V68 THE WHO CARES ABOUT AGE ISSUE

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Sweet 16 Editor-in-Chief Creative Director Stephen Gan

Editor Christopher Bartley Managing Editor Emma Reeves Photo Editor Evelien Joos Bookings Editor Natalie Hazzout Senior Fashion News & Special Projects Editor Derek Blasberg Executive Assistant/ Special Projects Editor Steven Chaiken

Advertising Directors Jorge Garcia jgarcia@vmagazine.com Giorgio Pace gpace@vmagazine.com Advertising Manager Francine Wong fwong@vmagazine.com

Advertising Coordinator Vicky Benites vbenites@vmagazine.com 646.747.4545 Online Advertising Yale Breslin yale@vmagazine.com 646.452.6021 Financial Comptroller Sooraya Pariag

Assistant Editor Martha Glass

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Senior Fashion Editor Jay Massacret

Distribution David Renard

Fashion & Market Editors Catherine Newell-Hanson Yuki James

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Consulting Creative/ Design Direction Greg Foley

Special Projects Kyra Griffin Dominic Sidhu Javier Bone-Carbone Stephen Smith

Art Director Sandra Kang Senior Designer Stephanie Chao Design Cian Browne Maryellen McGoldrick Jakob Hedberg Contributing Fashion Editors Joe McKenna Panos Yiapanis Nicola Formichetti Olivier Rizzo Jane How Clare Richardson Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sofía Achával Fashion Assistants Nikki Igol Katelyn Gray

Clockwise from bottom left: Chain-link bracelet Louis Vuitton Resort 2011 Lipstick M.A.C Cosmetics Rosette clutch H&M Shoe Dior Resort 2011 White gold and diamond ring (on cake stand) Dior Fine Jewelry Necklace Chanel Cruise 2011 Nail polish Dior Beauty Clutch Chanel Lip gloss Make Up For Ever Earrings (in front of cake stand) H&M

Assistant Comptroller Farzana Khan Administrative Assistant Annie Hinshaw Online Editor Yale Breslin Online Manager Ryan Dye Contributing Editor T. Cole Rachel Copy Editors Traci Parks Jeremy Price Casting Consultant Andrew Weir Creative Imaging Consultant Pascal Dangin Visionaire Cecilia Dean James Kaliardos

Contributor/Entertainment Greg Krelenstein/Starworks Art Editor Simon Castets

V68 Inez van Lamsweerde & Vinoodh Matadin Willy Vanderperre Glen Luchford Karl Lagerfeld Mario Sorrenti Sebastian Faena Cedric Buchet Will Davidson Diane von Furstenberg Riccardo Tisci Sølve Sundsbø Anthony Cotsifas George Cortina David Armstrong Jason Schmidt Michael Idov Michael Martin Alex Needham Anthony Kaufman Luis Venegas Serge Leblon Magnus Unnar David Vandewal Silvia Prada Toby McFarlan Pond Katie Shillingford Alex Carrasco Aimee Walleston Ken Miller David Dawson Xevi Muntané Boo George Bryan McMahon Annelise Philips Catherine Servel Adrian Gaut Christopher Scott Catherine Blair Pfander Sarah Fones Ken Baldwin Ana Murillas Gerard Estadella Special thanks Art Partner Giovanni Testino Amber Olson Candice Marks Sally Borno Kona Mori The Collective Shift Jae Choi Brenda Brown Marc Kroop Pier 59 Studios Federico Pignatelli Raja Sethuraman Tony Jay Box Delphine Delhostal Justin Burruto Art + Commerce Lindsay Thompson Nadine Javier Shah Management Artists Anne du Boucheron Alexandre Lamare Floriane Desperier Francesco Savi Erin Wahed Intrepid Anya Yiapanis Megan Tully CLM Cale Harrison Anna Suznjevic Matthew Mitchell George Miscamble Stewart Searle Elizabeth Norris Ford NY Paul Rowland Sam Doerfler Peter Cedeno Patty Sicular Tali Levi-Crouch IMG Peter Knell Harold Mindel Sandbox Studios Phil Caraway Root DRIVEIN24 Trec Kip McQueen Morgan Anderson Aldana Oppizzi Thompson Hotels The Standard, New York Carla Wachtveitl Dennis Oppenheim Roman Signer Rick Rickman Stella Benakis Manuel Monar Tom Van Dorpe Elliott David

Interns Chantal Adair Frances Cha John Ciamillo Jayme Cyk Viktoria Ejenas Christian Escobar Romina Fernandez Saki Hashimoto Marina Heintze Samantha Heydt Eunsan Huh Will Iron Hayley Koustis Ali Madigan Molly Mamourian Timothy Maxwell David McGovern Texas Olsson Ezra Price Anna Stokland Adelaide Subtil Gillian Tozer Silvia Velencoso Segura Larissa Whitney Karen Wisdom

Cover photography Inez van Lamsweerde & Vinoodh Matadin Styling George Cortina Makeup Peter Philips for Chanel Hair Christiaan using Kiehl's Manicure Deborah Lippmann for deborahlippmann.com (The Magnet Agency) Lighting technician Jodokus Driessen Digital technician Brian Anderson Studio manager Marc Kroop Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Jamie Waxman, Gabriela Langone, Grace Koo Makeup assistant Emiko Ayabe Location Pier 59 Studios, New York Printing Box Jane Fonda, 72, wears Dress Dolce & Gabbana Ring Fred Leighton Necklaces Robin Katz Vintage Jewels Sigourney Weaver, 61, wears Dress Alexander McQueen Hat stylist’s own On eyes and lips, Chanel Inimitable Intense Mascara in noir and Rouge Allure Lipstick in lover Susan Sarandon, 64, wears Earrings Fred Leighton On eyes and lips, Les 4 Ombres de Chanel Quadra Eye Shadow in kaska beige and Rouge Allure Extrait de Gloss in insousciance On hair, Kiehl's Creme with Silk Groom This page: Photography Toby McFarlan Pond Styling Catherine Newell-Hanson 22

Photo assistant Alex Mucilli Stylist assistant Nikki Igol Digital technician and retouching Ben Richardson Location DRIVEIN24 [NY] Cake by Silk Cakes, silkcakes.com Balloons by Balloon Saloon, Tribeca NYC, balloonsaloon.com, 800.540.0749

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foreword

Jane Fonda says that at age 72, her life has never been richer, more active, or more fulfilling. And Susan Sarandon, at 64, would say the same about her own. As would 61-year-old Sigourney Weaver, 64-year-old Charlotte Rampling, and 60-year-old Amanda Lear. In this, our Who Cares About Age Issue, they’ve all told us, in varying words, that society’s stigma of age has no bearing on their daily lives, only that they feel more confident in who they are and more gorgeous inside and out with each passing day.

Fashion has no doubt been lampooned for its obsession with youth. And while we too have promoted the “casting coup” of 16-year-old Russian girls, we believe that nothing comes close to the allure of a woman five or six times that age. Take someone like Nacha Guevara, the Argentine singer and theater actress, who, at 77, still walks the boards and remains a subject of national obsession. (It’s probably the legs.) Or Eve Fletcher, the 83-year-old amateur surf star still on the lookout for life’s next big wave. Or Gloria Vanderbilt, the 86-year-old socialite who built a design empire in the ’80s by channeling every bit of her subversive personality. The women in this issue, who range in age from 31 to 86, will tell you that the mythical fountain of youth is overrated. After all, age is only a number, and we couldn’t care less. Mr. V 24

Clockwise from top left: Compact Giorgio Armani Cosmetics Lipstick Tom Ford Private Blend Martini glass Ralph Lauren Home Whisky glass Versace Home Bag and bangles Prada Resort 2011 Napkin, plate, fork Ralph Lauren Home Gold and diamond bangle Van Cleef & Arpels Ring Swarovski

Photography Toby McFarlan Pond Styling Catherine Newell-Hanson Cake by Silk Cakes silkcakes.com Flowers by FLORA NY florany.com

Sweeter at 60

www.johngalliano.com

Lindsey & Ash

contents

Sinful at 70

28 PARTY PAGE From Manhattan to Paris and every fashion week in between, V love it all!

40 HEROES Eve Fletcher hangs ten, Paul Auster romanticizes the housing crisis, Pierre Cardin celebrates six decades of design, Gloria Vanderbilt comes home, and Jeremy Healy mixes it up 50 SECOND COMING Barbara Hershey is back in Black (Swan, that is) 52 tHE DOubLE LIfE Of CARMEN LOMANA The Spanish socialite-turned–reality TV star has become a national obsession by breaking all the rules

62 SHOOtING StARS A look back at fifteen years of Pier 59 Studios 63 V-bAY Super-bright springtime accessories for the coming thaw 64 tHE LEGEND Of NACHA GuEVARA Argentina’s age-defying star of stage, screen, and song 68 NEW AGE Susan, Sigourney, and Jane prove that age ain’t nothin’ but a number. Photographed by Inez van Lamsweerde & Vinoodh Matadin 112 tHE bALLAD Of AMANDA LEAR The disco queen talks about life then and now

54 WORK IN pROGRESS Dennis Oppenheim dissects his spatial relations; Roman Signer reimagines the American photographer

116 CAN't StOp tHE MuSES The women (and one man) who inspire, nominated by Karl Lagerfeld, Francisco Costa, Diane von Furstenberg, Isaac Mizrahi, and Stella McCartney

56 HOuSE Of tINA Designer Tina Knowles (a.k.a. Beyoncé’s mom) knows how to look good

122 fOREVER YOuRS The chicest ways to carry on

58 A tOuCH Of CLASS Peter Copping refashions femininity at Nina Ricci 60 HOt fuZZ Furry coats and bags to keep you warm all winter long 26

126 bESt Of 2010 Twelve months of standout moments, by V and friends 128 V-MAIL Multigenerational men and women we'd like to meet

V FASHION WINTER 2010/11 76 fOuR WOMEN bY GLEN LuCHfORD 80 CHARLOttE IN COutuRE bY WILLY VANDERpERRE 88 WORKING GIRLS bY CEDRIC buCHEt 96 tHE LAND Of fAIRY bY SEbAStIAN fAENA 104 AGELESS bY WILL DAVIDSON

Clockwise, from top left: Ice bucket, napkin, champagne glass Ralph Lauren Home Bangles Hermès Cake stand tiffany & Co. White gold and diamond earrings Van Cleef & Arpels Beaded clutch Louis Vuitton Resort 2011 Compact Estée Lauder Fork Ralph Lauren Home Gold and onyx ring (on fork) Dior fine Jewelry Plate Hermès Lipstick tom ford Private Blend Lip gloss Guerlain Minaudière Salvatore ferragamo Resort 2011 Fragrance compact tom ford Black Orchid

Photography Toby McFarlan Pond Styling Catherine Newell-Hanson Cake by Nine Cakes Brooklyn, ninecakes.com Flowers by FLORA NY, florany.com Special thanks Margaret Kittredge and Jeff Chen at FLORA NY

32 MY MANY LOOKS Lynn Wyatt reflects on the history of her personal fashion

61 EXtRA Photography, fragrance, and the next big everything

party

Sean O’Pry André Balazs Edita Vilkeviciute

Magnus Unnar Dylan McDermott

Tom Pecheux

Dan Caten

Diane von Furstenberg

Iris Strubegger Nicky Hilton

Luis Venegas

Alessandra Ambrosio

Paolo De Cesare Peter Marino

Hamish Bowles

Alexander Wang

Topacio Fresh

Román Lata Ares

Kelly Osbourne

Magnus Berger and Richard Chai

Christian Brylle and Sheila Marquez

Leighton Meester

Panos Yiapanis and Kristen McMenamy

Lady Bunny

Lucas Arraut and friends

Maryna Linchuk

Gareth Pugh

Ellen von Unwerth

Cecilia Dean and James Kaliardos

Marc Jacobs

Lea T Riccardo Tisci Jon Kortajarena

Courtney Love Terry Richardson

Carmen Lomana

Nicola Formichetti

Brad Koenig

Andrés Velencoso

V LOVE NY

Stephen Gan and Mario Testino

MADRID LOVES NY

Sebastien Jondeau

Baptiste Giabiconi Karl Lagerfeld

A hometown celebration of the New York Issue, Top of the Standard, September 13, 2010

PARIS LOVES NY

Lou Doillon Lily Donaldson

Agyness Deyn

Grace Coddington

Lady Amanda Harlech

Karolina Kurkova

Eniko Mihalik Blake Lively

Henry Holland and Pixie Geldolf

Chace Crawford Dree Hemingway

Jeremy Scott and François Sagat

Leigh Lezark and Taylor Swift Leona Lewis Tyra Banks

Heidi Klum Kylie Minogue

PARTY HEARTY

Gerard Estadella documents the rest of the fashion week fêtes, including Alexander Wang’s afterparty, the reopening of Chanel’s Soho store, Roberto Cavalli’s 40 th anniversary, and French Vogue’s masquerade ball

28

Karlie Kloss and Olivier Theyskens

Spain photography Pepino Marino and Gerard Estadella; Paris photography Michel Dufour and Laurent Viteur; New York photography JD Ferguson and Gerard Estadella; Party Hearty photography Gerard Estadella

Printemps hosts a bash with V Magazine, with a private concert by Courtney Love, Brasserie Printemps, October 5, 2010

Jon Kortajarena, Carmen Lomana, and Andrés Velencoso celebrate the launch of V SPAIN’s New York Issue, Circulo de Bellas Artes, September 18, 2010

© 2010

EXCLUSIVELY FOR WOMEN AT EXPRESS

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Makeup Alice Ghendrih (ArtList Paris) Hair Mark Daniel Bailey (ArtList Paris) Manicure An Thuy (Airport Paris) Model Jenny Sinkaberg (IMG) Photo assistants Sarah Seiler and Christian Borth Stylist assistant Clemence Lobert Videographer Stephen Smith Location Studio Rouchon, Paris

SEE THE LOOKS COME TO LIFE ON VMAGAZINE.COM All clothing and accessories ASOS

album In Chanel Haute Couture in Houston.

“This is Karl at his best: brilliant and so dreamy.”

“LYNN LOOKS AS GREAT NOW AS SHE DID AT 25. EVERYONE LOVES HER BECAUSE SHE EMBRACES EVERYTHING —ALL PEOPLE, ALL CULTURES, ALL CUSTOMS. AND SHE’S F-U-N!” –ELTON JOHN

In Emanuel Ungaro.

“Easy-to-wear and goes so many places.

Who doesn’t love a bit of tweed and python?”

Lynn Wyatt in Gucci inside Elton John’s dressing room.

“I love being in his closet.”

MY MANY LOOKS In a Roberto Cavalli pantsuit. “A pensive moment—these are rare for me.”

32

LYNN WYATT, SUPER IN HER 70S, LOVES FASHION—AND FASHION LOVES HER. HERE THE BEST-DRESSED HALL OF FAMER (WHO BOUGHT COUTURE FROM BOTH COCO AND KARL) LOOKS BACK AT A LIFE WELL-LIVED AND WELL-DRESSED Bird shooting in south Texas.

“I love juxtaposing an outdoor look with ‘dress-up’ clothes in the same day.”

Introducing

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Makeup Henrik Haue Hair Søren Bach Prop styling Sputnick Photo assistants Claus Rosen Bønnelycke and Andreas Mortensen Stylist assistant Signe Ussing

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If fur is the new black, then Kopenhagen Studio—Kopenhagen Fur’s center for innovation and craftsmanship—is the reason. Since 2005, the Danish fashion hub has been changing the shape of this traditionally one-trick medium by collaborating with designers from all corners of the creative world. The result is a challenge to material tradition. Input from every level (from students and emerging talent, to iconic labels like Louis Vuitton, Gucci, and Rick Owens) has made fur as versatile as wool, as wearable as cotton, and as commonplace in streetwear as it is in high fashion. In this series, Danish actress Iben Hjejle, the new face of Kopenhagen Fur’s luxe universe, helps set the scene.

