the show Happier Than Ever: A Love Letter to Los Angeles. While speaking with radio host Zane Lowe about the city, she said, “It formed me. It made me who I am and gave me the opportunities that I got. I don’t think I’d have any of the same anything if it wasn’t for my hometown.” A 15-minute drive from her childhood home, Eilish arrived at Milk Studios on January 6 sporting sweats and a brunette shoulder-length haircut. Hedi Slimane, Celine’s visionary creative director (the most recent in a long list of titles), was set to shoot the songstress, making her the latest in a long slew of legendary musicians he’s shot in L.A., the likes of which include Iggy Pop, Joan Jett, and Keith Richards, for example. Accompanied by a handful of team members with face masks and plastic visors, including her mother Maggie Baird, Eilish quietly made her way to her dressing room—a makeshift fort made of moveable walls. Outside, the Hollywood sign is glaringly visible in the distance thanks to innocent blue skies. One just has to pass Eilish’s bodyguard, positioned by the door in case of an intruder, to see it. It wasn’t long before she was in the studio with Hedi, the rest of us peeking our heads in from the doorway to watch. “She came with a vision of what she wanted,” Slimane said at lunch, after the shoot. “I liked that.” Eilish had that vision and those dreams even while growing up just a few miles from the studio. Even so, she probably never believed she’d actually be gracing the cover of magazines. Then there are real-life nightmares that a child could never even conceive of, such as thousands of insurgents storming the Capitol Building in Washington D.C., an event that took place on the same exact day as the shoot one year prior. Perhaps it’s the fact that so many of her dreams have come true that makes Eilish’s nightmares, and the possibility of their actualization, all the scarier. Anything, history shows, can happen. “I was having a lot of really, really unbelievably terrible nightmares,” she says, reflecting on a few years back when she began using a meditation app for sleep. “I was having weird sleep paralysis. It was just not a good period for my brain. I couldn’t sleep. I would go to bed at like four in the morning and wake up at one in the afternoon. And I would listen to that meditation app every single time I needed to take a breath and not think about the horrors that were going on in my mind.” She’s spoken before about turning these nightmares into her music videos, effectively harnessing her demons into art that has resonated with millions and millions of fans. But it’s the “real-life” dreams and nightmares that will remain a lifelong balancing act. “I did so much self-reflection and thinking about my life, and remembering my life, and going back to therapy and talking through my life,” she says of the 2020 lockdowns. “A lot was realized.” One thing Eilish realized? The moment she stopped feeling comfortable going out in public. After three months of touring, at the age of 16, she returned to Los Angeles to go ice skating with a friend. “It was a nightmare and it scared the living hell out of me, because I was just turned into this prop,” she recalls. “I’ve never been so scared. It was like, a huge stampede…in those three months, I’d gotten bigger, but I didn’t know it until I was in that situation. From that day on, I didn’t go anywhere. I didn’t do anything. I was so flipped out by what had happened and how powerless I felt. And I didn’t have security because I didn’t have the money for it. I was the level of fame that needs security, but also the level of fame where you don’t really have the resources.”
