V64

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64 Spring 2010

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64 Spring 2010

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ALL THE WORLD’S A STAGE kirsten dunst in Givenchy by riccardo tisci and swarovski PhotoGraPhed by

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LIVE ON THE AIR Editor-in-Chief Creative Director Stephen Gan Senior Editor-at-Large Karin Nelson Features Editor Christopher Bartley Managing Editor Emma Reeves Associate Editor Jacob Brown Photo and Bookings Editor Kristina Kim Executive Assistant/ Special Projects Editor Steven Chaiken Senior Fashion Editor Jay Massacret Fashion and Market Editors Catherine Newell-Hanson Yuki James Contributing Fashion Editors Joe McKenna Panos Yiapanis Nicola Formichetti Jane How Clare Richardson Olivier Rizzo Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sofia Achaval Fashion Assistant Nikki Igol Contributor/Entertainment Greg Krelenstein/Starworks Senior Fashion News and Special Projects Editor Derek Blasberg Art Editor Simon Castets Contributing Editor T. Cole Rachel

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V64 Mario Testino Inez van Lamsweerde & Vinoodh Matadin Mario Sorrenti Sebastian Faena Richard Burbridge Josh Olins Jonas Åkerlund Sarajane Hoare Jason Schmidt John Ortved Jill Singer Chad Pitman Robin Broadbent Amanda de Cadenet Dan Forbes Ellen von Unwerth Douglas Friedman Alastair McKimm Anthony Cotsifas Mattias Karlsson Robbie Spencer Matthu Placek Aimee Walleston Knox Robinson Jessica Main Mirabelle Marden Fiorella Valdesolo Melissa Marra-Alvarez Christian Brylle Amy Troost Patrik Sehlstedt Tom Allen Mark Jacobs Adrian Gaut Sally Lyndley Keiichi Nitta Cameron Krone Catherine Blair Pfander Marcus Chang Johnny Misheff Hanuk Alisa Gould-Simon Marina Burini Ellen Af Geijerstam Dave Gillespie Stefanie Keenan

Special thanks Pippa Lord Art Partner Giovanni Testino Candice Marks Lucy Lee Christina Hardy Kona Mori Art + Commerce Lindsay Thompson Annemiek Ter Linden Sarah Frick Smith Paula Ekenger Etta Meyer Katie Fash Julian Watson The Collective Shift Jae Choi Aeli Park Amy Boyle Alan Woo Erick Ruales Betsy Hammill CLM Violaine Etienne Industrial Color Brands Steve Kalalian Intrepid Anya Yiapanis Streeters Jerry Morrone Dotti Gosia Chalas Ahmad Larnes Corie Beardsley Spring Studios Splashlight Studios Ford Models Gary Dakin Caroline Poznanski Michele Pryor Shawn Brydges Ana Schechter Claudia Veizaga Pier 59 Studios Kelley Blevins Ilili Broadway East Jeremie Roumilhac Brent Smith See Management Susan Harmms Truc Nguyen Chelsea Fairless Marika Shishido Kate and Laura Mulleavy Jason Duzansky The Richard Avedon Foundation Michelle Franco Cover photography Mario Testino Styling Nicola Formichetti Makeup Linda Cantello for Giorgio Armani Cosmetics (Joe Management) Hair Christiaan Manicure Gina Viviano Photo assistants Alex Franco, Hans Neumann, Roman Harper Stylist assistants Emily Eisen and Rich Aybar Tailor Olga (Lars Nord) Makeup assistant William Murphy (Joe Management) Hair assistant Taku (Artists by Timothy Priano) Lighting designer Chris Bisagni Videographer Augusto Araujo (Higher+Higher) Production Lucy Lee (Art Partner) Catering Ilili Location Canoe Studios, NYC Retouching R&D Dolce & Gabbana cover: Bustier Dolce & Gabbana Ring Dior Fine Jewelry Headpiece made by hairstylist On lips, Giorgio Armani Cosmetics Armanisilk Lipstick in pomegranate Givenchy cover: Dress Givenchy by Riccardo Tisci Earrings Swarovski Balenciaga cover: Top Balenciaga by Nicolas Ghesquière On skin, Giorgio Armani Cosmetics Luminous Silk Foundation in ivory Burberry Prorsum cover: Coat Burberry Prorsum Earrings Swarovski Ring Dunst’s own On eyes, Giorgio Armani Cosmetics Eye Brow Defining Pencil 2

This page photography Dan Forbes 56

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Production still from Akihabara Majokko Princess, August 2009. Photo Bruce Yamakawa

foreword

Takashi Murakami and Kirsten Dunst in Akihabara Majokko Princess, August 2009

ACROSS THE MAP

The first decade of this century has taught us that a willful ignorance of the world beyond our borders can be both embarrassing (Sarah Palin) and dangerous (the Iraq War). When you’re in fashion, it’s just bad business. V is based in downtown Manhattan, and even though many of our editors and contributors live on a small parcel of land below 14th Street, we’d be loathe to call ourselves a “New York magazine.” Sure, this fishbowl of eight million is one of the most dazzling places on the planet, but there’s a lot of life and excitement going on outside the 212. In this issue, we’re documenting a slice of it.

We open with Heroes who have pushed the boundaries of race, color, and creed. From the cross-cultural stylistic mashups of Kenzo and Giorgio di Sant’Angelo, to the genre-bending music of Sun Ra, to the questioning, controversial art of Adrian Piper, these men and women have elicited a greater understanding of global experience. Elsewhere, Stella Schnabel talks about filming her father’s upcoming feature on the origins of the MidEast struggle, Peter Marino explains why China is as booming as ever, Mirabelle Marden captures a three-day desert rock festival in Timbuktu, and Japanese girl band the Suzan wreaks havoc from Tokyo to Berlin and everywhere in between.

60

What does Kirsten Dunst have to do with new frontiers?

After years spent playing iconic girls in iconic films, the beautiful young actress has freed herself from the shackles of Hollywood.

These days, she’s doing basically whatever she wants—art videos with Takashi Murakami, a self-produced, self-directed short film, and a serious dramatic role as a woman. Imagine that. Having stepped away from the Spider-Man series for good, Dunst is turning the page in a major way.

As seen by our star photographers and stylists, Spring fashion is similarly unchained. Inez van Lamsweerde & Vinoodh Matadin present a startling ode to the ever-changing 21st-century face.

Mario Sorrenti takes Raquel for a zoom around town in the craziest, most cartoonish gear of the season. Mario Testino shoots Daria as María Félix, the Mexican film legend who never uttered the phrase “too much.” Sebastian Faena tells the tale of a woman with an insatiable desire (for black lace), Josh Olins pumps up the jam with a Salt-N-Pepa–flavored fashion story, director Jonas Åkerlund goes Japanese in his V debut, and Richard Burbridge photographs Gagalike V A Model winner Emma Dumont, fresh from the pages of the Internet and heading straight to a runway near you. If you happen to live in New York, that is. Mr. V

contents

michael kors Very Hollywood

calvin klein Euphoria

gucci Flora by Gucci

it’s a small world after all

70 Lots of Love We were awed by the amazing response to our Size Issue. Here are a few of your thoughts on the shape of things to come

94 Like a rock You might call him an industrial designer, but Max Lamb’s innovative take on furniture is more caveman than commercial

74 Party Page Paris couture, Visionaire takes L.A., and the NYC art openings of Thomas Dozol and Jack Walls

96 Work iN Progress Cyprien Gaillard, Lorraine O’Grady, Zhang Huan, and Damián Ortega open up to Jason Schmidt

76 Where Were you...Back home?

Designers, artists, and musicians show us there’s no place like home, whether it’s Italy, Istanbul, or Sri Lanka 78 heroes Sun Ra was half guru, half avant-garde jazz composer.

Adrian Piper brings humor to conceptual art. Kenzo’s unique vision remains fresh, even forty years on. The work of Giorgio di Sant’Angelo seems to pervade the modern runway, proving that his deconstructed, no-holds-barred look at fashion was decades ahead of its time 84 steLLa star Writer and actress Stella Schnabel talks poetic beginnings with James Kaliardos

88 Party PeoPLe The Suzan is a hard-partying Japanese pop-punk band bent on world domination 90 art aNd the architect Peter Marino’s designs have always been a beautiful amalgam of art, architecture, and fashion, but since the recession, his vision has taken off 92 desert BLoom Mirabelle Marden travels to the West African music festival that combines global beats and ethnic fashion 64

130 farm fresh Homespun chic isn’t just for southern belles 132 v-Bay Globalization hits the accessories department with these exotic, well-traveled shoes, bags, and gems 140 muse of the WorLd Nine trailblazing women who rewrote the rules of beauty and style

110 Just for kicks Stand sky-high on these fashion platforms

148 the art of BeiNg kirsteN duNst She achieved superstardom as the bored and beautiful ingenue in a slew of films that defined the last decade.

Now, Kirsten Dunst is reinventing herself as an artist’s muse and a serious dramatic actress.

Photographed by Mario Testino

112 Let’s taLk aBout sacks Whatever you’re into, there’s a bag for it

256 v-maiL Cute people from the four corners of the Earth

108 extra The latest, greatest, and most desireable in art, music, fashion, and photography

114 cLear theory It’s time for a little transparency in our modern world 116 free sPirit Joseph Altuzarra believes in the transformative power of clothing, so it’s fitting that he’s revolutionizing the New York fashion scene 118 magic fiNgers Manicures are just the tip of the iceberg for the multitalented queen of nails, Deborah Lippmann

V Fashion sPRinG 2010 160 mirror mirror By iNez vaN LamsWeerde & viNoodh matadiN 174 high PerformaNce By mario sorreNti

120 girLs WiLL Be girLs Lady Gaga and Cyndi Lauper bring their individual brand of glamour to M.A.C Cosmetics

200 ave marÍa! By mario testiNo

122 after dark Five women, five products, unbeatable beauty

228 Push it reaL good By Josh oLiNs

124 come oN feeL the Noise Hard-rockin’ looks inspired by the cult classic film Heavy Metal Parking Lot

210 caBiN fever By seBastiaN faeNa 238 tokyo hard core By JoNas ÅkerLuNd 244 aLL the WorLd’s a stage By richard BurBridge

Photography Shopstudionyc Styling Eddy Alcantera

86 NeW moNey She dressed Sharon Stone in an infamous array of revealing outfits for Basic Instinct and inspired the sartorial choices for a generation of investment bankers.

Now, Ellen Mirojnick explains her vision for recession-era power dressing in the Wall Street sequel

104 the maNy faces of kristeN Wiig Zany and offbeat, Wiig is the heir of both Will Ferrell and Tina Fey. Now, the woman with a thousand characters is ready to conquer the silver screen

128 hey hey aNime!

Tokyo pop looks that go beyond Harajuku

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mail

We’ve never done a letters page before, but then again We’ve never had such an outpouring of emotion and kind Words as We did for our size issue. here’s a sampling I leaf through your magazine fairly regularly but rarely buy it because the striking looks and beautifully composed pages have, for the most part, nothing to do with a world I can relate to—despite my being an arts and fashion-loving NYC woman with a disposable income. I urge you to continue to use plussized models in your magazine. While “statement stories” will earn you well-deserved, if short-term, media attention and customer appreciation, imagine the ruckus you’ll raise if you continue showing all kinds of beauty in your pages. It’s a beautiful, beautiful start. –Naomi Schegloff, Long Island City, NY First, as a very heterosexual man, I’d like to thank you! I’m happily married, but as most men in this country, I will look at what 70

You know, if you keep this up, I may actually start paying attention to fashion again. Hell, I may even buy magazines again!

–J. Godsey, Methuen, MA I’m a red-blooded American male. It’s about time a magazine stepped up to the plate and published photos of real women.

Most of us are sick and tired of models who look like 10-yearold skinny boys. –Ronald Smith, Houston, TX I have never in my life purchased a fashion magazine, but after seeing your photo shoot with Tara Lynn, Candice Huffine, Marquita Pring, Michelle Olson, and Kasia Pilewicz, I will definitely be buying the Spring Preview issue of V. This is the first time I can remember seeing a spread with models who seemed to have any relevancy to me, or a wardrobe that has any relevancy to my life, and I just wanted to thank your whole editorial team for making it happen. –Kaitlin Allen, Grand Rapids, MI

I can’t tell you what the publication of V’s Spring Preview issue means to me. I almost cried when I read the article on your website. I have been modeling in Montreal for almost three years,

as a size 8-10 model, and the battle has been rough. I used to be with an agency that would send me diets by e-mail, until I left them for another. Many horrifying stories aside, what you’ve done blows my mind beyond belief. I never thought I would see the day. Not only will it help women feel more comfortable with themselves, but it’s a starting point in a battle against representing only thin women as beautiful. Not to mention helping models my size (and up) finally start getting some decent work!

I applaud you. As a fashion magazine, it must have taken a lot of courage to take such a strong stand on the matter.

–Lara Binamé, Montreal, PQ What’s the point of a fantasy when I can’t insert myself into it?

Thank you for showing women of different sizes in fashionable clothes, so I can pretend that—if I can just afford them—I can wear them. I hope it’s not the last we see of these talented plus-sized models and the designers who dare to create things that will fit more than one body type. –Hannah McLain, Portland, OR

Photography Amanda de Cadenet Styling Yuki James Crystal wears Bra Agent Provocateur Briefs Dolce & Gabbana Earrings Van Cleef & Arpels Bangle David Yurman On eyes and lips, M.A.C Fluidline in blacktrack and Dazzleglass Creme in sublime shine

Makeup Christopher Ardoff (Art Department) Hair Franco Gobbi (Art Department) Model Crystal Renn (Ford NY) Manicure Rica Romain (See Management) Photo assistant James Chung Stylist assistant Laura Marciano Lighting Drive-In Studios Location Smyth Hotel, NYC Retouching View Imaging

LOTS OF LOVE

is eye-catching, and the women featured in this photo spread are not only eye-catching, but breathtaking! This is tasteful and sexy, by the very definition. If women in this country want their men to want them, then give us someone that looks like Candice Huffine or Tara Lynn to come home to! The curves really do drive most men crazy. Please give us more! And let me finish by saying, SEXY SEXY SEXY!!! HOT HOT HOT!!! WE WANT MORE OF THESE IMAGES!!!! –J.S., South Bend, IN

NYC • LA • MIAMI • CHICAGO

www.INterMIxONLINe.COM

party

A GOOD YEAR

NAKED AMBITION

Visionaire celebrates issue 57 2010 and the launch of Los Angeles Nomadic Division (LAND) at Mark Mahoney’s Shamrock Social Club, Los Angeles, January 26, 2010

Opening of Thomas Dozol’s “Entre Temps,” Envoy Enterprises, NYC, January 7, 2010

PARIS WHEN IT’S HAUTE Givenchy hosts a postcouture show party for Ciara, Paris, January 26, 2010. Longchamp celebrates the launch of the Kate Moss bag collection, Paris, January 27, 2010

Olympia Scarry and Neville Wakefield

Mark Mahoney with Cecilia Dean and Shamim Momin

Nicky Hilton and Dasha Zhukova

Opening of Jack Walls’s “The Ebony Prick of the White Rose’s Thorn,” Fuse Gallery, NYC, January 9, 2010

Kate Moss

Patti Smith

Sophie Willing and Jethro Cave

Loulou de la Falaise

Ryan McGinley and Chad Moore

Jamie Bochert

Olivier Zahm and Magdalena Frackowiak

Audrey Marnay

Jack Walls

Colin Donahue

Nicola Formichetti

Terence Koh

Betony Vernon, Giovanna Battaglia, Gaia Repossi

Cecilia Dean and Italo Zucchelli

Shaina Danziger and Natalia Bonifacci

Kalup Linzy

Natalia Vodianova and Stella Tennant

Frida Gustavsson

Leo Fitzpatrick

PC Valmorbida and Stavros Niarchos

Dayna Zegarelli and Victoria Brynner

Jake Boyle

Riccardo Tisci and Ciara

Joan Smalls

Mark Hundley

Jed Lind and Jessica de Ruiter

Matt Sorum of Guns N’ Roses

Jenny Schlenzka and Casey Spooner

Derek Blasberg and Joana Preiss

Maryna Linchuk

Lucien Marc Smith

Marco Perego

Walead Beshty and Ezra Woods

Patrik Ervell

Antonella Graef, Rose Cordero, Iris Strubegger

Sophie Delafontaine and Carine Roitfeld

Edwige

Dan Colen

Visionaire photos Stefanie Keenan; Dozol and Walls photos Hanuk; Givenchy photos courtesy Givenchy; Longchamp photos courtesy Longchamp

74

Nicolas Pages

JUST JACK

album

Francisco Costa in Rio de Janeiro, Brazil, 1985 Victoria and Edward Tang in Beijing, China, 2010

Adi Gil in Israel, 1998

Padma Lakshmi in Rajasthan, India, 2008

WHERE WERE YOU...

BACK HOME?

Life is but a Long series of questions. Where are you going?

Where have you been? Where did i Leave my passport? here, a feW friends share the Lands from Whence their journeys began

Angela Donhauser in Tajikistan, 1979

Prabal Gurung in Nepal, 1983

Margherita and Rosita Missoni in Sumirago, Italy, 1984 Hussein Chalayan in Istanbul, Turkey (his second home), 2008

Gabi Asfour (second from left) in Beirut, Lebanon, 1979

M.I.A. (right) and her sister, Kali, in Sri Lanka, 1984 Terence Koh in Yunnan Province, China, 1980

76

Lakshmi Menon in Goa, India, 2010

Lee “Scratch� Perry in Negril, Jamaica, 2009

Du Juan in Shanghai, China, 2010

sun ra

InnovatIve jazz composer sun ra blended musIcal genres whIle preachIng peace In hIs own cosmIc, kooked-out way. In doIng so, he created an entIrely new sound It’s not completely clear how or why jazz pianist Herman Poole Blount took the giant leap from mid-century race man to future fabulous spaceman, but he emerged from the transformation fully formed. In the early 1950s, the Alabama-born, Chicago-based Poole—an introverted, well-educated, draft-dodging, possibly closeted, eccentric but talented sideman and occasional bandleader with professional ambitions in the mold of Count Basie, Duke Ellington, and Fletcher Henderson—changed his name to Le Sony’r Ra and for the next forty years was known to earthly jazz fans as Sun Ra. Perhaps it’s true he came from Saturn, but more likely, the Chicago scene, a cauldron of postwar Black culture, with the best blues, jazz, and early soul bands playing night after night and self-styled preachers, salesmen, and nation-builders on every South Side corner, was the source of his eccentricity.

And so Sun Ra, who sang with his Arkestra—in later years sometimes numbering more than forty musicians—flipped and retooled the swing-era big band paradigm in search of cosmic vibrations, celestial truths, and, like most good brothers, a solution to save the Black race from destruction.

78

Today Sun Ra orbits our popular imagination largely due to Space Is the Place, the brilliantly titled 1974 cult film that stars the portly pianist playing more or less himself, beamed into Vietnam and Black Panthers–era inner-city Oakland to save the hood from devilish forces of evil. Part paean to early sci-fi flicks, part psychedelic music video, part takedown of the thinly plotted blaxploitation films of the time, Space Is the Place is instantly dated by bell-bottoms, afros, and jive. But it’s also a vibrant, inspired piece of moviemaking that’s effortlessly timeless. “It’s after the end of the world, don’t you know that yet?” deadpans an Arkestra member during one unforgettably spacey sequence. Music sets the people free, of course, but Sun Ra’s gentle persona and charming parables steer the film away from sheer polemic.

