V73 THE HEROES ISSUE

73 Fall 2011

US $7.50 CAN $8.50 DISPLAY UNTIL November 8, 2011

CHANEL BOUTIQUES

•

800.550.0005

© 2011 CHANEL®, Inc.

A®

•

CHANEL .COM

CHANEL BOUTIQUES

800.550.0005

CHANEL BOUTIQUES

•

800.550.0005

CHANEL .COM

© 2011 CHANEL®, Inc.

A®

RALPH

LAUREN Collection

RALPH View the Runway Show and go behind the scenes with the Ralph Lauren application on your iPhone® or visit R A LPHL AUR EN.COM /COLLECT ION

LAUREN Collection

N E W

Y O R K

B A L

H A R B O U R

B E V E R L Y

H I L L S

B O S T O N

C H I C A G O

D A L L A S

G R E E N W I C H

visit

visit

B E R L I N 2 0 11 S T E F A N E L .C O M

© STE FAN E L F / W 20 11

S T E F A N E L .C O M

+39 04 2 2 8 19 1

welcome to

Lipstick Clarins Diamond and platinum earrings and “Inde Mystérieuse” necklace (on bed) Cartier Shoe and bag Bally Slip Olatz

Photography Metz + Racine Styling Catherine Newell-Hanson 34

v fall 2011

dedicated to the style and spirit of elizabeth taylor plus: the legends of art, film, music, and culture and fall fashion’s most unforgettable looks

Set design Matt Jackson Photo assistant Brendan Dick Digital capture Aingeru Zorita Stylist assistant Hilary Shepherd Location Root [Bk]

cat on a hot tin roof

www.dior.com

bale nciaga.com

HUGO

HUGO BOSS FASHIONS INC. Phone +1 212 940 0600

shop online hugoboss.com

marc jacobs stores worldwide w w w. m a r c j a c o b s . c o m

h ele n a bon ha m cart e r ph oto g ra ph e d by j u erg e n te lle r

TM

©2011 Harry Winston, Inc.

Constance is wearing Pure Color EyeShadow Duo in 14 Modern Mercury, Velvet Lipstick in 01 Red Velvet and Nail Lacquer in 26 Metallic Sage. © 2011 Estée Lauder Inc.

Like us on facebook.com/esteelauder

© D.YURMAN 2011

Hammered Link Collection

DAVI DY UR MAN.COM

BA L H A R B O U R 30 5 8 66 1 8 8 8

NEW YORK

BEVERLY HILLS

LONDON

PARIS

MILAN

TOKYO

SINGAPORE

HONG KONG

net-a-porter.com michaelkors.com 1.866.964.KORS

jbrandjeans.com

Belvedere is a quality choice. Drinking responsibly is too. Belvedere Vodka 40% ALC./VOL. (80 PROOF) 100% neutral spirits distilled from rye grain. Š2011 Imported by MoÍt Hennessy USA, Inc., New York, NY.

TRUST YOUR INSTINCTS NATURALLY SMOOTH MAKE IT BELVE

®

FACEBOOK.COM/BELVEDEREVODKA

www.ports1961.com

shoes

Proud to support

handbags

jewelry

, to make a donation visit www.soles4souls.org

shop online @ ninewest.com/vintageamericacollection follow us on facebook and twitter

Rio de Janeiro SĂŁo Paulo Buenos Aires N e w Yo r k Miami Milano Roma To k y o

F / W 11 / 1 2 F e n i x C o l l e c t i o n b y O s k a r M e t s a v a h t

NEW YORK 97 WOOSTER ST. - SOHO MIAMI 1111 LINCOLN ROAD - MIAMI BEACH

butterfield 8 From left: Powder compact and lipstick Estée Lauder Fragrance Tom Ford Diamond and platinum “Snowflake” bracelet and diamond and white gold “Fleurette” bracelet Van Cleef & Arpels Fur coat Derek Lam

CAST & CREW

Editor Christopher Bartley Photo Editor Evelien Joos Bookings Editor Natalie Hazzout Senior Fashion News & Special Projects Editor Derek Blasberg Associate Editor Elliott David

96

Managing Editor/ New Media & Special Projects Steven Chaiken

Associate Editor/Online Patrik Sandberg Senior Fashion Editor Jay Massacret Fashion & Market Editors Catherine Newell-Hanson Tom Van Dorpe Fashion Assistant Katelyn Gray Special Projects Stephen Smith Jennifer Hartley

Contributing Fashion Editors Joe McKenna Melanie Ward Panos Yiapanis Nicola Formichetti Olivier Rizzo Jane How Clare Richardson Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sally Lyndley Sofía Achával

Consulting Creative/ Design Direction Greg Foley Art Director Sandra Kang Associate Art Director Cian Browne Design Maryellen McGoldrick Jeffrey Burch Contributing Editor/ Entertainment Greg Krelenstein/ Starworks Contributing Editor T. Cole Rachel

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 Ryan Dye ryand@vmagazine.com 646.452.6003

Visionaire Cecilia Dean James Kaliardos Online Managers Ryan Dye James Gamboa Communications Anuschka Senge/ Syndicate Media Group 212.226.1717 Copy Editors Traci Parks Jeremy Price Research Editor James Pogue

Financial Comptroller Sooraya Pariag Production Director Melissa Scragg Production Assistant Gloria Kim Distribution David Renard Assistant Comptroller Farzana Khan Administrative Assistant Annie Hinshaw Creative Imaging Consultant Pascal Dangin

Photography Metz + Racine Styling Catherine Newell-Hanson Set design Matt Jackson

Editor-in-Chief Creative Director Stephen Gan

Discover why one out of two women would postpone a cosmetic procedure.

1

PEELING?

LASER?

INJECTABLES?

1

After 4 weeks of consumer use. Consumer evaluations of women 35 to 49 years tempted by hyaluronic acid, laser or chemical peeling. Results not equal to a medical procedure.

NatioNal velvet

From left: Boots Cesare Paciotti White gold and diamond “Cœur” bracelet Louis Vuitton Fragrance Dior Glove BOSS Orange Jacket G-Star

CONTRIBUTORS V73 Mario Testino Carine Roitfeld Inez & Vinoodh Karl Lagerfeld Lady Gaga Carlyne Cerf de Dudzeele Sebastian Faena Jason Schmidt Julia Restoin Roitfeld Mark Abrahams Terry Tsiolis Tama Janowitz Michael Martin Mark Jacobs Rebecca Voight Aimee Walleston Nick Haramis Adam Baran Michael Evanet Robin Broadbent Knox Robinson Elle Muliarchyk Metz + Racine Maryam Malakpour Junichi Ito Kai Z Feng Sarah Fones Matt Irwin Spencer Lowell Vanessa Geldbach Jonathan Shia Dom Smith Courtney Malick David Toro Nominations by Drew Barrymore James Franco Kanye West Miley Cyrus Steven Meisel Christina Aguilera Courtney Love Jean-Paul Goude Missy Elliott Yoko Ono Liza Minnelli Marina Abramovic Antony Hegarty Riccardo Tisci Jerry Hall Pierre et Gilles Lawrence Weiner Christopher Bailey Michael Kors Olivier Theyskens Lisa Immordino Vreeland

Interns Julian Antetomaso Amanda Braatz Gro Curtis Alexia Elkaim Romina Fernandez Louise Hahn Samantha Heydt Emily Jensen Aran Kim Sin Young Kim Hayley Koustis Ariel LeBeau Ludovica Parenti Sasha Rodriguez Ignacio Roure Federico Sainz Hilary Sheperd Anna Stokland Karen Wisdom Jassmin Yalley Emily Yolleck

Cover photography Mario Testino Styling Carine Roitfeld Makeup Linda Cantello (Joe Management) Hair Christiaan using Josie Maran Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Tailor Jackie Bennett (Lars Nord Studio) Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Cedric Jolivet Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Canoe Studios, New York Retouching R&D Special thanks Heidi Slan, Carrie Gordon, John Gayner, Maysa Marques, Pietro Birindelli Kate Winslet wears White gold, diamond, and pearl “Mini Gabrielle” necklace Chanel Fine Jewelry On eyes and brows, Lancôme Hypnôse Mascara in deep black and Le Crayon Poudre in brunet V Magazine typeface development Jesse Regan 98

Photography Metz + Racine Styling Catherine Newell-Hanson Set design Matt Jackson

Special thanks Art Partner Giovanni Testino Amber Olson Candice Marks Jemima Hobson Michelle Lu Ayesha Arefin Lucy Lee John Gayner Charlotte Draycott R&D Maysa Marques Pietro Birindelli The Collective Shift Jae Choi Brenda Brown Christine Lavigne Lisa Weatherby Eric Pfrunder Katherine Marre Mighela Shama Virginie Laguens Marianne Houtenbos Zaki Amin Joe Strouse Palma Driscoll Lindsay Newblatt Art + Commerce Lindsay Thompson Helena Martel Tim Howard Vanessa Setton Management Artists Francesco Savi Anna Su Chelsea Stemple Courtney Aldor CLM Nick Bryning Cale Harrison Total World Justinian Kfoury Jen Brill Artlist Audrey Petit Grard Ford NY Paul Rowland Peter Cedeno Sam Doerfler Mohammed Fajar IMG Kyle Hagler Maja Chiesi Next Stephen Lee Marilyn Cheri Bowen Jenny Shimizu Pippa Mockridge Jason Duzansky Paul Caranicas Lane Bentley CyCy Sanders The Four Seasons Restaurant, New York The Pierre Hotel Nora Walsh The Mark Hotel Ernesto Floro The Standard Hotel Markus Marty Daniella Maerky Soho Grand Hotel Natalie Soud Dtouch Jeannie Bachelin View Imaging Peter Rundqvist Canoe Studios David Seabrooke Diana Seabrooke Trec DRIVEIN24 Root Kip McQueen Aldana Oppizzi Morgan Anderson James Chang Kai Regan Meredith Etherington-Smith

NEW

New vision of skin perfection

by LancĂ´me.

VISIONNAIRE [LR 2412 4%]

1st advanced skin corrector.