This, paired with other experiences that accompany a burgeoning career, effectively catapulted Eilish out of teenagehood prematurely. “I haven’t thought like, What am I gonna do when I grow up? since I was, I think, 15. Because I was doing the thing that I’m gonna be doing forever.” “By the time I’d grown up, I naturally supposed that I’d grown up,” Babitz once said. While Eilish’s debut album served as an elevated yet undeniably “normal” embodiment of teenage angst, ambition, and heartbreak, Happier Than Ever sees the bonafide star grappling with a near god-like level of attention, now tenfold what it was back at the skating rink. “I can barely go outside, I think I hate it here,” she sings in “NDA.” “Maybe I should think about a new career / Somewhere in Kauai where I can disappear.” I ask her if being a celebrity has been as restricting as it has been freeing. “It’s an unbelievable 50/50,” she answers. “There are so many things that I would never ever be able to do if I didn’t have what I have, and so many things that I can never do again,” she says. “And that, that’s the thing that is freaky—never—you know? Just hearing that word come out of my mouth freaks me out.” That said, Eilish is clearly careful not to complain too much about fame. Talking about her meditation again—more on my insistence than hers—Eilish says, “It actually helped me through a very, very dark situation that I was in. I would lie in bed miserable in the middle of the night, on a tour bus, back when I didn’t want to be doing what I was doing. It was just a dark period of, unfortunately, resenting life, which I feel badly about, because I shouldn’t have been resenting anything. I was doing things that were fun. I just wasn’t having fun doing them.” Despite the physical and metaphorical miles Eilish has traveled, her childhood home in Highland Park remains largely untouched. “My relationship with my home has not changed, just like with my parents and my brother,” she says. The thought of Eilish, whose life is so big, still in her childhood home adds a cartoonish element, even if she says on the album that she bought a “secret house” at 17. “I think it’s a bit jarring for some people who grew up with me or haven’t seen me in a long time…[they] come over to see us and see that it’s exactly the same. It’s as if you walked in here and it’s 2003.” There’s a slight rustling over the phone for a moment. “Sorry,” Eilish says, “my dog is being such a moron. Anyway, it feels the same as it always did. There’s no sign that a famous person exists within 200 feet of this area. I mean, it’s really funny. I have to remind myself what my life actually is to the outside world, because I just forget sometimes. My life really, honestly feels the same as it did when I was a child…except that I don’t have any friends.” She lets out a contagious laugh. “I mean, besides the people that I work with, who are absolutely my friends—they’re actually my best friends.” A few days after Eilish’s cover shoot, her team confirmed rumors that she would be headlining Coachella. Hinting that she was less than pleased with her past performance in 2019—”I really resent the things that were surrounding me during that period of time…I had that ruined for me by a person, but that’s okay,”—she is nevertheless excited for round two. “I’m headlining Coachella. I mean, that’s a crazy thing to say.” This particular billing not only validates the tremendous success of her second album, which is hardly an easy feat, but the fact that Eilish’s career prognosis is about as good as it gets. She’s so young and yet clearly gets even better with age. Perhaps, some of this has to do with evolving away from the Billie Eilish figure that burst onto the music scene and going back to the basics, or back to just “Billie.” Back at Milk, Eilish and Slimane wrap their shoot around 3:00 pm. Maggie Baird checks with everyone on set that the vegan catering from Kitchen Mouse will not be thrown out. She tells me that during the pandemic she and Billie started a program called Support + Feed, whose mission is to provide nutritious, planet-friendly, plantbased food for those in need. In the same spirit, Eilish only agreed to wear her headturning, old Hollywood glamour-esque Oscar de la Renta dress if the fashion house promised to go fur-free in the future. As Baird explains that the whole point of fame is to change the world for the better, Eilish is back in her dressing area throwing on the sweats and a Gucci backpack before heading off. Everyone began to make their way back to their cars, back to the streets of L.A. that had been so famously captured in the late Joan Didion’s writing. “Anyone can ‘drive’ on the freeway, and many people with no vocation for it do, hesitating here and resisting there, losing the rhythm of the lane change, thinking about where they came from and where they are going,” she wrote in her essay “On the Road.” Similarly, in Eilish’s music video for “NDA,” the singer walks down a deserted street under the cloak of night, somewhere between careless and carefree, her blonde hair whipping around in the wind—perhaps the Santa Ana winds that Didion helped immortalize in her work. A spotlight begins to grow, illuminating Eilish, until we realize that it’s the headlights of cars beginning to race chaotically toward her. “Actual participation requires a total surrender, a concentration so intense as to seem a kind of narcosis, a rapture-of-the-freeway,” Didion finished. While driving back to Marina del Rey, the aforementioned blue sky is blocked by a thick fog. Again, perhaps the Santa Ana winds were at play. A voice on the radio says visibility is less than a quarter mile. Along the beach, volleyball players dissolve into mere silhouettes in front of the ocean, which itself is completely invisible. The city doesn’t seem to be tipping into the water so much as the water invades the land in the form of an overpowering cloud. The scene is beautiful and apocalyptic. It’s somehow reminiscent of Eilish’s first single, “Ocean Eyes,” in which she describes burning cities and napalm skies along with the deep blues of a lover. Despite the fog, it’s clear how a tempestuous city like Los Angeles could shape an artist like Eilish—her car sinking underwater, her head dreaming in the clouds.