Photography Signe Vilstrup Styling Björg Frellesvig

EVE FLETCHER

For the 83-year-old amateur surFing star, a liFe lived on the waves is the only liFe worth living. eve Fletcher plans to hang ten until the end 40

In her outgoing voicemail message, Eve Fletcher says that if she hasn’t answered, she’s “probably out in the garden.” That’s where the message ends, but anyone who knows Fletcher also knows to check the water—the Pacific Ocean, to be specific, probably off the shore of San Onofre, where the soft-spoken, 5’3,” 83-year-old caught her first wave just over half a century ago. Do the math: while more and more preteens seem to be landing pro-surfing sponsorships these days, Fletcher was 30 before she ever paddled out.

An East Coaster by birth, Fletcher moved with her family to the San Fernando Valley at age 10, where she became an avid swimmer when her parents joined the local country club. Later, she took a job in Disney’s Ink & Paint department, where she contributed to films like Cinderella and Alice in Wonderland. Fletcher

was an animation supervisor for the company (where she continued to work through the 1989 feature The Little Mermaid before receiving the Animation Guild’s Golden Award in 2005) when, at age 30, she finally ventured down to the San Onofre shore.

Toting her first surfboard—a gift from actor Johnny Sheffield (who played Boy in several Tarzan films)—she happened to meet the most famous surfer of the time, Marge Calhoun. When Fletcher asked her for advice, Calhoun’s reply was, “You just paddle and then stand up!”

With what could only have been a perfect combination of fearlessness and unflappable determination, Fletcher took to the water in no time. After a year, she cashed in her vacation time and packed up for a month-long Hawaiian “surf-ari.” Back in California, she was a member of the San Onofre Surf Club, and

a familiar face on the beaches of Malibu and Rincón. She would never be dubbed a prodigy—in 1966, while surfing San Onofre, a 16-year-old Australian surfer informed her that he “couldn’t wait to get home and tell everyone all the old ladies here surf!”—but her accomplishments speak for themselves.

Fletcher is less an anomaly than most would suspect. At 75, she was among the many senior surfers to be featured in the documentary Surfing For Life. (The oldest to be profiled, then94-year-old John H. “Doc” Ball, continued to surf, sans wet suit, and skateboard until his death in 2001.) “Getting old still scares people,” 58-year-old photographer Rick Rickman told the Huffington Post earlier this year. “I felt that taking pictures of older people doing exciting and active things might change that.” (Rickman snapped this photo above of his weekly surf

buddy in action for his recent book, The Wonder Years: Portraits of Athletes Who Never Slow Down.)

For her part, Fletcher cares less about carrying a torch than catching a wave. She still hits San Onofre on a regular basis— even if she hates to admit that her body is less than willing to cooperate. “I don’t have the strength and stamina I used to have,” she has said, recalling being held under at Makaha for a long time and wondering when she would get a breath. As for other signs of Fletcher slowing down, you’d be hard-pressed to find them. “I plan to surf ’til I drop,” she has said. “You’re never too old to be stoked!” Martha Glass Eve Fletcher, 79, at San Onofre State Beach, CA, 2006 Photography Rick Rickman

hero

PAUL AUSTER

The emblemaTic auThor is liT’s greaT defender of ouTcasTs and new york’s mosT iconic scribe. his laTesT novel explores The peripheries of boTh The ciTy and The mind

42

character, Miles, makes a living “trashing out” foreclosed homes and compulsively taking snapshots of abandoned objects. “It is very much a book of the moment,” Auster says. In a way, Sunset Park is itself a snapshot of what 2008 felt like—at least to a liberal New Yorker. In one of its starkest early passages, as his girlfriend’s family prays for the troops, the character imagines Bush and Cheney lined up against a wall and shot. Auster literally cackles with delight when I mention this detail. “Can you imagine? Thanksgiving! They’re all at the table, praying,” he says, momentarily miming grace with his hands pressed together and head bowed, “and he is just thinking, God has nothing to do with this…yeah.”

Sunset Park may be pointedly up-to-date, but it doesn’t take long for the characters to start exhibiting some proprietary Austerian qualities. Pilar Sanchez, the 17-year-old Hispanic orphan, begins to dissemble on the notion of the “omniscient narrator.” Another character works at the PEN American Center and picks up the cause of Chinese dissident Liu Xiaobo, who would in real life soon become a Nobel Prize winner—not least because of Auster’s own work on the issue at PEN. Auster also can’t help lending Miles his own obsession with ancient baseball trivia; it’s so incongruous it’s endearing.

For a writer tackling the artsy-Brooklyn-squatter milieu, Auster’s relationship with the more modern forms of pop culture remains cool. He doesn’t follow music or mainstream film (although he has seen a movie he liked this year—The Messenger, with Woody Harrelson). Lately, however, he’s warmed to television, gingerly venturing outside the confines of Turner Classic Movies. He’s now seen a few episodes of Mad Men (“It’s not bad, huh?”) and become a Law & Order junkie. He will routinely watch three episodes of it in a row. He has even tried the British remake that runs on BBC America; “I can’t get through the accents,” America’s most cosmopolitan novelist confesses after some visible hesitation. “I don’t understand anything they’re saying.” Michael Idov Paul Auster, 63, in Brooklyn, New York, October 2010 Photography David Armstrong Paul Auster’s Sunset Park is out now from Henry Holt & Co.

Grooming Daniel Martin (The Wall Group)

To an outsider, writers’ lives seem to conform to the tone of their fiction. (In reality, it’s the other way around, but that’s less fun). Everything about Nabokov, for example, is Nabokovian: the father’s assassination, the butterfly thing, the battle over his last unfinished manuscript—all could be plot points from his novels.

Everything about Paul Auster, then, is Austerian. As a child, he was struck by lightning: a perfectly surreal inciting incident. His early jobs, immortalized in the memoir Hand to Mouth, included a stint on an oil tanker and a translation of the North Vietnamese constitution from French to English: exactly the kinds of gigs his aimless protagonists tend to pick up.

And then there’s this, from the world’s foremost writer of existential detective fiction: “I am followed by Turks,” says Auster, lighting up a brown cigarillo as he settles in an armchair. He is at once dead serious and amused by his own seriousness. “Every reading that I’ve done in New York, for the last ten or fifteen years, there is one Turkish person. But always just one.” He takes a pause and a drag. “And it’s not the same Turkish person.”

We are at Auster’s brownstone in Park Slope, Brooklyn, a neighborhood his very residence helped make into a kind of literary colony. He’s lived here for twenty-four years, seventeen of them in this house. He has become a local celebrity and almost a mascot. It’s a good neighborhood, penniless writers used to say to themselves and each other before the area gentrified.

Paul Auster lives right nearby. A year after moving into the house,

Auster wrote a script for Smoke, a feature-length paean to Park Slope he co-directed with Wayne Wang. When I tell him that Smoke made me move to Brooklyn (to the same intersection, incidentally, where it was filmed), he seems surprised. “I don’t know if I had anything to do with it,” he demurs.

The house, which Auster shares with wife, Siri Hustvedt, is well-lived-in now, and lived in well. It radiates a sensible kind of affluence. The furniture is dignified modern. Three pairs of Hunter rain boots in three sizes stand guard at the door; an exercise ball, a rolled-up yoga mat, and free weights are strewn around the otherwise pristine living room. Somewhat compensating for all this bourgeois bliss is a copy of Philip Dray’s There Is Power in a Union, a history of the labor movement, which the writer has just put aside to greet me.

Fifteen novels into his career, Auster finds himself at 63 one of our few remaining writers to fully inhabit the romantic notion of writing. To the American reader, he is a comfortable voice of a vanishing New York, one of stoops and squats, shady entrepreneurs and Dodgers memories. To his vast foreign fan base, he is a kind of palatable American intellectual who confirms the good Yankee stereotypes and disproves the bad ones; like Woody Allen, who carries a similar function abroad, he may be postmodern in his devices, but unironic about them. There is no faux self-deprecation to him, no how-to-be-good dilemmas bedeviling the newer crop of Park Slope thinkers. He feels perfectly at ease saying things like, “This novel is about time.”

Auster’s latest, Sunset Park, is about “houses and homes,” he tells me. “Literal, physical houses, and homes in the sense of family.” It is the third Auster novel, after New York Trilogy and Brooklyn Follies, with a title specific to the five boroughs, and follows a group of young outcasts squatting in a dilapidated house in the titular area of Brooklyn. Its idea sprung from a walk: “Wandering around the neighborhood, I chanced upon this wooden structure, exactly as described in the book. I took photos of it and kept them on my desk as I was writing. So I thought, This is a perfect place for young squatters to go. For all my books, I need a concrete geographical space to put my imaginings. Even if I don’t use it in the text, I need to know where the window is, where the sofa is.”

As Brooklyn-bound as it seems, the book starts, strikingly, in South Florida, devastated by the financial crisis. The main

hero

GLORIA VANDERBILT

for the society swan who wrote the playbook on personal celebrity, grace, style, and a touch of subversion have always been in the jeans Anderson Cooper has remarked that his mother, the legendary socialite Gloria Vanderbilt, is from “another time and another world.” This may be an understatement: a designer, author, actress, muse, and American fashion icon, Ms. Vanderbilt was born during a time when a big last name meant an equally big bank account; when heiresses wore white dresses to their debutante balls; when there were governesses, and valets, and trans-Atlantic luxury steamers. Her father, Reginald Claypoole Vanderbilt, died in 1925, when she was just 15 months old. Her inheritance was a $5 million trust fund, and a sensational custody battle—between her aunt, Gertrude Vanderbilt Whitney, and her supposedly unfit mother—dominated much of her childhood.

But since that initial public splash, Vanderbilt’s life has been a constant stream of press headlines, photo shoots, and fashionable triumphs, as well as a few personal pitfalls. She has posed for Avedon, Horst, and Scavullo; written seven books; married four men and had four sons; launched her own fashion lines; and starred on the New York stage. Another impressive fact: the 86-year-old remembers every detail. With the help of New York Magazine’s Wendy Goodman, and the generosity from another American icon, Ralph Lauren, she recently released The World of Gloria Vanderbilt, a verbal and visual treasure trove of a life well lived. Derek Blasberg DEREK BLASBERG This book is quintessential Americana.

When did you start to put it together?

GLORIA VANDERBILT A week before his death [in 2004], Richard Avedon sent me a photograph he had taken of me years earlier, which I had never seen. I’ve worked with a lot of photographers in my life, but Dick and I always had a mystical rapport— somehow, I always knew exactly what he wanted and was always able to give it to him. This picture happened to be sitting on a chair when Wendy [Goodman] came over for lunch one day, and it just captured her imagination. That’s how it all got started.

DB The book is filled with so many family photographs and old press clippings, I can’t help but wonder how you tracked it all down! Was it a lot of digging through old shoeboxes, or are you very meticulous with your archives?

GV I’m very organized, actually, so it wasn’t difficult to find things that had never been published before. We also had the wonderful Phillip Reeser, who did fabulous research and turned up lots of things that even I had never seen before—including a picture of my mother and father with me as an infant.

DB This is our Who Cares About Age Issue. What are your thoughts on growing older?

GV I’ve always been in love, and I’ve always thought that being in love is a very important energy, because it gives you vitality. It’s best if you’re in love with a person, but you can also be in love with a flower, with beauty, with a tree—the feeling is the thing that gives one energy. It’s almost inconceivable to me that I’ll be turning 90 in four years!

DB But it sounds like you’re looking forward to it.

GV Oh, I am. The main thing is, you have your health. If you don’t have that, then you don’t have anything. And I have been blessed with good health.

DB I’d say you were born blessed with a lot more than that…

GV Well, I only came into the Vanderbilt family when I was 9 years old. I didn’t even know of the existence of my Aunt Gertrude until I was suddenly living with her [when she was awarded custody in 1934]. The people that were most important to me—and I stress this in the book—were my true primary caregivers: my nurturing and loving nurse, Dodo, and my grandmother, Morgan. I’ve always really felt that I’m a product of those two characters. When I went on to live with the Vanderbilt and Whitney families, I always felt like an imposter, like I didn’t really belong—and they certainly weren’t very helpful in making me feel welcome. But that’s also an important part of who I am, because it reinforced my determination to turn my name and my life into something of my own.

DB And that you did: four autobiographies, a denim line, accessories, home wares, paintings, sculptures, greeting cards—it’s all yours. I’ve actually always fantasized about making greeting cards…

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GV Ha! What happened there is that I had a show of my collages and paintings at the Hammer Gallery in New York. Johnny Carson saw it, and he ended up bringing the entire exhibition to Los Angeles and putting it on The Tonight Show! The next day, Hallmark called to ask if I’d be interested in working with them—which meant that these 8-foot collages then had to be transported all the way to Kansas City!

DB That wasn’t the first show of your work as an artist, right?

GV I had my first one-woman show in 1952, at the Bertha Schaefer Gallery in New York. I’ve always painted—but then I decided I wanted to be an actress, so I did that for seven years, mostly on television and onstage. And I started writing, too.

DB What about your work in fashion?

GV Well, I first started designing home furnishings: sheets, linens, glassware, flatware, everything. My first wearable item was scarves, and later on I began to design blouses with [fashion businessman] Warren Hirsch.

DB And that partnership evolved into the legendary denim line, Gloria Vanderbilt Jeans—which debuted at a party at Studio 54, naturally.

GV Yes. I had always worn those Fiorucci jeans, but they were so expensive! So Warren suggested we do our own version with denim from Hong Kong. It was also his idea to do all those promotions—the TV commercials, lots of personal PR. And it took off like a house on fire!

DB These days, there are loads of young girls in high society using their last names to cash in on their family’s celebrity.

But you were in the public eye long before this kind of thing was common. What did your family think?

GV I was not close with anyone in my family—neither the Whitney family nor the Vanderbilts were in touch with me [after I left their

home], and I was estranged from my mother until I was 38. So, no pressure there!

DB Is there anything you now regret having done?

GV That’s an interesting question… I think it’s important not to waste any time regretting anything. One of my books is called It Seemed Important at the Time, and I think that for all of us, you have to trust yourself and do what you think is right. It’s called instinct. Besides, what is the alternative? I think you should always trust yourself—and love yourself.

DB Speaking of your books, you wrote a book of erotic fiction, Obsession, when you were 85. Your age sparked some controversy, and your son Anderson came to your defense with the argument that “in our age-obsessed culture, sex is always viewed as a youthful act.” What’s your take on that?

GV Well, I obviously think it’s for all ages. My book is a fantasy based on basic philosophical truths and dual identities and all these other things we don’t have time to go into right now. But I don’t think age has anything to do with romance and sex and hopes and dreams.

DB Your son also said that he has “finally gotten used to the notion of my mom as a hottie.” Do you still think you’re a hottie?

GV I think that’s for Anderson to say. But I would hope the answer is yes.

Gloria Vanderbilt, 44, in New York, 1968 Photography Francesco Scavullo Copyright © The Francesco Scavullo Foundation The World of Gloria Vanderbilt is out now from Abrams

M.C . L BY M at t h e w C a M p B e L L L au r e n z a CLeopatra’s ring CoLLeCtion signature CoCktaiL rings hand-set with viBrant CoLored sapphires and LuMinous seMi-preCious geMs

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PIERRE CARDIN

FASHION’S GREAT FUTURIST REFUSES TO LOOK BACK, EVEN AS HE CELEBRATES SIX DECADES OF DESIGN THIS YEAR. INSTEAD PIERRE CARDIN IS FOCUSED ON ALL THE RUNWAYS (AND CURTAIN CALLS) OF TOMORROW

Pierre Cardin: 60 Years of Innovation is out now from Assouline 46

Pierre Cardin, 88, photographed by Christopher Scott in Lacoste, France, July 2010 Space-age coatdress and hood trimmed in fox fur, F/W 1966

S/S 2011 show, Paris, September 2010

The “Cosmocorps” collection, 1967

The Bubble House

Porthole sunglasses and minidresses with vinyl collars, F/W 1970

Velvet cocktail dresses, 1965

F/W1970 photography courtesy Assouline All other photography courtesy Archive Pierre Cardin Special thanks SCAD

Pierre Cardin, the Italian-born French designer, is approaching the Café de Sade, a tiny eatery at the foot of a hill in the small village called Lacoste in the south of France. Cardin has a residence at the top of this hill, a 17th-century chateau that once belonged to the Marquis de Sade, and he shares creative leadership of this town with the Savannah College of Art and Design, which keeps an abroad campus here. He is wearing pleated khaki shorts and a faded button-down shirt, and, for a man approaching his ninth decade, has a fabulous skip to his step.