Wrinkles, pores and evenness.

2

2

Be visionary at lancome.com

Clinical study.

2

FOREWORD

Fashion moves fast, and we’d like to think of V as perpetually on the brink of change. But this Fall, we’re doing our fair share of looking back. For our Heroes Issue, we honor some of the most influential people in art, music, film, and fashion, as nominated by the contemporary talent they’ve inspired. How did Antony Hegarty break through the resistance of major labels to embrace his angelic voice and ambiguous identity? By accepting Lou Reed’s sage advice. How did Steven Meisel become one of the most brilliant photographers of the day? By sketching the angles, shapes, and shadows of the human physique alongside fashion illustrator Kenneth Paul Block. Jean-Paul Goude respects George Lois for his big ideas, Drew Barrymore honors William Eggleston for inventing a photo genre, Miley Cyrus praises ass-kicking rock queen Joan Jett for helping her break out of a stereotype—and that’s just the beginning.

Of course, there’s one figure who looms large over the entire issue, and that’s Elizabeth Taylor.

Icon of fashion and film, and a model for women in Hollywood today, Taylor was perhaps the most famous, celebrated, and talented actress of the 20 th century—and possibly the most driven, selfindulgent, outlandish, and impossible, too. We’ve always liked our stars real; failures, excesses, breakdowns, breakups, and other dramas arouse our sympathy and ultimately prove inspiring.

When we asked fashion editor Carine Roitfeld to name one woman in Hollywood today who embodies Taylor’s honesty and boldness, she instantly replied, “Kate Winslet.” It was then we set out to compose a visual love letter to the recently departed Taylor—with Winslet as subject and Roitfeld’s signature glam insouciance spilling off every page.

For Roitfeld and photographer Mario Testino, Taylor’s visceral looks and brave style provide a vast mine of inspiration. The pair—who writer Rebecca Voight aptly describes as the (platonic) Elizabeth Taylor and Richard Burton of fashion—amp up the sex, gloss, and humor for an unforgettable series of images. The end result is a 72-page fashion story that reimagines the actress in several incarnations: film icon (as portrayed by Winslet), eccentric muse (Lara Stone), everwilling bride (Stephanie Seymour), and woman on the verge (Carolyn Murphy). It’s a fitting tribute to a woman whose personality shone through every costume change. Even in death, Taylor reminds us that our lives are shaped by those with the courage to channel every ounce of themselves into everything they do. That quality is what becomes a legend most. Mr. V

From left: Suitcase Louis Vuitton Bag Ralph Lauren Collection Shirt Diesel Gloves Carolina Amato Swarovski crystal–embellished silver bracelet Giuseppe Zanotti Design Hat Diane von Furstenberg

100

Photography Metz + Racine Styling Catherine Newell-Hanson Set design Matt Jackson

giant

NEW

New vision of skin perfection

by Lanc™me.

VISIONNAIRE [LR 2412 4%]

3

Clinically proven on all skin tones.

Be visionary at lancome.com

Multi-ethnic study –test conducted on the 6 Fitzpatrick phototypes.

3

rick owens

BARNEYS.COM

c a r i n e ’s

world

malgosia bela in ceĚ line

BARNEYS.COM

victoire de castellane in alaĂŻa

giovanna battaglia in junya watanabe

BARNEYS.COM

marie-amélie sauvé in balenciaga

julia restoin-roitfeld in givenchy

CONTENTS

118 from the desk of lady gaga Ruminations on criticism and punishment

126 party Natalia Vodianova’s fab fairy tale; Serpentine’s party in the park; Miu Miu’s summer screening; and Ferragamo’s Resort runway show

138 etta James By ChrIstINa agUIlera Before there was The Voice, there was “the voice” 140 WIllIam egglestoN By dreW Barrymore The actress and director talks to the photo legend about getting the perfect shot 142 keNNeth paUl BloCk By steVeN meIsel The photographer pays tribute to the fashion illustrator who inspired him from the start 144 sam taylor-Wood By CoUrtNey loVe Two fearless artists find motivation in a mindset

134 loU reed By aNtoNy hegarty The soulful singer reflects on the heartbreaking genius of rock’s enigmatic emblem

146 halstoN By mIChael kors; fraNCIs BaCoN By olIVIer theyskeNs The designer reflects on the man who made New York chic; the Belgian designer feels a kinship with the deliciously twisted painter

136 george loIs By JeaN-paUl goUde The king of big ideas chats with the iconic image-maker about yesterday and today

148 rZa By kaNye West Hip hop’s renaissance man gives props to the legendary Rzarector

150 tehChINg hsIeh By marINa aBramoVIC Performance art’s most prominent practitioner celebrates the work of a pioneer 152 ZahIa dehar By pIerre et gIlles; dIaNa VreelaNd By lIsa ImmordINo VreelaNd The French artists find a saint in the body of a sinner; the author looks back on a legacy of originality 154 fraNk BIdart By James fraNCo Before Franco told stories of Palo Alto, Frank wrote poems about Bakersfield, California 156 JoaN Jett By mIley CyrUs The teen queen lives out her cherry-bomb dream 158 dUsty sprINgfIeld By ChrIstopher BaIley; sImoN rodIa By laWreNCe WeINer The Burberry designer respects the white sister of soul; the renegade artist honors one man’s masterpiece 160 Charles aZNaVoUr By lIZa mINNellI The Cabaret queen on the incomparable crooner 162 Work IN progress Seven artists who made the 54th Venice Biennale 176 mary J. BlIge By mIssy ellIott The icon of modern soul opens up about breakthroughs and second acts 178 eXtra All the books, music, film, and fashion to fawn over this Fall 184 fUtUre sport Designer Dirk Schoenberger envisions a chic look for adidas SLVR 186 to CatCh a kate Supermodel Moss talks about Spanish high-street, British style, and the other K.M. 188 doN’t go ChaNgIN’ Artist Elle Muliarchyk captures fashionable self-portraits in a flash 192 shear geNIUs Wild and woolly accents turn these Fall coats into must-haves

From left: Gold, mother of pearl, and diamond “La D De Dior” watch dior timepieces Fragrance Chanel Sunglasses tom ford eyewear Swimsuit michael kors White gold and diamond “Lotus” ring Van Cleef & arpels 108

Photography Metz + Racine Styling Catherine Newell-Hanson Set design Matt Jackson

suddenly, last summer

Kate Winslet

Experience the Scenes of a Woman story at SJK.com

ALA moANA cENTER

AmERIcANA mANHASSET

ATLANTA

BAL HARBoUR

BEVERLY HILLS

cHIcAGo

HoUSToN

NEW YoRK

SAN FRANcISco

SoUTH coAST PLAZA

Clockwise from top left: Floral coat Jil Sander Orange cardigan Ports 1961 Bag and wallet Jil Sander Pink gold, diamond, and citrine “Parentesi” cocktail ring Bulgari White gold and diamond “Limelight Tonneau XL” watch Piaget Pearls David Yurman Shoe Bally

194 THE NEW BLACK Designers imbue a wardrobe staple with 21st-century cool 196 EAU SO PERFECT Fall’s flawless new fragrances run the olfactory gamut 198 BACK TO NATURE The season’s statement jewels find inspiration in flora and fauna 200 SUDDENLY LIZ Julia Restoin Roitfeld styles herself after Suddenly, Last Summer 204 V-BAY Scene-stealing accessories worthy of a screen goddess 206 ANTONIO LOPEZ BY JERRY HALL More than an illustrator, Lopez helped to build a supermodel 208 MY FATHER BY RICCARDO TISCI The Givenchy designer feels the influence of a higher power 209 MY MOTHER BY YOKO ONO The artist pays tribute to a life sacrificed to its time 210 A LIFE IN PICTURES Stephen Gan reflects on Carine Roitfeld’s subversive career 224 KATE WINSLET The Academy Award–winning actress talks about screen legends, contagious outbreaks, and what she wants next.

Photographed by Mario Testino 232 THE ESSENCE OF ELIZABETH TAYLOR Carine Roitfeld speaks to Doris Brynner about the life and times of a cinematic icon 296 V-MAIL Get to know a fresh crop of friends and lovers

V FASHION FALL 2011 212 HONEY BLONDE BY SEBASTIAN FAENA Hair hero Oribe and fashion editor Carlyne Cerf de Dudzeele transform Joan Smalls into the next queen of pop 223 DAME ELIZABETH BY MARIO TESTINO & CARINE ROITFELD The best of Fall fashion, devoted to the eternal Elizabeth Taylor.

Featuring Lara Stone, Stephanie Seymour, Aymeline Valade, Ian Mellencamp, Carolyn Murphy, Anais Mali, and Candice Swanepoel 112

Photography Metz + Racine Styling Catherine Newell-Hanson Set design Matt Jackson

who’s afraid of virginia woolf?

©2011 CHANEL®, Inc. COCO®, The Classic Bottle®,

B®

CHANEL.COM

www.piaget.com

Piaget Rose

White gold, diamond set necklace

© 2011 ADIDAS AG. ADIDAS AND THE GLOBE ARE REGISTERED TRADEMARKS OF THE ADIDAS GROUP.

SLVR

A DID A S.C O M /SLV R

from the desk of lady gaga

Artwork Marrow Melow

V MAGAZINE GAGA MEMOrANDuM No. 3 Date:

SEpTEMBEr 2011

re:

ExTrEME CrITIC FuNDAMENTAlISM

From:

M†SS.GAGA

To:

STEphEN GAN

Copy to:

MS. VrEElAND hAuS OF GAGA NICOlA FOrMIChETTI V COllECTIVE

lITTlE MONSTErS ThE WOrlD ArT hISTOrIANS INTEllECTuAlS

JOurNAlISTS COluMNISTS CAThY hOrYN

Doesn’t the integrity of the critic become compromised when their writings are consistently plagued with negativity? When the public is no longer surprised or excited by the unpredictability of the writer, but rather has grown to expect the same cynicism from the same cynic? When we can predict the same predictable review from the same predictable reviewer? Accomplished creators of fashion and music have a visceral effect on the world, which is consequently why they are publicly distinguished. So why do so many notable critics seem so impervious to the emotion of the work? Why such indifference? Does intellectualism replace feeling? It’s so easy to say something is bad. It’s so easy to write, “One star, hated it, worst show of the season.” It’s much more challenging to reckon with and analyze a work. It requires research, but maybe no one does their research anymore. So my question, V readers, is this: when does the critique or review become insult and not insight?