Bonnet BustedBrand Gloves Vex
“I was the level of fame that needs security, but also the level of fame where you don’t really have the resources.” —Billie Eilish
Top, vintage Gorillaz T-shirt from Colby Miers LA Arm warmers Ranger Necklaces Luna Skye Rings and earrings Billie’s own
Makeup Rob Rumsey (A-Frame) Hair Ben Mohapi Photo coordinator Yann Rzepka Production coordinators Simone Bertrand, Rasi Delgado Digital technician Olivier Looren Photo assistants Matthieu Boutignon, Benjamin Callot Location Milk Studios
Top Casey Casey Sheer top (worn under) vintage Gucci from Artifact NY Rings and earrings Yvmin x Didu from Please Do Not Enter LA Necklace Dalmata
“I was doing things that were fun. I just wasn’t having fun doing them.” —Billie Eilish
THE INDUSTRY’S MOST DYNAMIC FACES EMBODY THE SPIRIT OF THE SEASON’S BEST COLLECTIONS Photography Richard Burbridge Fashion Gro Curtis
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TIANNA ST. LOUIS IN FENDI “Whether you are rocking Fendi from head-to-toe or singular pieces, the designs of Kim Jones will always make you feel effortlessly beautiful. There is such craftsmanship and mastery in the way leather and fur is utilized and manipulated, it’s honestly timeless wearable art.”
PRECIOUS LEE IN VERSACE “Power and glamour are words that come to mind. [The essence] of Versace is knowing who you are and being 100% unapologetic about it…while looking fabulous. [Although] the look wasn’t bodycon or revealing, I felt sexy wearing the iconic silk print from head-to-toe.”
On skin Fenty Beauty Pro Filt’r Instant Retouch Concealer in #350
On skin Dior Beauty Airflash Spray Foundation in 1N (100)
LULU TENNEY IN CHRISTIAN DIOR “I always feel beautiful and empowered in Dior. For me, there’s this underlying sense of timelessness and regalness. The Dior woman walks into a room and all eyes are on her, but she either doesn’t realize it or is unassuming to acknowledge the attention. She’s effortlessly charming.”
ABBY CHAMPION IN CHANEL “When I wear Chanel, I feel like the best version of myself. Chanel makes a woman feel beautiful in whatever shape and size. I love the details of each look, and the way the team comes together to create such a vision in each collection.”
On eyes Giorgio Armani Beauty Smooth Silk Brow Pencil In 2 Mahogany
RACHELLE HARRIS IN EMPORIO ARMANI “Emporio Armani is an Italian legacy that pictures class, sophistication, and confidence. And to wear a sober color in a suit without losing any sense of my femininity is very powerful.”
ELLA EMHOFF IN BALENCIAGA “Wearing this Balenciaga look made me feel like the most confident version of myself. I felt like a badass, and I basically transformed into a person that doesn’t care about what anyone says…which can be tough these days. Balenciaga makes armor— both literally and figuratively!”
In hair Christophe Robin Luscious Curl Cream with Flaxseed Oil
On lips Givenchy Beauty Lip Liner in N° 2 Brun Crêateur
HIANDRA MARTINEZ IN GIVENCHY “In this Givenchy look, I felt powerful, like I could conquer the world. The essence of Givenchy is communicating to everyone how empowered and stunning you feel, without actually saying a word.”
BLESNYA MINHER IN LOUIS VUITTON “Strength, fierceness, and authenticity is the embodiment of LV. [In this look] I felt all of those things, and I hope it translated in the photograph. Louis Vuitton is one of the most iconic brands with a powerful history and I wanted to do that legacy justice.”
LEXI BOLING IN PRADA “The Prada woman is defined by an attitude of effortless confidence, mixed with power and accents of sophisticated simplicity. This Prada look was so special. I felt like the only girl in the world, like all eyes were on me.”
SARA GRACE WALLERSTEDT IN CELINE BY HEDI SLIMANE “I would define the Celine woman as chic and effortless. I think Celine has really captured and embodied youthfulness, but in a way that feels edgy and mysterious while still keeping that core classiness.”