Cardin, who became a world-famous designer in the 1950s and ’60s, and then lent his name to what he estimates to be eight hundred licensees around the world, is not like other fashion icons of his era: he was never emotionally unstable or dependent on a coterie of muses like the late Yves Saint Laurent, nor does he travel with an entourage or construct a public exterior like Karl Lagerfeld.

(However, like Lagerfeld, his age belies his output: this Fall he returned to the runway for his 60th anniversary, showing new, wearable versions of his classic space suits and ’60s shifts.)

As he climbs the same hill the Marquis de Sade did two hundred years ago, he chats with locals, tourists, and SCAD students.

He is playful and jovial, almost like a grandfather to the villagers.

Earlier this summer, he opened up the Marquis’s chateau for the first time in decades for an exhibition of modern sculpture.

Not surprisingly, the 88-year-old designer is still focused resolutely on the future. “I don’t want to talk about my past,” he pronounces. “I am so old, we would be talking until tomorrow morning.

Besides, I made a career out of looking forward, to the stars.”

Born in Venice and raised in Paris, Cardin worked with Jeanne Paquin after World War II, at a time when Paris was teeming with creativity. He collaborated with Elsa Schiaparelli and Jean Cocteau (“He was fabulous,” Cardin sighs when Cocteau’s name is mentioned), and in 1946 he became Christian Dior’s first employee and the head of his atelier. Four years later, Cardin’s own career was catapulted when he designed costumes for an extravagant masked ball at the Palazzo Labia in Venice. “I made sixty-three couture costumes, and I became very rich!” he says.

Cardin took the cash back to Paris and founded his fashion house. His designs, futuristic and oftentimes completely unrelated to the female form, were considered avant-garde to some, and ridiculous to others. “I was inspired by the cosmos, by satellites, by computers,” the designer explains. “My world was mechanic and scientific.” And he succeeded despite the predictions of others. “Some people said I wouldn’t last three years.

Now I am one of the only designers known around the whole world!” Such a comment is not mere hubris: even today, with his licensees and architectural commissions from China to Russia to France, the Cardin logo remains a global symbol of fashion.

Perhaps the most enduring totem of Cardin’s space-age chic is his Bubble House, a sprawling mansion on the French Riviera he built when he was 35 years old. It has twenty-three rooms, all made of bubbles, plus three swimming pools. “It’s extraordinary,” Cardin says. “Architects from all over the world come to see it.” In his career, he has consulted on films, architecture, and menswear, and, in 1972, even signed a contract with the American Motors Corporation to design the interiors of station wagons.

Cardin is quick to fi nish this chat and head further up the Marquis de Sade’s hill. Later in the evening, he will be hosting a ballet performance of the legend of Casanova (for which he directed and designed costumes) in the rock quarry behind his château for an audience of tourists and SCAD students.

“This is my 90 th production and I could buy twenty castles with the money I’ve lost,” he says. But Cardin is not interested in money anymore, or awards, it seems. “I have the Légion d’honneur,” he smiles. “I have all of the highest honors.”

Despite this enchanted life, Cardin doesn’t believe his story should be immortalized on celluloid or stage. “There will not be an opera about me, even if my period was long and I drew such special clothes,” he laughs. “But maybe, if you made a movie about this period, about my period, you could use my designs. I would like that.” Derek Blasberg

60 THOMPSON 6 COLUMBUS GILD HALL THOMPSON SMYTH ROOSEVELT THOMPSON DONOVAN HOUSE SAX SOHO

COLUMBUS CIRCLE

WALL STREET

LOWER EAST SIDE

TRIBECA

HOLLYWOOD

BEVERLY HILLS

WASHINGTON DC

CHICAGO

THOMPSON TORONTO

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jeremy healy

the time he went to the designer’s degree show in 1985. “My girlfriend was in it, and she said, ‘Ooh, you’ve got to come and see this,’” he remembers. “It was about two minutes and thirty seconds long. My girlfriend had a tree in her hair, clogs on, and she was waving a frozen mackerel. The girls came out and threw all the fish at the audience—that was it. So I went backstage and the first thing John said to me was ‘I know who you are and I know what you do and will you work with me?’ And I said, ‘Yeah!

Definitely! Let’s do it!’ Ever since then we’ve done every single show together.”

In 1994, when Galliano was waiting for a backer and Healy was approaching his commercial peak as a DJ, the designer and his right-hand man, the late Steven Robinson, would accompany Healy on his hedonistic victory laps around the clubs of northern England. In his book about the ’90s dance scene, music journalist Dom Philips describes the posse’s typical weekend: dinWho is Jeremy Healy? To ’80s nostalgists, he’s the former mem- ner in the car to the club Sugar Shack in Middlesbrough; then ber of Haysi Fantayzee, the pop group who scored a British hit a drive 150 miles down the motorway to play at Decadence in with “John Wayne Is Big Leggy,” a ditty about anal sex. To ’90s Birmingham; then a hotel afterparty; then a hop across to Paris ravers, he’s one of the defining superstar DJs—a stratospherically for a supermodel-stuffed bash in Galliano’s honor; finally finishing with another spell on the decks at Les Bains Douches. paid jet-setter who packed clubs with adoring fans all over the world. To the readers of British tabloids, he’s the fourth husband Healy’s lifestyle at the time was chronicled with perhaps reckless frankness in an album he released in 1999 called of soap star Patsy Kensit. To the fashion crowd, however, Healy Bleachin’. The sleeve was mirrored and promo copies came is the man who for over twenty-five years has created the music with a rolled-up banknote. “I think it was an ode to cocaine, for John Galliano’s epic fashion shows. His contribution, says that whole album,” says Healy, confirming the blatantly obviGalliano, is “essential. You can’t have a show without music, and you most certainly can’t have a Galliano show without Jeronimo.” ous. Although he’s had, he says, ups and downs, Healy has Remember Dior’s Fall 2002 couture collection, when a live managed to avoid the kind of public meltdown endured by congospel choir’s spine-tingling renditions of Moby and Madonna temporaries like Boy George (who in the early ’80s waged a songs added a spiritual dimension to Galliano’s divine designs? long-running feud with Healy over which of the pair had worn Or the previous season, when kodo drummers hammered along dreadlocks first). “He can come across as really flippant and to an adrenalized mélange of Adam and the Ants, Trouble Funk, evil,” says Kate Garner, who was in Haysi Fantayzee with Healy and Bow Wow Wow as models performed contortions? Healy, and has known him since the early ’80s. “He’s got a really quick now 48, was the man at the controls, stitching together dozens tongue, but underneath it all he’s kind of solid.” Healy inspires of diffuse elements into a seamless, highly dramatic whole. “I considerable loyalty in the people he works with and is loyal to like to break the rules, and Jeronimo does that in music,” says them in turn. He is still friends with Garner more than twentyGalliano. “We’re the same generation, with the same inspira- five years after Haysi Fantayzee split up. Betak describes him as tions and icons. Jeronimo’s ear for music is similar to my eye for “a lovely pain in the ass,” adding, “but so am I.” Galliano simply fashion, and I think we just click.” says, “Jeronimo is the sound track of my life.”

The kodo drummers show, says Healy, was so extravagant Healy’s support from Galliano and the fashion world in genit hardly needed the models: “It’s the only show I’ve ever done eral enabled him to continue working on exciting projects, long where we’ve rehearsed it without the girls and it’s been really after the superstar DJ went from hero to zero at the turn of the cool.” Marveling at the effort expended in creating something so decade when kids started listening to rock again. Having spent ephemeral (fifteen minutes long, never to be repeated), Malcolm two decades at the forefront of trends including punk, hip hop, McLaren dashed up to him after the gospel show and said, “You and acid house, Healy didn’t take it personally. “It bothered me, did a million-dollar show, and you just gave it away.” but you’ve got to accept it for what it is. [The club scene] lost “That was a fantastic moment,” chuckles Healy on the phone its vibe, really. The same thing happened with all that music–hip from his hotel in Los Angeles. A charming and self-mocking hop got really boring and house music did too. They’ve all got man, he’s recuperating after six weeks of sound-tracking fashion a certain period where they’re the best thing [around] and then shows. “At the time, I was showing the DVD to record compa- they burn out. It’s natural.” nies, and they were blown away by it. I said, ‘These people aren’t Yet while fashion and music change, Healy’s relationship with even in the music business and they’re making better music than Galliano seems to be a constant, having grown from two shows you are.’ All credit to John and Dior for financing things like that, a year to ten (six for Dior and four for Galliano). Healy says the because they’re very expensive to do.” pair have only fallen out once, over a brass band that wanted to Others have been witness to the magic too. “We’ve done change some of the music Healy required them to play—“that’s shows with orchestras playing rap tunes, we’ve done live fla- not bad in twenty-six years.” Their working relationship, says menco, we’ve done all sorts of crazy things,” says Alexandre de Galliano, “stems from a great friendship. I brief him on the vibe of Betak, the fashion-show producer who for over ten years has the show and then it’s up to him. He knows [music] better than worked with Healy on 150 such shows—not just for Galliano me…I absolutely trust him.” The DJ’s association with Victoria’s and Dior but also labels like Victoria’s Secret and L.A.M.B. Secret has seen nine years of blockbuster shows incorporating Healy’s specialty, Betak says, is taking familiar pieces of music stars like Beyoncé and Justin Timberlake all singing Healyfied and transforming them. Galliano agrees: “He’s used everything versions of their hits. from Led Zeppelin to classic kids’ TV tunes that took me right He missed one high profile gig, however—the wedding of Guy back to our childhood to our most-used Galliano track, the fast Ritchie and Madonna, whom Healy remembers working in the movement from ‘Sly’ by Craig Armstrong.” lift at the Danceteria club in New York in the early ’80s. London Betak cites a Galliano show with a Ukrainian theme that Healy clubland impresario Piers Adams, Ritchie’s best man, phoned decided should open with the Police’s “Roxanne.” “‘Roxanne’ is Healy up. “He said, ‘I want you to do the music for the wedding,’ not what you’d think of when you’re working on a show, creating and I was like, Oh, God. He said, ‘You’ve got to phone Madonna snowy Ukrainian characters,” says Betak, “but his remix adds up.’ So I had to bloody call her up and do, like, a job interview. another layer and helps tell the story.”

But I didn’t end up doing it in the end…”

Healy also has to accommodate Betak’s second-by-second But what would he have played? Flamenco? Hip hop? Kodo specifications about what he wants to happen during the show. drummers? In answering, Healy brings his twenty-six years of The purpose of music in a fashion show is not simply to be beau- experience behind the decks to bear. “At those weddings you tiful, says Betak, but to create moods that harmonize with the can just stick the ABBA straight on, can’t you?” Alex Needham visuals and bring about total sensory overload. As Galliano puts it, “You have five senses, and I want all of them to get excited Jeremy Healy, 48, in London, October 2010 Photography Boo George Styling Bryan McMahon at the shows. [Jeremy] provides the heartbeat that brings the Suit and watch John Galliano season’s story to life.”

But the first Galliano show Healy saw managed to be unfor- Sunglasses John Galliano Eyewear gettable without the help of his music. He had already left Haysi Hear more Jeremy Healy on vmagazine.com Fantayzee and was deejaying in clubs like Taboo and Circus by

The supersTar DJ is The masTer of The mix anD The auThor of lush runway sounDscapes for Dior anD John Galliano. you may noT have hearD of him, buT oDDs are you’ve hearD his influence

Grooming Liz Taw using Aussie Hair Care (Nakedartists.com) Stylist assistant Chris Preston Production Streeters London Retouching Kasia Kret (Happy Finish)

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film

Legendary actress BarBara HersHey Has cHanneLed Life experience into unforgettaBLe roLes. tHis winter sHe’s Back in BLack swan witH a searing new performance and you couLd say sHe steaLs tHe twisted sHow “It’s the strangest thing,” Barbara Hershey says wistfully. “I used to be 38.”

In fact, when Hershey was 38 (the age of her only son), the veteran actress was riding the upward curve of a rousing career comeback, with a string of memorable performances, beginning with Woody Allen’s 1986 classic Hannah and Her Sisters, followed immediately by roles in Hoosiers, The Tin Men, and back-to-back Best Actress wins at the Cannes Film Festival for potent portrayals of a backwoods bayou matriarch in Shy People (1987) and a famous anti-Apartheid activist in A World Apart (1988). If that weren’t enough, she topped off the decade with her Golden Globe–winning role as Mary Magdalene in Martin Scorsese’s The Last Temptation of Christ.

“It doesn’t feel that long ago,” says the 62-year-old Hershey, who is now back in fashion with another intense performance, as Natalie Portman’s controlling mother in Darren Aronofsky’s ballet psycho-thriller Black Swan.

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slipped in one direction and made it rich, complex, and unexpected,” he says. “She amazed us every day she worked.”

Hershey has a long history of embodying powerful female personalities. While Erica is a totally new creation, there are shades of the rapacious Madame Serena Merle from Jane Campion’s The Portrait of a Lady, for which she was nominated for an Oscar, and the cool, murderous housewife from TV’s A Killing in a Small Town, for which she received an Emmy and a Golden Globe. “But none of them are the same,” she says.

She’s also played plenty of vulnerable characters (Lee in Hannah and Her Sisters; the brutalized wife of a bigot in Paris Trout) and says oftentimes it’s difficult to distinguish between vulnerability and brutality. “The weakest people have to come on the strongest, so what’s mistaken as strength is weakness,” she says. “And if you’re strong, you don’t need to push yourself.”

While Hershey doesn’t come across as noticeably formidable in real life—she’s amenable, crunchy, perhaps a little guarded— she says all of the roles she’s played come from within. “I think you can find anybody if you’re willing to look deep enough and hard enough,” she says. “It’s like opening doors. If you’re playing someone who is heroically strong, you just have to find a part of yourself that could be that strong, like I could die for my son a thousand times, no question.”

Motherhood—“a huge, profound experience,” she calls it—comes up repeatedly in our conversation. Her son, Free Carradine, whose father is the late actor David Carradine (famous for TV’s Kung Fu), currently lives in Los Angeles.

Considering the maternal grandiosity on display in Black Swan, it’s only logical that Hershey would draw on her own experiences as a mom. “There is definitely something that happens to you as a parent,” she says. “The stakes go up.”

But even with her years of experience, as an actor and a mother, Hershey doesn’t feel particularly sage. “You figure out a few things—like it’s important to stay open—but not too much,” she adds. “We’re all just bumping into each other in the dark.”

Anthony Kaufman

Barbara Hershey, 62, in Los Angeles, October 2010 Photography Annelise Phillips Styling Ken Baldwin Coat BOSS Black Veil stylist’s own Black Swan is out in December 2010 from Fox Searchlight

Makeup Jeffrey Paul using YSL Makeup (Exclusive Artists) Hair Stephanie Hobgood using Moroccan Oil (Exclusive Artists) Stylist assistant Elizabeth Rennie Retouching Shin Ono (Pier 59 Studios) Special thanks Smashbox Studios, Los Angeles

SECOND COMING

Acting since the age of 17 (first appearing on TV’s Gidget), Hershey acknowledges that her career has been “a roller coaster. You go through lots of ups and downs, of [wondering] whether you’re appreciated or not, and I’ve been on all sides of that—a lot. But the one thing that’s been consistent is my love of acting, which is as strong as ever.”

After almost forty-five years in the business, you might think it’s gotten easier for Hershey, the soft-spoken brunette who at one point was known as much for her collagen-full lips as her craft. But she still calls every new role “a complete challenge.”

Sure, she’s evolved as an actress since she was a 19-yearold vixen in Last Summer, Frank Perry’s provocative 1969 tale of lost innocence, which she remembers as a “revelation. I had never before played a character that was vastly different from me,” she recalls. “It was a big leap.”

“I was shocked to find that things were happening to me psychologically while I was doing that role,” she continues. (The film culminates with a violent rape, incited, in part, by Hershey’s character.) “I had no preparation for that experience; it made me want to understand more and figure out how to anticipate that.”