Injury and not intellect?

I’m going to propose a term to describe this movement in critical journalism: Extreme Critic Fundamentalism. I define this term as instilling fear in the hopes and dreams of young inventors in order to establish an echelon of tastemakers.

There is a difference between getting a B- in Biology with a series of poignant red marks from your teacher and being given a spanking with a ruler by an old nun.

The former we can learn from, while the latter is just painful. The artist is the general and captain of his or her artistic ship, always ready and willing to take the first blow and drown if an iceberg is hit. But in reviews, should critics not reveal all the scientific, mathematical, and pertinent information to explain why the Titanic could not withstand the blow, or why other cruise ships were successful? * * * * *

118

The The The The The

temperature of the water. construction of the ship. weight of the cargo. number of passengers. disorganization of the crew.

from the desk of lady gaga

Artwork John Redford

Where my argument leads is to the perspective space of art, which is subjective and not ultimately rooted in mathematics or physics. Is it not even more critical for fashion and art critics to be profusely informed not only in art history but in the subliminal? The public operates with the assumption that critics are experts in their respective fields. But are they? Does every critic have the soul to really receive a work in the transcendental sense? The out-of-body experience of art?

In the age of the Internet, when collections and performances are so accessible to the public and anyone can post a review on Facebook or Twitter, shouldn’t columnists and reviewers, such as Cathy Horyn, employ a more modern and forward approach to criticism, one that separates them from the average individual at home on their laptop? The public is certainly not stupid, and as Twitter queen, I can testify that the range of artistic and brilliant intellectuals I hear from on a daily basis is staggering and inspiring. In the year 2011, everyone is posting reviews. So how does someone like Ms. Horyn separate herself from the online pack? The reality of today’s media is that there are no echelons, and if they’re not careful, the most astute and educated journalists can be reduced to gossipers, while a 14-year-old who doesn’t even have a high school locker yet can master social media engines and, incidentally, generate a specific, well-thought-out, debatable opinion about fashion and music that is then considered by 200 million people on Twitter. Take Tavi Gevinson. She’s 15, and Rodarte created an entire project inspired by her. Her site is thestylerookie.com. I adore her, and her prodigious and well-written blog is the future of journalism. The paparazzi has similarly been usurped by the camera-toting everyman. That magical moment of the movie star posing in front of the Metropolitan Museum is no longer so magical. Now everyone has a fucking cell phone and can take that same fucking picture.

Why do we harp on the predictability of the infamous fashion critic? The predictability of the most notoriously harsh critics who continue writing their notoriously harsh reviews? Why give the elephant in the room a peanut if it has already snapped its trunk at you? That peanut was dead on arrival. To be fair, Ms. Horyn, the more critical question to ask is: when did the pretense of fashion become more important than its influence on a generation? Why have we decided that one person’s opinion matters more than anyone else’s? Of all the legendary designers I have been blessed to work with, the greatest discovery has been their kindness and their lack of pretense. They care not for hierarchy or position. They are so good, and so precise, that all that matters to them while they’re pinning their perfectly customized garment to my body is the way it makes me feel. Perhaps the pretension belongs in formaldehyde. And the hierarchy is embalmed — for us all to remember nostalgically, and honor that it once was modern, but is now irrelevant. Peanut.

120

HOW FAR WOULD YOU GO FOR www.cartier.com

Visit and Shop www.cartier.us - 1-800-cartier

Mariacarla Boscono

Riccardo Tisci

Coco Brandolini

Anne Hathaway

Bianca Brandolini

Charlotte Stockdale

Antoine Arnault

Love Ball photography courtesy The Naked Heart Foundation

party

Marc Newson

Alexa Chung

Emma Roberts

Vanessa Traina Anna Dello Russo

Lily Donaldson

Eva Herzigova

Eugenie Niarchos

Christian Louboutin

Dinos Chapman Daphne Guinness

Hailee Steinfeld

Sam Claflin

Camilla Belle

Laura Haddock

Mario Testino

Carine Roitfeld Bianca Jagger

Patrick Demarchelier

Jourdan Dunn

Victoire de Castellane Paula Patton Marilyn Manson

China Chow Ewan McGregor Poppy Delevingne

Natalia Vodianova Valentino Garavani

A RUSSIAN FAIRY TALE

Cara Delevingne

Natalia Vodianova and Valentino host the White Fairy Tale Love Ball, Château de Wideville, July 7, 2011

Angela Missoni

Kate Mara

Jessica Joffe

Liz Goldwyn

Margherita Missoni Malin Akerman

Cat Deeley Diane Kruger

Hans-Ulrich Obrist

Julia Peyton-Jones

Christopher Bailey

CALIFORNIA NOIR

TRUE BRITS

Miu Miu presents a screening of Lucrecia Martel’s “Muta,” Beverly Hills, July 29, 2011

Burberry hosts the Serpentine Gallery’s Summer Party in Hyde Park, London, June 29, 2011 Eva Mendes

Freida Pinto

Irina Movmyga Andres Serrano Genevieve Jones

Ashley Greene

METROPOLITAN RESORT

Salvatore Ferragamo celebrates its Resort 2012 collection at the James B. Duke Mansion, New York, June 28, 2011

126

Massimiliano Giornetti

Lily Kwong

N E W YO R K BA L H A R B O UR SH O P S M IAM I L AS V EGAS LO S AN GE L E S

SH O P L AN V IN .C O M

Lucky Charms Mini Watch, pink gold and diamonds, guillochĂŠ dial.

Haute Joaillerie, place VendĂ´me since 1906

LEGENDS, ICONS, MENTORS, AND INSPIRATIONS NOMINATED BY DREW BARRYMORE STEVEN MEISEL MARINA ABRAMOVIC KANYE WEST JEAN-PAUL GOUDE CHRISTINA AGUILERA JAMES FRANCO COURTNEY LOVE MISSY ELLIOTT ANTONY HEGARTY MILEY CYRUS YOKO ONO JERRY HALL AND MORE

LOU REED

BY ANTONY HEGARTY Photography Inez & Vinoodh

Tenderness is seldom associated with Lou Reed, the famously gruff godfather of alternative music who perfected a sneering, punkish attitude during his tenure with the Velvet Underground and later as a solo artist. But singer Antony Hegarty, front man of the band Antony and the Johnsons and Reed’s friend, sees things quite differently. “Lou’s a lionheart,” Hegarty says over the phone from his hotel room in Amsterdam, where he’s vacationing with friends. “He’s fiercely loyal and generous with the people he loves, and a tough, tender person. I was fortunate to fall into the category of people he liked.”

When they were first brought together by producer Hal Willner, Reed took to Hegarty immediately. “Lou wanted me to do a version of ‘Perfect Day,’ so I went in, and as soon as I started singing, he became very responsive,” Hegarty remembers. “I think he liked the femininity and etherealness of my voice against the rough edge of his. It made a beautiful sound, our voices together.” The two began performing on Reed’s 2003–4 world tour, a collaboration that would enrich both their lives as only a true friendship can. Reed ended up helping to get Hegarty signed, bringing the singer into “daylight culture” at a time when, Hegarty says, no record label would touch him with a ten-foot pole due to his ambiguous gender identity and outré sound. In return, Hegarty would encourage Reed to stage his successful 2007 performances of his cult album Berlin, helping to cement the importance of a visionary work that had been a commercial and critical failure in 1973.

Hegarty had some stake in the matter. It was a song from Berlin that, when he was 12 years old, profoundly changed his life and understanding of what music could do. Ironically, however, it wasn’t Lou Reed’s version but English singer Marc Almond’s that Hegarty fell in love with. The Soft Cell singer covered “Caroline Says” on the debut album of his side project Marc and the Mambas, in 1982. Hegarty says, “The lyric ‘It’s so cold in Alaska’—this image of a frozen woman in a cold environment— became an archetype in my mind. It seeped into my subconscious.

134

I identified with that sense of frozenness, like a soul turned to stone.” Years later, Hegarty delivered those famous icy lines as Reed’s backup singer during the performances of Berlin.

Hegarty’s memory of being onstage with Reed is crystal clear. “Lou has such an awesome and inimitable approach to playing guitar,” he says. “It’s so rough and tender and powerful.

The texture of it is so fully rendered. No one else plays guitar like that. He makes such a beautiful cradle for a voice with his hand.” Hegarty also understands where the power of Reed’s poetry lies. “Lou has this way of forming paradox and poetry, of expressing emotion by putting simple words together,” he says. “There’s simplicity and bottomlessness many times over in his lyrics. That’s something that I keep striving for and trying to approach in my own work.”

Hegarty credits his friend’s ability to appreciate his identity to something very simple. “He’s a New Yorker,” he says. “Different things are cool in New York, and that goes back to Lou’s youth and being brought up in the Factory, coming of age there and being mentored by Warhol. He’s the real thing.” Reed also taught Hegarty that he didn’t need to answer reporters’ probing and often insulting questions about his sexuality and identity, which, Hegarty says, was the most important piece of advice he received. “He mentored me in a heavy way and let me know that he loved me.”

Today, the two still get together when they’re both in New York, and Reed continues to offer his fatherly support and sage advice. Recently, Hegarty nearly turned down an opportunity to write the music for the Robert Wilson stage production of The Life and Death of Marina Abramovic. He didn’t want to do the project because he couldn’t fathom how to write music to represent someone else’s life. But Reed intervened with a few words of wisdom. “He said, ‘Make it personal,’ and that became the basis for the entire show,” Hegarty says. He pauses, then adds, “He’s a real heartbreaker, Lou Reed. You just love him.