And yet Space Is the Place was a glossy aberration in the

career of this quirky icon, who released more than one hundred albums before his death in 1993, most of them on small independent labels, including his own El Saturn imprint. At its core, his music was soulful and earthy even as it gestured toward the cosmos. Based on heavy drums and rhythm and perfected over twelve-hour rehearsals, Sun Ra’s work never aspired to the avant-garde but rather a folksy futurism aimed at reminding Black Americans of their proud African roots and potential as cosmic beings in the universe at large. A pioneer in “world music” for his use of rhythms, tones, and instrumentation from classical Asian and African music, and an early adopter of electronic sounds via the Moog synthesizer, Sun Ra was also a creative director nonpareil. After his rebirth in 1950s Chicago, he began to unleash a steady stream of self-produced materials:

hand-screened limited-run LPs, posters, cryptic business cards, typewritten manifestos, secret coded dictionaries, and interstellar maps, all of it part of his larger vision of an “alterdestiny”—the patchwork liberation cosmology he espoused as the Arkestra moved from South Side Chicago to drug, alcohol, and femalefree communal living in NYC’s East Village during the ’60s. This creative output was both punk and pop before either impulse had a name, and, along with his imaginative daring, made Sun Ra a touchstone held in high regard by jazz lions of the day: it’s said that John Coltrane was inspired to kick heroin after getting deep into a Sun Ra pamphlet he picked up in Chicago.

The 2003 director’s cut DVD of Space Is the Place includes as a bonus feature never-before-seen “home movies” of Sun Ra and the Arkestra from the early ’70s, when the band toured Europe

and Sun Ra realized a lifelong ambition of visiting Egypt. (He later recorded with legendary Cairo bandleader Salah Ragab.)

Shot with no sound on grainy black-and-white 8mm, the brief clip shows Sun Ra and a couple of Arkestra members in stately procession as female dancers whirl about, the Saharan winds whipping against their Technicolor dreamcoats. Sun Ra moves gingerly yet assuredly about the ruins—a sudden, unexpectedly poignant portrait suggesting a lonely brother out in the world, a long way from home. And yet, in one scene, the look on his face is unmistakable. The camera zooms slightly as he walks nonchalantly into the frame, something in his eyes suggesting that he’s been there before. Knox Robinson

Still from Space Is the Place, 1974. Courtesy Sutro Park

hero

adrian piper

humor has always been a key ingredient in the work of performance artist adrian piper. she knew decades ago that the way to get people thinking about race, sex, misogyny, and bias was to get them laughing first A beautiful intruder in the predominantly white-male world of American conceptual art in the late ’60s and ’70s, Adrian Piper used her physicality, visage, and kinetic, uncompromising intellect to pose trenchant questions about race, gender, and identity.

Before artists like Chris Burden became renowned for creating performances that used the self and corporeality to produce shocking, explicit, and sometimes violent artworks, New York– born Piper was dousing herself in wet paint and walking through Macy’s department store, or riding the D train while drenched in fetid eggs, milk, vinegar, and fish oil. Piper used her being as a lightning rod for on-the-spot audience engagement. Her works often seemed to explore her own discomfort with society’s view of her as a light-skinned Black woman by reversing this uneasiness and putting viewers in the crosshairs. But, however confrontational these works may be, they’re equally possessed of a wry, energized vitality that employs humor to test the boundaries of her audience’s internalized racism and misogyny.

Comedy asks people to change their minds, and it refuses to ask politely. When humor infiltrates high art, it usually doesn’t—in the immortal words of Rodney Dangerfield—get any respect. In the work of Piper, who currently teaches philosophy in addition to practicing art, heady intellectualism was never antithetical to belly laughs—both were and are legitimate responses. “Piper’s really smart—there’s a fierce intelligence around the work, which

I love, but there’s also the humor,” says artist and Piper contemporary Carolee Schneemann. (In her legendary 1975 performance piece Interior Scroll, Schneemann removed a letter to a film critic from her vagina and read its contents to her audience.)

“She’s very funny. She’s got an unexpected, almost sly aspect around the forms she’s developing.”

In Piper’s art, built-in sight gags, including cartoon bubbles, make use of comedic tropes to engage her audience in deeper questions. In her 1980 work It’s Just Art, Piper questioned her audience’s “moral lassitude” in the face of depictions of the Khmer Rouge catastrophe while disco dancing to “Do You Love What You Feel” by Rufus and Chaka Khan. A later work, Funk Lessons, was a series of collaborative performances in which Piper gave lessons on dancing to funk, entreating her art-world audience to a literal interpretation of “fuck art, let’s dance.” The concept played with internalized and externalized racial preconceptions, and her audiences responded at times in anger at its just-below-the-surface implications.

Vito Acconci, infamous for his seminal 1972 work Seedbed, in which he sequestered himself under the floorboards of the Sonnabend Gallery and masturbated while vocalizing his fantasies to the gallery-goers above, makes the claim that in many performances from the ’70s humor is often afoot—yet never fully enjoyed. While humor could be viewed as the foot in the door to these intellectually rigorous works, Acconci says, “People who have a resistance to conceptual art seem to think exactly the opposite.” Performance art has been endlessly spoofed in mass culture because it is often seen as pretentious and trying to impose an obtuse intellectualism on its audience. As Acconci says, “I thought the performances in the ’70s were funnier than other people did. They were funny with some kind of purpose: humor means that you’re not so channeled on something that other things can’t come in. It allows for second thoughts and constant reconsiderations.” Because Piper’s works are tinged with honest attempts to reconcile her identity with the racist and sexist mindsets that challenged her, recognition of her humor can, mistakenly, seem counterintuitive to the gravity of the work. This walking on eggshells is the unavoidable legacy of comedy’s cruelty, especially as humanity works toward a universal ethics. Minstrelsy was once considered humorous. It is now seen in its truer form: abject racism, the echoes of which continue to haunt us.

It is this fear that disturbs artworks that explore race. Kalup

Linzy, a younger artist creating performance-based films, is also balancing on this tightrope, and cites Piper as a source of inspiration. In one of his most well-known pieces, a 2003 video titled All My Churen, Linzy plays several male and female characters all engaged in various family and romantic dramas, with a subtext of racial, gender, and sexual stereotyping. Because Linzy is a Black man depicting Black characters, one could perceive a connection to Piper’s work, based on their shared inquiries into race. But Linzy sees a different connection: “The gay child, in most families, doesn’t have a huge voice. People don’t want to deal with that sexuality. They’d rather sweep it under the rug. In Cornered [a 1988 video performance in which Piper questions her audience’s discomfort with her stating that she is Black], a lot of the things Piper says are how I feel about being gay. She can pass as white if she wanted to, I could pass as straight if I wanted to. It’s different, but it’s the same, you know?”

Piper continues to make work, and her performance pieces from the late ’60s onward have left a legacy that touches a wider audience than the art world from which it arose. Piper’s inspection of her own identity in relation to stereotypical perceptions of young Black men informed her famous Mythic Being series, in which she took on the persona and perceived agenda of a Black man, placing photographs of herself in the gallery section of the Village Voice (the images often included a thought bubble, one of which read: I Embody Everything You Most Hate and Fear).

These pieces were at once funny and serious, and one can see echoes of this work in contexts far broader than the art world.

When the comedian Dave Chappelle, in one of his final sketches for Chappelle’s Show, wore whiteface and demonstrated how his taste in food and culture would change if he were white, he was challenging not just his audience’s preconceived notions of racial identity but also his own. This is a slippery and challenging slope. As Linzy explains, “People don’t want you to sugarcoat things. But people don’t want to be told what to think or what to do—you have to see humor as a way to get people to open up.

The journey through tragedy often ends at the humorous and the ridiculous.” In the hands of Piper, these journeys show us the way ahead. They clear a path for humorous—and humanist—recalibrations of thought. Aimee Walleston It’s Just Art #12, 1980. Artwork Adrian Piper © Adrian Piper Research Archive, Berlin

kenzo

He pioneered a freestyle mix of prints and colors tHat seemed radical in tHe ’70s, but couldn’t feel more relevant today

With a sense of both “humor and pride,” Kenzo chose the name Jungle Jap for his boutique. “I didn’t know at first what that meant, but I found out,” Kenzo told The New York Times. “But I thought if I did something good, it would change the meaning.”

That good came in the form of exuberant collections that introduced kimono sleeves, the layered look, and folkloric fashion, and helped turn a pejorative term into a household name. Within two years of the inception of his boutique, Kenzo was hailed as the most copied designer in all of Paris. While his early collections seemed to cater to a young, adventurous crowd, over the years his clientele grew to include such notable women as Bianca Jagger, Catherine Deneuve, and even Princess Caroline of Monaco. “Fashion is not for the few—it is for all the people,” he said. “It should not be too serious.”

Kenzo’s fashion shows were whimsical displays of youth and folly—spectacular send-ups where models danced, smoked, laughed, skipped, and kissed down the runway. Halston muse Chris Royer recalls that Kenzo’s shows were “done in an exciting freestyle with his models jumping out on the runway and bursting with joy.” Ironically, the pace was often so frenetic one couldn’t see the clothes. One show was held under a circus tent, another was held at Studio 54 and included a live performance by singer Grace Jones. As was written in The New York Times, “a Kenzo opening was worth your life.” During the 1970s, Kenzo’s shows drew large crowds that would force their way in, hysterical fans elbowing past fashion editors. Often, there were not enough seats for the attending masses and in some cases barely enough room for the models to move. On one occasion the police were dispatched to restore order when near panic ensued.

Now, forty years after the house was founded, Kenzo’s iconic designs, with their eccentric combinations of patterns and prints, continue to influence fashion—as evidenced by the recent Spring collections. “When you look at the archives, you are impressed by their power, their modernity, the strength of their style,” says Marras, who has managed to take Kenzo’s codes and reinterpret them in imaginative new ways. “It’s no surprise that other designers use them for their collections.”

Not that Kenzo would accept the credit: “It pleases me when people say I have influence,” he once told André Leon Talley, then a reporter for Women’s Wear Daily. “But I am influenced by the world that says I influence it. The world I live in is my influence.” Melissa Marra-Alvarez Jungle Jap, 1983. Photography Hans Feurer

Photography Courtesy Kenzo

A believer in predestiny and inescapable fates, Kenzo Takada claimed that his success had been foretold by an astrologer in Paris who assured him he would one day be world famous and rich enough to “travel around in a huge boat.” Kenzo did in fact travel the world; and in his collections, influenced by the dress of various cultures, he invited everyone to take this voyage with him.

To construct the pieces featured in his first fashion show, Kenzo combined scraps of material from Japan and Paris, simply because he could not afford the fabrics he initially desired.

“We mixed them all to create new ones,” Kenzo recalled, giving rise to his signature mash-up of florals, checks, plaids, and stripes. The look drew inspiration from every inch of the globe, influenced by the ethnic dress of North Africa, Asia, Scandinavia, and the Pacific Islands. “Fashion is like eating,” he once told Newsweek, “you shouldn’t stick with the same menu—it’s monotonous. You need changes in your dress and your food to have changes in your spirit.” Indeed, from season to season, his creations displayed stylistic shifts that made each collection seem refreshingly new. Even Yves Saint Laurent lauded Kenzo, in his own way. “The most original creator in fashion—after me,” he mused.

“I myself am exotic,” declared Kenzo, who was born in Japan and moved to Paris in the mid 1960s. He was at the forefront of the wave of designers who revolutionized fashion in Paris, introducing exciting new trends in ready-to-wear. “He arrived with his vision of fashion as freedom,” says Antonio Marras, who took over design in 2003. “For the first time, fashion was not about looking like a lady, but having fun and expressing new ideas.”

Gutter credits TK gutter credits TK

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GiorGio di Sant’anGelo

The legendary designer broke The rules of couTure and invenTed free-spiriTed ’70s sTyle. When giorgio di sanT’angelo discovered a World ouTside The confines of fashion, he channeled iTs spiriT righT back in “It was the best time to work in fashion. Everyone was excited to do and create new things. You could call up a magazine and say, ‘I have an idea!’ and it would happen,” recalls ’60s supernova Veruschka of the era’s unbridled creativity. “This was one of those ideas. We all thought it would be great to do a fashion shoot without any clothes.”

Indeed it was: in the spring of 1968 (just a few lunar cycles after the Summer of Love) a young, taste-making trio comprised of up-and-coming Vogue stylist Giorgio di Sant’Angelo, Veruschka, and her then-boyfriend, photographer Franco Rubartelli—decamped to the Arizona desert for five days, armed only with bolts of fabric, fur pelts, and ropes. Creating one look per day, di Sant’Angelo performed a sort of interpretive fashion free verse in the sun, creating Native American–looking jewelry from stones found on location, draping yards of silk into a loose Gypsy dress, and transforming unsewn fabric into a vision of raw, nomadic wanderlust. They returned with a garmentless Vogue story that made a lasting impression: one of the looks, a sleeping bag–like wrapping lined with fur and laced with coarse rope , caused an overheated Veruschka to faint (“You never forget something like that!” she attests), but the otherworldly images—embodiments of the hippie sense of unencumbered joie de vivre—remain utopian fashion ideals.

The amorphous multiculturalism di Sant’Angelo pioneered in the pages of Vogue and in his ready-to-wear collections that followed is being revisited once again, as designers explore a refined psychedelia for Spring. Dries Van Noten’s flurry of Asian ikats and stone-laden geometric pendants; Givenchy’s full-body tribal-meets-Escher prints; and Louis Vuitton’s playful mille-feuille concoction of the nomadic, the Native American, the utilitarian, and the Japanese teenybopper—all nod to the exotic exuberance that made di Sant’Angelo stand out from his peers.

“When I first arrived in New York in 1970, Giorgio di Sant’Angelo was the designer,” says Diane von Furstenberg, who sprinkled her own Spring collection with a feisty mix of Egyptian prints, louche layers, and African accoutrements. “He was instrumental in my looking at fashion in a completely different way. His fashion was young, different, sexy, and totally unconventional.”

Being unconventional in the counterculture decades—when Cardin and Courrèges were sending out harsh, sci-fi materials and abrupt shapes—meant that di Sant’Angelo drew from his gilded background: the son of a Florentine nobleman, Count Giorgio Imperiale di Sant’Angelo was born in 1930s Florence, spent his childhood on his family’s estate in Argentina, then studied industrial design in Barcelona and art at Paris’s Sorbonne.

(He even had a stint in Picasso’s studio, a position he won by placing first in a ceramics competition.) Much of his early globetrotting was accompanied and afforded by his grandmother, one of many powerful, beneficial muses that would come his way.

“His grandmother showed him the world, and Diana Vreeland gave it to him,” recalls Martin Price, di Sant’Angelo’s former studio assistant and longtime boyfriend.

A fledgling designer could have no better tour guide in the sartorial landscape of ’60s New York than the forward-thinking

Vreeland, editor of American Vogue at the time. Often credited with launching di Sant’Angelo’s career, the editrix featured his plastic bangles, a plaything he created while working in New York as an interior designer, hired him as a stylist for the magazine shortly after, and went on to assign (and sign off on) his momentmaking shoots, including the Arizona story.

Later, with Vreeland’s prompting, di Sant’Angelo launched a Coty-winning accessories line and debuted a ready-to-wear collection full of zipper-free garments, hotly patterned versatile layers, and free-form designs—an unexpected approach he perfected in the studio. “To make sure something was balanced— let’s say a fit model in a dress—di Sant’Angelo would look at her straight on, in profile, and from the back view. Then he’d look at her from upside down,” says Price. “It was very important that if everything looked great—whether it was a dress or a whole room he was putting together—it also had to look good from the upside-down perspective. That made it right.”

His success stemmed from his distancing himself from popular modes of construction. “I don’t like the snobbism of the couture approach. Twenty-five seams and seven linings don’t make a dress. They make a Madame Pompadour of 1969,” he told Life magazine in an article of the same year. The story heralded di Sant’Angelo as “the boldest new force of fantasy” while featuring the kind of African-inspired wrap designs and vibrant, folkloric prints that might make Anna Sui giddy. But “it wasn’t just about the gypsy or the hippie, it was so much more,” notes Price. “It came from his South American background, inspired by very provocative women. He did bring that to American culture, but he was also the first to loosen everyone up.”

Later, di Sant’Angelo’s “loosening everyone up” would expand to the use of liberating stretch fabrics for bodysuits, leggings, and other novel shapes while applying his fluid aesthetic to a variety of goods—including everything from all-natural modular

furniture to exercise mats. (An early yoga buff, the designer also installed a trapeze in his studio.) “What’s interesting about his work is that there are three stages of di Sant’Angelo: the ’60s hippie pieces, the ’70s minimalist stretch jersey pieces, and the glitzy pieces of the ’80s,” says Decades’ Cameron Silver, who has seen more than a few of the designer’s pieces pass through his elite vintage emporium. “He had different moments, but they were always di Sant’Angelo.”

Even in the ’80s, when others went on licensing benders, di Sant’Angelo retained his cult status as “the underground established designer,” says Price. It helped that his studio—a converted basketball court and locker rooms on the penthouse floor of lower Broadway’s Cable Building—was a few doors down from the Details and French Vogue editorial offices as well as Keith Haring’s creative space.

Nor did it hurt that di Sant’Angelo possessed movie-star looks and charisma (“sparkling,” “handsome,” “perfect-posture,” and “always upbeat” are among the phrases friends have used to describe him). He had a ceaseless creative spirit that never slowed, not even for illness or Cinderella hours: stories abound of di Sant’Angelo directing his staff and conducting fittings even when hospitalized with the cancer that would end his life in the fall of ’89. Veruschka recalls the halcyon days when their stars were on the rise: “We would work late at night in the studio—with Rubartelli and [hairstylist] Ara Gallant—not for an assignment, but just to create things, just for the pleasure.

Rubartelli had a huge archive of all those photos. I don’t know what happened to them, but maybe they’ll resurface someday.”

Jessica Main Veruschka, 1968 Photography Franco Rubartelli Courtesy Condé Nast Archives

stella star

EvEryonE knows stElla schnabEl as thE smart and sExy girl-about-town, but this yEar shE’s proving hEr vEry sErious acting chops in two vEry sErious rolEs. don’t call it a brEakout, call it a brEakthrough You Wont Miss Me, a new film directed by Ry Russo-Young, tells the story of Shelly Brown, a 20-something actress trying to sort out her life after being released from a psychiatric hospital.

Fragile, funny, and brutally honest, she is the kind of character who stays with you long after the lights have gone up; and much of what makes her so hypnotic is her portrayal by Stella Schnabel. Compared by one film reviewer to Klaus Kinski, the 26-year-old New York native has a raw, uninhibited style that’s unmatched right now, and her talent extends well beyond acting.

Along with Russo-Young, Schnabel wrote the script to You Wont Miss Me, which won the 2009 Gotham Award for “Best Film Not Playing in a Theater Near You.” This June, Schnabel will also appear in Miral, a film directed by her father, Julian Schnabel, about the Palestinian-Israeli conflict as seen through the eyes of different women. Here, Schnabel sits down with good friend James Kaliardos to discuss her work, her idols, and her need to express.