Flash-forward four decades and Hershey still found herself surprised on the set of Black Swan. “Darren is intense in a great way,” she says. “Acting with him is like an acting university, because he’ll have you do something a hundred different ways.

And if I ever regret anything on a project, it’s when you come home at night and think, I wish I had tried this, I wish I had tried that. But with Darren, there’s no chance of that because he puts you through absolutely everything.”

Black Swan pits Hershey’s clingy mother, Erica, against Portman’s tightly wound daughter, Nina. Hershey wanted the role, because, she says, “I saw a chance for a whole lot of contradictions within the character. There seemed to be a lot of love and tenderness toward her daughter, but, at the same time, envy.”

In one explosive sequence that embodies the relationship’s complexities, Erica buys Nina a cake to celebrate getting the lead role in Swan Lake, but the body-obsessed young dancer rejects it, sending Hershey’s Mommy Dearest into a brief, self-destructive rage. In the screenplay, the gift was originally written as a stuffed animal, but the cake is far more effective. “It’s the enemy of a ballerina,” Hershey explains, “so there’s a hostility there.”

Aronofsky commends Hershey for bringing multidimensionality to the character. “She took a role that could have easily

society

Spain’S queen of SocialS haS never apologized for her rule-breaking lifeStyle. theSe dayS, in fact, She’S teaching other women how to get juSt aS free 52

ALEX CARRASCO Does the life you’re living now feel like a second youth?

CARMEN LOMANA No, not at all, because I’ve actually always lived my life as a teenager. I’ve never really paid attention to how time goes by. Society is constantly trying to freak women out with this age thing, but I’d much rather be a ridiculous old woman who still thinks she’s a beautiful woman full of life, than be an old lady paralyzed by her age.

AC Would you mind telling me your age, then?

CL Sure—you can find it on the Internet if you Google it: I’m 62 years old. What I really don’t get is why everybody is so interested. I’m too busy to get old, I have too much energy!

AC I can see. How do you keep yourself looking so good?

Carmen Lomana, 62, in Madrid, Spain, June 2010 Photography Xevi Muntané Styling Ana Murillas Bodysuit Dolce & Gabbana Necklace Dior Earrings and ring San Eduardo Jewelry Stockings Philippe Matignon

Makeup and hair Paco Garrigues using Bobbi Brown and Art Lab-Aveda (Talents) Model Eduardo Oliver (Group Models) Photo assistant Javier Torrente Stylist assistant Txus Sánchez Special thanks Villa Magna, Madrid Interview translated by Manuel Monar

THE DOUBLE LIFE OF CARMEN LOMANA

The second coming of Carmen Lomana is upon us. Her first life—as the high society widow who inherited a fortune following the death of her beloved husband, Guillermo Capdevilla, a wealthy Chilean engineer—was one of relative anonymity. Then, just three years ago, a wave of “Lomanism” (as it was dubbed by the European press) washed across all of Spain in what seemed like an instant. After her debut on Spanish reality TV, Lomana transformed from mere socialite to show-biz celebrity with a name that spelled money, elegance, and carefree rebellion. Now reborn, her subversive nature is the focus of an entire nation— and a point of contention among her fellow European elite, who are still getting used to seeing one of their own on Channel Five (even if she is wearing Chanel). Alex Carrasco

CL Well, I must confess that I don’t care too much for exercise.

I’m simply careful with what I eat, and I avoid excesses. When people look at me they usually think my life has been like a fairy tale; the truth is, I’ve suffered a great deal, and I’ve made it through some extremely difficult situations. So from my point of view, one has to try and be as optimistic as possible.

AC You’ve been a fixture in the fashion world for a long time now—I’m sure you’ve met your share of great designers.

CL When I was very young, I knew almost all of the important Spanish designers at the time, like Pedro Rodriguez and Manuel Pertegaz. My mother even knew Cristóbal Balenciaga. And during the last few years, I’ve become close with John Galliano, Karl Lagerfeld, Marc Jacobs, and Alber Elbaz. They’re all true geniuses who have filled my life with their wonderful creations.

AC When did you first realize you had become a massmedia phenomenon?

CL The first time I was called to appear on TV, which was the year Valentino retired—very few women knew [the designer] personally, and even fewer have been clients of his haute couture fashion line, so [the producers] wanted me to talk about that.

They also asked me to share my most special Valentino, so I brought my re-edition of a red dress he had originally designed for Princess Pignatelli.

AC And that’s all it took?

CL Apparently that first appearance had aroused people’s curiosity, because everyone started to express their opinions about me—and not always respectfully, I must say. Carmen Rigalt, a well-known Spanish writer and journalist, was particularly harsh on me. But then again, she did invent the term “Lomanism.”

AC Which means…

CL For me, it means living free, being nice to other people, and listening to your heart. It also means that you must adore beauty, harmony, and culture. My name is usually associated with the fashion world, but I really am very interested in art, too, as well as in other creative environments.

AC That’s not necessarily a lifestyle that everybody would be able to afford.

CL I recently published a book called Los diez Mandamientos de la mujer 11 [which roughly translates to The ABCs for an A-Plus Woman], and I’ve received many letters from women who say they were very depressed, but, thanks to my book, have now decided to make themselves up more, to try to look beautiful and elegant, and that they are excited to show a brand-new face to the world. In my opinion, the book reveals that elegance is not so much a pose as it is an attitude—and to have that, money is not strictly necessary.

AC Maybe not, but it certainly never hurts! What would you do without your collection of Hermès Birkin bags?

CL Those are one of my weaknesses, I’ll give you that. I have around twenty-three or twenty-four right now, and I have just ordered a new one. The first one I ever owned was a present from my parents—it was red, and I found it horrible at the time. I thought it was a purse for old people. But now I can’t live without them! It’s funny how much we change, isn’t it?

AC Are you ever bothered by those in European high society who still insist on criticizing your lifestyle?

CL Well, surely its something that wouldn’t happen in the United States. They are more like me—more progressive in general, and conservative when it comes to fundamental human values. But as for those in Europe, I am not worried. I am a free, independent woman, so I don’t feel that I have to answer for anything.

Whoever doesn’t like what I do or the way I do it, they better look in the other direction.

WORK IN PRO GRESS Photography Jason Schmidt 54

BacK IN BlacK

artist Dennis Oppenheim has always pusheD his wOrk, anD sOmetimes his bODy, tO the limit. seateD in his tribeca stuDiO, he reflects On sartOrial chOice as a stabilizing fOrce In this photo, I am simply sitting in my living room posing for a picture. I happen to be located under a Bruce Nauman print called Silver Grotto/Yellow Grotto. Jason Schmidt felt the shot was good with the abbreviated text from the print, and I agreed, as I have always liked Bruce’s work, particularly his pieces dealing with deprivation and limiting the movements of his audience.

The room around me, as well as the chair I’m in, seems to be the opposite of deprivation, with an abundance of conflicting styles operating. I, with my Soho black uniform, seem to stabilize everything, however. Dennis Oppenheim, 72

THE BIG APPLE

a man who has spent a career investigating movement and time, artist roman signer recently found himself standing still and reflecting on one very influential source I deeply admire the work of the late Harold Edgerton. Everyone knows his photograph of a bullet flying through an apple. My installation, Waiting for Harold Edgerton, is simply an apple from Union Square Market, hanging from the ceiling. It gestures to the American photographer, who became famous as “the man who made time stand still.” My installation is also about frozen time. It is an homage. Somehow I wish Edgerton would all of a sudden show up and shoot the apple for me. Roman Signer, 72

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Designer Tina Knowles Knows whaT women wanT anD how They can geT iT. rule number one : gooD lighTing will TaKe you far

Tina Knowles, the designer of hip hop high-fashion label House of Deréon and mother to pop icons Beyoncé and Solange Knowles, has a billion-dollar beauty idea: “I want to invent a little 56

pencil skirts and garments that are slimmed at the bottom, and she has learned the hard way what it means to make investment purchases. “I once spent an entire paycheck on a suede jumpsuit, which was not a good idea,” she admits. “But I have worn the same Chanel jackets for years.”

Concerned about her wardrobe becoming too basic—she is still a working woman, after all—Beyoncé and Solange readily give her sartorial tips. “They are always telling me to experiment and wear more color,” she explains, adding that they would be pleased with the python print she is wearing today. “I may be proud to be a grandmother, but I don’t want to look like one.”

Derek Blasberg Tina Knowles, 56, in New York, September 2010 Photography Catherine Servel Styling Catherine Newell-Hanson Dress Michael Kors Necklace Solange Azagury-Partridge Earrings Kenneth Jay Lane

Makeup Nadine Vendryes using La Mer and Shu Uemura (Balan Inc.) Hair Neal Farinah using Kérastase (Studio 709) Photo assistants James Garrett and Angelo D’Agostino Stylist assistant Will Iron Digital technician Allesio (DTouch) Location Sandbox Studio, New York

HOUSE OF TINA

light that you can carry around your purse, and when someone asks to take your picture you can hold it over your head,” she laughs, only half joking. “At my age, I’m always looking for some good lighting.”

It’s endearing to hear that Knowles, glorious in her mid 50s, is so concerned with lighting. With a creamy caramel complexion, courtesy of her African and Creole heritage, she looks as stunning in fluorescent lighting as she does next to a candle. Now she is quietly building a fashion empire that trades on the success of her daughters’ music careers while marching to a hardcore stylistic beat.

Knowles’s mother was a seamstress and a designer, providing her with a firsthand fashion education. When her eldest daughter rounded up some friends and started a band called Destiny’s Child, she sewed the costumes. Today, Knowles considers herself an expert on the female form, both onstage and off.

Her biggest tip is to always use a tailor, “since no one is a perfect size anything.” The 1940s is her favorite period for fashion; she likes that it was the era of tough women. Knowles prefers

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Manicure Kristina Konarski for Dior Beauty (Ford Artists NYC) Photo assistants John Guerrero and Hugo Arturi Stylist assistants Bronwen Lam and Emily Eisen Prop styling Philipp Haemmerle Studio (Nex9) Prop stylist assistants Maze Georges and Tonito Santos Hair assistant Mila Duma Production Erin Wahed Digital capture Chris Luttrell (Haute Capture) Location Studio 1027, Brooklyn Catering Balthazar, New York Special thanks Haute Capture, Milk Locations, Studio 1027

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A TOUCH OF CLASS

NiNa Ricci desigNeR PeteR coPPiNg is less iNteRested iN bReakiNg Rules thaN cRaftiNg exquisite clothes. WomeN covet his Pieces because they make statemeNts With a WhisPeR, Not a shout Designer Peter Copping speaks with an occasional Francosounding lilt that belies his Oxfordshire roots. It’s most obvious in the words “incarnations” (of which the house of Nina Ricci has seen many), “femininity” (key to both Copping’s and Madame Ricci’s original design aesthetic), and “here” (in reference to Paris, Copping’s home for the last fifteen years). “They can never really put their finger on where I’m from,” Copping 58

admits, adding that he invariably comes across as foreignsounding in both his adopted France and native England.

Accents aside, Copping’s post–Central Saint Martins and Royal College of Art career pedigree is decidedly en Francais: After stints with Christian Lacroix (whom he calls one of his “heroes”) and Sonia Rykiel (reverently described as “tenacious”), Copping spent twelve years as chief design deputy for Louis Vuitton, where he oversaw the resort and pre-collections. More than anything, Copping’s Vuitton tenure allowed him to create elegant, sensual, and commercially viable looks—the very task he recently assumed upon taking the helm at Nina Ricci.

Unlike the darkly romantic, goth-tinged confections created by his Ricci predecessor, Olivier Theyskens, Copping’s collections have suggested a far more traditional take on feminine dressing. Avoiding the avant-garde, he says, is not simply in keeping with Ricci’s heritage, but also his own personal preference. “It’s where my heart lies. I don’t like to feel as if I’m pushing myself toward something unexpected. Obviously, [the designs] have to be relevant, but I also think they should be more immediate, not overly contrived.” His first collection for Ricci, in Spring 2010, was widely regarded as a step in that direction: dotted tulle cardigans; sheer leggings; layered, lace knits; and silk tiered ruffle dresses, rendered in a predominantly soft palette of pinks and beiges peppered with black. The smallscale show, presented in-house at Ricci’s 39 avenue Montaigne showroom, was critically well-received.

Fall 2010 marked Copping’s first full-fledged presentation, which was replete with sharp tailoring, bustle-back skirts, 3-D floral appliqués, and satin slip dresses. Whereas the previous season had a looser, more youthful air, these new looks suggested a young lady grown-up—the sort of woman keenly aware

of the male gaze, perennially cool and confident in the lacy underpinnings hiding beneath her three-quarter-length dress or black trench. Copping imbued Pre-Spring 2011 with similar finesse—a retro-tinged bikini was rose-hued and ruffled; bows dotted the shoulders, spine, and small of the back on a raspberry evening gown; and heavy tailoring, as evidenced by a pair of elegant, cropped tuxedo trousers and a soft, shell-like pink jacket— hereby disavowing many of his peer’s minimalist penchants.

Not content to confine himself to design, Copping is even extending his aesthetic revamp to Ricci’s Paris flagship store.

“The environment you create for those things is just as important as what you put in a space,” says the avowed interiors aficionado. “We’re just starting to work on the avenue Montaigne store, doing some modifications and slight changes to make it more appropriate for the collection.” In Copping’s view, the space, like the new designs, will appeal to a particular type of woman. Initially describing her as sexy sans vulgarity, the designer quickly corrects himself: “‘Sexy’ isn’t a particularly good word, actually,” he says. “Perhaps ‘sensual.’ There’s a fragility, but then there’s also strength. Someone once told me, ‘We can envision your woman lying down, making love to someone.’ And that’s quite a compliment, really.” Sarah Fones Photography Serge Leblon Styling David Vandewal From left: Kirby, 17; Malu, 17; Marija, 26; Martina, 40; and Hanna, 18 wear Clothing and accessories Nina Ricci Pre-Spring 2011

Makeup Alice Lane (Jed Root) Hair Edward Tricomi (WarrenTricomi Artist Management) Models Kirby Kenny (DNA), Malu Ribeiro (Women Direct), Marija Vujovic (Marilyn), Martina Gordon (Ford NY), Hanna Samokhina (Wilhelmina)

V68 THE WHO CARES ABOUT AGE ISSUE AVAILABLE NOW ON THE IPAD FEATURING EXCLUSIVE VIDEOS, UNRELEASED PHOTOS, AND EVEN MORE AGELESS FASHION—TO GO!