It’s pretty tender.” Adam Baran

George Lois (left) and Jean-Paul Goude photographed by Andy Warhol at the Four Seasons Restaurant, New York, c. 1972

geoRge lois by jean-paul goude

136

JEAN-PAUL GOUDE Do you remember when I bumped into you at Rizzoli? I was alone buying your book The Art of Advertising. Remember?

GEORGE LOIS Of course.

JPG Tell me you’ve seen that series called Mad Men. GL Afraid so, yeah.

JPG Afraid so? Do you think the main character [Don Draper] is crafted after you?

GL That’s what they say. But it’s kind of an insult.

JPG [Laughs.] Really?

GL No talent. All he does is schtup secretaries and smoke and drink himself to death.

JPG He’s supposed to be the creative guy, the sensitive womanizer.

GL When I first said that I hate the show, the producer called me up and said, “Oh no, we thought you would love it because much of it is about you.” I said, “That’s about me?” First of all, I’m a married man, and I’ve never cheated on my wife in my life. I don’t smoke. I don’t drink myself to death. And I actually have talent.

JPG Which makes a hell of a difference. [Laughs.] Do they consider you arrogant or pretentious, or…

GL Who? JPG People in the advertising business, because you have a way of speaking about yourself that’s very straightforward.

GL You’ve got to understand that in the advertising business, I’m like a god. To the young people, too.

JPG [Laughs.] I always wanted to know if you had gone to art school.

GL Sure. Well, I was the luckiest person in the world because when I was 14, graduating junior high, I was going to go to a high school in my area, DeWitt Clinton— not a bad high school, but a rough one, and I was a rough kid. My art teacher, Miss Ida Angle, came up to me one day and said, “George, do you have ten cents for a subway ride?” I said, “Yes, ma’am.” I never paid for the subway anyway, I just jumped. But she said, “At ten thirty this morning, you have to go down to the High School of Music and Art, on 135th Street. You’re going to take a test, and you’ll pass it with flying colors.” Art school. High School of Music and Art. Oh, and then she said, “You have to bring drawings, but don’t worry, I have them here.” She had one of those string portfolios, and she opened it up, and there were about a hundred of my drawings that she had saved from the time I was 9 years old.

JPG That’s something a mother would do.

GL Beyond a mother. She made my life.

JPG So you were accepted and went to art school…

GL I went to the High School of Music and Art. It was all based on the Bauhaus, because the teachers were taught Bauhaus.

This page: Warhol Polaroid © 2011 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

Art director George Lois redefined advertising in the ’60s and ’70s to produce some of the most lasting imagery of our time.

But his influence famously extended to the world of editorial as well. Credited with changing the face of publication design and establishing magazine covers as platforms for controversial issues like racism and war, Lois developed a visual language of stark simplicity, epitomized by the blank background against which his shrewdly executed images of Muhammad Ali, John F. Kennedy, and Richard Nixon would stand. Through it all, he gained such notoriety that decades later, a television series, Mad Men, could be built around his legend. He is the original Don Draper.

Lois’s concept of the “Big Idea” revolutionized media communications and continues to inspire generations of creative directors, including the equally iconic Jean-Paul Goude, Lois’s former Esquire colleague and collaborator. As publishing power players in the late ’60s, the two would regularly have lunch at the Four Seasons, where one day, in the early ’70s, Andy Warhol (whom Lois had placed on the cover of Esquire, drowning in a whirlpool of Campbell’s tomato soup) stopped by to take their picture.

Lois and Goude were recently reunited in the same place—the same booth—for a second shot and to discuss the birth of Lois’s career, the death of creativity, the myths of Draper and Warhol, and why art is everything. Christopher Bartley

George Lois and Jean-Paul Goude at the Four Seasons Restaurant, New York, 2011

Special thanks CyCy Sanders and Regina McMenamin

It was all about [Kazimir] Malevich and Herbert Bayer and Paul Klee, and it was very abstract.

JPG Did you have any romantic ideas about becoming an artist? Maybe a painter?

GL I did. I drew, but I wanted to be a designer, even though my father expected me to take over his flower shop and I couldn’t tell my father no.

JPG Of course not.

GL But I had to do my own thing. He saw me draw all the time. I would draw every time I had a chance. When everybody went to sleep at night, I would get up and draw until four in the morning.

JPG How old were you then?

GL I started doing that at 11 years old.

JPG Until?

GL Oh, I’m still doing it.

JPG Still doing it? Four in the morning? Do you sleep a lot?

GL No, I sleep maybe two hours, get up for two hours, then sleep another two hours, all my life. My father did the same thing.

JPG Would you say that, in your work, the idea is the form?

GL The Esquire covers I did, look at them, they’re not designs.

JPG They’re on a white background.

GL Look at Andy [Warhol] drowning in a can of soup. The design is the idea. If you look at the Esquire covers— JPG They’re well-crafted, very simple.

GL You look at it, and you get it in a nanosecond.

JPG What do you think of the contemporary art scene?

GL I find it terrible. I find it horrifying. There’s no form.

JPG It’s like advertising nowadays.

GL I don’t know what contemporary art is today. Andy’s a genius compared to these people.

JPG Well, he was a genius, in his own way.

GL He was a genius the way he made everyday products iconic.

JPG That’s what was so brilliant. But I haven’t seen anybody like that in a long time.

GL Oh no, I don’t think…

JPG There’s no artist I would single out.

GL You know there’s nobody who loves art more than I do. Every Sunday, my wife and I go to the Metropolitan Museum of Art and view just one room. It’s the only way I keep my sanity. And then six months later, I’ll work my way back to that room. And there hasn’t ever been a time when I haven’t had some kind of an epiphany. I’ll walk by and I’ll go, Whoa, look at that Holbein.

So the shock of the old is what keeps me sane.

JPG In advertising, would you say vulgarity sells nowadays?

GL I don’t know, I mean, what’s vulgar? [Laughs.]

JPG I don’t mean sexually vulgar, I mean cheesy vulgar.

GL Well that’s different now. I did some Esquire covers that some people thought were vulgar. I don’t know. I think pop was

the last real art movement. And being in advertising when all of that started, it took me awhile to say that it was important. I remember finding it easy to criticize in the beginning. And then I started to say what they’re doing is important, basically because I knew the objects so well. When I did Andy drowning in his soup, I didn’t have to read anything about pop. I just thought, Well, what’s the avant-garde today? It’s Andy. I thought, Well, I’ll drown the motherfucker in his own soup.

JPG One of the best magazine covers, ever.

GL I never saw a kid get so fucking famous, somebody by the name of Andy Warhola from Pittsburgh. So I called him up and said, “Andy, I want to put you on the cover of Esquire.” He said, “Oh, George Lois is going to put me on the cover of Esquire. Wait a minute, George, I know you—what’s the idea?” I said, “Well, Andy, I’m going to have you drowning in a giant can of Campbell’s tomato soup,” and he said, “Oh, I love it. You’re so clever.” So, it comes out, and I sent it down to him, and he said, “Oh, George, I’m going to come and kiss you.” He was so excited, and he said, “George, I’ll trade you twelve Brillo boxes for the original cover art.” I said, “Andy, I could go to the A&P and they’re out in the fucking street.”

“Goudemalion,” Jean-Paul Goude’s upcoming retrospective, runs November 11, 2011 – March 18, 2012, at the Musée des Arts Décoratifs, Paris

Etta JamEs

by ChRistina aguilERa

Etta James, 1967 Photography Michael Ochs 138

Photography courtesy Michael Ochs Archives/Getty Images

In January 2009, while performing to a rapt audience at Seattle’s Paramount Theatre, Etta James endeared herself—however inadvertently—to the YouTube generation. Crossing the stage with a slight hobble, the only betrayal of her then seventy-one years, she railed against pop virtuoso Beyoncé, who, the week before, had belted out James’s 1961 classic, “At Last,” at President Obama’s inaugural ball. Dressed in a black pantsuit offset by a fiery red blouse with sequins that seemed to ignite in the glare of the houselights, the six-time Grammy winner burned Beyoncé to a crisp. “I can’t stand Beyoncé,” she said over the mob’s clamorous applause. “She has no business up there, singing up there on a big ol’ president day, gonna be singing my song that I’ve been singing forever.” It was a shocking condemnation — not just for its scorching honesty, but because, only one year earlier, the pair had been photographed arm in arm at the premiere of Cadillac Records, in which Beyoncé portrayed James, to great acclaim. Danto, James’s son and a drummer in her band, later attributed the outburst, which swept across the Internet, to the onset of his mother’s Alzheimer’s disease.

It was no viral video, however, that introduced Christina Aguilera to Etta James. The 30-year-old top-40 powerhouse and current coach on NBC’s The Voice grew up listening to what she describes as James’s “raw, gritty, and gut-ridden” anthems. “It’s evident in the honesty that she so effortlessly puts into a record that Etta is a true fighter,” says Aguilera, who’s been publicly exalting her hero ever since the release of her record-breaking, self-titled debut album, in 1999.

Aguilera and James, although separated by over forty years of life experience, are cut from the same body-hugging cloth. Both feel most comfortable when they’re scaling octaves in front of a crowd, and both relish the opportunity to challenge inequality in the music industry through song. (Whereas Aguilera, backed by Lil’ Kim, released “Can’t Hold Us Down” for “girls all around the world,” James emasculated everyone from Davy Crockett to Jesse James on her coquettish yet empowering track “W.O.M.A.N.”) Both have collaborated with the Rolling Stones, and both pay little mind to the “rules” of songwriting—Aguilera inherited her disregard for genre from James, who was one of the first blues stars to dabble in rock and roll. And, most importantly, both have exhibited the resilience of a rubber band.

James, born Jamesetta Hawkins in Los Angeles, has overcome a litany of hardships: an absent father, crippling drug addiction, life-threatening obesity (which, following gastric bypass surgery, resulted in an eating disorder), legal troubles, and, more recently, health problems, including dementia and leukemia, which have had her in and out of hospitals near her home in Riverside County, California. What’s remarkable is how she’s managed not only to survive against all odds, but meanwhile to produce twenty-seven studio albums, three live albums, seven compilation albums, and a staggering fifty-eight singles.