JAMES K ALIARDOS What is your earliest memory of creative expression?

STELLA SCHNABEL Writing poems as a 7- or 8-year-old at Saint Ann’s School in Brooklyn. There was a poetry seminar taught by Marty Skoble and he would type up your poems and on Fridays you could dress up however you wanted and read them. But it was when I saw Pina Bausch for the first time that I knew I wanted to be onstage.

JK I’ve heard as a child you had a real sense of yourself and didn’t give a shit about what other people thought.

SS I’m not a people pleaser. I feel very comfortable with the truth. Most people don’t like it.

JK What writers do you admire?

SS Sharon Olds, Rene Ricard, Karen Blixen. I’d like to write like Oren Moverman. He’s a genius and a kind, kind man. I’m also inspired by John Cassavetes. He was such a great writer and actor. That’s the ideal—to be able to act your own parts.

JK Who are your favorite actresses?

SS I like Isabelle Huppert in The Piano Teacher—the greatest performance of a mentally unstable person ever. I also like Samantha Morton and Simone Signoret and Linda Manz. I like women who can use things other than their sex appeal to intimidate a man—and still be gentle.

JK Tell me about making Miral.

SS We were in Israel and Palestine. You can only know about that situation by being there, interpreting the way the people are.

I spent a lot of time with the very respected Palestinian actress Hiam Abbass—she was like a mother to me. Half the crew was Palestinian and half the crew was Israeli. It was intense, and it was great to be there with someone as close to me as my father.

JK Did you gain a new understanding of your father by working together?

SS Yes. He wouldn’t have given me the part if he didn’t think I could do it, so it was a nice way to give me a chance to express myself and be creative and do it together.

JK Who is the character you play?

SS A young Israeli girl, the daughter of a general. She is a free spirit who befriends a Palestinian girl.

JK You are so free creatively, sexually, emotionally.

SS I like to think that I create because I need to express something and get it out of me. I have to get things out into the universe.

Stella Schnabel in New York, November 2009 Photography Matthu Placek Styling Marina Burini See more Stella Schnabel on vmagazine.com Miral is out in June 2010 from Pathé Films.

You Wont Miss Me is out in summer 2010 84

Makeup James Kaliardos for L’Oréal Paris Hair David Von Cannon (Bryan Bantry) Photo assistants Ken Tisuthiwongse, Masato Onoda, John Felix Styling assistants William Graper and Gisella Lemos Retouching Annalena Rumler

talent

Fur coat Helen Yarmak Ribbon (worn as belt) Mokuba Shoes Valentino

film

New MoNey

In the orIgInal Wall Street, coStume deSIgner ellen mIrojnIck outfItted the men of the greed generatIon. tWenty yearS later, money StIll talkS, but It dreSSeS a lot dIfferently

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the suits is different. You don’t have the grace of fabric. They’re leaner and meaner,” says Mirojnick. “It’s the best way to describe the difference in the look of the two films. This is a lean and mean time. Greed got caught, but greed is still good.”

When Gekko finally reclaims his persona, his wardrobe turns shark blue. “It’s luxurious and bold. All of the suits were made for him,” she says, adding, “I love men’s fashion. I love men looking great.” Josh Brolin, the new villain, is dressed in doublebreasted suits, while Shia LaBeouf, a trader in a relationship with Gekko’s daughter—played by Carey Mulligan—embodies the new streamlined aggression. “Shia had never been a grown man in a movie before,” says Mirojnick. “I had to make him a movie star.” The women are transformed as well. In the first film, Mirojnick gave Daryl Hannah’s hungry interior decorator character with the perfect name—Darien Taylor—pieces by Claude Montana and Thierry Mugler and a statement hat trimmed with pink pom-poms. For the sequel’s “let them eat cake” recreation of the Met Ball, Mulligan’s character wears embroidered Oscar de la Renta.

Mirojnick felt it was poetic to return to Wall Street and be a part of the telling of the end of that story. “It was a difficult task because the first film was so iconic,” she says, “and so there was an extra, added pressure—that I put on myself. How do you create? Why do you make choices? How do you top it? And then I got it.” We’re investing in Mirojnick. Mark Jacobs Mirojnick’s inspiration boards. Bottom left: Shia LaBeouf, Josh Brolin, and Michael Douglas on the set of Wall Street: Money Never Sleeps. Top right: Michael Douglas and Oliver Stone Wall Street: Money Never Sleeps is out in April 2010 from 20 th Century Fox

Set photography Barry Wetcher

With the spring release of Wall Street: Money Never Sleeps, Oliver Stone’s sequel to his 1987 insider-trading classic, costume designer Ellen Mirojnick returns to the scene of the crime.

Having outfitted the first installment in the stiff, white-collared shirts, deep pleats, and ubiquitous braces that changed the way moneymen dress, the prolific and influential stylist promises more singular sartorial looks—reconsidered for the end of a gilded age. “It was a fantasy that became a reality,” she says of the style epitomized by Gordon Gekko, the archetypal villainous stockbroker played by Michael Douglas, who delivers the movie’s signature “greed is good” mantra. “At that time on the Street, no one wore that. If I had a penny for every suspender that was sold afterwards I would be on an island in the middle of nowhere with a private plane.”

Mirojnick’s most iconic works—stylized dramas and thrillers including Fatal Attraction, Basic Instinct, and Black Rain—are set in the present day. “I always liked doing that as opposed to period projects, not that I think any less of them,” she says. “It’s about the new and what is. I believe in a contemporary look.”

Her first major job as a principal costume designer was for 1984’s The Flamingo Kid. Three years later, director Adrian Lyne hired her for Fatal Attraction, one of the first, fully realized examples of Mirojnick’s luxurious, monochromatic aesthetic, which she developed during Hollywood’s neo-noir moment. Mirojnick dressed Glenn Close in slouchy knits that made Donna Karan look demented. (She recalls only one sharp shoulder in Close’s wardrobe, used in the “babysitter” roller-coaster scene, and it is the one choice, in hindsight, she would change.) For Unfaithful, another Lyne project, Mirojnick outfitted a tormented Diane Lane in Manolo Blahnik heels and a Calvin Klein trench. For Exit to Eden, she rigged Rosie O’Donnell in custom bondage gear (“Did she not look good?”). The diverse list of films Mirojnick has to her credit goes on, including Speed, Strange Days, Chaplin, and Cloverfield. “Until you cut the clothes to fit and feel a certain way on a body, the actors don’t become who you hired them to be,” she says. Her favorite costume? A jeweled nude bodysuit with a veil of pearlescent plastic, created for Gina Gershon in Showgirls.

“I know, I know,” she says. “I kind of like glitz.”

For the first Wall Street, Mirojnick gave Gordon Gekko the look of an old-fashioned movie star to amplify his dark charisma.

“I was trying to make this bad guy visceral, to turn him into a character who Bud Fox [played by Charlie Sheen] was compelled to get to know.” The new film portrays the style of power very differently. Shot in New York City a year after the 2008 crash, Money Never Sleeps begins with Gordon Gekko being released from jail just as the financial bubble is about to burst. “The shape of

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PARTY PEOPLE

As far as all-girl Japanese rock bands go, most American audiences have a very limited vocabulary. In the ’90s, Kurt Cobain did his part by tapping twee-grunge popsters Shonen Knife to be Nirvana’s opening act on the In Utero tour, while more recently Quentin Tarantino hired the 5.6.7.8’s to play backing band in one of Kill Bill’s outrageously violent scenes. Other than those two shining examples, most of Japan’s musical imports come to us in the form of cartoonlike pop singers (à la Puffy AmiYumi) or as an actual cartoon. This is what makes the Suzan—a four-lady party pop machine from Tokyo—such a wonderful and welcome addition to our record collections. Also, it’s hard not to love a band that issues a press release stating that “you can’t take your eyes off The Suzan and miss any 88

bow-hued outfits—but apparently some adventures are wilder than others.

“We have slept outside of bus stations and airports when we were touring the U.K. and Europe,” says bassist Ikue, “but those are just small events. The wildest and most dangerous adventure was when we were taken by German friends to Leipzig for a show they organized. As we got to the venue, we thought like ‘we will be killed before the gig’ because the venue was like ash or ruins without windows or doors, just covered by cloth with packing tape, and feral dogs and big punkers were hanging around there. But once we started playing, surprisingly the punkers loved our stage and got really high, then one of them shouldered off Saori to the floor and she had to sing [while] crowd surfing. We didn’t have many songs so we had to play three sets for encores until midnight. It was really fun and by the end everybody remembered all the songs and sang together.”

Tales of such high jinks suggest not only what is great about the Suzan, but also what is great about good pop music. When done right, it is truly transcendent. For the ladies in the Suzan, the idea of perfect pop conjures images of utopia. “We’d like to play some exciting festival that took over the southernmost island in the world,” says Ikue. “It would be like paradise!”

T. Cole Rachel

The Suzan (from left: Rie, Nico, Saori, Ikue) in Tokyo, December 2009 Photography Keiichi Nitta The Suzan’s first 7" is out in April 2010 from Fool’s Gold

Photo assistants Akimoto Fukuda and Ryosuke Yuasa

Japanese girl band The suzan is benT on good Times and world pop dominaTion. laTely iT seems ThaT wherever They go, raucous advenTures Tend To follow

incidents they bring up in the world!”

The Suzan formed in the summer of 2003, when sisters Rie and Saori started recording tracks at home just for fun. When it became clear that the hobby was turning into a full-time pursuit (as evidenced by their getting signed to a Japanese record label), the newly dubbed Suzan invited friends Nico and Ikue to round out the lineup. Describing their own sound as “pop, wild-dance, garage rock,” it wasn’t long until the girls behind the Suzan managed to make a name for itself outside of Tokyo, eventually securing tour dates in America and Europe and releasing an EP, Suzan Kingdam, and one fuzzy pop full-length gem, Suzan Galaxy. The music itself is much more than sugary lo-fi garage rock or riot grrrl by way of Tokyo. Infused with all manner of weird sounds—from vintage organs to loopy xylophones— Suzan songs are something akin to an audio carnival ride, short three-minute invitations for pogo dancing and hip shaking.

A brief exchange of MySpace messages with Björn Yttling of Peter Bjorn and John proved to be a game changer for the band, who decided the best way to work with Yttling would be to simply show up at his studio in Stockholm, bearing a kimono and some Japanese candy. “I said that I couldn’t record them right away because that’s just not how you do it,” recalls Yttling.

“So they came back to Sweden a couple of months later to see if I was ready. They are truly a great band—four girls from Tokyo rocking out their weird jungle-jazz-pop.” The results of said collaboration are slated for release later this year on Fool’s Gold, with lots of touring and inevitable global domination to follow.

According to the band, every day in the Suzan is some kind of adventure—one imagines lots of laughter, late nights, and rain-

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ART AND THE ARCHITECT

PETER MARINO IS KNOWN FOR HIS BUILDINGS AS MUCH AS HIS PERSONAL STYLE. THIS YEAR HE’S EXPLORING HIS PASSION FOR ART, AND MUCH LIKE EVERYTHING ELSE IN HIS WORLD, BIGGER IS BETTER Peter Marino swears that if he weren’t Peter Marino, he’d be an artist. In fact, the world-renowned architect trained as one, studying painting and sculpture at Cornell before switching over to design, and throughout his decades-long career, art has remained a driving force. The leather-bound king of retail architecture has famously curated work for his buildings—never merely purchasing art at sale—and has collaborated with artists like Jean-Michel Othoniel and Damien Hirst to craft stories within them. When the recession hit in 2008, Marino was devastated, and hastily proclaimed the end of those glitzed-out, high-flying temples to luxury he’d become famous for. The glass house had begun to crack—or so he thought.

Marino then decided to indulge his private passions, signing on to curate and design not one but three exhibitions. Then something extraordinary happened: China exploded with wealth and consumed his schedule almost entirely. This year, finally, beginning with a retrospective show of Claude and François-Xavier Lalanne 90

in March, his trio of museum shows will see the light of day, and just like his buildings, they’re big, glossy, and glamorous.

Marino not only has roots in the art world—he designed the third incarnation of Andy Warhol’s Factory in the ’70s—art is literally a part of his process. He speaks of his buildings in painterly terms: “I’m a very additive worker. My work begins with brush strokes, I add color and shape as I go.” And he has found great inspiration in the giants of 20th-century art. “I saw Warhol’s work in the ’70s, and Lichtenstein’s, and I just thought, They have pushed the envelope so far, the jump they’ve made is so vast, I’m never going to get up there with these guys. I wanted to take my painterliness and put it into architecture, because, at that point, architecture was white brick buildings. So I did that, and I got a career.”

The ride has been long and continuous. Marino has erected glorious temples to fashion excess along Fifth Avenue in New York, the Champs Élysées in Paris, and, increasingly these days, Nanjing Road in Shanghai and Xin Guanghua Road in Chengdu. His buildings are characterized by a vast openness.

Space is the greatest luxury of all. In 2004, his Louis Vuitton store in Manhattan became the French label’s largest in the world (surpassed two years later when he opened its renovated Paris boutique). That same year, his Chanel boutique in Tokyo’s Ginza district set similar records—the ten-story tower features a concert hall, a restaurant by Alain Ducasse, and a glass façade embedded with 700,000 LED crystals that lights up each morning at dawn.

That was then. “When the recession came,” Marino recalls, “I figured, Look, we’re not making any money anyway, we might as well have culture.” For the 60-year-old whose look rivals those of his eccentric fashion clients in both exuberance and dedication, that meant celebrating his obsessions with massive 17th- and 18th-century bronze sculpture and the historic German porcelain house Meissen, as well as honoring the lavish history of his dear friends the Lalannes. (François-Xavier’s death in December of 2008 only spurred Marino further.) “All of a sudden the museum people realized the Lalannes really were good and the surreal thing really was cool,” he says. In March, the Musée des Arts Décoratifs will open a retrospective show of iconic Lalanne sculptures and objects—the first in France since 1977—gathered from private European collections. Marino designed the exhibition, which includes 150 rare pieces, like the brass hippo table,

the woolly lamb furniture, and the galvanized copper bustier the couple designed for Yves Saint Laurent.

Across the channel at the Wallace Collection in London, one month later, Marino will unveil work from his private collection— the first time he has lent a significant number of pieces to be shown under his name. He harbors a curious passion for the massive Renaissance and Baroque bronze sculptures seen in this portrait, which he has collected obsessively for the last two decades. But if no one’s ever heard of his affinity for molten metal, it’s no accident. “I didn’t really publicize that I was collecting bronzes,” he says. “I’m like this leather biker, you know. This is something I’ve been doing for twenty-five years and I just think it’s kind of cool.”

Then there’s the “dream commission” of his life—asked by the State of Saxony to redesign, for the 300th anniversary of Meissen porcelain, the galleries in Dresden in which its most prized pieces are contained. “They have the most fabulous porcelain that God ever put on the face of the Earth,” says Marino. “They’re so staggeringly beautiful. As soon as Meissen discovered how to make porcelain they just started pushing and pushing. It’s so fabulous.”

Marino’s vision for the gallery ups its regal glamour with gilded furniture and silk-covered walls, emphasizing the fact that Meissen was, indeed, sanctioned by the Prussian royal family.

Meanwhile, China’s calling. “It’s where it’s happening,” Marino explains. “People still have money, there’s growth. It’s a totally different world. And you come back to New York and you feel like, Oh, I better get my depression mask out and pretend things are really bad. But they’re not, and it’s working there.” And as a consequence, so is Marino. But he won’t let work get in the way of what he loves, even if Shenzhen and Guangzhou have to wait.

Christopher Bartley Peter Marino in New York, October 2009 Photography Douglas Friedman “Les Lalanne” runs March 18–July 4, 2010, at Musée des Arts Décoratifs, Paris. “Beauty and Power: Renaissance and Baroque Bronzes from the Collection of Peter Marino” runs April 25–July 25, 2010, at the Wallace Collection, London.

The Meissen Animal and Royal Porcelain Galleries reopen in May 2010 at the Zwinger Palace, Dresden, Germany

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travelogue

Desert bloom

For 3 days last January, musicians From all over the world Joined the greatest tuareg rock bands in the sahara For the annual Festival au dÉsert. mirabelle marden was there with her camera

My mom and I have traveled together twice to Morocco for the Gnaoua music festival that’s held in Essaouira every June. (My mom’s attuned to world music, and I’m propelled by an insatiable wanderlust.) Last year we heard about a similar festival in Mali, the Festival au Désert, outside of Timbuktu. We had seen the famous Tuareg rebel rock band Tinariwen perform in Essaouira, and thought it would be an amazing experience to go to Mali and the festival they founded.

The Festival au Désert celebrated its 10 th anniversary in January. Due to security measures, this year it was held right outside of Timbuktu, as opposed to the far more remote town of Essakane, where it had been in previous years. Although to most, Timbuktu is the epitome of remote!

My mom and I flew to Bamako, the capital of Mali, through Paris. Then we hopped on a small plane to Timbuktu. The airline logo was beautiful: two gazelles nose to nose. Since we arrived on the first day of the festival, our flight was filled mostly with international journalists and musicians (including the group Dick & Hnatr, who had traveled the farthest, from New Caledonia).

People sang and took photos. Looking out the window, we saw nothing but the expanse of the desert beneath us.

Our plane was the only one on the runway. Malian dignitaries stood on the tarmac welcoming the musicians. We drove off on the main road leading to Timbuktu and to the festival site two kilometers beyond the city.

The dunes were dotted with white tents, a market of stalls selling Tuareg wares, small drink stands with tiny charcoal grills set up on the sand, camels, and four-wheel drive cars, with a large stage set further out. For three days the music started around 8 p.m. and continued throughout the night.

The latest I made it was 3:30 a.m., when the desert night’s chill sent me wandering under the stars toward the warmth of my sleeping bag.

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Ténéré

Dancing to Tinariwen

The crowd included intrepid travelers, locals from Timbuktu, and Tuareg nomads. (The Tuaregs are Berber people from the Sahara. They have a tradition of coming together for annual meetings, which in part inspired the creation of the festival.) Warnings issued by the U.S. government kept some tourists at home, which definitely affected the Malian economy, but the festival felt as safe as could be. We met architects from San Francisco, Italian artists, a Brazilian student, a Norwegian doctor traveling with her father, and a great group of 20-somethings from D.C. who work for the student division of Genocide Intervention Network. An eclectic group—just as it should be.

And the music was outstanding! As were the unbelievable dancers who accompanied the bands, as well as the fierce and elegant camel races that took place during the day. Amadou & Mariam, aka "the blind couple from Mali,” were the superstars who closed the festival, wearing shiny chartreuse outfits. (Mali is by far the best-dressed country I’ve ever been to.) I was standing near the stage when local heroes Tinariwen played, sending all the young boys into a sing-along frenzy. The Sway Machinery from New York moved the crowd while singing in Hebrew, their horns, suits, and stage presence surprising everyone.

It’s hard to say whom I loved the most: sexy Mangala Camara; the fantastic Khaira Arby, who played the traditional fileh (one-half calabash hand drum); or Omar Ka, from Niger. But Ténéré—a Tuareg group dressed in all-white boubous and turbans with electric guitars—struck a chord in my heart. Unfortunately they were one of the few bands whose CD I couldn’t find at the festival or anywhere else on my trip through Mali. I’ll have to go back next year to catch them in concert again.