Makeup Chiho Omae using M.A.C Cosmetics (Frank Reps) Hair Shin Arima using Aveda (Frank Reps) Models Pauline Van der Cruysse and Fabiana Mayer (Marilyn) Photo assistant William Akira Takehesi Stylist assistants Karen Wisdom and Will Iron Retouching Digital Media NYC

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From left : Pauline, 19 , wears C oat Chan el Top Proen za S chou ler Shorts an d bag D & G Fabiana, 2 2, wears C oat Isab el Marant Bodysuit and boots D&G Bag Louis Vuit ton

t) wears and righ e (above ts D & G lin o u o a B P s el rc Jacob ts Chan a o M o h B tc e lu lk Mara C ysuit Fa rs Bod ns M a x h a e l Ko rd Mit te ic o lf M o t a W o fs C and brie a wears : Fabian um Top From left Burberr y Prors t C oa

HOT FUZZ

WE WON’T SUGGEST THAT FUR IS BACK, BUT WE WILL SAY THAT WHETHER YOU GO REAL OR FAUX THIS WINTER, THERE’S A WILD, WOOLLY, AND SUPERCHIC OPTION TO BE HAD Photography Magnus Unnar Styling Catherine Newell-Hanson See a film of this shoot on vmagazine.com 60

nvin ent Boots La es Saint Laur Kors Bag Yv l ae k ni ich M ah it Bl olo t Bodysu G Boots Man Isabel Maran Large bag D& na wears Coat all bag Céline Sm t From lef t: Fabia an ar M Coat Isabel Pauline wears

New Look BAck David Armstrong’s images have always projected a hazily nostalgic vision of youth. Now for his new show at Half Gallery, the photographer revisits his own history—and the male muses that accompany it. “Mad about the Boy” comprises vintage prints of lovers and models from Armstrong’s early days in New York, as well as more recent journals and scrapbooks. While the collection is clearly a fond look back for the photographer, he admits that so many years, and so many beautiful photos, made the editing process unusually difficult. Using his muses as a theme, however, he was able to focus on the radiant qualities that make his subjects so sumptuously appealing. No doubt the tiny gallery setting will give the exhibition a particularly cozy intimacy. Ken Miller David Armstrong’s “Mad About the Boy” runs through November 29, 2010, at Half Gallery, New York

New Rocks

New eXHIBItIoN Even if he didn’t know it the whole time, Vogue’s Hamish Bowles has spent his entire life preparing for the role of curator for the Queen Sofía Spanish Institute’s upcoming exhibit “Balenciaga: Spanish Master.” When Bowles was just a wee boy of 11 in London, he visited a local rummage shop and found an unlabeled Balenciaga dress for 50 pence. For the fashion historian’s exhibit at the Queen Sofia, however, the clothes come straight from the source: Bowles has sought out couture confections from Cristóbal Balenciaga—once deemed the world’s “only true couturier” by Coco Chanel—from all over the world for this exhibit, which is sponsored by former Balenciaga protégé Oscar de la Renta. “The clothes have a real presence, a majesty to them,” Bowles says of the collection. “Every piece is a masterpiece.” Derek Blasberg

“Balenciaga: Spanish Master” runs November 19, 2010– February 19, 2011, at the Queen Sofía Spanish Institute, New York

Laurenza and fragrance photos Adrian Gaut; Baldessari artwork, Rapunzel with Ladder, 2010, courtesy the artist and Fondazione Prada, Milan; Balenciaga photo courtesy Queen Sofía Spanish Institute; Armstrong photo courtesy the artist

New FAsHIoN sHow There are no forms in fine art riper for a fashion moment than those of sculptor Alberto Giacometti. But it is far less expected that one of the most important figures of California conceptualism, John Baldessari, would be the one to give them their catwalk turn. This November, Baldessari, who is perhaps best known for dressing up the subjects of his found photographs in brightly colored dots, will be presenting “The Giacometti Variations” at Fondazione Prada in Milan. The show consists of a series of 15-foot-tall sculptures outfitted in designs by Baldessari, who has harbored an interest in both the blurred lines between art and fashion and the Degaspioneered fusion of real clothing on statuary.

For a man who once challenged himself to never again make boring art, a newly minted career as a garmento seems a good way to keep things moving fashionably forward.

Aimee Walleston John Baldessari’s “The Giacometti Variations” runs through December 31, 2010, at Fondazione Prada, Milan

Like so many restless artists before him, Kentucky-born jewelry designer Matthew Campbell Laurenza found his inspiration while adventuring around the globe. The stone-cutting and design techniques he picked up on the road allowed him to start a small, eponymous collection, which, in the decade since it launched, has grown to include glittering, jewel-encrusted styles for men and women. Laurenza’s signature bohemian-luxe aesthetic comes across in bold enamel bangles, candy-colored cuffs, and bright statement neckwear, each better suited than the next for those who prefer to let their jewelry do all the talking. Catherine Blair Pfander

M.C.L by Matthew Campbell Laurenza is available at Barneys New York

New sceNts Fragrances this Winter run the gamut of reinvented classics and fresh finds from unexpected labels. Shoe designer Roger Vivier launches into scent with five debut perfumes, each designed to evoke specific raw ingredients like neroli, rose, iris, sandalwood, and amber. Dolce & Gabbana’s Rose The One, with sweet notes of peach and pink grapefruit, is perfect for a sugary holiday indulgence. Salvatore Ferragamo’s Attimo is an elegant floral bouquet of gardenia and frangipani fronted by model Dree Hemingway, while Giorgio Armani’s Acqua di Gioia takes inspiration from the designer’s home on the Italian island of Pantelleria for a burst of Mediterranean freshness. Calvin Klein Beauty, meanwhile, combines notes of jasmine and cedar in an ode to mature, powerful femininity.

Catherine Blair Pfander

New coLLABoRAtIoNs Pringle of Scotland has never made a secret of being inspired by contemporary art. Last season, the 195-year-old cashmere label enlisted a roster of art-world superstars for its first collaborative collection. This year, they’re repeating the series under the direction of London’s Serpentine Gallery. Debut collaborators Tilda Swinton and Ryan McGinley—who not only designed garments last season but also created the campaign—are back, with Swinton designing the “twinset of [her] dreams” (complete with built-in jewelry by Waris Ahluwalia) and McGinley a cashmere sweater with a bird flying off the shoulder. They’re joined

by Franz Ferdinand’s Alex Kapranos and Nicholas McCarthy, who admitted that while they never had anticipated designing a sweater in their careers, they were happy to have done so.

McGinley, on the other hand, may be having second thoughts: at the collection’s debut in London, he sighed, “They’ve forever ruined for me any other knit but cashmere.” Derek Blasberg 61

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Scarlett Johansson cover, Photography Inez van Lamsweerde & Vinoodh Matadin, Styling Joe McKenna, V65

Pier 59 Studio 4

“Body Electric,” Photography Inez van Lamsweerde & Vinoodh Matadin, Styling Joe McKenna, V65

“Who’s the Boss?” Photography Mario Sorrenti, Styling Andrew Richardson, V46

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SHOOTING STARS

PIER 59 STUDIOS ISN’T JUST THE LOCATION FOR SOME OF THE MOST ICONIC SHOOTS EVER TO APPEAR IN V, IT’S ALSO LEADING PHOTOGRAPHY’S NEXT DIGITAL REVOLUTION, AND CHANGING THE VERY WAY FASHION IMAGERY IS MADE In 1993, when Federico Pignatelli first laid eyes on Pier 59, one of the dozens of docks that line the Hudson River in Manhattan from Battery Park City to 59th Street, it was nothing more than the rusty remains of a bygone era—a former cruise ship terminal that had deteriorated into a cavernous ruin.

But Pignatelli, a businessman with a passion for photography, saw something else. He had long dreamed of building “the largest photography center in the world.” And he’d just found its address.

In December of the following year, an unrecognizably sleek, ultramodern Pier 59 Studios opened its door for an opening night gala. The event, which took over the entire one hundred thousand-square-foot space, including all eleven studios (one of those being the largest sound stage Manhattan has to offer), drew an equally enormous crowd made up of the most influential names in photography and fashion. And they kept coming back even after the party had ended: “One after another, we drew all the big photographers,” Pignatelli recalls. “Patrick Demarchelier 62

“Everything & the Kitchen Sink,” Photography Mario Sorrenti, Styling Jane How, V45

was the first to shoot here. Then Steven Meisel, and Annie Leibovitz… And because we’ve always encouraged the assistants to develop their own work by allowing them to use our space for free, we’ve also been lucky enough to witness the birth of some of today’s biggest photographers.”

The proof: everything from ad campaigns (for Prada, Calvin Klein, Louis Vuitton) and magazine editorial shoots (by the likes of Inez van Lamsweerde & Vinoodh Matadin and Mario Sorrenti for V) to music videos (Lady Gaga’s “Alejandro” was shot at its Santa Monica sister studio, Pier 59 West by Steven Klein) and feature films (Pier 59 was the workplace for Julia Roberts’s character in Stepmom, and it was also the only studio to get a mention in The Devil Wears Prada). As Pignatelli explains, “The studio is magic because the space is magic.”

But Pier 59 hasn’t drawn such an impressive crowd based on majestic design alone. “From the start, the idea was not just photography, but a one-stop shop for talent,” Pignatelli explains. “A creative hub where the clients, the photographers, the models, and the producers are able to create, edit, and distribute complete content.” And these days, Pignatelli’s original vision has never been more complete, thanks to Gloss 59. This unique collaboration (the result of a partnership between Pignatelli and Gloss Studio’s Raja Sethuraman and Magnus Andersson) is a one-stopshop for images in a digital age. Now, clients can shoot (on hi-tech RED cameras), capture, color grade, and edit still, motion, and slow-motion photography in a single space.

But with technology moving at breakneck speed, this is only the beginning. “We’ve grown so much over the past fifteen years, so I cannot predict exactly where we’ll be in the next fifteen,” Pignatelli admits. “What we do know is that we will be continuously challenged by technology—and we will meet those challenges by advancing production to the highest level possible.” Yet while the wave of the future might be the current status quo, Pier 59 hasn’t forgotten its roots. “What’s most important to us—the reason why we’ve made, and will continue to make, these types of advancements—is to support the client. When we invest in technology, we’re really investing in people.” Mr. V See more of what’s happening at Pier 59 on vmagazine.com.

For more information, visit pier59studios.com

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Acid-bright, intensely pAtchworked, And so wrong for snow-covered streets, these resort 2011 Accessories hold the promise of sunny dAys to come 1 Balenciaga by Nicolas Ghesquière shoes, $1,195, available at Louis Boston, 617.262.6100 2 H&M earrings, $8, hm.com 3 Chanel bag, $3,400, select Chanel boutiques, 800.550.0005 4 Yves Saint Laurent shoes, $795, Yves Saint Laurent, New York, 212.980.2970 5 Proenza Schouler bracelet, $150, net-a-porter.com 6 Proenza Schouler bracelet, $175, net-a-porter.com 7 Balenciaga by Nicolas Ghesquière shoes, $1,195, Balenciaga, New York, 212.206.0872 8 Melissa + VW Westwood Lady Dragon shoes, $180, couture.zappos.com 9 Versace bag, $3,595, select Versace boutiques, 888.721.7219 10 Marc Jacobs bag, $1,395, Marc Jacobs, Bal Harbour, 305.864.2626 11 Miu Miu shoes, $495, bergdorfgoodman.com 12 Chanel bag, $3,000, 800.550.0005 13 D&G shoes, $435, select D&G boutiques, 800.979.3038 14 Hermès bangle, $660, hermes.com 15 Versace shoes, $1,275, 888.721.7219 16 D&G bag, $1,160, 800.979.3038 17 Chanel cuff, $1,050, 800.550.0005 18 D&G clutch, $1,010, 800.979.3038 19 Express corsages, $25, express.com 20 Louis Vuitton shoes, $1,015, louisvuitton.com 21 Aldo shoes, $80, aldoshoes.com 22 Louis Vuitton minaudière, $3,550, louisvuitton.com 23 Salvatore Ferragamo minaudière, $1,650, 800.628.8916 24 Marc Jacobs sunglasses, similar styles $350, Marc Jacobs boutiques, marcjacobs.com 63

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THE LEGEND OF NACHA GUEVARA

the 77-year-old star of the argentine screen and stage is the living embodiment of agelessness, with the legs (and the talent) to prove it Photography Sebastian Faena Illustration Silvia Prada Styling Sofía Achával

Not since Eva Perón has Argentina so canonized one of its own as it has Nacha Guevara. It’s a fitting (if not slightly ironic) passing of the torch: not only has the actress/singer/dancer long been an outspoken voice in Argentine politics (she faced numerous death threats in the years prior to 1975, when a bomb planted in the theater where she was performing forced her into exile for almost a decade), she also counts a portrayal of the former first lady among her many roles. And Guevara has literally hundreds more to her credit—onstage, on television, and on the big screen—along with a multitude of multi-genre recordings and sold-out concerts. Even more impressive than her résumé, however, is the amount of time she has spent building it: at 77 years old, Guevara is practically indistinguishable from her early days, in both looks and attitude. If the Fountain of Youth does exist, she’s found it. Luis Venegas LUIS VENEGAS You know, you and I have something in common: we both have five thousand Facebook friends.

NACHA GUEVARA To tell you the truth, I don’t give that stuff much thought. I say, “Lets do this, let’s do that,” and then I have someone who updates it for me. I do have a computer, a laptop, a cell phone, but I’ll admit I’ve been averse to the change. I got completely fed up one day and just said, “Okay, everything out!”

I spent two years that way—and you can live without it, believe me.

It wasn’t until the iPhone that I reconciled with technology—and from there, my romance with Mac products began. I was one of the first in Argentina with an iPad! And I do know that we’ve set up another kind of account somewhere, and I already have two thousand friends on that one.

LV This question should never be asked in a serious interview, but I’d like to know: what is your favorite color?

NG For my wardrobe, I prefer Eastern-influenced color schemes, because these are always very complex—the blues, reds, yellows—they all seem to be lit from inside.

LV Speaking of your wardrobe, you’ve always been a chameleon when it comes to personal style.

NG I’ve always loved fashion. In fact, my family still has notebooks full of clothing designs from my childhood. As for my own style, it is certainly eclectic, but I’ve always been very free in that regard—an artist’s eye applies to everything, so I’m fascinated by fashion and its endless creative possibilities. But, ultimately, what matters to me most is beauty, because beauty and truth are one and the same. Before beauty, we all surrender.

LV I’ve watched you onstage dealing with some very serious transcendant themes, and then suddenly—seamlessly—you turn into Carol Burnett? Does your creative philosophy in regard to fashion also apply to your performances?

NG By nature, the artist is a fascinating duality. It’s the confluence of actor and character—a side that observes and a side that acts—in a single person. So the more complete (or, if you prefer, contradictory) artists are—be it onstage or in life—the more interesting they are. We are all a duality, but some people don’t like certain parts of their duality and they push those under the rug. These people are boring. The more attractive people are 64

those who say “this is what’s here” and then show everyone.

I’m a great lover of improvisation when I act, and when I dress.

When it comes to my work, I am “the eternal apprentice.” Let that be my epitaph!

LV Whenever I’ve seen you perform—whether ten years ago or ten days ago—I’ve always been amazed by how little you’ve changed, how you can still keep pace with every generation. Where do you get this magic energy?

NG On one hand, it’s a part of my history, from living a life full of obstacles and challenges. At some point, my attitude toward my real life became the same one I use onstage. But it’s also very much rooted in my spiritual pursuits, because these have changed the way I communicate with my audience: I’ve stopped trying so hard to convince people, to please them, to be accepted—which isn’t easy at all in show business, since artists live off these necessities. But once you dispense with them, the result is something really liberating—for both artist and audience. I didn’t figure this out until barely a decade ago, during a period of professional crisis, but now I know that it is essential: art exists according to its own criteria and is guided by its own laws, which creates a very fragile bubble surrounding the artist and the audience. But once you can attain this way of communicating, all that pressure disappears. Even just one second of it is valuable.

LV You were already a star in Argentina when you moved to New York for two years, during the period of your exile. Why did you not do more over there?

NG I came to New York with Harold Prince, the great master of musical theater, because he wanted to see my talent recognized in the United States. He put on a big function at the Saint James Theatre, and there were many big names in attendance: Andy Warhol, Richard Avedon, Sidney Lumet, Oscar de la Renta…I still don’t know how I got up the nerve to take the stage! And I had other performances there that actually won important awards. I still have the newspaper reviews from that period because they were absolutely incredible! But then democracy returned to Argentina, so I went back—even in spite of doing so well in New York City—because I felt I was needed more back home. Professionally, this was a mistake, because it was at such a decisive moment in my career—the recognition I had in New York I’ve never had since. But what can you do?

LV This last question is something you must get asked quite frequently: how do you manage to stay so young looking?

NG Yes, I do get that question a lot. I believe it’s a combination of my genes and the way I’ve cared for myself. I don’t believe in sacrifices—I don’t think you should suffer in order to look good, but I have always enjoyed taking care of myself. I’ve been a vegetarian since birth, which my family could never understand—as I’m sure you would suspect, since we’re both Argentine! So all my life, dinnertime was a battlefield. But I’ve always thought that this idea of healthy living is something we really owe ourselves.

After all, the body—this instrument that carries us down the river of life—is so extraordinary, so intelligent! Why wouldn’t you take care of it?