Aguilera, also prolific, has endured her own share of trauma, most recently the commercial disappointment of her sixth studio album, 2010’s Bionic, and an arrest for public intoxication earlier this year. Of course, there was also Aguilera’s headline-grabbing “Dirrty” period, in 2002, when the previously squeaky-clean Mickey Mouse Club alumnus traded in her good-girl image for a pair of assless chaps and the letter “X.” Of the comparison between her own image overhaul and James’s reputation as a provocateur, Aguilera says, “I only hope to be considered ‘raunchy’ when I’m an older woman, still rocking the stage and fearless in the face of judgment or closemindedness. As artists, it’s our job to inspire conversation through the ways in which we choose to express ourselves, and there’s only a handful of great risk takers who can brave the highs and lows with their head held high.” Indeed, heavy is the head that wears the crown, which makes James’s continued strength and grace all the more admirable. As Aguilera sees it, “Etta is the queen.” Nick Haramis

© 2011 Maybelline LLC.

Makeup artistry by Charlotte Willer.

Eyes: Eye Studio® Color Gleam™ Cream Eyeshadow in Flash of Forest and Blue Freeze, Eye Studio® Color Plush™ Silk Eyeshadow in Give Me Gold, Color Sensational® Lipcolor in Very Cherry.

YOUTUBE.COM/LIVERUNWAY

WILLIAM EGGLESTON BY DREW BARRYMORE

On-screen since infancy, Drew Barrymore has spent a lifetime migrating from her place before the lens to the position behind it.

And after a decade of documenting that passage with a Pentax K1000 camera, the award-winning actress, producer, director, and photographer sat down with her hero, the legendary lensman William Eggleston, to discuss a fetish for film in an increasingly digital world and what it means to be one of a kind.

Patrik Sandberg DREW BARRYMORE In 2000, this person who came through my life gave me a Pentax K1000.

WILLIAM EGGLESTON For a first camera, it’s ideal. It’s foolproof and it’s not delicate.

DB I felt like I was in a ’70s high school classroom. I banged the crap out of that camera. When were you first interested in cameras?

WE My grandfather was not at all a serious photographer, but he knew about it and experimented. I grew up in Mississippi, in what’s called the Delta, on a cotton plantation. Sometimes, maybe on the occasion of a picnic, he would take a picture of hands on the farm—they were nearly all black. But outside of those, I don’t think he took many photos. He didn’t shoot everywhere he went. My early years were all about music. I played the piano seriously. I did have a little Kodak Brownie camera, but was so disappointed with it. Everything was so sharp-looking in the viewfinder, but the prints came out all blurry. So I was never into photography until some time after my grandfather’s death, which was about 1950. I got interested in playing around with his camera in the darkroom. When I had that little Brownie, he was very much alive and very close.

DB When did it coalesce for you? Did you find the right camera? Was there a right moment?

WE I was sent off to boarding school, prep school. I had one particular best friend there who I thought was intelligent, and 140

he and I matriculated as freshmen at Vanderbilt in Nashville. We were both interested in the same things: music, audio recordings, electricity. He was also interested in photography, and he kept asking me why I wasn’t. I told him I hated it. When we got settled in school, he came over to my room and knocked on my door and said, “Look, we’re going downtown today and we’re buying a camera.” So I bought a little Canon, good quality, and fell in love with it.

DB There she is.

WE Immediately I lost all interest in my other classes. I really stopped going to them. This was in 1957. I think I was in colleges and universities for at least five years, but I never got a degree. I just didn’t see the point in it. And the next thing I knew, all of a sudden, I was on the faculty up at Harvard— still without a degree.

DB That’s so funny.

WE Well, in the ’50s, photography was not taught. There were schools if you wanted to study fashion photography and advertising, but the kind I do—let’s just call it art photography—wasn’t taught anywhere. That’s why I was brought up to Harvard, to introduce art photography to the curriculum. I did the best I could.

DB Do you like the new-school or the old-school approach?

Do you use all the toys that you can, or do you prefer just what it was, camera and film?

WE The latter. That’s enough to fool with. I don’t use, or know much about, digital. I’m pretty happy about that.

DB I’m having a hard time right now, especially as a director, because everyone wants me to embrace digital and I’ve never shot digital in photography. I just did a short film and I had to shoot it digitally because I didn’t have any money.

Every time the camera broke or scanned or re-calibrated, I would be thinking I could be changing a film magazine right now. It drove me crazy.

WE I don’t know how long ago it was, but a certain point came

and I adopted a personal discipline of only taking one picture of one thing. If I took a second, it was only because I was afraid of camera shake or something.

DB And doesn’t that in itself make it art?

WE I think so.

DB Because it’s one of a kind. Do you ever shoot digitally?

WE I’ve just played with it, and I could pretty much say no.

DB Would you say to someone that it’s okay to shoot on film until the end of time?

WE Absolutely I would. There are too many trillions of cameras that use film and otherwise everyone is going to start throwing them away. One shouldn’t do that.

DB How do you feel about cropping?

WE I don’t.

DB Thank you! Cheers. God bless you. There’s a part of me that feels like it’s not fair.

WE You’re right, it’s not. It’s messing with things. There’s something sinister about it. When it’s cropped that’s not you anymore.

So that’s one reason I don’t do it. Another reason is just one of those personal disciplines. I might have picked it up originally from [Henri-]Cartier [Bresson], who was a fanatic of never cropping. You know, I had a meeting with him, one in particular, it was at this party in Lyon. Big event, you know. I was seated with him and a couple of women. You’ll never guess what he said to me.

DB What?

WE “William, color is bullshit.” End of conversation. Not another word. And I didn’t say anything back. What can one say? I mean, I felt like saying I’ve wasted a lot of time. As this happened, I’ll tell you, I noticed across the room this really beautiful young lady, who turned out to be crazy. So I just got up, left the table, introduced myself, and I spent the rest of the evening talking to her, and she never told me color was bullshit.

Photography Jason Schmidt

Makeup artistry by Charlotte Willer.

Eyes: Eye Studio® Master Drama™ Cream Pencil Eyeliner in Sapphire Strength.

Lips: Color Sensational® High Shine Lipcolor in Pink Freeze. Nails: Express Finish® Nail Color in Pink Shock.

YOUTUBE.COM/LIVERUNWAY © 2011 Maybelline LLC.

The most successful fashion photographers are the ones who understand the fashion. It would follow then that Steven Meisel, one of the most respected lensman in the world, apprenticed as a fashion illustrator alongside the renowned Kenneth Paul Block, his hero. A keen knowledge of figure and form can be seen in Meisel’s imagery, which includes some three-hundredfifty Italian Vogue covers (and counting), and no doubt can be traced back to his work alongside Block at Women’s Wear Daily in the early ’80s.

Block was a legend in his own time. Just as photography began to supplant the art of illustration, he produced the most compelling arguments for his trade. Imbued with as much 142

grace, energy, drama, and dynamism as any Avedon or Scavullo, Block’s illustrations translated the era’s vibrant colors and bold attitudes into form. He sketched lavish portraits of Pat Buckley, Jacqueline de Ribes, and Gloria Guinness, and immortalized the collections of Balenciaga, Norman Norell, and Pauline Trigère, among many others, all in his signature painterly elegance.

In 1945, Block graduated from Parsons (where Meisel also attended, but never graduated, and later taught). Then he went to work for Fairchild Publications, in the mid ’50s. When illustration began to wane, WWD gave Block an unparalleled platform for his work, hiring him as in-house artist for the fashion newspaper and its oversize sibling publication, W. His work elevated

the paper from a trade rag to a journal for the jet set, and articulated a luxe aesthetic that was simply ’70s— both his and the publication’s heyday.

In Meisel, Block found a student and a model. With a slash of cheek color, he rendered the photographer in the illustration above, for W’s beauty pages, as gorgeously ambisexual. The inscrutability of the image — and of the subject’s gender— highlights the power of Block’s work: the ability to suggest a narrative that, like a view through a foggy window, remains open to interpretation. Somehow, the crisp realism of photography never engages the imagination quite so fully.

Christopher Bartley

Image courtesy Block/W/Condé Nast Archive.

Copyright © Condé Nast

KENNETH PAUL BLOCK BY STEVEN MEISEL

www.lacoste.com

If you strip away the excess of the incendiary force of nature that is Courtney Love—all the heartbreak, glitter, guitars, parties, tax attorneys, custody battles, estates, tabloid stories, misquotes, sex, and fashion (among other identifiers, of which there are thousands) —she is, by trade, a woman of the arts.

It should come as no surprise, then, that the reigning queen of rock and roll has elected seminal British video artist, photographer, and director Sam Taylor-Wood as her personal hero.

Both make profound work in which they often serve as their own centerpiece — self-flagellating song in Courtney’s case, acute and ethereal self-portraiture in Sam’s. But perhaps the greatest similarity they share, and one that makes both of them heroic, is that neither will take an ounce of bullshit from anyone. Love spoke to Taylor-Wood recently, as the artist took a welcome respite in L.A. Patrik Sandberg

COURTNEY LOVE You’re my hero!

SAM TAYLOR-WOOD I’m so flattered. I was so surprised. Why did you choose me?

CL I’ll tell you why: you beat cancer twice, your body of work is brilliant, and you’re the only person who has never taken a bad picture of me — yet I have never worn makeup [for your photos].

STW The recent portrait I took of you in my studio is one of my favorite pictures I’ve taken— not just of you, but of anyone. I mean, I know it’s revealing and there is quite a lot of— CL There’s vagina in it. But it’s cool, it’s not like spreadeagle vagina.

STW There’s a power.

144

CL Yeah, there’s a power. Somebody once said — and it wasn’t me, although I once found it attributed to me —that I had a magical pussy. So it sort of fits with that, which is fun.

But anyway, how does it feel to have conquered cancer?

STW It’s one of those things that when you’re in it, you’re in it, and you’re literally battling for your life. I think now that I am out of it I try not to ever think about it, because it’s just one of those things that if I start talking about it, it’s going to get me down and stop me from doing what I’m doing.