Tuareg camel

Scenes from the Festival au Désert, Timbuktu, Mali, January 2010 Text and photography Mirabelle Marden

Fantani Toure

Tuareg onlookers

www.johngalliano.com

design

LIKE A ROCK

Max LaMb Makes soMe of the Most sought-after furniture around, but he won’t be caught dead using autocad. instead the young star of industriaL design uses a haMMer and chiseL to get his point across The 29-year-old British designer Max Lamb is slim, dark-haired, and unfailingly polite. He has a heavy brow and usually sports a bit of stubble, but beyond that, you’d hardly guess that Lamb is in fact among the manliest designers of his generation. Computeraided drawings, paper models—the usual tools that make up a designer’s repertoire—seem downright dainty when compared to Lamb’s, which, since he set up his own design studio in 2006, have included a chisel, a hand ax, a claw hammer, his fingernails, and a solid fuel–burning camping stove. “A lot of my work is about what my physical capabilities are,” says the designer, “and how I can process materials with my hands.”

More often than not, those processes resolve themselves into chairs, and those chairs exude equal parts polish and roughness: a droopy wax seat electroplated with shiny copper, a threelegged pewter stool with mottled legs and a silk-smooth top, and polystyrene chairs—his graduation project at London’s Royal College of Art—for which Lamb hacked foam blocks into reductionist seats then lacquered them with a three-second, stay-fast,

Tall Chair from the Delaware Bluestone series, 2009 Photography Anthony Cotsifas 94

bomb-proof rubber. It’s his chairs’ exuberantly honest, hell-yes-Imade-this quality that’s catapulted Lamb to the top of the design heap and earned the adoration of everyone from Design Miami’s Ambra Medda, whose yearly fairs give Lamb increasing square footage in which to run wild, to the London gallerist Libby Sellers, who commissioned the designer’s Gerrit Rietveld–like foldedmetal Sheet Steel Chair for her 2008 show “Beau Sauvage.”

Lamb’s chairs tell some of the thorny tale of their creation, but it would be difficult to guess the manual labor that goes into each one if Lamb didn’t put it on display for the world to see. For each project, he records a video of himself at work: scraping away bits of foam for his Poly Side Chairs, digging a mold in the sand on the beach in Cornwall for his Pewter Stools, or choosing the best stone bits from the Sonny & Sons quarry in Downsville, New York, for his Delaware Bluestone project, for which he chiseled and sanded amorphous hunks of granite into seating elements. “I’m not precious about the process because none of my processes are unique,” says Lamb. “It’s what you do with it that counts.”

Paul Johnson, the lower Manhattan gallerist who gave Lamb his first U.S. exhibition at the end of 2008, describes it best: “Max’s work is like a mix between art and sweat equity.” He should know: Johnson first encountered the designer during a live performance at Design Miami/Basel in the summer of 2007. Up on a dais, knee-deep in a sand pit, Lamb was having his first go at a process known as lost-foam casting. (It’s what the automotive industry uses to make engine blocks and how Lamb makes his Bronze Poly Stools, two of which were rumored to have been scooped up by Brad Pitt; Lamb will neither confirm nor deny.)

“I had whittled these chairs from polystyrene blocks and melted 35 kilos of pewter with the cameras rolling,” Lamb recounts.

After burying a chair in the sand, its legs poking skyward, he began pouring the molten metal, which is meant to evaporate the foam, leaving a pebbled cast in its wake. “I kept pouring and still couldn’t see the chair and I eventually ran out of metal. I had to wait fifty minutes for it to cool down so I could excavate,” he says ruefully. On YouTube, a video shows Lamb triumphantly yanking from the sand a chair with a rounded back and four tiny stumps for legs. “A disaster,” he says, “but entertaining.”

That Lamb is so easily amused by his failures speaks in part to his relatively modest upbringing. He grew up in the small town of St. Austell in Cornwall. His mother was a painter and his father a physical education teacher and a survival instructor with Britain’s Royal Airforce. “My father would go on expedition in Borneo or the Falkland Islands,” Lamb recalls, “and back home, I would take his camping gear and ration packs and cook my own food in the garden.” His family were also expert thrifters: For 2009’s London Design Festival, Lamb and a friend, Apartamento magazine editor Marco Velardi, convinced Lamb’s father, Richard, to mount a selling exhibition of all the studio pottery he’d picked up over the years at car-boot sales, thrift stores, and antique shops.

“My family’s whole idea of making do, and being independent, has definitely informed my work,” Lamb says.

It has also in many ways informed his education as a designer.

Lamb completed his undergraduate studies at England’s Northumbria University and did his master’s at London’s Royal College of Art. In between, he took salaried jobs, first at a London interior design firm, then at the studio of his RCA tutor and mentor Tom Dixon. His work allowed Lamb to pay off university debts, but didn’t afford him the luxury of sending his designs to be fabricated in factories. “I’ve basically worked within my means,” Lamb says. “I’ve used materials and processes I could afford. My workshop is not brilliantly equipped, but whenever I have a project that demands a piece of equipment—a mallet, say, or a melting crucible—I’ll buy it.”

Such abstemiousness seems at odds with the image of Lamb that’s been cultivated in the press, which places him at the center of last decade’s irrational exuberance, with his limitededition designs selling for thousands of dollars to celebrities and collectors. Lamb explains: “I’m not designing limited editions. I am making pieces that by their nature are limited. I don’t want to spend the rest of my life pouring pewter in the sand. I develop a project and end up with a result and, for me, that’s an achievement.”

If anything, Lamb is a poster child for these diminished times.

“As human beings we’re capable of making things with our hands.

It’s what we used to do as Neanderthals, isn’t it?” Jill Singer

AvAilAble At Nicole Miller soho ANd west hollywood

www.NicoleMiller.coM

WORK IN PRO GRESS Photography Jason Schmidt

AIR UP THERE

Artist Cyprien GAillArd hAs exAmined onGoinG mAn vs. nAture themes in his epiC video work. his next projeCt will explore history, And probAbly end up mAkinG it My family used to own a castle in the Loire Valley in France. It was sold in the late ’70s to an American real-estate company that owned vineyards in Napa Valley. The castle was dismantled rock by rock and shipped to San Francisco to be rebuilt in 1985 just outside Napa, overlooking the vineyard on one side and the municipal golf course on the other. Last year I bought a piece of land in the south of France, so now I want to ship in a castle from America. Built in the Bronx by the great architect Paul Rudolph, the Tracey Towers [shown at right] will be demolished in 2014.

I ďŹ gure this could be the work of my life, to save them by moving them to France. Cyprien Gaillard 96

work in progress

LIKE A PRAYER

Artist ZhAng huAn reflects on religion And the regenerAtive power of incense Ash The sculpture in this photo is called Rulai. Rulai is Buddha. It was made of incense ash from temples. For me, incense ash is a collective soul, memory, and prayer. The power of incense ash makes me sleepless and sentimental. Every day I work with numerous souls within the incense ash.

At ďŹ rst, when I went to the temples, I always used to pray for myself. Then I started to pray for my family and employees. Now I pray for peace on Earth. This follows the Buddhist route from great self (dawo) to minor self (xiaowo) to no self (wuwo) and back to great self. I need to train myself more. For me, life is something to use but not to own. Incense ash can bring life back to people, but can also terminate lives.

Now Buddhism makes me more tolerant, quiet, and peaceful; it also helps me understand transiency and karma deeply.

Zhang Huan 99

work in progress

FAMILY MATTERS

Her conceptual performances Have taugHt us mucH about tHe nature of race and sex. but on tHe set of tHis sHoot, lorraine o’grady learned a little about Herself When I moved to my new space, I felt unexpectedly blessed.

With one wall of windows, another of mirrors, and a third of cabinets, there’d be no room to accumulate STUFF. When Jason came to photograph, only one image hung on the remaining wall— a framed group of early 20 th-century photos of my mother and aunts. They’d been used in a 1990 piece, The Strange Taxi: From Africa to Jamaica to Boston in 200 Years. Now, they watched over my bank of laptops, monitors, and external drives. Keeping me straight. Reminding me who I was. But of course, Jason noticed something I no longer saw: all four elegantly dressed women had assumed the portrait stance of their time. Face front, directly addressing the camera, body turned slightly, one hand resting on a piece of furniture. When I entered the viewing area, he’d arranged a group of old family pieces. “There’s something missing,” I said. It was the prop from Rivers, First Draft, a 1982 Central Park performance, which had been the crude prototype of the later photomontage, The Fir-Palm, a botanical conceit for my West Indian-New England background. Lorraine O’Grady 100

work in progress

MEN AT WORK

Artist DAmián OrtegA mADe A cOnstructiOn site Of his chelseA gAllery AnD leArneD A lOt AbOut sAnDblAsters in the prOcess In this picture, we are at the Gladstone Gallery installing one of my five pieces: monoliths in brick eroded by a sandblaster. The five of us are looking at the piece to fit it with precision [Ortega is pictured on the ladder]. It is interesting, the idea of the tool, an extension of the hand. In this case, the sand was the extension of the tool. Damián Ortega 102

© 2010

ExclusivEly AT ExprEss

THE MANY FACES OF KRISTEN WIIG

With her repertoire of offbeat and Wonderfully Weird characters, she has carved out a niche Within the niche of saturday night live. but What’s most extraordinary about kristen Wiig’s ultra-specific and perverse humor is that millions of people are laughing along Photography Tom Allen Styling Sally Lyndley

carmen miranda does vegas

Dress Miu Miu Necklace and earrings Van Cleef & Arpels Scarf (worn around head) Express Headdress stylist’s own

talent

brigitte bardot goes geisha

Bustier Nicole Miller Kimono stylist’s own Gingham shirt (worn underneath) Guess Bracelets Shamballa Headband vintage from Screaming Mimi’s

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talent

“THERE’S ALWAYS A TIME WHEN SHE’LL SAY, ‘WELL, WHEN I WAS A FLORIST,’ OR ‘WHEN I SOLD PEACHES ON THE STREET,’ OR ‘WHEN I WENT TO MASSAGE SCHOOL.’ SHE’S A JOURNEYMAN WHO CAN START A SENTENCE FROM ANY NUMBER OF NON SEQUITURS.” –JASON SUDEIKIS

epending on whom you ask, Saturday Night Live is having a moment. New York magazine has called the season “excellent,” while Entertainment Weekly gave it a middling B-, crediting the show’s staying power to “old habit.” The verdict from the rest of America, from couch critics to the blogosphere, remains similarly divided: some cannot get enough Target Lady, others see no reason to tune in without Tina Fey’s Palin or Amy Poehler’s pluck. Where the debate ends is with Kristen Wiig. With eight films on the horizon, including April’s MacGruber, and a consistency of appearances on SNL that rivals Will Ferrell’s at his peak, Wiig’s situation is hard to describe as anything but momentous. And if SNL is indeed having a moment, it has much to do with Kristen Wiig.

“Kristen has a wonderfully bizarre sense of humor,” says Jorma Taccone, a writer for SNL and the director of MacGruber, an absurdist parody of MacGyver that exemplifies the show’s new spirit. “I don’t find it in too many people, and it feels really inspired. It’s the kind of humor we get most excited about, when there’s something going on in a person’s brain that you can almost be jealous of, like, ‘How did you come up with that? I don’t know how you put that together.’ And we strive for that, but she just has it naturally.”

Anyone who can’t immediately recall Wiig should be reminded of the bitchy TV executive from Knocked Up, the one who is in disbelief that the network wants to put Katherine Heigl’s character on camera. That moment of passive-aggressive perfection is embedded in our minds because it is Wiig at her Wiig-iest, making a small role huge with a nuanced, hilarious performance.

It is the definition of scene-stealing, an art Wiig has elevated to levels of grand theft with her SNL characters, like the Target Lady, the impish Gilly, and the compulsive one-upper Penelope, as well as impersonations of Nancy Pelosi, Suze Orman, and a sublimely insane Kathie Lee Gifford.

Fittingly, Wiig’s favorite character is possibly her most grotesque. “I love doing Denise, the girl with the little hands,” she says. A prime example of the specificity of the weirdness that makes Wiig’s characters so transfixing, Denise is the freakish fourth in an otherwise perfect ensemble called the Meryl sisters, who appear as guests of Lawrence Welk on SNL’s parody of the bandleader’s “mildly enjoyable” ’50s series. Denise has remarkably long arms with tiny, cudgellike hands, and a gigantic, nearly hydrocephalic forehead. She speaks in an eerie soprano that, in contrast to her sisters’ mellifluous niceties (“I like rainbows,” for example), offers startling gems, like “I put worms in my bed and slept in my bed, and put a squirrel in my bed and mustard in my bed and ate them all. Is that bad?”

SNL is her day job, but like many before her, Wiig is headed for bigger and better things. While MacGruber is the first SNL film in some time, things are happening for Wiig outside of the sphere of Lorne Michaels (who, incidentally, has called her one of the top three women in the history of SNL). She has a dramatic role in Andrew Jarecki’s upcoming All Good Things, as well as feature roles in the comedies Paul, Despicable Me, How To Train Your Dragon, and Ass Backwards. She is also starring

in a “girl comedy” written with her best friend, Annie Mumolo, and produced by the king of comedy himself, Judd Apatow.

Raised in Rochester, New York, Wiig discovered her love of performing while studying art at the University of Arizona, which she left in her junior year to pursue acting full time in L.A. “For me, it was that kind of actor’s life,” she says. “I worked in a restaurant; I did shows; we would get friends together, rent out a theater, and make flyers at Kinko’s. The very first improv group I was in was called, get this, Sane Asylum, like Insane Asylum, but just Sane. I made the program for one of our shows. I drew a bottle of pills on the cover and we had our pictures on the pills, like we were falling out of the bottle.”

“I think one of the neatest things about Kristen, and what I always joke about with her, is that she had about thirty lives before she showed up at SNL,” says cast mate Jason Sudeikis.

“She’s had a bunch of crazy jobs and crazy haircuts and has lived in about a dozen cities. And there’s always a time when she’ll say, ‘Well, when I was a florist,’ or ‘When I sold peaches on the street,’ or ‘When I went to massage school.’ She’s a journeyman who can start a sentence from any number of non sequiturs.”

In 1999, Wiig found her way to The Groundlings improv school, where she thrived. “I could never put into words how much I got from studying at The Groundlings. The years I spent there, on and off the stage, were some of the best in my life.”

“She has a real sense of character development and characterization,” says Groudlings teacher Mindy Sterling, whose son Kristen babysat. “She’s able to come up with people that we respond well to, either because we know them or have seen them or because we have some resource of them.”

Watching clips of her Groundlings performances (they’re on YouTube), one can see Wiig triumph in these smaller roles. She absolutely kills as a reluctant, ethnic tooth fairy, disgusted by the thought of touching children’s teeth and ashamed because, as she says, “sometimes I spit on the children.”

She arrived at SNL in 2005 at an awkward but fortuitous time.

“After the first season I was there, seven people left, which was almost half the cast,” she says. “I was used to coming in with Horatio Sanz and Chris Parnell and Rachel Dratch, and then, the next year, they were gone.” In terms of repertory female cast members, that left her and Poehler. Then Poehler left partway through 2008. So Wiig caught the tail end of the older generation and became a mainstay of the new SNL, and a menschy one at that.

“The first time I stood up onstage at the end—they call it goodnights, and the band plays and everybody waves to the camera— I started to tear up,” remembers Michaela Watkins, a featured player who was let go at the end of 2008. “It was my very first show and she came over, she hugged me and whispered, ‘I did the same thing. I did the same thing.’ And it was really comforting.”

“She can do really big, broad characters; she can do really subtle characters; she can do impressions; she can play a street person,” says her MacGruber and SNL costar Will Forte. “It’s not just that she can do them all, she can do them all with the best of them.”

Wiig’s versatility has led some to call her “the female Will Ferrell.” Arguable, perhaps, but the similarities are undeniable, especially in her stellar performances as the everywoman. Ferrell, after all, had few recurring characters on SNL (Robert Goulet and Alex Trebek come to mind): his genius was making hay out of the Dad, the Party Guest, and the Boss, while adding his ludicrous and awkward touch to the familiar, making it his own.

Consciously or not, Wiig has become the old guard of the vanguard. “The types of things we do are a little on the weirder side, which I love,” says Forte. “She’s able to take something that’s super weird but put it into such a form that it reaches a broader audience.”

Wiig’s comedic style represents exactly what is so hot about SNL right now, and is, in a larger sense, a metaphor for what has happened to comedy in the popular sphere. Wiig celebrates a post Gervais-ian, post Ferrell-ian embrace of the deliciously awkward, a delighting in the absurdity of the mundane that is finally reaching the mainstream.

What belies this sensibility is a very real person, undoubtedly talented, but also career conscious. She’s tight-lipped and demure; natural, but guarded. She gives the impression of someone of great intelligence and perception—neither especially insecure or confident. She’s on the edge of something major, and she knows it. Also, she’s a looker.

“Something I always admire, especially in female comedians, is that they’re willing to make themselves look terrible,” says Taccone. “She looks so good in real life, and to transform herself into these horrible, contorted, defaced characters is so impressive, as is her willingness to throw herself into a character, no matter how horrendous; she does whatever it takes.”

In a recent Vanity Fair cover story (featuring Wiig, along with Tina Fey, Amy Poehler, Sarah Silverman, and others) Alessandra Stanley argued that “a female comedian has to be pretty—even sexy—to get a laugh.” Wiig has been included in People’s Most Beautiful issue as well as Paper’s Beautiful issue, but she refuses to give Stanley’s statement any credence. “I think that’s bullshit. I think that if you’re funny and people respond to you, it shouldn’t matter what you look like.” In an ideal world, yes, but in 2010 in America, where even Tina Fey, the subject of a recent Harper’s Bazaar cover story, seems to be moving closer to a romantic lead—even as she mocks her own ascent on 30 Rock—it’s hard to see Wiig’s point as anything but wishful thinking or perhaps generosity. “I guess I don’t believe in ‘have tos’ when it comes to that kind of stuff,” she concludes.

With the new school of comedy seemingly in charge of MacGruber, the film is expected to be something closer to Wayne’s World than Stuart Saves His Family. This is due in no small part to Wiig.

“There’s just a particular joy that she brings to it,” explains Taccone. “We’d be about to shoot and she’d go, ‘What if this happened.’ She’d have some joke on the movie that she’d pitch, like MacGruber living in a mousehole at one point. And you’d have to say, ‘No, we can’t do that, but that is one of the funniest things I’ve ever heard.’ She just has this wonderfully imaginative sense of humor. You see it a lot in the sketches she writes for the show. They have some of the most specific kinds of humor, and I don’t know how many people even get it. There’s not that many ways into it. But for me, for those few people who can see what she’s doing, those kinds of sketches are super important.”

And therein lies the rub with Wiig’s humor—it often shines brightest in the most subtle lines of dialogue, in the smallest, silliest characters and sketches. As an SNL player, a rising star, or even just a comedian, Wiig’s triumph may not be the fact that there is no stage too big for her, but, rather, no stage too small.