CARA TAYLOR IN BURBERRY “Burberry embodies a beautifully confident woman that’s sophisticated and knows that she doesn’t need flashy clothes for people to look her way. Just chic clothes that enhance her true and natural beauty.”
JOAN SMALLS IN TOM FORD “Tom’s clothing is like a character. They’re a mood enhancer. When you put on any of his pieces, all doubts—conscious or subconscious—immediately evaporate. You feel unstoppable, and you ooze confidence and pure sensual glamour.” On eyes Tom Ford Eye Color Quad Eyeshadow Palette in Leopard Sun
LINDSEY WIXSON IN MIU MIU “Bold, feminine, and youthful, best describes how I felt. The look also had this ‘90s pop star nostalgia to it. It’s perfect for dancing all night long and looking fabulous while listening to synth-pop.”
ISSA LISH IN COMME DES GARÇONS “In this Comme des Garçons look, I felt like I was Immediately transported to a different world. Like I’m a character in an amazing movie, a character in Rei’s world. I think whenever a garment makes you feel like you’re transported to a different dimension…it has done its purpose.”
LINEISY MONTERO IN VALENTINO “The Valentino woman is defined by being brave and strong but with that touch of elegance and femininity. She is a woman who isn’t moved by the world but who makes the world move at her own pace.”
ROSE DANIELS IN GUCCI “As long as Gucci has been around, and through the many shades of Gucci that have existed, at its core is something a little primal. I think that with Gucci, you’re left with the sentiment that beauty is a kind of terror, and that whatever it is people find beautiful… they also, in a way, find it terrifying.” On skin Gucci Sérum De Beauté Fluide Soyeux
GUINEVERE VAN SEENUS IN ALEXANDER MCQUEEN “There is always a great feeling of strength in wearing McQueen’s pieces. Lee and Sarah’s love for women shows in how they ask a woman to walk into the world. As themselves and in their full power. There is a quiet rebellion to all things McQueen. Intelligent, sexy, individualistic, and creative… reasoned with just the right touch of chaos.”
TAYLOR HILL IN ETRO “I think that Etro embodies timeless sophistication and elegance while having attention to details in the colors and patterns that embrace innovation. I’ve had the pleasure of wearing Etro quite a few times, but this specific look gave me a sense of confidence and boldness.”
Makeup Kuma (Streeters) Hair Junya Nakashima Models Tianna St. Louis (Coven Management), Precious Lee (IMG), Lulu Tenney (The Lions), Abby Champion (Next), Rachelle Harris (Next), Ella Emhoff (IMG), Hiandra Martinez (Next), Blesnya Minher (The Society), Lexi Boling (Heroes), Sara Grace Wallerstedt (The Society), Cara Taylor (Next), Joan Smalls (IMG), Lindsey Wixson (The Society), Issa Lish (Elite), Lineisy Montero (Next), Rose Daniels (DNA), Guinevere van Seenus (DNA), Taylor Hill (IMG), Sherry Shi (IMG), Manicure Naomi Yasuda (Forward Artists) Casting Director Shaun Beyen (Plus Three Two) Digital technician Nick Barr Photo assistants Peter Siskos, Matthew Cylinder Stylist assistant Stephan LaCava
SHERRY SHI IN LOEWE “I felt like some of my favorite anime characters. What a delight it was to put on this Loewe piece and be transported into the pages of animations and a world that means so much to me. It was like paper coming to life and I could be this character for a couple hours. It was pure magic.”