Nacha Guevara, 77, in Buenos Aires, Argentina, March 2010 Bodysuit Dolce & Gabbana Tights vintage Shoes her own

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“I’VE sTOppED TRyING sO HARD TO CONVINCE pEOpLE, TO pLEAsE THEm, TO bE ACCEpTED... THE REsULT Is sOmETHING REALLy LIbERATING—FOR bOTH ARTIsT AND AUDIENCE." –NACHA GUEVARA

Sweater dress D&G

Makeup Irene Pare Hair Nacho Lopez Fagalde (Estudio H) Retouching View Imaging Special thanks Facundo Garayalde (Mass Group)

Nacha, 77, wears Bodysuit Dolce & Gabbana Tights vintage Shoes her own

NEW AGE

We’ve all heard the time-Worn tales about Women, hollyWood, aGinG, typecastinG, Flops, “comebacks,” and late-career exile. but tales aren’t alWays true, and the careers oF Jane Fonda, susan sarandon, and siGourney Weaver stand as evidence. these three actresses prove there’s liFe and success WaitinG on-screen, onstaGe, and even in the bedroom, Well into a Woman’s 60S, 70S, and beyond Photography Inez van Lamsweerde & Vinoodh Matadin Styling George Cortina Text Michael Martin

Jane, 72, wears Dress Dolce & Gabbana Ring Fred Leighton Necklaces Robin Katz Vintage Jewels 68

“I wouldn’t want to be 20 now.

I know so much more, and I’m much more comfortable In my skIn.” –susan sarandon

Ever since All About Eve (and probably before), the prospect of aging in Hollywood has been every actress’s recurring nightmare, something to be dreaded, or battled. Jane Fonda has flipped that script, and for decades she’s been preparing for the eventuality. “We always fear getting older when we’re young,” she says. “It’s scary when you’re on the outside. But when you’re inside oldness, it’s not scary.”

At 72, the actress who became an icon of youthful sexbombitude (Barbarella) and complex strength (Klute; Coming Home) is still going unpredictable places. Having written one book on preparing for midlife (1987’s Women Coming of Age), she’s revisiting the subject with a book about the third act. She interviewed dozens of seniors and discovered “there’s fabulous things about being older,” she says. “The older people get, the less scared they are. All the studies show you’re not as anxious. People have less hostility, they have less negative emotions. They tend to see things from both sides. Very few things stress me out.”

Fonda says that getting older in Hollywood has been easier than she expected. “But the easiness for me came from thinking about it so much,” she says. “I prepared for it. I’m very healthy.

I built a foundation of fitness starting in my 40s, and that just doesn’t go away.” It’s a move that has come full circle: this year she’s reviving her fitness empire with two new DVDs. Fonda left movies in 1991, a move she attributes today to perimenopausal depression. “I looked at the last two films I did, Old Gringo and Stanley & Iris, and I could see it in my face—I was not at home.” She married Ted Turner and lived with him in Atlanta for a decade before they split up in 2000; she still calls him her best friend. “Did I miss the business? Not one iota,” she says.

Writing her memoirs convinced her that she should return to films. “I realized I was changing a lot and becoming a happy, complete, embodied woman,” she says. “Suddenly I realized, man, I want to get back into acting. I thought I could be better than ever. At my stage in life, the process is as important as the product. I want to be able to like the people I’m working with. I want to be able to have a good time.”

Her comeback was Monster-in-Law, opposite Jennifer Lopez, an experience she remembers as better than the reviews would indicate. “It’s many people’s favorite film of mine,” she says. “I run into people who have seen it ten times. It was a happy, upbeat, over-the-top, exciting, wonderful movie. I had so much fun I immediately thought I wanted to do this again.”

Ever optimistic, Fonda isn’t blindly sanguine about aging in Hollywood. “I think it’s very hard,” she says. “I think there’s a reason that more and more older talented actresses are going into television, particularly cable television. Television tends to be more cutting edge, there’s interesting writing, and it’s a steady job. That’s very welcoming to older actresses, and I’m happy about that. It’s hard not to get stereotyped roles. And I tend to die in a lot of movies now. But that’s all right.”

This year, Fonda stars in two new films. In Peace, Love, and Misunderstanding, she’s a potsmoking hippie grandmother opposite Catherine Keener. Et si on vivait tous ensemble (What If We Lived Together?) is a French-language art-house drama (Fonda performs entirely in French) about two retired couples who decide to cohabitate. “It’s about aging,” she says. “There’s humor and pathos in it.” Also on her plate: two more DVDs, three books about adolescent sexuality (she also runs an Atlanta nonprofit), and an L.A. run of the play 33 Variations (for which she was Tony nominated in New York). “I love being productive,” she says. “I’m never bored. I’m always coming up with new things, whether it’s making a DVD or a book, or making movies. I always want to exteriorize what’s going on inside of me. There’s a lot that goes on inside. I like having output that’s meaningful to me.”

Susan Sarandon remembers a time in her 20s when she lost out on a movie role because she was married in real life. “Definitely an overwhelming lack of imagination,” she laughs today. The limitations of studio executives didn’t stop her, of course, and even at age 64, the Oscar-winning star of Dead Man Walking can’t be accused of an uninventive professional mindset: she’s franchising the ping-pong bar she recently co-founded, and her next film is a New Orleans–set drama directed by mumblecore kings the Duplass brothers. “They work in such a different way, and I want to live more dangerously, in terms of the process,” says Sarandon, who plays the mother of two wayward brothers. “And I get to kiss Rae Dawn Chong.”

Key to her cinematic longevity is Sarandon’s refusal to take herself, or her career, too seriously.

“I ended up in the business in such a funny way that it took me ten years to call myself an actor,” she says. (In 1968, she accompanied her actor husband to a movie audition and was cast as the female lead.) “That’s probably what helped me accomplish what I did. I wasn’t really desperate or nervous. I didn’t define myself by success.”

Susan, 64, wears Earrings Fred Leighton On eyes and lips, Les 4 Ombres de Chanel Quadra Eye Shadow in kaska beige and Rouge Allure Extrait de Gloss in insousciance On hair, Kiehl’s Creme with Silk Groom

“I never worry when they say ‘there are no roles’ or whatever. as long as people are tellIng storIes, there wIll be great roles for all shapes, sIzes, and sexes. you just keep movIng and thIngs come.”

–sIgourney weaver

She has a similar attitude toward aging. “I think growing older is tough for everybody,” she says.

“Even if you’re not incredibly vain, you have to deal with death being so much closer and the way your body changes. If that’s defining who you are, it becomes much more difficult. So I think it’s really important to be in your life and surround yourself with things that get you excited, so you don’t feel like life is passing you by.”

What excites her is Spin New York (the ping-pong endeavor) and serving as a U.N. goodwill ambassador; last season on Broadway, she starred in Exit the King, an experience that filled her with “abject terror” initially. Now she’s planning documentaries, the first about the regulars at Spin. “Early on, I made a good decision not to have a plan, to try to stay open to whatever crossed my path. I’d always be surprised when I’d take years off that I was able to find my way in again. Certainly, at my age, to be working is great,” she says. “Of course, a lot of the parts I play now are either women dying or helping someone die. I have to get away from that. Starting with Dead Man Walking, I’ve been in a death loop for a while. But I’m very happy when I’m not working. It’s a great framing of a career not to be desperate to work. And I feel like I’m still having an awful lot of fun.”

What’s clear is that the actress who became synonymous with earthy, intelligent sensuality in Atlantic City and Bull Durham continues to expand the definition of sex symbol. “I wouldn’t want to be 20 now,” she says. “I know so much more, and I’m much more comfortable in my skin, saggy as it is. When I hear young girls complaining about superficial things...you’re at the peak of your physical beauty right now! Just enjoy it and stop worrying about your thighs being too big. If you’re upset with how you look at 25, life’s going to be tough.”

Three decades ago, Sigourney Weaver blazed a trail into movie history: Alien made her the first female action hero. Today, at 61, she’s coming off a pinnacle year, having starred in Avatar, the top-grossing film of 2009, and scoring an Emmy nomination for the TV movie Prayers for Bobby.

She didn’t expect the trajectory. “I’m kind of astonished that I’m successful,” she says. “That was never my goal. My goal was simply to be someone people wanted to work with because I was a team player and I was into it. I was always about what the experience was like, not how well the movie did.”

That mindset has served her well, from comedies like Working Girl and Galaxy Quest to indie dramas like The Ice Storm and A Map of the World and blockbusters like Avatar. Fittingly for an ensemble player, she sees oneness, not separation, in age. “It’s as good a time as any to be an actress over 40,” she says. “If you look at history, if you look at the great books, there are all kinds of wonderful parts for people of all ages. People like stories about a huge range of different things, and there are all kinds of people needed to tell those stories. I don’t feel that changes, no matter who’s running the studios. They’ll always need wonderful actors.”

Weaver says she never worries about her career. “I was lucky in that my mentors were Jessica Tandy and Hume Cronyn. They never stopped pushing the idea that work begets work. As they finished one thing, they’d go into another. I really admired that attitude: whatever the horse is, I can ride it. I never worry when they say ‘there are no roles’ or whatever. As long as people are telling stories, there will be great roles for all sizes, shapes, and sexes. You just keep moving and things come.”

Her schedule has never been busier. This year, she heads to Italy to shoot a Bruce Willis action film, in which she locks horns with Henry Cavill. “In November, I’m going to sleep with Woody Harrelson,” she chuckles, in the police drama Rampart. Paul is a Simon Pegg comedy that’s “a paean to the comic-con geek within us all,” she says. In Vamps, an Amy Heckerling comedy about a pack of repentant vampires, Weaver plays the unrepentant leader. “I play the baddie in it, but I like her,” says Weaver. “She’s so honest. She likes being a vampire. Everyone else is trying to reform and she’s like, What’s wrong with killing people? I love playing someone who’s so in love with who she is.”

In that sense, Weaver is in-touch with the character she plays, though it didn’t come easy. “I was this tall when I was 11,” she says. “It took me a long time to grow into myself. If you’re a late bloomer, and many are, you look back and say, I can’t imagine it any other way. I can’t imagine peaking in high school. I’m glad that I went for the long game. I just worked with Betty White.

Talk about a long game. She’s so sharp, so gracious, so hardworking. We’d all like to have Betty White’s career. The business attracts so many vivacious people who are so much fun. That means we can all keep going together for a long time, I hope.”

Sigourney, 61, wears Dress Alexander McQueen Hat stylist’s own On eyes and lips, Chanel Inimitable Intense Mascara in noir and Rouge Allure Lipstick in lover

“we always fear gettIng older when we’re young.

It’s scary when you’re on the outsIde. but when you’re InsIde oldness, It’s not scary.”

–jane fonda

Jane, 72, wears Dress Dolce & Gabbana Ring Fred Leighton

Makeup Peter Philips for Chanel Hair Christiaan using Kiehl’s Manicure Deborah Lippmann for deborahlippmann.com (The Magnet Agency) Lighting technician Jodokus Driessen Digital technician Brian Anderson Studio manager Marc Kroop Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Jamie Waxman, Gabriela Langone, Grace Koo Makeup assistant Emiko Ayabe Location Pier 59 Studios, New York Printing Box

FOUR WOMEN

ONCE A MUSE, ALWAYS A MUSE. THESE SUPERMODELS HAVE TRANSCENDED AGE TO BECOME ICONS OF TIMELESS BEAUTY Photography Glen Luchford Styling Beat Bolliger

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“Don’t ever try to be someone else. you have to be creative anD unDerstanD yourself.”

–carmen Dell’orefice

Opposite page: Carmen, 79, wears Shirt Dolce & Gabbana Watch Chanel Watch Rope necklace Lynn Ban Rings her own This page: Coat John Galliano Turtleneck Mango Cuff (her left) Lynn Ban Love bracelet (her right) Cartier Tights Wolford On face and eyes, Chanel Sublimage Texture Supreme Cream, Vitalumière Moisture Rich Radiance Fluid Makeup SPF 15 in cameo, Inimitable Mascara in noir, and Quadra Eyeshadow in dunes

China, 80, wears Dress and necklace Lanvin Earrings Alexis Bittar Ring Dior Fine Jewelry

China, 80, wears Coat Valentino Turtleneck Dolce & Gabbana Ring Cartier On eyes and lips, M.A.C Cosmetics Palace Pedigreed Eye Shadow Quad and Pro Longwear Lipcreme in overtime

“you mustn’t Dwell on age, just live the best life that you can.”

–china machaDo

Talisa, 43, wears Sweater D&G On hair, Oribe Dry Texturizing Spray

“Perfection does not exist. it’s more imPortant to be haPPy with the human being you are.” –talisa soto

Talisa, 43, wears T-shirt Calvin Klein Underwear Jeans Uniqlo Love bracelet Cartier Rings her own On eyes, Lancôme Définicils Precious Cells Mascara in black and Color Design Eye Shadow in meet me in Paris

Frederique, 43, wears Shirt Diesel Jeans Gap Trinity bangle Cartier On eyes and lips, Make Up For Ever Aqua Cream #15 and Rouge Artist #32

“PoP culture will tell you there’s a time when you’ve Peaked, but i disagree. there are times when you’re learning and there are times when you rise uP again. and i think that can haPPen several times, at any age.” –frederique van der wal

Frederique, 43, wears Jacket and bow tie Dior Homme Shirt Calvin Klein Collection

Makeup Lisa Houghton (Jed Root) Hair Kevin Ryan for Rsession Tools (Art + Commerce) Models Carmen Dell’Orefice, China Machado (Ford NY), Talisa Soto (Click), Frederique van der Wal (IMG) Lighting technician Jack Webb Manicure Alicia Torello (The Wall Group) Digital technician Aron Norman Photo assistant Lance Cheshire Stylist assistants Delphine Danhier and Karen Wisdom Location Splashlight SOHO, New York Retouching House

charlotte in couture Charlotte rampling has Charted a Career of searing provoCation, her love of risk equaled only by her desire to break barriers. here she models the latest from paris Couture and refleCts on attraCtion, drama, and the sweet passage of time Photography Willy Vanderperre Styling Olivier Rizzo Text Alex Needham At age 64, Charlotte Rampling remains an icon of sex and decadence. Once described as being able to have any man she wanted, she maintains a powerfully carnal presence in films ranging from Never Let Me Go to StreetDance 3D. Born into a military family in Essex, England, the bilingual Rampling has long divided her time between London and Paris, where she is referred to as “La Légende.” The last ten years have marked some of her most powerful and psychologically penetrating work, particularly in collaboration with the director François Ozon, but she’ll likely be remembered as the embodiment of a certain kind of twisted glamour, like the concentration camp victim entertaining Nazi officers bare-breasted in braces and a cap in the pervy 1974 film The Night Porter.

Speaking over the phone from her home in Paris, it’s clear that she doesn’t suffer fools gladly— she keeps the conversation rattling along at a fair old pace, offering her thoughts on everything from aging gracefully to the state of style publications today. “Fashion in magazines has to be sublime for me, it can’t be ordinary,” she decrees in a cut-glass English accent. One of cinema’s great beauties, Rampling knows how to wear her clothes. “I’ll throw a few things on, but they’ll be good things—couture, Yohji Yamamoto, Jil Sander, usually quite masculine things. I don’t have to bother about it, I just put them on and think that’s who I am, as far as I know who I am,” she laughs.

Rampling seems at ease with her age. Her face is proudly untouched by the surgeon’s knife— she once said that the idea of waking up with a younger face was monstrous—and she speaks warmly about her grandchildren, though an inquiry about whether she spoils them gets a sharp retort: “I wasn’t spoiled, so I wouldn’t know how to spoil them.” She enjoys the freedom that comes from her two sons and stepdaughter having flown the nest, saying that when one grows older “a sort of solitude installs itself that is really quite powerful if you’re not afraid of it.”

While the French are currently up in arms about the retirement age being raised from 60 to 62, Rampling has no desire to stop working. The roles she gets these days, she says, are “shorter but incredibly rich,” like her single scene in Todd Solondz’s Life During Wartime.

So how does she remain quite so, well, sexy? Rampling attributes it to three things: her lust for life, the effort she’s made to evolve, and, above all, the preservation of her mystique. “If you’re not ready [for old age], suddenly you think, Oh my God, I’m not attractive anymore,” she muses.

“Well, of course you don’t attract people in the way you did, but there are other ways. Attraction is making somebody aware of who you are, and it’s the mystery which is attractive.”

Rampling also doesn’t look back, never deigning to watch her old films. “It’s too charged,” she says. “It’s something I’ve lived, so therefore it’s within me.” But she allows herself one moment of reflection on what’s been a life packed with high drama. “I’m just proud that I’ve come through it all,” she says, laughing again. “I’m proud of that girl.”