John Ortved

MacGruber is out in April 2010 from Universal Pictures

Top Tommy Hilfiger Multicoloured scarf Paul Smith Pink scarf Express Skirt Reiss Earrings and bracelets Swarovski Necklace and large oval ring Erickson Beamon Small rings Shamballa Belt vintage from Screaming Mimi’s Sari stylist’s own

Makeup Mariel Barrera (Joe Management) Hair Franco Gobbi (Art Department) Manicure Bernadette Thompson (The Magnet Agency) Photo assistants Jerome Corpuz, Hiroki Kobayashi, Melinda Wang Stylist assistant Laura Mano Set design Michael Bednark (The Magnet Agency) Location Industria Superstudio, NYC Production Streeters Catering Beltrami Catering Special thanks Chloe Case

bollyWood frida kahlo

NEW PAINTING In his ongoing watercolor series, a selection of which is currently on display at Envoy Enterprises in NYC, Daniel Peddle brings an unexpected, almost ghostlike calmness to fashion’s often feverous backstage and pre-shoot preparations. Capturing the chaos from an insider’s vantage point (Peddle is also the founder of a model casting agency that bears his name), he paints models as unrecognizable faces reflected in floating mirrors, makeup artists as spirits hovering ominously over their “victims,” and frenzied moments muted by ghostly washes of gray. Peddle’s subjects are frozen in time, but they’re portrayed in a fleeting, untouchable otherworld. Martha Glass

NEW WORK For Ryan McGinley’s new series, “Everybody Knows This Is Nowhere,” the photographer abandons the great American landscape, instead delving deep into the human condition.

With nods to the work of Will McBride, Peter Hujar, and Edward Muybridge, the images are stark, simple, black-and-white portraits, taken over two years, with hundreds of subjects, each one exposing his or her own hauntingly authentic essence. It is a notable departure from the surreally spectacular pictures taken on annual summer field trips. “The images have no traces of time,” says McGinley, who took the title of the series from a Neil Young song. “It’s removing the person from anything identifiable.” Johnny Misheff “Everybody Knows This Is Nowhere” runs March 18–April 17, 2010, at Team Gallery, NYC. An accompanying book will be available exclusively at Dashwood Books, NYC

NEW JEANS Over the past decade, the Helmut Lang label has seen its fair share of changes. But one thing that has remained the same—with or without Helmut Lang at the helm—is the brand’s commitment to modern design. This month marks the label’s newest venture, a special denim collection that combines Lang’s forward-thinking sensibilities with the all-too-familiar fabric. “We were interested in challenging the perceptions of the material,” explains Nicole Colovos, a creative director of the brand, along with her husband, Michael. To that end, the two employed new techniques in washes and worked the fabric into unconventional styles.

So while everyone may have a pair of jeans, these are anything but familiar. Derek Blasberg

NEW JEWELRY Sunari, the new jewelry collection from A Peace Treaty, the socially conscious accessories label started by Farah Malik (a Pakistani Muslim) and Dana Arbib (a Libyan Jew), is bringing traditional metalwork to a modern world.

Taking inspiration from the Kuchi tribe of Afghanistan—their amulets and ceremonial jewelry, as well as their visual iconography—the collection aims to support the craft while elevating it to a level of luxury. Each of the pieces are handcrafted by refugee Kurdish goldsmiths, who receive eight times the local wages, and the designers donate ten percent of their profits to reconstruction efforts in the region of production—making A Peace Treaty a statement of goodwill as much as good style. Emily Torrans

www.apeacetreaty.com 108

“Backstage” runs March 16–17, 2010, at Envoy Enterprises, NYC

NEW ShOW As founder of the Women and Supreme modeling agencies, Paul Rowland has consistently pushed for new definitions of female beauty.

His photography work similarly revels in the unconventional, featuring, in turn, gorgeous supermodels from his t win agencie s and visions of death, darkness, and animal sacrifice.

This month, Rowland, who trained as an artist before launching the careers of girls like Kate Moss, opens a new series of works titled “The Journey of Enrique Miron to El Diablo.” The photographs feature male model Miron in a narrative of Satan’s life, from angel, to fallen angel, to dark lord of the underworld. “Satan is a subject that’s compelling to everyone,” Rowland says. “He’s in everyone’s psyche, and no one wants to address him.” Highly visceral and at times even shocking, the resulting imagery is a portal to the inner world of one of fashion’s most intriguing players. “I try to be honest about what I feel,” Rowland explains. “I try to find what’s inside me, and this is what comes out.” Christopher Bartley

“The Journey of Enrique Miron to El Diablo” opens in March 2010. www.paulrowland.com

NEW LiNE The seeds of Ann Dexter-Jones’s eponymous jewelry line, which launches this Spring, were planted decades ago when she began collecting “funky ID bracelets” while on tour with her then-husband Mick Jones (of Foreigner fame). “One day I thought to myself, Wouldn’t it be nice if one could buy these with inlaid lapis or diamonds on either side? Fast forward to today: the British-born mother of five has created five bracelet styles, with necklaces, earrings, and eventually handbags, to follow. But Dexter-Jones doesn’t just design: “I’m my own assistant, messenger, and pick-up person,” she laughs. She’s also the in-house Reiki specialist, and treats each and every stone in the NYC–made collection. Kate Moss is already a fan (she has the black onyx style), as are Dexter-Jones’s kids: Mark, Sam, and Charlotte Ronson, and Annabelle and Alexander Dexter-Jones. After all, the designs are unisex.

“I call it rock-and-roll chic for women and very secure men,” she says. Alisa Gould-Simon

NEW HOW-TO For an era in which starlets can flash their naughty bits to the paparazzi and still claim role-model status, fashion writer and V editor Derek Blasberg is the modern young lady’s new beacon of propriety.

His forthcoming book, Classy: Exceptional Advice for the Extremely Modern Lady, is a comprehensive, girls-only guide to social grace in any situation—everything from applying perfume (“A lady knows how to put on perfume without smelling like a whore”), to setting a buffet table, to good blogging manners, to the necessity of a gay best friend (see “The GBF: A Lady’s Secret Weapon”). And it’s funny. In fact, for all its dos and don’ts, Classy works because it never takes itself too seriously. “People who write for girls today are often put on a pedestal when they shouldn’t be,” Blasberg says. “My book is just meant to help girls live a little cleaner.” Martha Glass Classy: Exceptional Advice for the Extremely Modern Lady is out in April 2010 from Penguin

NEW ExHiBiT Over the course of her decade-long modeling career, Hannelore Knuts has walked enough runways and witnessed enough trends to distinguish a fad from a lasting impression. To celebrate her ten-year journey, the Modemuseum Hasselt in her native Belgium has asked Knuts to curate an exhibition, entitled “UltraMegaLore,” of all that has inspired her throughout her career. The 17th-century building, once home to a convent, will be filled with an intimate assemblage of Knuts’s favorite images, sculpture, fashion, fragrances, music, and film. The exhibition includes contributions from the likes of Jean Paul Gaultier, Juergen Teller, Azzedine Alaïa, and Ellen von Unwerth, who, like Knuts, have made lasting contributions to the world of fashion. Marcus Chang

“UltraMegaLore” runs March 27–June 6, 2010, at Modemuseum Hasselt, Belgium

NEW COLLAB Target photo Dom Smith Styling Catherine Newell-Hanson Makeup Robert Greene (See Management) Hair Greg Bitterman (See Management) Model Susan Coble (Ford NY); A Peace Treaty photo Dom Smith Ann Dexter-Jones photo Gregory Morris; Hannelore Knuts photo Inez van Lamsweerde & Vinoodh Matadin

Target is tacking its trademark bull’s-eye onto yet another big label in March with the debut of a capsule collection from Hermès designer and longtime enfant terrible of fashion, Jean Paul Gaultier. The third installment of the megachain’s nascent Designer Collaboration series, Gaultier’s much-blogged-about line is a nod to the good ol’ U.S. of A., but with a dash of French spikiness for flavor—think gingham bustiers, floral dresses paired with hardware accessories, tattoo-print everything, and various preppy/punk interpretations of the designer’s signature sailor stripes. Prices hover around $30-$50, but like their couture counterparts, quantities are (comparatively) limited: the collection goes on sale at a mere 250 stores nationwide and gets pulled from the racks on April 11. If you want in, don’t wait. Martha Glass

NEW ALBUM B efor e h e b e c a m e th e countr y music hero and Hollywood star we all know and love, Kris Kristofferson was a janitor, a very hands o m e j a n i to r, o n e w h o had attended Oxford as a Rhodes scholar. He worked days cleaning the Nashville studios of Columbia Records while people like Bob Dylan recorded a lbums like B londe on B l o n d e . M e a nw h i l e h e wrote songs.Eventually Johnny Cash gave his career a push, and the rest is history. Now, after some forty years, someone has had the bright idea to release all of Kristofferson’s early demo tracks. Please Don’t Tell Me How the Story Ends includes songs like “Me and Bobby McGee,” “Little Girl Lost,” and “The Lady’s Not for Sale” as they were sung for the very first time, all wrapped up in the kind of packaging (designed by former V staffer Strath Shepard) that has rarely been seen since the days of vinyl albums. Within the sixty pages of liner notes are interviews with Dennis Hopper, Merle Haggard, Kinky Friedman, old photos from the ’50s, and full lyrics to every song. All together it conveys the gravitas and breadth of his oeuvre. As Phil Spector once said to Dennis Hopper (according to those liner notes), “Well, I guess you might have been right about that guy!” Jacob Brown Please Don’t Tell Me How the Story Ends is out in May 2010 from Light in the Attic Records

Prop styling Rachel Haas

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JUST FOR hit

KICKS

It’s 2010, but when It comes to shoes, we’re stIll partyIng lIke It’s 1999. these dare-to-wear heels are eIther a flashback to good tImes, or a harbInger of those to come. here’s hopIng It’s the latter Photography Robin Broadbent Fashion editor Yuki James

Clockwise from far left: Pink suede “Eva” pump Cesare Paciotti Printed stringray “Terminator” ankle boot Alexander McQueen Yellow polka-dot platform pump Versace Blue leather and lace “Gloria” platform John Galliano Pink leather and latex rose sandal Viktor & Rolf

L E T’S T A L K A B O U T

Prop styling Rachel Haas

SACKS

This spring, you can’T have jusT one!

From snakeskin carryalls To crysTal-adorned cluTches, There’s a bag For everybody

hit

Photography Robin Broadbent Fashion editor Yuki James

Clockwise from top left: “Belle Evening” bag Diane von Furstenberg Pink python saucer clutch Salvatore Ferragamo Crystal frame clutch in beige satin with crystals Valentino Large Python “Marcie” satchel Chloé Rose gold hammered foil tote Calvin Klein Collection Red faux leather and plexi chain bag Stella McCartney 113

trend

From top: Gray transparent sandal with plexi heel Prada Lucite bangle Burberry Prorsum Translucent graduated bubble necklace Alexis Bittar exclusively for Michael Kors Green plexi clutch Fendi

CLEAR THEORY

These days, honesTy is our only policy. and in spring’s see-Through shoes and accessories, we don’T exacTly have a choice. call iT The end of secrecy—and The beginning of weekly pedicures Photography Robin Broadbent Fashion editor Yuki James

Prop styling Rachel Haas

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fashion

FREE SPIRIT

He’s regarded as New York fasHioN’s Next great Hope, aNd witH His smart aNd seNsual spriNg collectioN, desigNer JosepH altuzarra is more tHaN liviNg up to tHe praise

Photography Patrik Sehlstedt Styling Ellen Af Geijerstam Dress Altuzarra Shoes Gianvito Rossi for Altuzarra 116

Makeup and hair Ali Pirzadeh Model Sara Blomqvist (DNA) Retouching Franco R Studio

Joseph Altuzarra did not arrive on the fashion scene quietly. Ever since he launched his line in the fall of 2008, talk of the 26-yearold with an impressive design pedigree (Marc Jacobs, Proenza Schouler, Givenchy) and a notable support team (former French Vogue editor Melanie Huynh is his stylist; Vanessa Traina was his lookbook model) has been loud. But his Spring 2010 collection, shown before a packed house that included several starlets and nearly every It girl from both sides of the Atlantic, was by all accounts his breakthrough moment. With its raw-hemmed, olive suede skirts and delicate Swiss-dot blouses, it telegraphed a soft, sensual, folksy spirit that seemed to resonate with every woman in the audience. Fashionwise, it just felt right. “I always start with an emotion,” says the French designer from his studio in New York’s Chinatown. “Sometimes it’s very personal, and sometimes it’s in the air. And for me, there’s a lot of nostalgia right now for something that’s a bit more carefree.” Taking aesthetic cues from David Hamilton’s hazy hippie pics of young girls in gauzy clothes and the 1974 erotic French film Emmanuelle, Altuzarra’s heady collection certainly struck a chord with buyers; at a time when stores are dropping brands, his orders were triple that of the previous season.

For Altuzarra, the idea that fashion is not just clothing but a means of emotional expression was ingrained early on. Born in Paris to a Basque father and Chinese-American mother, both of whom work in finance, he admits he was a loner in high school.

“I wasn’t really popular,” he recalls. “And when you’re that age and not accepted, the idea that clothing can transform you—that if you had the right clothing then somehow everything would click—is very attractive. It’s magical.” At Swarthmore, a liberal arts college in Pennsylvania that his mother insisted he attend instead of design school, he tweaked his art history major to focus on fashion, studied patterning on his own, and staged what would be his first show. The string of stellar jobs ensued: an internship with Marc Jacobs (“It was luck that I got that—I think because my name begins with an ‘A’ my résumé was on the top of the pile”); a design assistant position at Proenza Schouler; an apprenticeship with pattern maker Nicolas Caito; and a two-year stint designing under Riccardo Tisci for Givenchy. “Working at a French house, you learn a very different way of designing,” he says. “You draw a hundred times more, develop an idea a hundred times more—you’re really pushing yourself, and it’s torture.

But that’s the way I work now.”

For his Fall 2010 show, Altuzarra admits he has pushed himself further than ever. “It took me ten weeks to draw it,” he says. “But it’s the best one I’ve done.” Inspired by strong, confident, sophisticated women of a certain age, the collection aims to make them feel sexy and comfortable—much like the work of his heroes Azzedine Alaïa and Tom Ford. “You want women to have special things—things that empower them,” he says. “Things that have emotion.” Karin Nelson

beauty

MAGIC FINGERS

A mAnicure is never just A mAnicure in the hAnds of deborAh LippmAnn. her highLy inspired nAiLs mAke the fAshion picture perfect “Oh deary, it’s simply not the right shade of yellow!” It was that befuddled exclamation by legendary fashion editor Polly Mellen on the set of a fashion shoot in the late 1990s that inspired Deborah Lippmann to create her eponymous collection. Mellen, having sorted through the dozens of canaries and ambers, daffodils and mustards in Lippmann’s kit, couldn’t find the hue she was envisioning. “I used to take a million bottles of polish with me to work, but she didn’t like any of them,” Lippmann insists.

“And it’s not like makeup where you can just mix a couple of lip colors on the back of your hand and come up with something; it’s much more complicated.”

Lippmann didn’t move to New York to create a signature color line or become a celebrity manicurist; in fact, she didn’t come here with nails in mind at all. “I am a musician first and foremost,” she explains. “I started singing professionally when I was a teenager, and I got a degree in music. I moved to New York not realizing that being a jazz singer wasn’t going to pay the rent, but I didn’t want to wait tables like all my artist friends. Since my next love was beauty, I went to cosmetology school and ended up falling for the idea of manicuring because I could sit down and talk with girls during the day while doing something creative, and still stand up and sing at night.” It wasn’t until a number of Lippmann’s fashion and beauty editor clients—at the tony Bergdorf Goodman salon where she worked—began to buzz about her signature grooming abilities that a new realm of career opportunity surfaced. “Before moving to New York and meeting people who were in this world of fashion and magazines, it never even crossed my mind that there was a 118

manicurist on a photo shoot,” she says earnestly. “This whole new creative world opened up to me.”

Within a few years Lippmann ditched her day job to devote herself to shoots full time. Creatively, she has had too many career highlights to tally. Lippmann bemusedly recalls wrapping actual bills around curled acrylic tips at the beginnings of hiphop’s materialistic obsession in the early ’90s; building a truly lavish French manicure using dozens of sparkling Swarovski crystals; and creating a remarkable red and white half-mooned and pointed talon on Sophie Dahl for a memorable Steven Meisel cover of Italian Vogue.

“Deborah cares about the whole picture, not just the nails,” says photographer Inez van Lamsweerde. “She is always part of the image making and is a total perfectionist and wonderful to be around.” The focus of this, their latest shoot together, is Lippmann’s Spring color collection, a soft, creamy range that, for van Lamsweerde, recalls the 1930s photographs of Paul Outerbridge. The muted shades are a clear departure from the dark, neon, and glittery hues (like Lippmann’s wildly successful confetti-inspired “Happy Birthday” polish) that have dominated nail trends of late, and the collection includes one of her now-signature celebrity concoctions. “There is a color I created with Dree Hemingway called ‘Supermodel’,” says Lippmann.

“We were inspired by the hairstylist Christiaan. He was wearing these crazy orangey red pants on set one day and Dree said, ‘I want those pants on my nails,’ and that’s how we came up with the shade.” Lippmann has never sought out celebrities for her collaborations, preferring instead to let them happen organically— Cher’s mixed metallic “Believe” was conceived on one of her many farewell tours to simplify the singer’s nail painting routine; she had been layering four polishes to achieve her desired hue, which meant her manicures lasted upwards of three hours.

“For me, great nails finish the look,” says van Lamsweerde.

“They are as essential for the building of a character as hair, makeup, and styling.” And while Lippmann remains passionately devoted to her chosen craft, she hasn’t abandoned her first love, music. In fact, she’s combined them. Besides naming each nail shade a song title (“I want to evoke a feeling for the customer, not just describe a color”), Lippmann will soon be hitting the stage again for a musical theater production about her life.

Fittingly, it’s called Nailed. Fiorella Valdesolo Photography Inez van Lamsweerde & Vinoodh Matadin On hand, from left: Lippmann Collection Nail Polishes in between the sheets, shape of my heart, wakin up in vegas, I’m not that innocent, supermodel Makeup Peter Philips for Chanel Retouching Stella Digital

beauty

GIRLS WILL BE GIRLS

This spring, Lady gaga and Cyndi Lauper join M.a.C as iTs LaTesT aMbassadors of gLaMour and goodwiLL At a New York studio last spring, Lady Gaga and Cyndi Lauper, the princess and queen of a certain glamour-saturated pop, united for a common cause on the set of M.A.C’s latest Viva Glam campaign. The mood was glossy boudoir; “Poker Face” and “Girls Just Want to Have Fun” alternated on the sound system and even Lady Gaga’s actual, as in biological, mother (Dame Gaga?) was present to complete the troika. Masterminded by 120

M.A.C creative director James Gager and a team of top-tier image makers, including Ellen von Unwerth, Danilo, James Kaliardos, and Patti Wilson (whose assistants tended to piles of rubber, lace, red lamé, and novelty eyewear), the event served the Viva Glam initiative, which has raised over $130 million over the last fifteen years for the M.A.C AIDS FUND. “When M.A.C started, it was a place where people who were highly creative and didn’t fit in could feel comfortable working,” explains Gager. “And that’s still the attitude. We can be incredibly creative and feel like we’re making a difference.”