MIAMI VICE MODEL GRACE ELIZABETH GOES OFF THE GRID AS SHE CHARTERS THE TROPICS IN SUMMER’S HOTTEST LOOKS
Photography Blair Getz Mezibov Fashion Celia Azoulay
Grace wears jumpsuit Burberry On face and body Estée Lauder Futurist Hydra Rescue Moisturizing Foundation SPF 45 in 1N2 Ecru 96
Lorem ipsum wear Lorem ipsum
Bikini Chanel Sunglasses Ray-Ban
Bodysuit Andrea Adamo Necklace David Yurman Watch Cartier
Jacket Christian Dior Bodysuit (worn under) Andrea Adamo Sunglasses Ray-Ban Hat stylist’s own
Coat and briefs Fendi
Jacket Moschino Bra top Miu Miu Jeans Guess Hat Moncler On lips Estée Lauder Pure Color Revitalizing Crystal Balm in Cosmic Crystal
Bra top Etro Sunglasses stylist’s own
Dress Missoni Sunglasses Gucci
Top Nina Ricci Shorts MCM On body Estée Lauder RE-NUTRIV Ultimate Lift Regenerating Youth Serum
Vest Giorgio Armani Bodysuit (worn under) Alaia
Makeup Virginia Young (The Wall Group) Hair Panos Papandrianos (The Wall Group) Model Grace Elizabeth (The Society) Production John Ulker Digital technician Fernando Sanchez Photo assistant Corey Danieli Stylist assistant Ana Paula Cervera
Dress Louis Vuitton Necklace David Yurman Shoes vintage Converse On face Estée Lauder Futurist Hydra Rescue Moisturizing Foundation SPF 45 in 1N2 Ecru
JEWELS MOST PRECIOUS FASHION’S CROWN JEWEL, PRECIOUS LEE GLISTENS IN THE DAZZLING TREASURES AND FINEST GEMS OF THE SEASON Photography Sølve Sundsbø Fashion Gro Curtis 106
CHOPARD Precious wears diamond and white gold earring Chopard Haute Joaillerie Collection Diamond and white gold pendant necklace Chopard Happy Diamonds Collection
MESSIKA Onyx, diamond, and rose gold earring Messika Diamond and rose gold hand bracelet Messika Diamond and yellow gold double pave ring Messika
CARTIER Rose gold earrings, necklace, bracelet Cartier Juste un Clou On lips Fenty Beauty Gloss Bomb Heat Universal Lip Luminizer + Plumper
LOUIS VUITTON Top Yellow gold, pink sapphire, and diamond Le Magnétisme ring Louis Vuitton Bravery Collection Middle and bottom Yellow gold, pink tourmaline, and diamond Le Magnétisme rings Louis Vuitton Bravery Collection
REPOSSI From left to right Pink gold and diamond Serti Inversé single earrings Repossi Pink gold and diamond Serti Inversé ring Repossi Pink gold and diamond Serti Sur Vide ring Repossi
GUCCI Link to Love with ‘Gucci’ bar earrings Gucci High Jewelry Top to bottom Link to Love pink rubellite ring Gucci High Jewelry Pink rubellite and diamond single stone ring Gucci High Jewelry Clear single stone ring Gucci High Jewelry Link to Love baguette diamond ring Gucci High Jewelry Top to bottom Link To Love studded bracelet Gucci High Jewelry Link to Love diamond chain bracelet Gucci High Jewelry On skin Fenty Beauty Liquid Killawatt Fluid Freestyle Highlighter
CHANEL White gold and diamond Impression Florale earring Chanel High Jewelry White gold and diamond Tweed Brodé necklace Chanel High Jewelry On body Fenty Beauty Body Lava Body Luminizer
Makeup Val Garland (Streeters) Hair Franco Gobbi (Streeters) Model Precious Lee (IMG) Manicure Adam Slee (Streeters) Production Sally Dawson, Paula Ekenger Digital technician Lucie Rowan Photo assistants Samuel Stephenson, Sebastian Kapfhammer, Madison Blair Stylist assistant Luiza Cirico Makeup assistant Laisum Fung Hair assistant Joe Burwin Retouching Digital Light Ltd
TIFFANY & CO. Gold Tiffany HardWear wrap necklace Tiffany & Co. Yellow gold and diamond Tiffany Knot double row ring Tiffany & Co. Yellow gold and diamond Tiffany Knot double row hinged bangle bracelet Tiffany & Co. Yellow gold Tiffany Knot double row hinged bangle bracelet Tiffany & Co.