Charlotte, 64, wears Wool gabardine trench coat with bat sleeves, angora felt turban, leather gloves Gaultier Paris On eyes and lips, Chanel Inimitable Intense Mascara in noir and Precision Eye DeďŹ ner in gris scintillant and Rouge Allure Lipstick in lover

81

Dress in stretch tulle with crystals, hand-cut lace motifs, and ostrich feathers Givenchy Haute Couture by Riccardo Tisci Duchess satin pumps Giorgio Armani PrivĂŠ

Bustier dress in hand-pleated silk organza and leather gloves Dior Haute Couture On hair, Redken Rootful 06 Root Lifting Spray and FrĂŠdĂŠric Fekkai Sheer Hold Hairspray

Silk chiffon blouse with smocked waist and matching scarf and panelled skirt in wool tweed Chanel Haute Couture On skin and eyes, Chanel Vitalumière Aqua Foundation in ivory and Ombrées Perlées de Chanel Eyeshadow Palette

Ball gown in poudre organza, hand-embroidered with crystal embellishment and leather gloves with oversized bows Valentino Haute Couture

Double tulle mermaid dress embroidered with degradé sequins Giorgio Armani Privé Fragrance Giorgio Armani Acqua di Gioia

Ball gown in viscose knit and silk tulle Atelier Versace Men’s sweater vintage Gianni Versace Hand-embroidered mules Valentino Haute Couture

Makeup Peter Philips for Chanel Hair Yannick d’Is using Frédéric Fekkai (Management Artists) Manicure Elsa Durrens (Artlist Paris) Photo assistants Romain Dubus and Antoni Ciufo Stylist assistant Donatella Musco Makeup assistant Valerie Joudelat Special thanks Henri Coutant (DTouch), Stephanie Jaillet, Lea Collaud (Janvier Paris)

Carol, 49, wears Jacket Bottega Veneta Resort 2011 Shirt and jeans Guess Necklace her own On lips, M.A.C Cosmetics Tinted Lip Conditioner in petting pink

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workIng gIrls Natural is the way. these five womeN defy time with coNfideNce, Never betrayiNg the esseNce of who they are Photography Cedric Buchet Styling Clare Richardson

“I’m a thousand tImes more confIdent than I was ten or twenty years ago. I’m also healthIer, smarter, fItter, stronger, and faster than ever.” –cecIlIa dean Cecilia, 41, wears Dress Givenchy by Riccardo Tisci Resort 2011 Necklaces her own On eyes, Les 4 Ombres de Chanel Quadra Eye Shadow in smoky eye

“I lIve my lIfe lIke a dog: I snIff what smells good, eat what tastes good, and run after squIrrels! thInk lIke a dog and your lIfe wIll be fIne, you bItches!”

–Pat cleveland

Pat, 60, wears Top Giorgio Armani Resort 2011 Pants Thakoon Resort 2011 Belt Prada Resort 2011 Shoes Stella McCartney On lips, NARS Cosmetics Lipstick in viridiana

Emmanuelle, 44, wears Shirt BOSS Black Necklace Cartier On hair, Redken Spray Starch 15 Heat Memory Styler

“The sexiesT Thing abouT a woman is her healTh. when you feel good, everyone is aTTracTed To you. buT if you look sick, They’ll sTeer a wild paTh around you.” –carol alT

Carol, 49, wears Jacket Temperley Resort 2011 Dress and bra Giambattista Valli On skin, NARS Cosmetics Bronzing Powder in laguna

“My heart controls My head. and thank God!” –Martine Malle Martine, 52, wears Dress Dior Jewelry her own On hair, Redken Fabricate 03 Heat-Active Texturizer

Pat, 60, wears Jumpsuit and cape Salvatore Ferragamo Briefs Kiki de Montparnasse On eyes, Dior Beauty Style Liner Intense Liquid Eyeliner in black On hair, Redken Quick Dry 18 Instant Finishing Spray

“age Is a number on a PIece of PaPer.” –emmanuelle seIgner

Emmanuelle, 44, wears Coat Giambattista Valli

Makeup (for Emmanuelle) Inge Grognard (Jed Root) Makeup (for Carol, Martine, Cecilia, Pat) Kaoru Okubo (Management Artists) Hair (for Emmanuelle) Nicolas Jurnjack (Management Artists) Hair (for Carol, Martine, Cecilia, Pat) Diego Da Silva (Tim Howard Management) Models Emmanuelle Seigner (Silent), Carol Alt (Wilhelmina), Pat Cleveland (Trump), Martine Malle, Cecilia Dean Photo assistants Sterling Taylor, Lise Decoox, Richard Rose Stylist assistant Rebecca Connolly Digital technicians Clement Dauvent and Ali Gokay Sarioz Hair assistant Eiji Kadota Production Nex9 Productions Camera and lighting equipment Mondegreen Productions Location Root [Bk] Catering The Chef’s Agency Casting Andrew Weir (ACW Worldwide) Casting assistants Sasha Wilson and Manuel Romero Special thanks The Pierre, New York

he Land of Fairy Where nobody gets old and godly and grave Where nobody gets old and crafty and wise Where nobody gets old and bitter of tongue

Photography Sebastian Faena Styling Katie Shillingford 96

DelďŹ ne, 31, wears Dress John Galliano Gold and crystal necklace (worn as headpiece) Dsquared White beaded necklace (worn as headpiece) and bracelet Erickson Beamon Latex gloves and stockings Atsuko Kudo Boots Chanel

Jacket Balenciaga

by Nicolas Ghesquière Sheer dress Ann-Sofie Back Sheer skort with flowers Isabel Czernin Fishlock Earrings Soho Hearts Gloves Dsquared

ome away, O human child!

To the waters and the wild With a fairy, hand in hand, For the world’s more full of weeping than you can understand

Dress Dolce & Gabbana Tulle underskirt vintage from Beyond Retro Latex sleeves and stockings Atsuko Kudo Boots John Galliano On lips, NARS Cosmetics Lipstick in little darling

Dress Givenchy by Riccardo Tisci Resort 2011 Briefs Jean Paul Gaultier for La Perla Paper crowns and bracelet with flowers Meadham Kirchhoff Lucite cuffs and metal bangles Alexis Bittar Blue plastic bangles Prada Resort 2011 Gloves LaCrasia Latex socks Atsuko Kudo On cheeks, NARS Cosmetics Blush in sex appeal

Text excerpted from William Butler Yeats’s “The Land of Heart’s Desire” (1884) and “The Stolen Child” (1889) Makeup Francelle for NARS Cosmetics Hair Esther Langham (Art + Commerce) Model Delfine Bafort (Ford NY) Manicure Rica Romain (See Management) Photo assistant Aubrey Mayer Stylist assistants Jessica Bobince, Jonathan Hamilt, Jeremy Wood Lighting technician David Diesing Digital technician Aurelie Graillot Set design Bryn Bower Producer Helena Martel Production assistants Leo Zaia, Audrey Rudolf, Ali Madigan, Romina Fernandez Location The Log Cabin Equipment Rental DRIVEIN24 Videographer Martin Landgreve Retouching View Imaging Catering Noz Catering

See a film of this shoot on vmagazine.com

Ageless

Grace, drama, romance—dressinG for the winter of life requires channelinG equal amounts of youth attitude and Grown-up chic

Photography Will Davidson Styling Clare Richardson Casting Andrew Weir Bambou, 51, wears Dress Dolce & Gabbana Shoes Christian Louboutin Hugo, 24, wears Suit and shirt Dolce & Gabbana Shoes Burberry Prorsum 104

Madame Schmitt, 68, wears Blouse CĂŠline Coat and pants Roberto Cavalli Gloves Cornelia James

Françoise, 79, wears Blouse D&G Earrings vintage On lips, Estée Lauder Signature Hydra Lustre Lipstick in Spanish red

Bambou, 51, wears Bodysuit Dolce & Gabbana Veil Piers Atkinson

Carla, 60, wears Coat Lanvin Jacket D&G Pants Donna Karan On eyes, EstĂŠe Lauder Resilience Lift Extreme Ultra Firming Eye Creme and Signature Eyeshadow Duo in sage

Bambou, 51, wears Dress Altuzarra Shoes Christian Louboutin Hugo, 24, wears Suit, shirt, tie Dolce & Gabbana Shoes Burberry Prorsum

Madame Schmitt, 68, wears Coat Jean Paul Gaultier Dress CĂŠline Gloves Cornelia James

Makeup Christine Corbel (Jed Root) Hair Christian Eberhardt (Jed Root) Models Bambou (IMG), Carla Von Bergman (Storm Models), Hugo Sauzay (Success), Madame Jane Schmitt (Nathalie), Françoise de Stael (Master Models) Production M.A.P. Ltd and Brachfeld Paris Photo assistant Mourad Boudrahem Digital technician Jeremy Banning Stylist assistants Rebecca Connolly and Clemence Lobert Casting assistants Isabel Encinias and Sasha Wilson Catering Rosa Bonheur and Le Petit Chef Lighting and equipment Direct Paris Retouching Jason (ProVision)

Bambou, 51, wears Dress Nicole Miller Cape Atsuko Kudo On eyes and lips, EstĂŠe Lauder Pure Color Eyeshadow in nocturnal blue and Pure Color Long Lasting Lipstick in autumn

the ballad of amanda lear

Before GaGa, or even Madonna, there was a woMan who played the strinGs of ruMor and scandal aGainst her own disco Beat. But aManda lear, queen of the ’70s scene, still has plenty to say aBout Bad Biopics, deceitful lovers, couGar castinGs, and the peril of triButes. here she speaks with her dear friend riccardo tisci aBout then and now Photography Willy Vanderperre in collaboration with Riccardo Tisci Decades before pop’s reigning femme fatales Twittered their stardom into existence, disco queen Amanda Lear had the fame game figured out. Her past was a mystery—and a source of great intrigue. Her present spent in the limelight of European clubland and Italian television, on which she hosted a daytime talk show.

Lear also basked in the glow of stellar record sales—15 million albums, 25 million singles, and such era-defining hits as “Follow Me,” “Queen of Chinatown,” and “Fashion Pack.” These days, things are calmer for disco’s most infamous blonde, and she’s quick to cite her early curfew and love of nature almost as badges of a reformed life. She recently spoke with her friend, the Givenchy designer Riccardo Tisci, about her transition from song to stage, and why weather girls are not to be trusted.

RICCARDO TISCI So Amanda, what do you find inspiring at the moment?

AMANDA LEAR Well, the world is changing. I think people are more aware of what is going on in the world. You cannot ignore the planet anymore. The weather is so bad and everything is completely fucked up, so I think people are slowly—very slowly— realizing they have to do something to keep the planet in shape.

I’m not really a big-city girl, I’m more of a country girl. [Laughs] I have a property in the south of France. I love my olive trees, and to me nature is so incredibly important. It’s vital.

RT What do you find attractive about others?

AL A sense of humor. I think whether they’re good-looking or not they have to be able to have a good laugh. I think humor is a form of seduction. I think now that I’m not so young anymore people still enjoy my company because I’m fun to be with. Thirty years ago when I got married in L.A., Paul Morrissey asked me what I would like for a wedding present, and I said I wanted to meet Mae West, who was very, very old already. She was into ESP and was a bit out of it, but she had that sense of humor, that incredible wit. And I think that’s terribly important.

RT You’ve lived everywhere. What languages do you speak?

AL I speak five—French, English, German, Italian, and Spanish.

With Salvador Dalí I spoke Spanish. On my television show and with my boyfriend I spoke Italian. But when I married my French husband, I started living again in France and got really into speaking French all the time. But for years I was singing in English. Actually I think there is a language for every situation.

Some famous king said that. He spoke in English to his minister, in French to his wife, in Italian to his mistress, in Spanish to his soldiers, and in German to his horse. [Laughs] RT But which nationality do you identify with most?

AL I kept my British passport and enjoy the company of British people. I had this flat in Chelsea for so many years around the corner from Manolo Blahnik, but I had a problem with French tax authorities and had to sell it. I got a flat in Paris and I have 112

a beautiful house in the south of France, but England is more civilized than the rest of the world.

RT Who are some of your favorite artists?

AL I used to be mad about Picasso. I think he was an incredible painter. I didn’t like Salvador Dalí at all, unfortunately. [Laughs] RT But you were such good friends…

AL I was with him for many years—I liked the man but I didn’t like most of his paintings. As far as music, I’m mad for classical. On my iPod I’ve got Mozart but also I’ve got the complete works of Barbra Streisand—I think she has the most incredible voice ever.

It comes from deep down inside.

RT Is there an artist you feel is underappreciated today?

AL Yeah, me for instance! I sold about 18 million records in the days of disco, but people tend to forget that. That is the problem with people like me who do too many things. I paint, I used to host a television show, I now act onstage. It makes it difficult for people to put a label on you and so when they talk about singers, they talk about Grace Jones, but I’m from the same era!

RT What do you think has changed since the ’70s, in terms of the way people dressed and behaved then versus now?

AL I think we’re more discreet now. It was completely crazy fashion back then. I didn’t like that fashion at all. The fashion now is a delight. I’m not nostalgic, I’m not looking back and thinking, “It was so much better in the ’70s.”

RT What is something you love to wear every day?

AL Jeans, jeans, jeans. They make good legs, jeans. Not so low waist, you know, proper waist, high heels, and a little bomber. I think it’s very chic when you take some clothes from your boyfriend and underneath you wear a see-through blouse or something very feminine. Marlene Dietrich dressed like that—mixing masculine and feminine.

RT Do you have any favorite pieces by Givenchy?

AL I have a very nice trench coat from two or three years ago.

Simple black trench, very chic. I’m absolutely mad for accessories.

I have all the Givenchy bags and I just got a Dolce & Gabbana.

They actually contacted me because they want to print my face on all their T-shirts like they did with Madonna. It’s very sweet, but when people start paying tribute to you it means…you feel very old. You feel very, very old, like one foot in the grave! [Laughs] RT How do you pick a look for a performance?

AL It has to be striking, obviously. It has to shine a little bit because I’m thinking of the light. It has to hide all the bad bits that I don’t want to show. [Laughs] And show off the good bits, which in my case is the legs, so if I wear a long dress it will be a little bit see-through like what I wore to the Vogue ball.

RT What is your daily ritual?

AL Wake up, look in the mirror, and say “Oh my God, what am I going to do!” [Laughs] I’m more of a morning girl, I must say. So the first thing: big breakfast—corn flakes, muesli, coffee… I’m very,

Amanda, 60, wears Clothing and accessories Givenchy by Riccardo Tisci Sheer cape Haute Couture F/W 2005 Leopard tailcoat, leopard tank, metal bone and skull necklaces S/S 2011

This spread: Amanda, 60, wears Clothing and accessories Givenchy by Riccardo Tisci Black coat, tone-on-tone leopard jacket, black bone necklace S/S 2011 Menswear Knit vest, jersey top, sheer gloves with leather palm Resort 2011 Chain necklace and ring Lear’s own

very healthy. I take millions of vitamins, ginseng… Then in the evening I do my performance onstage in the theater. So at 11 o’clock at night after the play I’m absolutely dead. I’m not very much of a disco girl anymore, I’m not going out to clubs. I’m a working girl and I go to bed early. When I started doing theater, I said, Alright, people expect me to be really shitty—“She could never act, let’s go and have a good laugh.” So I insisted on being terribly professional and doing it right. And everyone was surprised.

RT What’s the name of the play?

AL Panic in the Ministry, or Panique au Ministère in French.

In the play I have a daughter who is the Minister of National Education, so she’s terribly uptight, wears business suits, thinks only about her career. Then suddenly I arrive—her mother— completely out of my head, smoking a joint, having young men around. It’s very funny and people adore it. I’ve been doing it for two and a half years now. And after this I’ve already signed up for a movie and a TV series so I think I’ll be acting for a few years.

RT Do you think your book, My Life with Dalí, will ever be made into a film?