The full sale price of every Viva Glam lipstick and Lipglass (Lauper and Gaga each designed a shade for the campaign) is donated to support men and women living with HIV and AIDS. “They were one of the first companies to step forward in a huge way and I’m grateful because it has affected all of us,” says Lauper, who recalls Klaus Nomi dying from AIDS in 1983, a time when some people naïvely stayed away from even those who had gone to visit sick friends in the hospital. Gaga, however, represents a new generation dealing with the crisis. “M.A.C perpetuates an ideology and philosophy about safe sex in tandem with glamour, which is something that young people love,” Gaga explains while a makeup artist powders her chin. “It’s quite awkward to be talking about my passion about the AIDS crisis and the gay community while doing my makeup but…Viva Glam!” Mark Jacobs Lady Gaga in New York, May 2009 Photography Ellen von Unwerth

Ship Info: V Magazine

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V Magazine

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V Magazine

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2010-Spring2

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AFTER DARK

FIVE OF OUR FAVORITE WOMEN REVEAL HOW THEY SHINE WHEN THE LIGHTS GO DOWN Photography Dan Forbes Beauty Editor Catherine Newell-Hanson

Joy Bryant Stila Convertible Eye Color

“It’s eyeliner on one end, shadow on the other, and a smudger. It’s simple, easy, and almost foolproof.”

Vanessa Traina Chanel Teint Innocence Naturally Luminous Fluid Makeup SPF 12

“I love this foundation because it is really natural and almost illuminates the skin. ”

Chloë Sevigny M.A.C Lipstick in lady danger

“That’s all I wear.”

Daphne Guinness NARS Nail Polish in tokaïdo express

“I wear tokaïdo express nail polish, and lots of lip gloss over the eyes.

I’m pretty hopeless at makeup!”

Erin Wasson Maybelline Volum’ Express The Falsies Mascara

“I don’t wear a lot of makeup when I’m not working but I love a sexy, smoky eye, which starts with the lashes. Maybelline’s Falsies is my go-to mascara. It creates the look of incredibly long, full lashes without the drama of extensions.”

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THE WORLD’S FINEST HAIRSPRAY USED BY THE FINEST STYLISTS.

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Created by Interface Graphics, a division of McCann Erickson

From left: Yuri wears Top American Apparel Shorts Dsquared Boots Rick Owens Cuff Trash & Vaudeville Bracelet, necklace, belt stylist’s own Lakshmi wears Bodysuit, chaps, shoes Maison Martin Margiela Studded cuff Trash & Vaudeville Necklaces and rings (her left) Lady Grey Ring (her right) Bess Bandana (worn throughout) stylist’s own Kori wears Jacket and bustier Guilty Brotherhood Skirt Bebe Necklace David Yurman Shoes Versus Pins stylist’s own

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THE ’80s CULT CLASSIC FILM HEAVY METAL PARKING LOT EXPOSED A WORLD OF FASHION SO BAD IT WAS GOOD. SOME 25 YEARS LATER, THE CLOTHES MIGHT HAVE CHANGED BUT THE ATTITUDE IS STILL THE SAME Photography Christian Brylle Styling Yuki James

From left: Kori wears Jeans Uniqlo Bra vintage Underwear threeASFOUR Shoes Versus Yuri wears Jeans H&M Vest Bess Cuff Trash & Vaudeville Boots Rick Owens Necklace stylist’s own Jacquelyn wears Dress (worn as top) and boots Alexander Wang Skirt Dsquared Belt Diesel Bag Marc by Marc Jacobs Bangle Giles & Brother by Philip Crangi

Jacquelyn wears Bodysuit Norma Kamali Jeans Baby Phat by Kimora Lee Simmons Earring Silvester Ribbon Rings Lady Grey Leopard scarf (worn on arm) D&G Belts stylist’s own Berthold wears Pants Rick Owens T-shirt vintage Boots Dr. Martens Bandana (worn throughout) and bracelet stylist’s own

From left: Jacquelyn wears Jacket Guess Bustier Bess Leggings threeASFOUR Boots Trash & Vaudeville Berthold wears Vest (customized by stylist) H&M Shorts D&G Kori wears T-shirt Topshop Skirt Diesel Lace shorts (worn underneath) Guilty Brotherhood Bag Dolce & Gabbana Necklace Philip Crangi

Kori wears T-shirt (customized by stylist) American Apparel Necklace Philip Crangi Shorts and boots Bess Lakshmi wears Dress Balmain Ring Lady Grey Shoes Giuseppe Zanotti Design

Lakshmi wears Dress Balmain Earring Lady Grey

Makeup Yadim Hair Dennis Gots (Community NYC) Models Lakshmi Menon, Jacquelyn Jablonski (Ford NY), Kori Richardson (IMG), Yuri Pleskun (Request), Berthold Rothas (Fusion) Photo assistant Tommy Moody Stylist assistants Nikki Igol and Enrica Ferrazza Manicure Elisa Ferri (See Management) Retouching Milk Digital Videographer Stephen Smith

See a ďŹ lm of this shoot on vmagazine.com

fashion

From left: Kristina wears Top and skirt Burberry Prorsum Bag with tail Louis Vuitton Purple bag and shoes Versace Yulia wears Top and shoes Versace Skirt Burberry Prorsum Tasseled bags Louis Vuitton Studded clutch Fendi

It’s a Manga MoMent, and sprIng’s runways are full of clothes desIgned to coMplete a colorful coMIc book look Photography Amy Troost Styling Catherine Newell-Hanson 128

Makeup Sil Bruinsma for M.A.C Cosmetics (Streeters) Hair Bok-hee (Streeters) Models Kristina K. and Yulia Leontieva (Marilyn) Photo assistant Mark Champion Stylist assistant Catlin Myers Retouching Norkin Digital Art Ltd.

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From left: R’el wears Top and skirt D&G Shoes Chanel Bag Blumarine Olivia wears Dress Christopher Kane Bags and shoes Chanel

FARM FRESH We’re hoofin’ it to the country With this season’s sWeet dresses and sturdy heels in toW. the simple life has never sounded better, or looked quite as chic

Photography Amy Troost Styling Catherine Newell-Hanson 130

Makeup Sil Bruinsma for M.A.C Cosmetics (Streeters) Hair Bok-Hee (Streeters) Models R’el Dade (Marilyn), Olivia Henderson (IMG) Photo assistant Mark Champion Stylist assistant Catlin Myers Retouching Norkin Digital Art Ltd.

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20 18 Photography Adrian Gaut Styling Catherine Newell-Hanson 1 Ralph Lauren Collection bag, $695 2 Marc Jacobs bag, $1,495 3 Bottega Veneta bag, $7,850 4 Brian Atwood shoes, $940 5 Etro belt, $620 6 Reiss clutch, $150 7 Giuseppe Zanotti for Thakoon shoe, $930 8 Givenchy by Riccardo Tisci shoes, $1,300 9 Giorgio Armani necklace, $2,625 10 Devi Kroell sandal, $590 11 Brian Atwood shoes, $910 12 BOSS Black bag, $1,295 13 Trussardi 1911 bag, $1,855 14 Pierre Hardy shoes, $1,190 15 Devi Kroell clutch, $1,190 16 Etro belt, $665 17 Alexis Bittar bangles, $445 each 18 Topshop shoes, $378 19 H&M earrings, $6 20 Alexis Bittar necklace, $1,450 132

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Makeup Mariel Barrera (Joe Management) Hair Holli Smith (Community NYC) Models Ataui Deng (Trump), Amanda Murphy (IMG), Tess Frazer (Elite), Jason R. (Ford NY) Photo assistants Craig Salmon and Sloan Laurits Stylist assistant Sivan Currie Digital technician Mario Torres (Another Digital) Location Pier 59 Studios, NYC

Photography Chad Pitman Styling Mattias Karlsson

muse of the world

Princess Grace was Great, but when it comes to style icons, these nine women chanGed PercePtions of chic with their remarkable talent and heavily accented beauty

Josephine baker

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part Caucasian), Baker dropped out of school at 12 and hit the streets as a performer. Her little routines drew enough attention to get her to New York City in the midst of the Harlem Renaissance. From there, her bawdy performances grew legendary, taking her to France, where she became the country’s best-known American entertainer. Ernest Hemingway said she was the most sensual woman he had ever seen, and she counted the likes of F. Scott Fitzgerald, Pablo Picasso, and Christian Dior as friends and admirers. During World War II, she exploited this notoriety to manipulate the Nazis in Paris and work as a spy; when she moved to North Africa in 1942, she helped smuggle out persecuted Jewish Europeans.

Today, the Baker effect can still be felt—from Diana Ross to Whitney Houston to Beyoncé, who recreated Baker’s banana skirt costume and performance at the 2006 Fashion Rocks.

Beyond her musical influence, Baker was a pioneer for people

of color. In 1951, after being refused service at New York’s Stork Club, she stormed out of the lounge—with Grace Kelly on her arm. (By then the Princess of Monaco, Kelly publicly denounced the club, promised never to return—and didn’t.) Twelve years later, Baker accompanied Martin Luther King Jr. at the March on Washington and was the only woman to speak at the rally.

When she died, Baker left her fans wanting more. Her final performance was on April 8, 1975, at a Paris retrospective of her five decades in show business. She passed away four days later at her home, surrounded by papers full of glowing reviews. The woman the people of France called “La Baker” was awarded a twenty-one canon salute and full-state funeral by the French government. She was the first American woman—Black or otherwise—to receive such an honor. Derek Blasberg

Josephine Baker, 1925

Baker photo courtesy of Getty Images

Defining the career of Josephine Baker is no easy feat: singer, dancer, fashion icon, world-renowned chanteuse, World War II spy, civil rights pioneer, member of the French resistance...

Baker was the first Black woman in a major motion picture, the first Black woman to integrate an American concert hall, and the first American woman to receive the Croix de Guerre, France’s highest military honor. And when Martin Luther King Jr. was assassinated, she was the person offered the leadership of the civil rights movement (a role she declined to focus on raising her twelve multiracial adopted children—the Rainbow Tribe, as she called them). Not bad for a little girl who grew up in the inner city slums of St. Louis, Missouri, sleeping in cardboard boxes and dancing on street corners for pocket change.

Josephine Baker’s life story is the definition of rags to riches.

Born in 1906 to a washerwoman (there is still speculation as to who her biological father was; many claim he was full or

Carla bruni

Jackie’s pillbox hats and Michelle’s belted cardigans will forever be referenced as standout examples of political chic, but as far as the first lady-as-fashion icon thing goes, no one can compete with Carla Bruni. Hell, the model-turned-singer-turned– Mrs. Nicolas Sarkozy even holds the title with her clothes off: in March 2008, just one month after marrying the president of France, Bruni’s 1993 nude photograph sold at Christies for $91,000—twenty times its estimated value. (Speaking of nude photos, we found this one in our archives: a portrait of Bruni shot by Karl Lagerfeld over a decade ago for Visionaire 23 The Emperor’s New Clothes, which featured 50 of the world’s most beautiful people in the buff.)

Good luck, good looks, good PR—whatever it is, Bruni’s got it.

An heiress to the fortune created by her grandfather’s CEAT tire company (now owned by Pirelli), Bruni was born in Italy, raised in France, and educated at finishing schools in Switzerland.

After a brief stint studying art at the University of Paris, the waiflike 19-year-old dropped out to pursue modeling and was handpicked by Guess CEO Paul Marciano shortly thereafter to appear in a campaign for the brand. By the mid 1990s she was one of the world’s highest-paid supermodels. As a singer/ songwriter, Bruni’s first three solo albums have sold over two million copies. Bruni’s often notorious private life—her “Terminator smile” has allegedly ruined marriages and racked up a list of ex-lovers rumored to include Eric Clapton, Donald Trump, and Mick Jagger—never managed to derail her career as a model, a singer, or (most impressively) a first lady. Her marriage to the French president has become her most public relationship yet, and for the infamous man-eater who has openly claimed to be “monogamous from time to time, but I prefer polygamy,” it’s going well. Martha Glass Carla Bruni, Visionaire 23 The Emperor’s New Clothes, 1997 Photography Karl Lagerfeld

NaNcy KwaN

Before Hong Kong–born actress Nancy Kwan came along, when Hollywood needed an Asian actor they would often put eye makeup and bronzer on a white one. For proof, look no further than the very Caucasian Mickey Rooney playing Audrey Hepburn’s downstairs neighbor, Mr. Yunioshi, in Breakfast at Tiffany’s. Kwan’s breakout role as the lead in The World of Suzie Wong was filmed less than two decades after World War II, when anti-Asian sentiment was still high. Even the character seemed taboo for its era: Suzie Wong was a free-spirited Hong Kong prostitute who captivated an artist played by Hollywood’s “Golden Boy” William Holden. The role, heralded by her image as Wong on the cover of a 1960 issue of Life magazine, established Kwan as the first Asian actress in Hollywood. The daughter of Kwan Wing Hong, a Cantonese architect, and Marquita Scott, a Scottish model, Kwan could look either classically Asian or darker-skinned Caucasian; she could conjure up a barefaced California beauty with freckles and a headband, or, with a slap of makeup, a vampy Mod pinup. Perhaps it was this versatility that made her so in-demand. Indeed, the desire to sculpt Kwan’s beauty into something new led to her most iconic look: the asymmetrical bob that Vidal Sassoon made famous was first carved out on Kwan’s sleek locks. After debuting in 1963’s The Wild Affair, it became a staple of that era, and it is still seen today.

Derek Blasberg Nancy Kwan, 1963

yma sumac

Yma Sumac, 1952

Photos courtesy Getty Images

Long before Mariah Carey found herself in The Guinness Book of World Records for hitting the highest note in history, another legendary beauty boasted a wildly impressive range: Yma Sumac, who was born in the mountains of Ichocan, Peru—and is said to have been a direct descendant of Atahualpa, the last Incan emperor—could sing a full five octaves, from a low baritone to a squeaky soprano, although she never trained professionally.

Despite her parents being less-than-enthusiastic about her talent, Sumac’s childhood was spent belting out Peruvian folklore songs to a group of rocks that she pretended was her enraptured audience. Soon she was recording her traditional tales in song on Argentina’s local radio programs. Though she didn’t record a lot—only five major albums in her career—her presence became legendary. Exotic looks only enhanced her appeal, and in person she was said to be awe inspiring. She never stopped pushing her voice; in the 1970s she developed a psychedelic album called Miracles and since then she has drifted in and out of modern culture. In the late ’80s she performed on David Letterman, in the ’90s her music was featured in the film The Big Lebowski, and more recently the Black Eyed Peas have sampled her melodies.

Good looks plus amazing talent is a recipe for juicy gossip, and Sumac was not immune. Some of the talk was true, like her divorcing then remarrying composer Moisés Vivanco, all in 1957; some of it was false, like the entertaining tabloid story that she was born Amy Camus—Yma Sumac spelled backwards—in Canada. But what could not be faked or disputed was her voice.

Just two years before she died at the age of 86 in Los Angeles, Sumac traveled home to Peru to accept the Orden del Sol award from President Alejandro Toledo, earning her the moniker “The 8th Wonder of the World.” Derek Blasberg

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Nati abascal

If twins and models are both fascinating anomalies of human genetics, then a pair of beautiful, bronzed, Spanish-born sisters with the same birthday is bound to attract attention. Nati Abascal began modeling alongside twin sister Ana-Maria in 1964 (the 21-year-olds were cast by designer and fellow Spaniard Elio Berhanyer for the International Exhibition in New York City and were featured in Richard Avedon’s “The Iberians (The Blaze in Spain)” editorial for Harper’s Bazaar). Still, the eternally tan, enviably statuesque, and impossibly high cheekboned brunette was undoubtedly capable of blazing a trail on her own. In 1965, Abascal was photographed by Avedon for Bazaar again—sans sister—for the magazine’s cover. By the end of the decade, she had relocated from Seville to Manhattan, signed with the Ford agency, and become both a muse and a close friend of Oscar de la Renta and Valentino. In 1971, the model-turned-actress was cast as the guerilla fighter Yolanda in Woody Allen’s Bananas, and in 1974 she starred in a scandalous—if rarely seen—commercial for Alka-Seltzer, directed by and co-starring Salvador Dalí. Andy Warhol is said to have dubbed Abascal “The Spanish Empire State,” and it’s rumored that she

has caused car crashes just by walking down the street (in fairness to the ill-fated drivers, her hot pants and high heels were also to blame).

The model-turned-actress turned socialite in 1977 when she married Rafael Medina y Fernandez de Cordoba, her highschool boyfriend who also happened to be the Duke of Feria and the Marquis of Villalba. Scandal (which involved her husband and underage girls) eventually led to the couple’s divorce, but Abascal’s public image never faltered. Currently a stylist at Spain’s Hola! magazine, she continues to model on occasion (a scene in the 2008 documentary Valentino: The Last Emperor proves she can still squeeze into a sample size). At nearly 70-years-old she remains one of the most photographed—and photographable—faces in fashion and high society worldwide —and she did it all by herself. Martha Glass

Nati Abascal and Ana-Maria Abascal with Helio Guerreiro, bathing suit by Brigance, Ibiza, Spain, September, 1964 Photography Richard Avedon © 2010 The Richard Avedon Foundation

AriAne Koizumi

fashion: “I didn’t reinvent myself—they reinvented me,” she says of a haircut and new look organized by a posse of image makers that included Steven Meisel, Stephen Sprouse, and Julien d’Ys. “And then it all sort of popped! Steven and Stephen were a very specific moment in fashion, and you can’t get that back.

And you can’t recreate it.”

After a decade as a model, Koizumi briefly worked as an actress before being drawn back to fashion—this time working on the other side of the industry, for the Prada store in New York. “For me, fashion wasn’t about being famous or a rock star.

It was about the art of fashion, of couture, about the image. I wanted to be a mannequin with a soul,” says the Bronx-based mother of three. “But, believe me, looking back, it was wild!”

Derek Blasberg

Ariane Koizumi, Vogue Italia, September 1984 Photography Steven Meisel

Retouching Dtouch

Some models, particularly those defined as nonclassic beauties, can claim a great discovery story: a scout meets an awkward beauty at an amusement park and makes her a supermodel overnight or a photographer finds a scrawny girl selling fruit in a small village and introduces her to a designer. But Ariane Koizumi, a born-and-bred New Yorker of Dutch and Japanese descent, who never considered herself an exemplar of fashion’s beauty standard, laughs at this sort of boilerplate. “Yeah, I didn’t have a Funny Face moment,” Koizumi says. “My friend was going to the School of Visual Arts and was an intern for a test photographer at a modeling agency. He took my picture and the agency saw it and signed me.”

After a few years of making the casting rounds, Koizumi moved to Paris. “And that did it,” she says. “It started very traditionally, working for Dior and doing fittings with Yves Saint Laurent. At that point, my look was very classic.” Then came the rather sudden transition from couture muse to face of high

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sade

When Sade first emerged in 1984, the mysterious chanteuse was in many ways the antithesis of what was happening in pop culture. At a time when big hair, neon, and spandex reigned supreme, Sade was an anomaly. In the video for her breakthrough hit, “Smooth Operator,” she coolly unveiled what would be her signature look for the next three decades—jet-black hair pulled back into a ponytail, face-framing hoop earrings, ruby-red lips, and perfectly arched brows. Everything about her—from the sanguine, smooth jazz leanings of her music to her exotic looks to the far-flung locales and haunted romances populating her songs—was explicitly meant to intoxicate and confound.