HEDI SLIMANE’S RAP DIARY 114
THE RAP GAME’S TOP PLAYERS ARE FINESSING THEIR LYRICAL POWER AS THEY LEVEL UP FOR THE FUTURE Photography Hedi Slimane Interviews by Czar Van Gaal Alex Blynn Kevin Ponce
KARI FAUX “Being an independent artist has been the most challenging, yet most rewarding, aspect of my career so far. There isn’t a blueprint for how to be a successful, independent artist. It takes a lot of trial and error. It takes a lot of selfconfidence, reassurance, and resources. You’re often looking at the music industry from the outside, even though you’re living, creating, and working within it. Ultimately, I know there is nothing more important to me, as a person and creator, than maintaining my independence and freedom to do what I want, when I want. So, no matter how difficult it gets, being independent feels like the right way to move. And this year, I’m looking forward to casting a wider creative net. For a long time, I’ve felt boxed into being a rapper and only that. But now I’m embracing my other sides, like acting, producing, modeling. I’m moving with more intention and trusting where the universe takes me.” TRACK TO HEAR: “Freeze (feat. Ymtk & Amal Marie)”
DREAMDOLL “I grew up in the Bronx’s Edenwald projects and it gave me all my sauce. You hear that in my flow, my cadence, and the versatility when I spit. A lot of my music is based on my real-life experiences, which I think resonates with people most. I tend to draw from all the New York greats, like Jay-Z, Biggie, Nas, and Fabolous. But my introduction to hip-hop and early influences were those strong women in rap. Lil’ Kim, Foxy Brown, and Eve. They all embodied that raw New York edge and had killer senses of fashion. They understood how to balance playfulness and sexiness but still rhyme as hard as the guys. Like them, I try to bring all those elements to my music. I feel like the future of hip-hop is bright because of constant evolution, rappers will continue to thrive and push the culture forward. In the past, brands and organizations didn’t want to associate with us. Now hip-hop is the soundtrack for your favorite shows, commercials, and video games.” TRACK TO HEAR: “You Know My Body” ft. Capella Grey
SMINO “I never tried to break into this industry. I tried to break into [the fans’] hearts, and I figured they’ll get me to where I needed to be. St. Louis is embedded into who I am, it definitely plays a role in me keeping things ghetto. Like, even if it’s a beautiful [song], I have to say some ghetto shit. One of my biggest influences is my father, he put me on to everything that I’m into musically. I think because I’m such an old soul, I incorporate the past along with what’s current, which gives me a futuristic sound somehow. My forthcoming album is called Luv 4 Rent, and I’m exploring the love I have for my vices, the love I have for my family, the love I have for the bullshit and toxicity. All those things, any type of love, and all types of love. Beyond the album I’m about to put out, I have a TV show [I’m working on], I want to act, and I’m working on my fashion shit more. Above all, I want to give back to my community by opening up a community arts center for the kids in St. Louis, because they lost a bunch of the art programs and after-school programs.” TRACK TO HEAR: “I Deserve”
COOKIEE KAWAII “I cut my first record some time in 2011. I was fresh out of high school and ready to start life. It was the height of the YouTube era and I remember looking up my favorite songs to find the instrumentals and then just writing. This was way before I found my sound, so I would just write to any beat I could find, that’s how it all started. I grew up in Irvington, NJ, which is right next door to Newark, the home of Jersey club music. Both of my parents were DJs, so I always heard house music or club music at home. Jersey club music is still considered an underground genre, which is one of the reasons why I am doing music now, pushing the club narrative mainstream. Missy Elliot definitely inspired me to be different. From her beat selection to her music videos, one thing I learned from her craft is that people may not understand it now, but in time they will. Be yourself and you’ll be a genius ahead of your time. Missy’s videos can still be watched today and feel current...that’s the impact I want to have.” TRACK TO HEAR: “Violin” ft. Dear Silas