CL Did you say, I’m going to live every moment now, I’m going to be in the now?

STW Oh yeah. I think that’s why I probably radically changed so much as a person because I stopped living the way other people wanted me to live and started living the way I needed to live for myself.

CL And that is so palpable, and that’s why I chose you. You have this integrity and astringent honesty. You don’t put up with any shit, and you don’t have any sort of agenda.

STW That’s why I’m so late in having my kids, because I couldn’t have any for such a long time. Now I’m kind of making up for lost time, with many things, in many ways.

CL Growing up, did you come from an upper-class family?

STW I’d say aspiring middle-class. People think the doublebarrel name is upper-class, but it just means my mum kept getting married. My first dad was Taylor and my second dad was Wood. My third dad’s name was too long to add to the list. I remember as a kid, my mom saying, “Taylor is so common, but if you are Taylor-Wood, imagine checking into a hotel wearing a big fur coat and saying, ‘My name is Sam Taylor-Wood!’” I remember

at 9 years old just thinking, How fantastic! She talked me into it.

CL You know, I think in Luella Bartley’s Guide to English Style, she says in the last chapter that when it comes to arts, the class system just breaks down.

STW It’s true. It’s funny, because I remember thinking that being an artist meant having a passport to every level of society. You could be in a council estate working and say you’re an artist and you could be in a stately home working on something and say you’re an artist.

CL Did you always know you would end up making feature films?

STW I think I went a very long way around to actually end up doing what I always really wanted to do. Filmmakers are quite heroic sometimes, because I think to get a film made is an achievement in itself. To get a film made that is truthful to your vision is almost impossible.

CL What is your next film?

STW There are a few different ideas that I’m working on, and a couple of developments, but it’s too early to say anything. One of the projects requires a lot of research, and it just feels like the biggest luxury to actually stop and read. The downside is that I am so used to being self-motivated as an artist. In this instance, you have to rely on so many other people, so it can be frustrating.

CL God, I wish your brain could be downloaded into mine.

Sam Taylor-Wood in Los Angeles, July 2011 Photography Michael Evanet Styling Vanessa Geldbach Shirt and tank Express Jewelry, bandanna, hair clips vintage

Makeup and hair Lucy Halperin for NARS Cosmetics (Opus Beauty) Manicure Tracy Clemens for Spa Ritual (Opus Beauty) Photo assistant James V Stylist assistant Andrea Berman Location Chateau Marmont, Hollywood CA Retouching Little Screens Special thanks Federica Carrion and Blake Wood

SAM TAYLOR-WOOD BY COURTNEY LOVE

www.lacoste.com

halsTon By Michael koRs

Fashion’s king of Americana, Michael Kors, who celebrated his third decade in business this year, has never been tight-lipped about his inspirations. He started his career as a teenager designing clothes on Fifth Avenue, selling them to a clientele that included the likes of Jacqueline Onassis. He regularly lists Lauren Hutton, Ali MacGraw, Liza Minnelli, and Doris Duke as examples of the sorts of women he thinks about when putting together his collections. So it wasn’t surprising that when asked to name his biggest inspiration, he answered Halston, the man who defined New York chic. Roy Halston Frowick, who died in 1990, dominated the silhouettes and fashion headlines of the 1970s with flowing dresses that became synonymous with discotheques like Studio 54. He was a confidant of many of the women Kors counts as his muses. He even picked out and decorated Minnelli’s Upper East Side apartment, where she still lives. As Kors sees it, “Halston blew the dust off the concept of glamour and luxury, and turned it into something

modern, sexy, and timeless.” And he understood that, at the end of the day, his role was to make his clients look their best.

“He proved that if a designer does his or her job right, they can dress women of any age, size, or type — and still make them look fabulous.” Derek Blasberg

Halston, Vogue, c. 1970s Photography Duane Michals

The longstanding relationship between fashion and art is well-documented, but for some designers the link runs especially deep. Olivier Theyskens, the man behind Theyskens’ Theory, says that the British painter Francis Bacon has been an inspiration to him since childhood, for both his creative ability and the force of his personality. “I thought of Francis Bacon because of his devilish extreme side, his vibrant and tremendous talent, and his authentic and unique character,” Theyskens says. “He has a mixture of wilderness and sophistication.” The seminal artist, whose stark, bleak, psychologically disquieting works have proved him to be one of the most important and unconventional creative minds of the 20 th century, also served as an idol to Theyskens on a more personal level. “I remember when I was a very young kid watching the BBC, and my brother told me he was gay,” he says. “He then became, for me, one of the first people I could identify with.” But Theyskens feels that Bacon can also serve as a more universal icon.

“I believe his persona is one-of-a-kind, and unmistakably affecting in one way or another to anybody who discovers his work. It speaks to a part of us that we all have deep down inside — whether we like it or not.” Jonathan Shia

Portrait of Francis Bacon, c. 1967 Photography John Deakin 146

Halston photography © Duane Michals. Courtesy Pace/MacGill Gallery, New York Bacon photography © 2011 The Estate of Francis Bacon. All rights reserved. ARS, New York / DACS, London

FRancis Bacon By olivieR Theyskens

RZA BY KANYE WEST

As the primary architect and de facto producer of the Wu-Tang Clan, RZA knows hip-hop heroics. The 42-year-old Brooklynbased rapper will forever be legend to a generation of fans whose introduction to rap came via Enter The Wu-Tang (36 Chambers), the group’s epic debut. The chart-topping act was the first to inject a sense of otherworldliness and mysticism into the genre, and by projecting a collective of roughneck rappers as a cultish supergroup of sinophile MCs — drawing heavy inspiration from martial arts flicks and reimagining their Staten Island projects as a Shaolin monastery— RZA and company captured the imaginations of young men and women from the hood to the sleepy suburbs. That Enter The Wu-Tang so thoroughly defined a moment in time and launched the largerthan-life careers of its members— Ghostface Killah, Raekwon, Method Man, Ol’ Dirty Bastard, GZA— only underscores the clarity of RZA’s early creative direction. On his own, RZA has continued his ascension: writing two books; acting in and scoring films by Quentin Tarantino, Jim Jarmusch, and Ridley Scott; offering his sage advice on Kanye West’s My Beautiful Dark

148

Twisted Fantasy; and completing his directorial debut with the Dr. Seuss, Mother Goose, anything.” All the while, however, kung-fu epic The Man with the Iron Fist. The man otherwise the two remained close and connected over not just beats known as the RZA, the Rzarector, Prince Rakeem, the Scientist, and rhymes but life in general. It was the constant pursuit of the Abbott, Ruler Zig-Zag-Zig Allah, and Bobby Digital (a mad spiritual knowledge, under GZA’s guidance, that kept RZA scientist-cum-superhero alter ego he created, complete with grounded after the Wu-Tang’s heady success in the mid ’90s. accompanying unreleased feature film) has built a career unpar- “When I came into the biz, I wanted to fuck up the game,” he alleled in the culture. explains. “I thought that other than some music from the ’60s RZA believes his heroic path was predestined. “My mother and ’70s, everything was bullshit. Rappers had nothing to say. named me after two brothers,” says the man born Robert R&B made me carsick. I never strived for dollar, but my ego Fitzgerald Diggs. “Two American heroes you might expect a was super-duper.” black man to be named for.” While he cites Stevie Wonder, With time, the rapper says he came back down to Earth. “We Marvin Gaye, and Willie Mitchell as inspirational figures, RZA thought we had the secret,” he says, “But we were incorrect in holds GZA nearest to his heart. “He was the first person to that. Knowledge doesn’t belong to us. We’re not ’masons!” In inspire me when he took me to my first block party, where I saw that revelation, RZA found freedom. “It lifted off layers of bricks my first break-dance move,” RZA remembers. “It was 1976.” that had built upon me, and I was no longer against the world, As teens, RZA and GZA worked together on early group but with the world.” Knox Robinson projects, as well as later solo efforts, all of which failed to find momentum on the ’80s New York rap scene. “We were RZA in Los Angeles, June 2011 kids just doin’ it,” says RZA. “I was rapping over anything… Photography Kai Regan

TEHCHING HSIEH BY MARINA ABRAMOVIC

“He has made the most radical performances in the world, and nobody has done it longer or better than he has,” says Marina Abramovic of her hero, Tehching Hsieh. “Because of the speed of life, young audiences have been trained to have a minimal attention span. His pace is an inspiration to them.” In speaking of Hsieh, Abramovic quite correctly lionizes an individual who has created work that beautifully articulates the limitless capacity for intellectual, emotional, and creative freedom that all human beings possess. The Taiwanese-born artist, who came to his current home of New York in 1974 as an illegal immigrant, is best known for the performance pieces of extreme duration that he began creating in the late ’70s. His first work, One Year Performance 1978–1979 (Cage Piece), consisted, infamously, of the artist enclosing himself in a cage in his Tribeca studio for one full year. For Hsieh, it was a situation indistinct from ordinary living, filled with the same raw emotions. In this case, however, those emotions remained contained within his eleven-by-ninefoot cell. “The joy I’ve had from doing art is not based on masochism, but on the transformation in which one turns his or her plight in a difficult situation to a positive state,” says Hsieh. “I haven’t denied my happiness and freedom. Instead, my work is based on free will and free choice.”

Hsieh’s seminal work concretized how the existential cages that we humans inhabit are the products of our own design. Far 150

from using his performances to educate or entertain an audience, however, the artist kept them relatively private. “During the year-long performances, the days open to the public were limited,” he says. “This was intentional, because the quality of isolation was important for me. The audience had to use their own life experience and thinking to imagine the work.” The most important artifacts of his performance are the photographs, films, and writings that document it— as well as the memories of his audience. “Now I would use video,” he says, “as a method to witness the authenticity of the work. But I don’t think this will necessarily help others understand the work better.”