Born Helen Folasade Adu in Nigeria, the daughter of a Nigerian economist and an English nurse, Sade moved to England at the age of 4, where she still lives today. A career in music was never her dream (she actually studied fashion at Central Saint Martins), but after being coaxed by a group of musician friends in need of a vocalist, the die was cast.

Eventually the record companies would come calling. Given her exotic looks and distinctive style of songwriting, fame was all but inevitable.

With the release of the long-awaited Soldier of Love earlier this year, it’s clear that wonderfully little has changed. Even though she makes a new record approximately once a millennium, rarely gives interviews, and remains mostly unknowable, Sade remains an international style icon and a pervasive force in popular music. What exactly has she been doing for the past ten years or so? Raising a child and living quietly in the countryside of South England, as it turns out. But her private life is one best left to our imaginations. What makes Sade legendary is that she exists in popular consciousness as something much more than just a recording artist or a sex symbol. She embodies a certain aesthetic that is wholly and uniquely her own.

T. Cole Rachel

Sade, Love Deluxe, 1992 Photography Albert Watson

In a 1966 article entitled “The Luna Year,” Time magazine described a 20-year-old, 5'10", cinnamon-skinned model as “a new heavenly body who, because of her striking singularity, promises to remain on high for many a season. Donyale Luna, as she calls herself, is unquestionably the hottest model in Europe at the moment.”

Born Peggy Anne Freeman in Detroit, Michigan, at the end of the Second World War, the woman who would become Luna was a racial hodgepodge: in the late 1960s she told The New York Times that she was Mexican, Indonesian, Irish, and African.

Even so, she went down in history as the first Black model to break the barriers of the fashion industry—decades before Beverly Peele or Iman, generations before Chanel or Sessilee.

It wasn’t easy. The community in which she was raised dismissed her beauty: “Back in Detroit I wasn’t considered beautiful or anything,” she once lamented. And despite being heralded by the fashion industry, many still disapproved of her. As one story goes, an assistant in James Galanos’s atelier quit when a photographer shot her employer’s designs on Luna’s dark frame. But her career flourished: Richard Avedon put her on an exclusive, Harper’s Bazaar put a sketch of her on its January 1965 cover, and when David Bailey shot her the following year, she became the first Black model to grace the cover of British Vogue.

Despite these achievements, Luna’s personal history haunted her. She died in Rome of a drug overdose at the age of 34.

And though her appeal had transcended fashion into film (she was the title character in a 1970s Carmelo Bene production of Salome, and Andy Warhol put her in several of his films, including a solo piece featuring her as a modern Snow White), she attempted to discount her contributions: “If [my roles] bring about more jobs for Mexicans, Asians, Native Americans, Africans—groovy,” she said before she died. “It could be good, it could be bad. I couldn’t care less.” Derek Blasberg Donyale Luna, 1967

Photo courtesy Getty Images

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China MaChado

China Machado—born in Shanghai to a Portuguese father and a Siamese mother (with perhaps a dollop of East Indian by way of Goa, as the former model once jested)—is transfixing. Diana Vreeland nicknamed her Golden Bones, and Richard Avedon once told a reporter that Machado was “probably the most beautiful woman in the world.”

Though her modeling career was certainly a success—she was the top mannequin at Givenchy when she was 21—she didn’t stay in front of the camera for long. A 1961 Macy’s fashion show advertised her as a designer: “Whether or not you’re an aficionado who adores China’s rhythmical stroll along fashion’s illustrious runways, you must come see her!” Machado was also the fashion director at Harper’s Bazaar, a stylist, an actress, a television producer, a painter, a caterer, and even—when she left the bullfighter Luis Miguel Dominguin (once labeled the Mick Jagger of Spanish society) to take up with the actor William Holden—tabloid fodder.

Machado, whose career may have broken down barriers but did not fill up her bank account, is acutely aware of how her youthful successes paved the way for the modern AsianAmerican model. “It was a different time,” she told The New York Times in 2002. “[If I was a young model] today, I would have made a fortune!” Derek Blasberg China Machado, suit by Ben Zuckerman, Hair by Kenneth, New York, November 1958 Photography Richard Avedon © 2010 the Richard Avedon Foundation

hollywood’s bored and beautiful blonde has become an icon for a generation, but this year it’s all about reinvention. art muse, rising director, even serious dramatic actress—you can be anything when you’re kirsten dunst Photography Mario Testino Styling Nicola Formichetti Text Christopher Bartley

Kirsten Dunst is free. On a Monday afternoon in mid December, she’s packing for a flight back to L.A., where she’ll spend the holidays with her mother and her closest buddies, hanging out, doing girl things, making gingerbread houses, and hosting a Christmas formal in a Koreatown restaurant with her friends Kate and Laura 148

Mulleavy of Rodarte. Dunst goes out, has fun, loves a late night, eats what she wants, maybe drinks what she wants too, and in general telegraphs a supernatural ease with the whole idea of Hollywood and the reality of being a young actress who’s already proved herself, but still wants to prove more. Continued on page 155

Headpiece Gareth Pugh

Bustier Dolce & Gabbana Ring Dior Fine Jewelry Headpiece made by hairstylist On skin, Giorgio Armani Cosmetics Luminous Silk Foundation in ivory

Dress Givenchy by Riccardo Tisci Earrings Swarovski On lips, Giorgio Armani Cosmetics Armanisilk Lipstick in pomegranate

Dress Rodarte Ring Dior Fine Jewelry On hair, Kiehl’s Creme with Silk Groom

Top and ring Balenciaga by Nicolas Ghesquière On eyes and lips, Giorgio Armani Cosmetics Eye Brow DeďŹ ning Pencil 2 and Shine Lipstick in red Fragrance Balenciaga Paris

Dress Giorgio Armani Hat Triviál

Childhood fame Couldn’t derail the Kirsten dunst train. if anything, it prepared her for a life in front of the Camera, one she’s filled with roles that have, for a Certain generation, defined moviegoing and life experienCe. For anyone who grew up in the 1980s, Kirsten Dunst’s filmography unfolds like the story of our lives: we were young and scared when she was young and scary in 1994’s cult classic Interview with the Vampire. We were coming of age and accepting sexuality when she emerged as the breathless ingenue in The Virgin Suicides. And when, in her 20s, that train ran off the tracks for a hot second—she fell in with reckless boyfriends like Johnny Borrell and earned the nickname “Kirsten Drunkst” on the Internet—we were similarly living life on the edge. She’s made mistakes, but she’s made them in tandem with careerdefining roles. Her story is complicated, but her future is unfolding quite nicely.

Mistakes aside, Dunst is still one of the most intriguing women in Hollywood. Her fashion choices and the minute details of her private life are voraciously consumed. And she induces hysteria with a certain sector of young girls—the Lula magazine demographic—while communicating a sense of effortless cool in everything she does. Indeed, not trying has become the Dunst signature, sometimes to her detriment. But at the same time, it’s her glam insouciance that’s transported her to near-icon status.

Consciously or not, Dunst has aligned herself aesthetically with women like director Sofia Coppola, artist Karen Kilimnik, and the Mulleavy sisters, establishing a sort of creative female kinship. Dunst acts the way Coppola directs, Kilimnik paints, and the Mulleavys design clothes. It’s an interdisciplinary network of expression, and Dunst is at the center of it.

The actress sits front row at Rodarte each season, and the Mulleavys tend to be effusive with praise. “She inspires us to be more creative,” explains Kate. “She has a magical quality that all the greats, like Mia Farrow, have had before. You fall in love with her as a real person. She is both a character actor and a leading lady, which is a rare combination.”

It’s this real-girl quality that has led to Dunst being cast as precisely that, time and again. Throughout her career she has brought nuance and depth to otherwise one-dimensional young female characters—the cheerleader, the wild child, the superhero’s girlfriend, Marie Antoinette. And she’s done so almost without saying a word—Dunst’s emotional intensity isn’t necessarily communicated in dialogue. It’s the stare, the hunger in the eyes, the slow-burning flame on display in many of her greatest screen moments. This has led to prominent roles in typically successful films, but also a reputation as something of a lightweight. “I feel like a lot of girls’ roles are just that,” she admits. She’s never been the Laura Dern of her generation, but maybe no one’s ever given her the chance.

This fall Dunst stars in director Andrew Jarecki’s long-awaited All Good Things, which is about as far as you could possibly get from the fashion fantasy of Marie Antoinette or the escapist action of Spider-Man. Inspired by the true events surrounding the life of real-estate mogul Robert Durst (played by Ryan Gosling), the film casts Dunst in the role of beleaguered wife— abused and ultimately murdered. Its dates have been pushed for the past year, and on the Internet, fans have petitioned for its release, suggesting there’s an audience anxiously awaiting Dunst’s turn as a dramatic actress. She herself might be

the most impatient of all. “I know I’ll be seen in a very different light,” Dunst says. “This role is the most I can show of myself and I think it’s the best work I’ve ever done, for sure.”

Jarecki, the director who scored an Oscar nomination in 2003 for the documentary Capturing the Friedmans, imagined Dunst for the role long before the casting process began. “In Hollywood,” he explains, “the common wisdom is that you cast your male lead before your female because it is almost always the male who is the ‘bankable’ star and gets the movie financed. But I was so confident in Kirsten that we cast her first, and her performance speaks for itself,” which is to say that Dunst sunk her teeth into the film’s tortured flesh, playing something she’s never played before: a woman, and one on the verge at that. “She wasn’t afraid of the hard stuff, of the emotional breakdown,” Jarecki remembers. “People will see what Kirsten can do when she’s not held back, and it’s impressive. While I always thought she had it in her, nearly everyone who sees the film responds the same way: ‘Wow, I had no idea she could do that.’ She was fearless.”

The film also brought out Dunst’s competitive side. “I remember Ryan and I being very competitive with each other,” she says. “I don’t know if he felt it toward me, but I definitely felt it toward him. But it’s great, I think competition brings out the best in people.”

As one door opens, another slams shut. This January, preproduction on Spider-Man 4 ground to a halt with the news that Sony was severing ties with director Sam Raimi and his sensitive hero, Tobey Maguire, as well as Dunst. “We had a great run together,” she says. “It was bittersweet, but I think it was time.”

What might sound like an unfortunate turn of events, however, could in fact be a boon for the maturing actress. While SpiderMan made Kirsten Dunst a household name, there were no more surprises. And she’s moving on to better, if not bigger, things.

Dunst has developed a curious relationship with Japanese pop artist Takashi Murakami, with whom she collaborated last August on a short art film. Directed by McG, it follows Dunst in a blue wig and full majokko costume, cavorting on the streets of Tokyo while screaming the lyrics to the 1980 Vapors hit “Turning Japanese.” For Dunst, it was a rare moment of wackiness. For the artist, it was his first collaboration with a Hollywood icon. “I thought to myself, So this is a real actress,” says Murakami. “The minute McG yelled ‘Action!’ her entire face would change. She would completely transform herself, from the actress Kirsten to the Akihabara Majokko Princess. I was truly astonished.” In turn, Dunst was shocked that a megastar of the art world could be quite so gracious. “I was just so surprised by how kind and humble he was,” she recalls. “I usually think artists are complicated by ego. But he giggles like a little kid and gets so excited.”

This winter, Dunst wrapped Bastard, a short film she produced, directed, and plans to submit to the Tribeca Film Festival.

It stars her friends Lukas Haas, Juno Temple, and Joel David Moore, but Dunst remains tight-lipped about its subject matter, saying only that the film is “a two thousand-year-old religious tale told in a modern way.” It was filmed in the desert, and a baby was involved, but don’t expect The Passion of the Christ. Bastard is decidedly less literal. “I didn’t want to shoot the desert in a desert-y way, but more in a Woody Allen way,” the actress explains. “And we took a lot of inspiration from Paris, Texas.”

This decade, Dunst plans to spend more time with the camera—behind it, in front of it, writing scenes for it. “I’m ambitious,” she says. “I want to do great work and work with great directors and do great movies and produce great films. I have criteria for myself that are probably too hard to ever meet, but I’m going to try. I think people who say they’re not ambitious and have gotten to a place of success are lying.” Kirsten Dunst, however, has never told a lie.

All Good Things is out in fall 2010 from the Weinstein Company 155

Makeup Linda Cantello for Giorgio Armani Cosmetics (Joe Management) Hair Christiaan Manicure Gina Viviano Photo assistants Alex Franco, Hans Neumann, Roman Harper Stylist assistants Emily Eisen and Rich Aybar Tailor Olga (Lars Nord) Makeup assistant William Murphy (Joe Management) Hair assistant Taku (Artists by Timothy Priano) Lighting designer Chris Bisagni Videographer Augusto Araujo (Higher+Higher) Production Lucy Lee (Art Partner) Catering Ilili Location Canoe Studios, NYC Retouching R&D

See a ďŹ lm of this shoot on vmagazine.com

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Coat Louis Vuitton Beaded top Patricia Field Briefs Balenciaga by Nicolas Ghesquière

Off the grid, Outside the nOrm. the best Of spring fashiOn frOm the fOur cOrners Of the wOrld, as seen by inez van lamsweerde & vinOOdh matadin, mariO sOrrenti, mariO testinO, sebastian faena, JOsh Olins, JOnas Ă…kerlund, and richard burbridge 159

Seven SupermodelS enter the age of plaStic Photography Inez van Lamsweerde & Vinoodh Matadin Styling Panos Yiapanis 160

Opposite page: Eniko wears Shirt Levi’s Bustier (worn over top) Yves Saint Laurent Jeans Just Cavalli “Tambour” small quartz watch Louis Vuitton On eyes, Chanel Le Crayon Yeux Precision Eye Definer in khaki doré and Les 4 Ombres de Chanel Quadra Eye Shadow in kaska beige This page: Jeans Just Cavalli “Tambour” small quartz watch Louis Vuitton Transparent face masks (worn throughout) Paddy Hartley

Dree wears Jacket vintage from Screaming Mimi’s Dress Marc Jacobs “Pastel Fantasy” knuckle duster Chanel On eyes, Chanel Inimitable Mascara in black On hair, Bumble and bumble Spray de Mode

“Pastel Fantasy” knuckle duster Chanel

Raquel wears White top Balenciaga by Nicolas Ghesquière Plaid shirt vintage Pendleton stylist’s own Black lace bra Emporio Armani On lips, Chanel Rouge Coco Lipstick in cambon

Jacquetta wears Harness Comme des Garçons T-shirt T by Alexander Wang Vintage corset stylist’s studio On eyes and lips, Chanel Ombre Essentielle Eye Shadow in platine and Rouge Coco Lipsticks in tehéran and venise On hair, Bumble and bumble Thickening Hairspray

“Fil de L’eau” earring with blue sapphires and diamonds Van Cleef & Arpels

Angela wears Shirt (customized by stylist) Polo Ralph Lauren Black lace corset and white lace top Dolce & Gabbana Black T-shirt Calvin Klein Underwear On skin, Chanel Teint Innocence Naturally Luminous Fluid Makeup in cameo and Les Tissages de Chanel Blush Duo in tweed rose

“Mini La D� watch in yellow gold with mother-of-pearl dial and diamonds Dior Timepieces

Iselin wears White men’s shirt and black top Givenchy by Riccardo Tisci On lips, Chanel Rouge Allure Lipstick in super and Spring 2010 Gloss Fluo de Chanel in laser On hair, Bumble and bumble Leave-In (Rinse Out) Conditioner

“Horsebit Cocktail� ring in white gold with lemon quartz and diamonds Gucci

Anja wears Shirt Paul Smith Vintage jacket and tie stylist’s own On eyes and cheeks, Chanel Les 4 Ombres de Chanel Quadra Eye Shadow in smoky eyes and Joues Contraste Powder Blush in fresque

“Icon Boule� earring in white gold and diamonds Gucci

Makeup Peter Philips for Chanel Hair Jimmy Paul for Bumble and bumble Models Eniko Mihalik (Marilyn), Dree Hemingway (Elite), Raquel Zimmermann (DNA), Anja Rubik (Next), Angela Lindvall, Jacquetta Wheeler (IMG), Iselin Steiro (Women) Manicure Deborah Lippmann (The Wall Group) Photo assistant Shoji Van Kuzumi Stylist assistants Matt Caroll, Rich Aybar, Caroline Ahn, Jasmine Rydell Makeup assistant Emiko Ayabe Hair assistant Edward Lampley Studio manager Marc Kroop Lighting technician Jodokus Driessen Digital technician Brian Anderson Studio assistant Philly Piggott Location Pier 59 Studios, NYC Printing Box

Louder is better. suPerModeL rAQueL KicKs it to LeveL 9 iN the Most exPLicit, over-the-toP, ANd gLAM rocK–reAdy LooKs of the seAsoN Photography Mario Sorrenti Styling Jane How

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Dress Balmain On lips, YSL Makeup Rouge VoluptĂŠ Lipstick in red muse

Bodysuit Pam Hogg Boots Balenciaga by Nicolas Ghesquière

Pants Balmain Boots Giuseppe Zanotti for Balmain

On hair, Rodin Olio Lusso

Dress Prada Shoes Viktor & Rolf

Dress Céline Boots Balenciaga by Nicolas Ghesquière

Leggings Givenchy by Riccardo Tisci Chain vest Keko Hainswheeler Shredded T-shirt stylist’s own Boots Giuseppe Zanotti for Balmain

Dress Prada Shoes Viktor & Rolf

Dress Viktor & Rolf On eyes, MAKE UP FOR EVER Flash Color Palette and Glitters in blue 5 and green 6

Top, jacket, skirt Yves Saint Laurent On eyes, Lancôme Hypnôse Drama Instant Volume Mascara in excessive black

Dress Louis Vuitton Headpiece Gareth Pugh

Dress Craig Lawrence Boots Giuseppe Zanotti for Balmain

Dress and boots Balenciaga by Nicolas Ghesquière

Net dress Y-3 Boots Giuseppe Zanotti for Balmain

Shoe Viktor & Rolf

Dress Viktor & Rolf

Dress Giles Hat J Smith Esquire

Makeup Aaron De Mey for LancĂ´me (Streeters) Hair Recine (The Wall Group) Model Raquel Zimmermann (DNA) Manicure Yuna Park (Streeters) Photo assistants Johnny Vicari, Karin Gfeller, Yoni Goldberg Stylist assistants Kerry Dorney, Laura Jones, Adam Jamz, Kelly Ricci, Catlin Myers Makeup assistant Frankie Boyd Hair assistant Shin Arima Lighting technician Lars Beaulieu Digital technician Heather SommerďŹ eld Production Katie Fash and Steve Sutton Catering Green Catering Set design Philipp Haemmerle Printing Box

Bodysuit and chaps Maison Martin Margiela Boots Giuseppe Zanotti for Balmain

ave marÍa!