YOUNG M.A “I broke through because I can truly rap. Everything I write and talk about, I’ve lived. I sadly lost my brother at an early age, and it fueled me, to block out any chatter that wasn’t going to be beneficial to my career. I hope that I’ve inspired the next generation to be bold, to take chances, and not conform to what the industry may want you to be. I’ve been doing this independently from day one, which makes the successes that much more gratifying. Today, artists are bending the genre, whether it be based on your region, or even a sound that is trending. I personally like evolution. I love how artists can break without needing a machine. A gatekeeper could be a 13-year-old kid with a lit Spotify playlist. The playing field has been leveled so more artists can explore unique sounds that aren’t manufactured from old-school A&R tactics.” TRACK TO HEAR: “Don Diva”
LEIKELI47 Makeup Aaron de Mey (Art Partner) Hair Esther Langham (Art + Commerce) Manicure Honey (Exposure NY) Production Spencer Morgan Taylor (Harbinger Creative) Photo production coordinator Yann Rzepka Studio Coordinator Fleur Bougon Digital technician Olivier Looren Photo assistants Morgan Roudaut, Matthieu Boutignon, Niko Margaros Makeup assistants Tayler Treadwell, Brian Dean Hair assistant Ginger Photo Project assistant Simone Bertrand Location Hook Studio
“I grew up watching my great-grandparents. My granny sang in church and my granddad managed a gospel group, which also included my grandmother. They were my first teachers [of music]. My first time cutting a record was in my cousin’s makeshift studio in Newport News, Virginia. The restroom was the recording booth and the song was called “G-Town”—we were just some broke little kids with big dreams of making it. Whatever the struggles were [back then], they didn’t stop me. It only contributed to my durability. Hardships and no’s never scared me—they just made me go harder. [For 2022, I want] to grow in mindfulness, get money, and give back. And yes, there will always be new music on the way.” TRACK TO HEAR: “Chitty Bang”
CHARACTER STUDY THE PANTHÈRE DE CARTIER MINI TOP HANDLE IS AN INSTANT HEIRLOOM THAT CELEBRATES THE MULTIFACETED NATURE OF FASHION’S COLORFUL CAST
Photography Nathaniel Goldberg Fashion Gro Curtis
Kim wears coat Rick Owens
THE AVANT-GARDE ARTIST 122
Bag Panthère de Cartier Mini top handle in black calfskin with a golden finish ($2,770, available at Cartier boutiques nationwide.)
Chai wears all clothing Acne Studios, boots model’s own, jewelry Cartier Bag Panthère de Cartier Small top handle in black calfskin with a golden finish ($3,200, available at Cartier boutiques nationwide.) Lock and chain on bag, stylist’s own
THE PUNK ROCKER
Khadim wears all clothing and sneakers Ami, bracelet and ring Cartier, sunglasses, stylist’s own
THE DOWNTOWN EXECUTIVE
Bag Panthère de Cartier Mini top handle in dark green calfskin with a golden finish ($2,770, available at Cartier boutiques nationwide.) Luggage tags on bag, stylist’s own
Louise wears dress N°21 Bracelet and ring Cartier Earrings, stylist’s own Bag Panthère de Cartier Small top handle in black calfskin with a golden finish ($3,200, available at Cartier boutiques nationwide.)
THE UPTOWN PARTY GIRL
Jibril wears all clothing Missoni Belt Ann Demeulemeester Bracelet Cartier
THE INGENIOUS DESIGNER
Bag Panthère de Cartier Mini top handle in black calfskin with a golden finish ($2,770, available at Cartier boutiques nationwide.)
Makeup Christine Corbel (Management + Artists) Hair Laurent Philippon (Bryant Artists) Models Kim Schell (Viva), Louise de Chevigny (Viva), Chai Maximus (Viva), Khadim Sock (16 Men), Jibriil Ollow (IMG), Suzi De Givenchy (Next) Manicure Christina Conrad (Calliste) Production Michael Lacomblez (Louis2) Casting Director Shaun Beyen (Plus Three Two)
Suzi De Givenchy wears coat Alaïa Jewelry and scarf Cartier Cigarette holder and gloves Merguiller
Bag Panthère de Cartier Small top handle in black calfskin with a golden finish ($2,770, available at Cartier boutiques nationwide.)
THE PARISIENNE SOCIALITE
Digital technician Rebecca Lievre Photo assistants Corinne Mutrelle, Philippe Milliat Stylist assistant Marlène Le Gall Makeup assistant Ellen Walge Hair assistant Michaël Thanh Bui Production assistants Alexandre Johannes, Manon Le Rohellec (Louis2) Studio Zero
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