In 1983, Hsieh began his first and only collaborative piece, One Year Performance 1983–1984 (Rope Piece), with Linda Montano. For one full year, the two artists were attached by eight feet of rope. It was during this time that he met Marina Abramovic, who could in some ways be seen as Hsieh’s spiritual cohort. Simultaneously, Abramovic was creating, with her partner Ulay, pieces of a certain similarity to Hsieh and Montano’s, including a sixteen-day piece, part of the “Nightsea Crossing” series, wherein Abramovic and Ulay sat across from each other in a gallery for seven hours at a time. “Marina and I both use long duration to do performances,” Hsieh says. “In Marina’s work, the communication between her and her audience is important. In my work, I’ve tried to limit it, in order to remain isolated.

We interact with the audience from different directions.”

Abramovic has pointed out another difference between her projects with Ulay and Hsieh and Montano’s Rope Piece: the pieces with Ulay were performed by two people in love. When Abramovic visited Hsieh and Montano during their performance, she noticed there were scratch marks on the headboard where they slept. Apparently, the two artists, who were not romantically involved and remained abstinent during the project, would claw at the bed in frustration at their chosen situation (Hsieh also used his fingernail scratches to create a makeshift calendar during Cage Piece). While lovers like Abramovic and Ulay quite often have a similar urge to destroy furniture, Hsieh and Montano’s Rope Piece exists more as an object lesson in the psychological confines of love: one finds freedom within the suffocation of attachment—until reaching the end of the rope. But, despite the difficulties involved, both artists stayed true to their course, and only separated after the full year was over. “The work consumed me physically and mentally, but I had to do it,” Hsieh recalls. “I’ve suffered while doing my work, but people suffer in life now and then.” Aimee Walleston

One Year Performance, 1978–79 Artwork Tehching Hsieh Photography Cheng Wei Kuong © 1979 Tehching Hsieh Courtesy the artist and Sean Kelly Gallery, New York

LOS ANGELES, LAS VEGAS, NEW YORK AND SELECT OPTICAL STORES. TOMFORD.COM

ZAHIA DEHAR

BY PIERRE ET GILLES

Parisian artists Pierre et Gilles have created their own visual universe surrounding vital and human themes like sex, death, youth, war, eternity, and martyrdom —and that’s just for starters. Immortalizing everyone from porn stars to pop legends in florid deifications—achieved by hand-painting over immaculately staged photographs—the artists and longtime lovers take pleasure in making images that both transcend the mortal landscape and point out the contradiction between morality and mythic idolatry. If not for Zahia Dehar, they might never have met their match.

“We complement each other perfectly,” the artists say of Dehar, the 19-year-old French bombshell, initially brought to the pages of V last March, courtesy of fashion editor Carlyne Cerf de Dudzeele. The curvaceous and controversial blonde caused an uproar in Europe in 2009 as the center of a sex scandal involving three members of the French national soccer team. We likened Dehar to a modern-day Mary Magdalene, but Pierre et Gilles saw her as another biblical female, as shown above in their portrait Eve. “She is pure and real,” they say. “We feel close to her because we have the same sensitivity. She inspires us, and our work inspires her.”

Dehar agrees. “I knew Pierre et Gilles’s work for a long time before meeting them, but I never thought I would know them personally—and even pose for them one day!” Following the advent of her notoriety, a mutual friend introduced Dehar to the duo, because, says Dehar, “they thought we would get along well. Fifteen minutes later, we were talking about shooting a photo together! Pierre and Gilles are like big, provocative kids in their art. Their universe is everything I like. It’s colorful, rich, and very sexy.”

Likewise, Pierre et Gilles looked past the outré eroticism of their muse to find the heroism within. “Behind her radiant beauty hides a little bit of sadness that touches us a lot,” they say. “Zahia is an angel descended to Earth for our pleasure.”

Patrik Sandberg Eve, 2011 Artwork Pierre et Gilles

DIANA VREELAND BY LISA IMMORDINO VREELAND

Diana Vreeland did not believe in the glorification of heroes and heroines, but she has become one of the most venerated figures in fashion history. In the process of writing the book and directing the film Diana Vreeland: The Eye Has To Travel, I have discovered the life that my husband's grandmother lived and the remarkable person she was. Her multiple passions were incubated in her unique childhood experience — during the belle epoque —when demimondaines paraded through the Bois de Boulogne, and Diaghilev and Nijinsky were frequent guests in her parents’ home. It was this milieu that would act as the launching pad for Mrs. Vreeland’s formidable career.

Imbued with a sense of the extraordinary, she kept her message to her audience consistent throughout her life: accepting the ordinary in anything was just simply not her way. She believed that one could be the best or the worst in a class— but never in the middle. She is my hero for precisely that reason.

Vreeland’s career in fashion consumed her, and amplified her message — a dictum that expressed passion, imagination, and curiosity. By creating fantasy in fashion, she set the bar so high that today’s designers continue to be inspired by the images she helped create. Her flair for the extraordinary has dared us to expand our visual sense.

Why is it important to revisit Mrs. Vreeland, and why now? Because originality has become less important than it was in her time. Mrs. Vreeland was an original not only in the way she thought but in the way she looked and in the way she spoke. Her interpretation of the world, or more precisely, of her world, assured us that dreams can come true. Her legacy is not eccentricity, as many fashion followers now believe. Her idiosyncratic and original approach was much more profound than quirky.

She espoused the unusual, and proposed new standards of beauty—ones that have become hallmarks of the 21st century. She inspired people to think in creative ways. She embraced change, and everything it stood for. Mrs. Vreeland pushed the limits. Lisa Immordino Vreeland

Diana Vreeland in New York, 1974 Photography Arnold Newman Diana Vreeland: The Eye Has to Travel is out in October 2011 from Abrams.

A documentary film of the same name, directed by Lisa Immordino Vreeland, premiered at the 68th Venice Film Festival this September 152

Photography courtesy Getty Images

“You don’t give people what they want. You give them what they never dreamt they wanted.”

–Diana Vreeland

FRANK BIDART BY JAMES FRANCO

“Poem Ending With a Sentence” by Heath Ledger

154

Frank Bidart in Palm Springs, CA, 2011 Photography James Franco Contributing art editor Dominic Sidhu

Collage Ania Diakoff

Each grinding flattened American vowel smashed to centerlessness, his glee that whatever long ago mutilated his mouth, he has mastered to mutilate you: the Joker’s voice, so unlike the bruised, withheld, wounded voice of Ennis Del Mar. Once I have the voice that’s the line and at the end of the line is a hook and attached to that is the soul.

Frank Bidart showed me this poem two years ago, at our first meeting. We were in Cambridge, Massachusetts, where he teaches, at a restaurant where he eats every Friday night with his best friend, Louise Glück. I was there to talk about adapting his poem “Herbert White” into a short for the film program at NYU. “Herbert White” is the first poem of his first book, Golden State, which features work inspired by his hometown, Bakersfield, California. It turned out that Frank had once aspired to be a film director; the close proximity of Los Angeles to Bakersfield had teased him with dreams of breaking into the film business. But in the ’50s and early ’60s, there were no film schools, so he ended up going to U.C. Riverside for English, and then to Harvard, where he studied with Robert Lowell.

We ended up closing the restaurant that first night together. We talked poetry and film for eight hours straight—the restaurant shut off the kitchen lights and kept a single waiter behind to allow us to sit until two a.m. Frank and I were oblivious, we had too much to discuss. In him, I’ve found a teacher, a brother, and a fellow traveler into the dark and delicate center of the artistic soul. James Franco

www.ninaricci.com

JOAN JETT BY MILEY CYRUS

MILEY CYRUS People see me as this perfect Disney star, and the moment I put out a record that says, “I’m not 11-years-old anymore,” people look down on me. That’s why I’ve always looked up to you. When you came out, people were shocked that there was a chick who wanted to rock as hard as the guys.

JOAN JETT I find it really fascinating why the Runaways and I took so much shit in the beginning. We sang about what we knew: going out, hanging out, partying, falling in love, and learning about sex. And we were lambasted for it! How dare girls think about sex? Now it’s all anybody in the top ten sings about.

MC I guess women can sing a lot more freely now, but it’s also about who can push the limits the most. As much as times have changed, people still look down on women who stand for something. Sometimes I’m listening to the radio, and I’m like, Who the hell is this? It sounds like the last thing I heard.

JJ The fans are willing to give artists a shot at experimentation, it’s more the industry that won’t allow it. In my day it was, “We won’t play two women in a row,” no matter what kind of music it was.

MC There has been nothing I’ve ever heard you say that I 156

didn’t believe. You were always very genuine. I always connected to that. We all have that commercial song that everyone loves, but every song on the album shouldn’t be only about that. I can listen to your albums and feel like I know you, or like I’ve met you.

JJ I think the trick is making sure you’re always making the music not only for yourself, but for the fans. Hopefully, Miley, you’ve learned that from me.

MC More than that, also knowing how to treat people. I always get nervous to meet somebody who I look up to because you’re like, “Shit, what if they’re not as cool in person, what if they’re not really what they sing about?” I think the reason I love you even more now that we’ve met is that everything you sing about in your songs is who you really are. You see it in the way an artist treats people when they’re not on stage.

JJ Thank you. I have to thank the parents for that. It is important how you treat people. If you have an interaction with a fan, whether it’s from the stage and it’s the meeting of the eyes or a smile, or if you meet someone and shake hands and sign an autograph, those are moments that they remember forever. If you’re nice and you’re kind and you’re caring— oh my God, that’s never going to be forgotten! But if you’re a bitch and you have better things to do, they remember that too. That’s not how I want to be remembered, because it’s not who I am.

MC I was just another fan of yours when we met. Listening to your albums can help a person through a little bit of everything.

JJ I was watching your dad on TV. He was doing an interview and talking about you and your family and your career. You’d been in the press a lot lately, and I was thinking to myself about my own life and how difficult it must be to live your life as a teenager with the paparazzi and the amount of press you’re surrounded by. I thought to myself, Wow, it was kind of a blessing that we didn’t have that stuff when I was growing up in the Runaways, because I just don’t know how I would have dealt with it.