AL My Life with Dalí was interesting because it was an account of an intimate Salvador Dalí. There were hundreds of books written about the public Dalí, but what he had for breakfast, what he did every day, I was the only one to tell that story. So they called me when they had the big retrospective in Philadelphia, and people talked about me like I was Dalí’s widow, which I’m not. They said they wanted to make a movie, and I said, Okay, but who is going to play Dalí, and most importantly, who is going to play me?

RT Who do you think?

AL I was a model back then, so it could be a model. We were thinking about Claudia Schiffer, who was very much in fashion at the time. So we gave her the book and we finally met and she said to me, “Oh I love your book, who wrote it for you?” Who wrote it for me?! I said, “I’m glad you like it, who read it to you?” [Laughs] So that was the end of that. I don’t know at the moment who’s going to play me or if it will be made. They’re going to fuck it up anyway. Whenever there’s a movie, like the life of Marilyn Monroe, or Picasso, or Modigliani, it’s very difficult, especially if it’s filmed by some director who never met the person, who wasn’t there at

the time. They made a movie with Robert Pattinson playing Dalí and it was totally ridiculous. Can you imagine Robert Pattinson from Twilight playing Dalí? I had nothing to do with that.

RT What do you feel Dalí taught you?

AL He taught me how to be an entertainer. Hanging out with him was a bit like being around Elvis because he behaved like a rock star, surrounded by all sorts of hangers-on. Whenever there was a camera crew around, immediately he changed the way he spoke and moved. So from him I learned how to manipulate the media when you want people to talk about you.

RT What was it like receiving the Chevalier dans l’Ordre des Arts et des Lettres in 2006?

AL Oh my God it was embarrassing. I thought, “What have I done to deserve this?” But they said, “Your career! You’ve done so many records and movies, you paint, you’ve had all these TV shows, you deserve it.” So I said, “Alright, if you put it that way.”

Then last week I received a letter from the government. They want to give me the big medal, the Legion d’honneur, and this time I said, No. I have to decline. I cannot accept the Legion d’honneur

Makeup Adrien Pinault for Dior Beauty (Management Artists) Hair Tomohiro Ohashi for Redken/Cutler Salon (Management Artists) Manicure Anny Errandonea (Marie-France Thavonekham) Photo assistants Romain Dubus and Corentin Thevenet Digital technician Henri Coutant (DTouch) Production Aurelie Mangiaracina Location Studios Daylight, Paris

because it is really for those who have served the country of France. I didn’t go to war or anything, so I find it a bit embarrassing to tell you the truth. To me it sounds so grand, so political.

RT So you’ve officially declined it.

AL Well I think I’m going to decline. I just received the letter last week and I asked a few friends. Some of them said, “You cannot accept, people will laugh at you.” Others said “Take it, don’t be silly, it will be fun.” So I don’t know.

RT I think you should go for it.

AL It’s a little red ribbon that I’d have to wear on my lapel so it will look good on my black Givenchy dress. [Laughs] RT You have to accept. You already have the outfit for it!

AL Maybe… [Laughs] RT What is your dream?

AL My dream is one day I’ll be sitting in a restaurant and Woody Allen will walk by and say “Hey, I want this girl for my next movie.”

[Laughs] But really I would like a director to see the possibility.

Because right now they only see a part of me—the cougar, the 60-year-old woman who still looks good, goes out with young

men. That’s Sex and the City, but there is more to me. I would like to go deeper into acting and see what I can do, play Tennessee Williams, A Streetcar Named Desire… That’s my dream, it will come some day. It takes time but I have no doubt it will come.

RT What is a quote that sums up your life?

AL I think it was King Ludwig of Bavaria, who was completely crazy, who said, “I want to remain an enigma—to others and to myself.” Some people go into years and years of psychiatry because they want to understand… You know what? I don’t want to know how it works inside. So I’ll have that written on my grave: “I want to remain an enigma.” If not that then I’ll have them write: “No more shopping.” [Laughs] RT What is something you can’t live without?

AL Black eye makeup.

RT Out of everything in the world, that’s the one thing?

AL Absolutely. Until age 40 a woman should wear a lot of black on her eyes. And after forty, she should wear even more. [Laughs] RT Do you have a secret to defying age?

AL I never think about it—I think that’s it. It’s like any other fear.

Once you start counting the minutes, you get older every second.

You might as well jump right out the window.

RT What is next?

AL The only thing that I’m missing in my life is a beautiful love story to end it all. And I am waiting. The man has to be very patient, good-looking, and faithful. I don’t mind if he’s black or white or whatever as long as he has a sense of humor and is not desperately jealous because I’m not Miss Faithfulness. I was with a beautiful Italian boy for ten years until we split last year.

RT Who was he?

AL Manuel, an incredibly good-looking boy. He was a model and then he was on this show called I’m a Celebrity, Get Me Out of Here! He was starving on an island somewhere and he made quite a bit of money after that. He wasn’t just “Amanda Lear’s boyfriend.” But then last year, unfortunately, he started hitting it off with a weather girl. Those weather girls are terrible. So I dropped him on the spot. He begged for forgiveness but I said, “That’s it, that’s it, it’s finished.” So I will find another one, and he better keep away from the weather girls.

InspIratIon Is the spark. FIve desIgners nomInate the women (and one man) who push theIr creatIve process Forward 116

Makeup Peter Philips for Chanel Hair Sam McKnight for Pantene Retouching Ludovic D’Hardivillé (Ludh)

can’t StOP tHE MUSES

InÈS DE La FrESSangE

nomInated by karl lagerFeld V What makes Inès an iconic muse?

KARL LAGERFELD She is the incarnation of Parisian chic.

V What about her inspires you? Attracts you?

KL She is “La Parisienne”—and not only for the French.

But they do adore her, and rightly so.

V What do you find beautiful about her?

KL She is not only beautiful, she has class. She is ageless.

Inès de la Fressange, 53, and Violette, 11, in Paris, October 2010 Photography Karl Lagerfeld This spread: Inès wears Clothing and accessories Chanel S/S 2011 Violette wears Clothing and accessories her own

imAN

V What makes Iman an iconic muse?

ISAAC MIZRAHI Iman is full of love for the subject of fashion. She has tons of fun with it. She has actual style, not something she gets from anyone else.

V What about her inspires you?

IM Her wicked sense of humor and her wisdom.

V What do you find beautiful about Iman?

IM She has the most remarkable neck. It adds to the crazy sculptural beauty of her whole head.

V How did you first meet?

IM I don’t know if you could call it a meeting but when I was 18 I dressed a Calvin Klein show. I was dressing another model (Kim Charlton) on the rack next to Iman’s and Iman smiled at me. It was a big moment in my life.

Iman, 54, in New York, 2009. Photography Sølve Sundsbø On lips, IMAN Cosmetics Luxury Lip Shine in exotique Iman and Isaac Mizrahi's Fashion Show airs Tuesdays on Bravo at 10pm EST

Photography courtesy Art + Commerce

nominated by iSaaC miZRaHi

caMILLa nIckErSOn

nomInated by FrancIsco costac V What makes Camilla an iconic muse?

FRANCISCO COSTA I love Camilla's aesthetic and I trust her implicitly.

V What about her inspires you? Attracts you?

FC Camilla is extremely endearing and her intelligence and confidence inspire me.

V What do you find beautiful about her?

FC Aside from her exterior beauty, Camilla is very warm and unpretentious.

V How did you first meet?

FC Camilla came by the showroom to see the Fall 2007 collection and then we had breakfast at Pastis shortly thereafter. We just immediately connected.

Camilla Nickerson, 45, in New York, June 2010 Photography Mario Sorrenti Jacket and pants Calvin Klein Collection Resort 2011

yOkO OnO

nomInated by dIane von Furstenberg V What makes Yoko an iconic muse?

DIANE VON FURSTENBERG Yoko is both an artist and a muse—always has been, always will be.

V What about her inspires you?

DVF Her strength, her talent.

V What do you find beautiful about her?

DVF Her confidence.

V How did you first meet?

DVF It seems that I’ve known her forever.

Yoko Ono, 77, in Paris, October 2009 Photography Diane von Furstenberg

LUcIan FrEUD

nomInated by stella mccartneyc V What makes Lucian an iconic muse?

STELLA McCARTNEY He is a living legend.

V What about him inspires you?

SM He’s genius.

V What do you find beautiful about him?

SM He is not a beautiful person, that is what’s beautiful about him.

V Do you have a funny story about him?

SM I once asked him about a woman in one of his paintings; he said she was a girl who knocked on his door, an admirer who loved his work. He gave her a “tuppenny upright” in the doorway and bam, she sat for him! I love that phrase “tuppenny upright”...so Lucian...a lost era.

Lucian Freud, 87, in London, June 2010 Photography David Dawson

FOREVER YOURS Some thingS get better with age. theSe eSSential handbagS and toteS are the acceSSorieS of the SeaSon, every SeaSon Photography Anthony Cotsifas Fashion editor Catherine Newell-Hanson

“MiSS SicilY REpRESEntS a tRibUtE tO thE FlawlESS, tiMElESS ElEgancE OF Sicilian wOMEn, a cOnStant SOURcE OF inSpiRatiOn. ElEgancE and RigOR aRE cOMbinEd in OnE bag tO cREatE a StYlE StatEMEnt.” –dOMEnicO dOlcE & StEFanO gabbana “Miss Sicily” bag in leather Dolce & Gabbana

“thE nEw lOgO thiS SEaSOn waS takEn FROM gUcci haRdwaRE that waS dESignEd in 1973. i’VE had MY EYE On thiS aRchiVE dESign FOR a lOng tiME and FinallY FElt likE nOw waS thE Right tiME tO USE it.”

–FRida giannini, cREatiVE diREctOR, gUcci “1973” medium shoulder bag in crocodile with gold closure Gucci

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“thE ORiginal idEa OF thiS pURSE waS SOMEthing that wOUld accOMpanY an ElEgant and dYnaMic wOMan in hER dailY liFE, cOntaining all thE ESSEntial thingS ShE nEEdEd FOR hER daY.” –cathERinE chaillEt, dESignER OF thE ORiginal hERMèS “cOnStancE” bag “Constance” handbag in leather with silver-plated hardware Hermès

“We Were inspired by Christian dior’s [original 1949] ‘Junon’ dress. the Curves of the flap evoke its design.”

–Camille miCeli, Creative direCtor, aCCessories, dior “3D” medium flap bag in python and lizard Dior

Prop styling Noemi Bonazzi Photo assistant Karl Leitz Retouching Rob Willingham (RW Retouching)

MO FLAGRANTLYY MOST UUNSEASONABLE S AC ACCESSORYY T e hi in n fabab There’s a certain chic ulously u o ly non-essential ial pieces ec c of clothing, like this tutti-frutti fur from Prada Spring/ fr ng/ n Summer 2011. Artificiall Su fuzz may be in fashion (see fu e Chanel below), but when Ch n you’re sporting the neon-yo striped real thing outside st e its ts designated whether de d season, e hett is probor not itt had d parents a rrob ably ab the last thing on your u mind.. mi

MOST ADORABLE NEW SPECIES Meet the Bushy-Bearded Titi Monkey! This little guy was first spotted by scientists in the Columbian Amazon nearly fifty years ago; this past August, it was finally declared an official species.

Everybody say, “Awww...”

BEST DIY If Martin Margiela, Martin Degville, and the creative team behind Windows 95 got together to edit an online anti-fashion magazine, it would look a bit like the delightfully absurd DIS, home to some of the most eye-opening style shoots of the t year.

F O T S E B A

BAND OF THE YEAR DIE ANTWOORD

—Harmony Korine

B T ONSTAGE BEST O TG WWATERWORKS PINA BAUSCH’S VOLLMOND (FULL MOON) AT BAM —James Kaliardos

BEST EXHIBITION Matthew Barney’s “Prayer Sheet with the Wound and the Nail,” curated by Neville Wakefield, at the Schaulager Museum in Basel, Switzerland—provocative subject matter, beautifully explored. –Olympia Scarry

MOST ILLUMINATING DESIGN We loved the Lighthouse lamp by Ronan and Erwan Bouroullec for Established & Sons, in collaboration with the master glass-blowers at Venini. Besides the remarkable technical feats—a massive glass orb balances, unfixed, on a slim stick of aluminum—it manages to recast classic materials in a super-contemporary way.

It pushes smoked glass beyond its ’70s connotations and elevates marble from a Miami cliché into something much more understated and cool. –Jill Singer & Monica Khemsurov, Sight Unseen

Prada photo courtesy Prada; DIS photo Marco Roso; Courtney Love photo Rad Hourani; Marina Abramovic, “The Artist Is Present,” MoMA, 2010 photo Marco Anelli, courtesy Sean Kelly Gallery; Valentino photo Derek Blasberg; Crystal Renn photo Terry Richardson; Chanel photo courtesy Chanel; Portrait of an Addict as a Young Man courtesy Little, Brown and Company; Titi monkey photo courtesy Javier Garcia, special thanks Conservation International; Die Antwoord photo courtesy Clayton Cubitt; “Matthew Barney: Prayer Sheet with the Wound and the Nail” photo Tom Bisig, courtesy Schaulager® Münchenstein/Basel

BEST FILM ENTER THE VOID —Henry Hopper

BEST DON’T-CALL-IT-A-COMEBACK I am in love with Courtney Love. She has lived her whole life completely unhinged—and people want her to repent—but she’s not about to put the door back on its hinges, because she has all the shit to back it up.

She is unlike anybody else, and she’s running at full creative capacity now.

You can’t say it’s a comeback—it’s more profound than that.

—Richard Phillips

This spread: Courtney Love in Givenchy Haute Couture

by Riccardo Tisci performing at the “Printemps Loves New York” party co-hosted by V Magazine, Paris, October 5, 2010

BEST LIVING INSTALLATION Marina Abramovic’s “The Artist Is Present” at MoMA revolutionized the idea of performance in a museum space. Her show galvanized the city and brought the museum to life. —James Franco

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A-PARTY E T W A S T A YE A R T H A L ANIA, L A M C E U U O Q Y S O O D M , WHAT D MINERS ATING EQUITY, AND E P P A R T , S TAKEOVER D SEQUELS, EVAPOR S HO W ?

K L A T A N B W , O S OIL SPILL G ON HER THE HEADU L P E H T G IN L OPRAH PULL M 2009. BUT AMID AL EMLINES, RO GH A STEP UP F EADLINES AND SHIFTIN MADE US H E SCRATCHING D THINGS ON THIS PAG T ALL AN HI THE PEOPLE ND GO "AWW" THROUG ,A LAUGH, CRY

MODEL OF THE YEAR

In the public outcry for more “real” women in fashion, Crystal Renn is a revolutionary. The former waif has flaunted her now-voluptuous figure everywhere from V to French Vogue this year—proving the skinny-chic mandate of the ’00s to be terribly last-decade. The mania started with her Terry Richardson shoot in our Size Issue (right).

MOST SOBERING MEMOIR Lit agent Bill Clegg’s mad descent into crack addiction as chronicled in his Portrait of an Addict as a Young Man was the most chilling, impossible-to-put-down read of the year.

BEST PARTY Something about masks inspires debauchery, which is only compounded when you throw in a bit of booze and some of fashion’s funnest faces. Such was the Vogue Paris 90th-anniversary masquerade ball that Carine Roitfeld organized in Paris on the eve of fashion week—a fête that many are already calling legendary. Legendary designers (a feather-faced Diane von Furstenberg), legendary masks (Karlie Kloss in a celestial number by Stephen Jones for Dior), and a live performance by the legendary Amanda Lear. “Have a sex life!” Lear exclaimed after her performance of “I Am What I Am.” Now that’s legendary. –Derek Blasberg

LOUDEST FASHION WAKE-UP CALL For Chanel’s Fall 2010 show, Karl Lagerfeld had his models wade through the watery runoff from a 265-ton snow-and-ice “glacier.” The melting runway, which was carved by thirty-five sculptors flown in from Sweden’s Ice Hotel, remains fashion’s most powerful statement on the global-warming crisis to date.

Bonus points for 100% fake fur.

SEE MORE OF THE BEST OF 2010 ON VMAGAZINE.COM

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1947

The sound barrier is broken.

ROLEX. FOR LIFE’S DEFINING MOMENTS.

OYSTER PERPETUAL L ADY-DATEJUST PEARLMASTER