Mexican filM star María félix never caMe across a hat too draMatic or a diaMond too big. in an ode to la doña, superModel daria werbowy heads south of the border Photography Mario Testino Styling Sarajane Hoare

Shirt Yves Saint Laurent Necklace, long earrings, rings Fred Leighton Bracelets Bulgari Small earrings (worn throughout) model’s own Briefs vintage Blanket Paula Rubenstein On skin, Lancôme Star Bronzer Poudre Sôleil Bronzing Powder in bronze riche 200

Dress Dolce & Gabbana Hat custom Stephen Jones Bracelets and ring Fred Leighton

Dress and bracelets Lanvin Hat JJ Hat Center Necklace Kieselstein-Cord Earrings Fred Leighton Sash (worn as scarf) Ralph Lauren Purple Label

Dress Dolce & Gabbana Hat custom Stephen Jones Bracelets and ring Fred Leighton On eyes, LancĂ´me Artliner Precision Point EyeLiner in noir

Coat Giambattista Valli Hat custom Stephen Jones Earrings Fred Leighton Bracelets Lanvin Belt Vicki Turbeville Boots Hermès Briefs vintage

“¿QuÉ le puedo hacer? no puedo ser fea.”

“What can I do? I can’t be ugly.”

–marÍa fÉlIx

Shirt Ralph Lauren Blue Label Bra Agent Provocateur Skirt Maggie Norris Couture Belt Vicki Turbeville Earrings and turquoise bracelet Fred Leighton White gold bracelet with diamonds Bulgari Rings David Yurman Blanket Paula Rubenstein On lips, Lancôme Color Design Sensational Effects Lipcolor in timeless

Corset Agent Provocateur Hat custom Stephen Jones Earrings and snake bracelet Fred Leighton Crocodile necklace and bracelets Kieselstein-Cord Sash (worn as headscarf) Ralph Lauren Purple Label

Jacket and jumpsuit Givenchy by Riccardo Tisci Hat custom Stephen Jones Necklace Kieselstein-Cord Rings Fred Leighton Sash Ralph Lauren Purple Label Boots Hermès Blanket Paula Rubenstein

Makeup Linda Cantello for Giorgio Armani Cosmetics (Joe Management) Hair Oribe using Oribe Hair Care Model Daria Werbowy (IMG) Photo assistants Alex Franco, Hans Neumann, Ivan S., Roman Harper Makeup assistant William Murphy Hair assistant Judy Erickson Lighting designer Chris Bisagni Videographer Rafael D’Alo (Higher+Higher) Production Lucy Lee and Christina Hardy (Art Partner) Location Pier 59 Studios, NYC Catering Ilili Retouching R&D

See a film of this shoot on vmagazine.com

Carolyn wears Dress Chanel 210

Bra Giorgio Armani Briefs Julia Faye Blum Boots Balenciaga

by Nicolas Ghesquière

From left: Martin wears Jeans H&M Carolyn wears Bra and skirt Fendi Briefs Rago Stockings Wolford Jakob wears Jeans Uniqlo

Carolyn wears Top and bra Dior Briefs Julia Faye Blum

This spread: Carolyn wears Bodysuit Dolce & Gabbana Martin wears Jeans G-Star Briefs Calvin Klein Underwear

From top: Martin wears Jeans H&M Boots vintage from Early Halloween Carolyn wears Dress Rodarte On cheeks, EstĂŠe Lauder Signature Silky Powder Blush in nude rose Jakob wears Jeans Hudson Boots vintage from Early Halloween

Carolyn wears Dress Prada Martin wears Jeans Diesel

Bra Yves Saint Laurent Shorts Alexander Wang On eyes, EstĂŠe Lauder Signature Eyeshadow Quad in amber honey

Dress Versus On lips, EstĂŠe Lauder Pure Color Gloss Stick in nude almond

This spread: Carolyn wears Bra Stella McCartney Shorts Dolce & Gabbana Stockings Wolford Martin and Jakob wear Briefs Uniqlo

Carolyn wears Jacket Miu Miu Briefs Eres Garter belt Jean Yu Stockings Wolford

Makeup Dotti (Streeters) Hair Danilo (The Wall Group) Models Carolyn Murphy (IMG), Jakob Hedberg (New York Models), Martin Landgreve (Next) Manicure Bethany Newell (Magnet NY) Photo assistant Aubrey Mayer Stylist assistant Zara Zachrisson Hair assistant Charley Christen Studio manager Toby Bannister Lighting technician David Diesing Digital technician Aurelie Graillot Tailor Christian Dettloff Prop styling W.A.R.S. Production Sarah Frick Smith (Art + Commerce) Production assistants Sara Gautieri, Ashley Frasier, Sarah Danzinger, Rose Jerome Videographer Clara Cullen Printing Box

See a ďŹ lm of this shoot on vmagazine.com

No rules, No limits. graNdmistresses of flash liya aNd lily are takiNg cues from rap’s female greats for aN explosioN of priNts, platforms, sequiNs, aNd crimped hair. yo, caN you haNdle it?

Photography Josh Olins Styling Clare Richardson

Lily wears Coat Giambattista Valli Top Ashish Necklaces David Yurman Bangles Alexis Bittar Sunglasses and hat Nasir Mazhar Liya wears Jacket John Galliano Leopard dress Bebe Sheer top with chain links TAo Comme des Garรงons Bangles Alexis Bittar Sunglasses and hat Nasir Mazhar

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Lily wears Top Versace Bra Marc Jacobs Skirt and shorts TAo Comme des Garรงons Earrings (worn throughout) from Popular Jewelry On hair, Bumble and bumble Brilliantine

Liya wears Sleeveless jacket Karl Lagerfeld Sequin top Ashish Leggings KLS Collection by Kimora Lee Simmons Denim shorts Bebe Hat Nasir Mazhar Scarf (worn as bandana) Gucci Gold bracelet with pearls Lara Bohinc All other bangles Alexis Bittar Shoes Adidas Socks American Apparel Rings, from left: Dollar sign ring Solid Gold Cable banded ring David Yurman Pyramid ring Noir Stacked-effect ring Noir Ring with brown stone David Yurman Round ring Noir On lips, Chanel Rouge Allure Lipstick in maniac

Lily wears Jacket, top, skirt Dolce & Gabbana Necklace Cartier Bangle and cuff (worn on right arm) Alexis Bittar Ring (worn on right hand) Solid Gold Large cuff (worn on left arm) Isharya Studded bangles (worn on left arm) and ring (worn on left hand) Noir Liya wears Dress Dsquared Shirt (worn underneath) vintage Gianni Versace from Zone7Style Jacket Baby Phat by Kimora Lee Simmons Jeans Felder Felder Earrings from Popular Jewelry Bangles Alexis Bittar On hair, L’orÊal Professionnel Tecni.Art Full Volume Extra Mousse

Lily wears Coat Burberry Prorsum Swimsuit Dsquared Pants Ashish Shoes (customized by stylist) Reebok Round ring (worn on right hand) Isharya Square ring (worn on right hand) David Yurman Cable banded ring (worn on left hand) David Yurman Bar ring (worn on left hand) Solid Gold

Liya wears Inner two anoraks Adidas Outer two anoraks Uniqlo Necklace Nancy Caten On skin and eyes, Chanel Vitalumière Satin Smoothing Fluid Makeup in cedar and Écriture de Chanel Automatic Liquid Eyeliner in noir

Lily wears Net dress Y-3 Coat Vivienne Westwood Bra La Perla Bikini briefs Dolce & Gabbana Necklace and rings Cartier On hair, Bumble and bumble Thickening Spray Liya wears Net dress Y-3 Coat and boots Jean Paul Gaultier Bikini D&G Necklace Ben Roy

Liya wears Jumpsuit (worn as jacket) Alexander McQueen Dress (worn as top) Ralph Lauren Collection Bikini top KLS Collection by Kimora Lee Simmons Jeans Ashish Shoes (customized by stylist) Adidas Bag stylist’s own

Makeup Maki Ryoke (CLM) Hair Shon (Julian Watson Agency) Models Lily Donaldson and Liya Kebede (IMG) Manicure Christina Zuleta (Walter Schupfer Management) Photo assistants Rory Payne and Jason Geering Stylist assistants Lauren Bensky and Rebecca Connolly Makeup assistant Lauren Whitworth Set design Amy Henry (CLM) Casting Michelle Lee (KCD Inc.) Digital technician Tonia Arapovic (Spring Digital) Catering Monterone Location Fast Ashley’s Studios, Brooklyn Retouching Jon Hempstead Ltd.

tokyo hard core

Punk never died, it was just hiding. now the hard-core look has a new lease on life, insPired by jaPanese street style and infused with elements of goth and victoriana Photography Jonas Ă…kerlund Styling Jay Massacret 238

Tao Wears Dress Balmain Mesh skirt Dolce & Gabbana Mesh top Tripp NYC Boots Bess Socks Leg Avenue

Tao wears Dress Versus Hat Givenchy by Riccardo Tisci Veil stylist’s own Ruff Marc Jacobs Mesh top Tripp NYC Cuff TEM Tutu Patricia Field Boots Bess On lips, MAkE UP FoR EVER Lacquered Lipstick in black

Ranya wears Cardigan and shorts Emporio Armani Lace bodysuit Guilty Brotherhood Tutu (worn as top) Patricia Field Headband Natalia Brilli Boots Bess On eyes and lips, MAkE UP FoR EVER Aqua Eyes waterproof Eyeliner Pencil in matte black and Lacquered Lipstick in cherry red

Liu Wen wears Jacket and pants Givenchy by Riccardo Tisci Mesh top Tripp NYC Tutu Patricia Field Necklace Natalia Brilli Veil stylist’s own On hair, Pantene Pro-V Style Texture Spray Wax

Ranya wears Jacket, skirt, bra, briefs Marc Jacobs Hat Victor osborne Shoes Alexander McQueen

Tao wears Dress Gareth Pugh Bra Marc Jacobs White skirt D&G Black mesh skirt (worn underneath) Y-3 Veil stylist’s own

Makeup Kabuki Hair Danilo (The Wall Group) Models Liu Wen (Marilyn), Ranya Mordanova, Tao Okamoto (Supreme) Manicure Christina Zuleta (Walter Schupfer) Stylist assistant Olivia Kozlowski Lighting technician Erik Sohlstrom Digital technician Mads Stigborg Videographer Bell Soto Catering Ilili Location Pier 59 Studios, NYC Retouching La Boutique

See a ďŹ lm of this shoot on vmagazine.com

All the World’s A stAge As the winner of the V A Model seArch, eMMA duMont is the next fAce of fAshion And the proud owner of A ford contrAct. she Also hAppens to be A huge fAn of lAdy gAgA. in An hoMAge to the genius of the rule-breAking singer And her creAtiVe collAborAtors, MAtt williAMs And nicolA forMichetti, 15-yeAr-old eMMA slips into soMe deliciously oVer-the-top looks to Meet with world dignitAries on her globAl tour of style Photography Richard Burbridge Styling Robbie Spencer

“I know how it sounds,” says V A Model winner Emma Dumont, “but actually…I really want to be an electrical engineer.” You heard it here first, folks. Not only had modeling never occurred to the 5'10" Seattle native, whose almond eyes and regal features seem genetically engineered for magazine covers, but it wasn’t even on her radar. “This seems like a fantasy world. I was a Mathlete. Seriously. Captain of the Mathletes!”

Scarily high IQ aside, Emma Dumont jumped in with both feet when her mother entered her in the V A Model competition last year. “I wasn’t really thinking I would win. There were so many other girls and I was keeping really busy with other things,” says Dumont, who, in addition to being academically gifted, is also an accomplished ballerina. “Before V A Model I had been to New York maybe, like, once before, with my mom.”

But the reality of signing a contract with Ford has made this uncommonly composed teen a bit giddy: “I’m just so excited to meet all these really artistic, really amazing people. I think this experience is going to be an incredible part of my life. Fashion is its own world, its own thing, and to be made a part of it is just, well, it’s a good feeling to create art with other artists.”

As for her ideal career trajectory—apart from electrical engineering and perhaps world domination—Emma dreams of one day collaborating with her all-time fashion hero, Alexander McQueen. “His designs are…wow. It would be such an unbelievable honor to work with him, but I’d settle to just see him from a distance!” Catherine Blair Pfander 244

GOD SAVE THE QUEEN From left: Mariel wears Jacket Burberry Prorsum Dress Calvin Klein Collection Crown from the Vivienne Westwood archive Ruff Poppy Totman for the Design Museum, London Necklaces Tom Binns Design Sash Costume Studio Gloves Carolina Amato Emma wears Short dress Gucci Long dress (worn underneath) Marie Hill Wristguards and pins Manish Arora for Swarovski Runway Rocks Pink rubber ring and cuff (worn on upper arm) Naomi Filmer for Swarovski Runway Rocks Gloves Carolina Amato On eyes, L’OrÊal Paris HiP High Intensity Pigments Studio Secrets Shocking Shadow Pigments in progressive and visionary

¡ViVa España!

From left: Emma wears Bodysuit Collado Garcia for Swarovski Runway Rocks On eyes, L’Oréal Paris HiP High Intensity Pigments Studio Secrets Bright Shadow Duo in reckless Rico wears Pink matador jacket and black matador jacket (held in hand) Jeremy Scott for Originals by Originals Black lace cardigan Pringle of Scotland Black fringed vest Trussardi 1911 Pants Express Red lace (held in hand) from Mood Fabrics Cummerbund stylist’s own Crystal wears Dress Oscar de la Renta Blue blouse (worn on shoulder) Stella McCartney Black lace (worn as shawl) from Mood Fabrics Necklace (worn as headpiece) Noir

ORIENT EXPRESS From left: Emma wears Dress, pants, hood Gareth Pugh Coat Salvatore Ferragamo Hat Chanel Gloves Atsuko Kudo Daniel wears Coat Bronwen Marshall for the Design Museum, London Suit Gucci Shirt HUGO Feathered vest Trussardi 1911 Headpiece Pebble Sash Costume Studio Charlene wears Jacket and skirt Alexander McQueen Headpiece Pebble Earrings Erickson Beamon

oUt oF AFriCA From left: Ataui wears Skirt Dries Van Noten Yellow cutout dress (worn as top) Pringle of Scotland Yellow-and-black printed dress (worn underneath) Salvatore Ferragamo Yellow one-shouldered dress (worn underneath) Diane von Furstenberg Necklace (worn as headpiece) Pebble Leather collar Urban Zen Leather and beaded bangles J.W. Anderson Ivory and crystal bangles Erickson Beamon David wears Suit John Pearse Shirt Calvin Klein Collection Scarf Paul Smith Fringed belt and leather cuffs J.W. Anderson Wooden collar and bright beaded cuffs Pebble Ivory and leather pendant necklace Urban Zen Emma wears Jacket Viktor & Rolf Leggings Nicole Miller Sunglasses Stevie Boi On lips, L’Oréal Paris Colour Riche Lipcolour in true red On hair, L’Oréal Paris Elnett Extra Strong Hold Hairspray

the holy see From left: AJ wears Red robe Pleats Please Issey Miyake Shirt HUGO Cardigan Salvatore Ferragamo Hat, belt, stole, gold crucifix, oversize wood-and-Lucite rosary Costume Studio Gold chain choker with red stone Noir Wood-and-glass crucifix Number (N)ine Bronze chain bib necklace (worn underneath) Express Ring (worn on left hand) Delfina Delettrez Ring (worn on right hand) Delphine Charlotte Parmentier Emma wears Nude latex bodysuit and plastic-and-hair collar Charlie Le Mindu White leather dress Michael Kors White rubber top Rachael Barrett Clear plastic poncho Charles Anastase Hat Givenchy by Riccardo Tisci Belt Burberry Prorsum

Makeup James Kaliardos for L’Oréal Paris Hair Teddy Charles for Orlo Salon (Art + Commerce) Models Emma Dumont, AJ Abualrub, Mariel Soehner, Rico Nieves, Crystal Renn, Daniel Liu, Charlene Almarvez (Ford NY), Ataui Deng (Trump), David Agbodji (Request) Manicure Michina Koide for Minx Nails (Art Dept) Photo assistants Michael Hauptman and Jeff Henrikson Stylist assistants Jessica Bobince, Elizabeth Fraser-Bell, Shea Daspin Makeup assistants Yoshie Kubota and Emi Kaneko Hair assistants Brian Buenaventura, Dave Shariff, Eiji Kudota, Linh Nguyen Manicure assistant Maki Sakamoto Digital technician Alessio Boni (DTouch) Production Etta Meyer (Art + Commerce) Catering Broadway East Location Pier 59 Studios, NYC Retouching Stella Digital

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To CATCH THE VIDEo of THIS SHooT AND SUbSCRIbE To DIgITAL V! Photography Cameron Krone Styling Ronald Burton

Makeup Carlo Longo (Bryan Bantry) Hair Andre Gunn (The Wall Group) Models Amanda Schmidt, Ava Smith, Emma Beam (Elite), SoямБja Ajder (Women Direct), Zenia Sevastyanova, Jeff Tomsik, Matthew Coatsworth (Major), Steven Keating (Fusion), Gene Fedorenko, Trent Kendrick (Red) Photo assistant Christopher Arzt Videographer Bell Soto TV photo courtesy Getty Images

Like everything else these days, looking for love has become a global endeavor. if you’ve exhausted all your local options (and surfing the web for a soul mate has been less than fruitful), then check out our international assortment of singles, below. at the very least, you’ll end up with a few intriguing vacation destinations. Martha Glass Photography Dave Gillespie

V-BUY

V64 sPrinG 2010

To see More V-Mailers, or To becoMe one, VisiT VMaGazine.coM. or e-Mail a PhoTo (300 DPi), your naMe, aGe, occuPaTion, anD ciTy of resiDence To VMail@VMaGazine.coM

my name is Maiko i’m a 23 year old Singer/Songwriter from Earth e-mail me! spiritedwarrior@gmail.com

my name is Vince i’m a 28 year old Musician from Montreal e-mail me! www. myspace.com/priestessband

my name is naomi i’m a 22 year old tV Student from kingston, jamaica e-mail me! naomi.c.cowan@ gmail.com

my name is Shoko i’m a 24 year old teacher from tokyo e-mail me! inoue.shoko@gmail.com

my name is helena i’m a 21 year old fashion Student from poland e-mail me! mirecka_h@hotmail.com

my name is julie i’m a 30 year old Consultant from toronto e-mail me! julie@shelleylambefineart .com

my name is Michael i’m a 24 year old actor from toronto e-mail me! xavier.michael@yahoo.ca

my name is rudy i’m a 10 year old dental hygienist from hamburg e-mail me! wildcat@liger.org

my name is pamela i’m an 18 year old waitress from toronto e-mail me! pnhart@gmail.com

my name is ashley i’m a 27 year old Stylist from toronto e-mail me! ashleymath0@gmail.com

my name is amber i’m an ageless Model from toronto e-mail me! amberonestar@yahoo.com

my name is jelena i’m a 27 year old professional muse from Bosnia e-mail me! carbonbased@gmail .com

my name is nikki i’m a 23 year old hairdresser from toronto e-mail me! nicole.marie.21@hotmail.com

my name is Sophie i’m a 22 year old Baker from toronto e-mail me! sophie-jones9@ hotmail.com

my name is norman i’m a 25 year old photographer from toronto e-mail me! normswong@gmail.com

my name is kaity i’m a 21 year old Merchandiser from toronto e-mail me! kaitlin@ jacflash.net

my name is rick i’m a 27 year old Copywriter from toronto e-mail me! rickscience@hotmail.com

my name is nettika i’m a 23 year old Bartender from Bangkok e-mail me! nettika.b@gmail.com

my name is kasia i’m a 21 year old princess from toronto e-mail me! kasiavassos@hotmail.com

my name is Ebanks i’m a 35 year old director from toronto e-mail me! ebanks@khofilms.com

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