MC I was listening to the Runaways a lot because of what

you were talking about and the way that I felt, and the things that I wanted to say but couldn’t because people would have looked down on me. It gave me a lot of help and a lot of light when I was going through a lot of stuff with my family and everything was so public in my life. I saw the Runaways movie with my brother for his birthday, and that was the moment I felt like, Shit, they were going through the same things I was going through but at a different time.

JJ But we didn’t have to deal with the cameras. I’m thinking, you poor thing! If you make a mistake, it’s public, and you’ve got to live with it for the rest of your life. People never don’t make mistakes. People do. I mean, it’s life. You’re living life, that’s what happens. It’s fascinating to think that you grow up in that.

MC And you have to apologize. I love that you never apologized for who you were. It’s something I’ve had to learn. When you do something the world doesn’t agree with, to say, “I’m really sorry, it was a big mistake, and I hope you guys can forgive me.” Forget that! You want to forgive yourself and you owe an apology to the people around you who love you, but I’m sick of feeling as if I owe someone an apology for being who I am.

JJ It’s also ridiculous to think that teenagers are the same across the board. There are girls and boys who go through a lot of these issues, and I think it’s disrespectful to them to pretend they don’t exist. Whether you’re talking about sex, whether to have it, how to do it properly, or drugs, all that stuff. You want kids to be smart. People in my day weren’t even allowing us to bring it up.

It was like, Girls don’t do that. So how can you even deal with that besides rolling your eyes and playing a loud chord?

Joan Jett in Long Beach, NY, July 2011 Photography Mark Abrahams Styling Catherine Newell-Hanson Tank Hudson Leather and crystal necklace Pony for Vicki Turbeville Other jewelry Jett’s own

Makeup James Vincent for Make Up For Ever Hair Tomo at Sally Hershberger Salon Photo assistants John Ruiz, Eric Simmons, Tara Chumpelik Digital capture Tim Bell Equipment rental ROOT [EQ] Printing Box Special thanks Kenny Laguna and Kristen Foster

Rock hero Joan Jett and teen-pop queen Miley Cyrus couldn’t be more different— or more alike. While their musical styles diverge greatly, their personal histories mirror one another’s desire to shed skins, break barriers, and transform. When Jett set out to rock hard in the mid ’70s, she and the Runaways were on their own. No women before them had so unapologetically embraced a lifestyle of late nights, stiff drinks, and carefree sex, and surely none had sung quite so loudly about it. Decades later, a young Cyrus auditioned for Hannah Montana with Jett’s hit “I Love Rock N Roll,” landing the role that made her a star. Later still, when Cyrus sought to escape her saccharine Disney image, she found inspiration in Jett’s raw, honest lyrics and rulebreaking attitude. When the two finally met on Oprah this past April and duetted “Bad Reputation,” their unlikely friendship was founded.

Jett and Cyrus recently spoke about playing by one’s own rules and living life at level 10. Christopher Bartley

The neighborhood of Watts, in South Central Los Angeles, duly reflects the area’s gangland reputation for crime and poverty. It evokes an image that’s bleak, not beautiful. But for the past fifty years, in the midst of earthquakes and riots and run-for-your-life sprawl, two towers have stood as part of a cloister of seventeen structures that together resemble a forest of antennas to heaven, or leafless Christmas trees, welcoming the hope of festivity.

The Watts Towers were constructed entirely by the hands of one man: Simon Rodia. For Lawrence Weiner, an artist known for his grand-scale sculptures, the premise of Rodia’s towers is no doubt intriguing. “Art is made by people for other people,” says Weiner, sitting and smoking in his West Village studio, a framed photo of Rodia hanging on the wall beside him. Weiner has cited Rodia and the Towers as inspiration since he first glimpsed them as a teenager.

When asked why he built the Watts Towers, Rodia has been quoted as saying, “Because there are nice people in this country.” But the Towers aren’t some philanthropic endowment. The impoverished and oft-unemployed Rodia worked daily for over thirty years, from 1921 to 1955, using nothing but simple hand tools and local detritus, like discarded wires, shattered glass, and shards of broken clay from a nearby factory. In slowly crafting his masterpiece, Rodia, a small man, would bend scrapped steel girders with his body weight by leveraging them under railroad tracks.

For all that’s known about Rodia’s early years, one thing is clear: he’s a man who, for better or worse, is capable of walking away. He emigrated from Serino, Italy, to the United States in 1890, at the age of 11. He worked odd jobs, mostly in construction and labor. His brother, with whom he emigrated, died in a mining accident in Philadelphia. Rodia was married in Seattle and divorced in Oakland. In 1920, he settled in Watts, then a residential town mostly populated by Mexican-American railroad workers. In 1955, after thirty years of working on the Watts Towers, and approaching 75 years of age, Rodia decided he’d completed them.

He left town and never returned.

It’s almost inconceivable that a project so grandiose and ritualistic could come to an end, yet it’s easy to understand why Rodia would have abandoned it— except he didn’t.

The Watts Towers were finished. “He knew when it was done,” Weiner says. “A real artist knows when to start, but a good artist knows when to stop.”

Rodia saw in an empty lot the space to build with his hands something incredible out of Americans’ waste—a gift to an area of the country that has endured some of its greatest hardships. It wasn’t a metaphor for the labor-based community at the time, and it doesn’t stand as a testament to the endurance of the human spirit. The Watts Towers are simply a work of beauty built by a man who saw potential in one city’s stark landscape. “He found a world,” says Weiner. “And if you’re talking about heroes, that’s a hero.” Elliott David The Watts Towers, Los Angeles, July 2011 Photography Spencer Lowell

DUSTY SPRINGFIELD

BY ChRISTOPhER BAILEY

Since his 2001 arrival at Burberry, the British label synonymous with trenches and tartans, Christopher Bailey has often shown his clothes to a sound track of heavy riffs and thumping beats. He has cast rock stars (and sometimes their attractive children) in his runway shows and campaigns. And he has infused his covetable clothing with a serious edge — cutting, slashing, collaging, and studding the 155-year-old label’s famed trench coats into items worthy of a place in the closet of any Cher, Gaga, or Madonna. But when asked to select his ultimate hero, Bailey named singer Dusty Springfield, an icon of decidedly quieter, though no less venerated, sound. As the voice of the swinging ’60s and one of the biggest-selling female musicians of all time, the oft-proclaimed white queen of soul defined an era with breathy, emotive hits like “Wishin’ and Hopin,’” “I Only Want To Be With You,” and “Son of a Preacher Man,” a song originally turned down by Aretha Franklin before becoming a top-ten smash at its release in 1968. Indeed, the singer’s sharply attuned ear and awe-inspiring range brought offers from writers who would typically work only with black singers. At many performances, Springfield would be the sole white woman on an entirely black billing. And she was a force to be reckoned with. None of which is to say that Springfield’s look wasn’t instantly recognizable in its own right. It’s just that, unlike today’s performers, she only had one. With her massive blonde beehive, exaggerated features, and layers of makeup, Springfield was a cartoonish, imperfect beauty, a fact that no doubt endeared her to fans and inspired a generation of female singers that includes Adele and the recently departed Amy Winehouse. Bailey has no doubt been similarly moved, and may have stumbled upon a veritable Dusty moment. She was on the sound system at his Fall/Winter 2011 Burberry show, an ode to ’60s Britannia, and producer Nick Gillott has optioned a film adaptation of the Sharon Davis book A Girl Called Dusty.

The casting is underway. But who could capture the emotional fragility, outlandish style, and soul-crushing vocals of one of the greatest female singers ever? We bet Bailey has a few ideas. James Block

Dusty Springfield, 1964 158

Springfield photography Hultun-Deutsch Collection/CORBIS

SIMON RODIA

BY LAWRENCE WEINER

SMASHBOX.COM SEPHORA ULTA NORDSTROM QVC

CHARLES AZNAVOUR BY LIZA MINNELLI

Liza Minnelli, the Tony, Emmy, Golden Globe, and Oscar award– winning performer, has enjoyed many influences throughout her career. There is, of course, her mother, the icon Judy Garland, and her father, the seminal film director Vincente Minnelli. But beyond her familial dynasty exists a guardianship that has helped to shape her legendary body of work. Bob Fosse, who directed her career-defining role as Sally Bowles in Cabaret, was one such inspiration; her godmother, Kay Thompson, the actress known for her role as a magazine editor in Funny Face, and later as the creator of Eloise, was another. But when asked to name her professional hero, Minnelli chose Charles Aznavour, the French-Armenian singer and songwriter.

Minnelli is passionate when his name comes up. “Magnetic,” she sighs, describing the first time she saw him perform onstage.

“The minute he walked on, I stopped breathing.”

Swooning is not an uncommon response to the tenor, whose short stature makes a surprising foil for his enormous, elegant sound. Aznavour’s voice is smooth and clear, capable of reaching strident high notes and seductive low tones. But, as Minnelli 160

explains, “His greatest strength is his ability to tell stories through his music.” To date, Aznavour has appeared in more than sixty films, written more than one thousand songs—fluent in nine languages, he has recorded in English, Italian, Spanish, German, and French—and sold more than one hundred million records. He has been called France’s Frank Sinatra, his prolific career has been compared to Elvis Presley’s and Bob Dylan’s, and his songs have been covered by the likes of Ray Charles, Fred Astaire, Bing Crosby, Elvis Costello, and, of course, Minnelli herself. Popes, presidents, and sitting royalty all have summoned his soulful timbre.

“It was after one of his performances that I decided I wanted to be a storyteller,” Minnelli remembers, still giddy as if the meeting, which took place nearly half a century ago, had happened only yesterday. “I asked him to be my mentor, and he agreed.”

Perhaps the most important character trait that Aznavour and Minnelli share is dedication to their craft. Despite illnesses and a knee replacement, Minnelli continues to tour and make appearances on-screen and onstage. (She famously appeared on the

television show Arrested Development in a role that required her to fall down, over and over again, which she did herself, explaining that Luigi, the renowned dance instructor, had taught her how to crumple her body carefully and peacefully, in rhythm.)

Aznavour, who turned 87 this year, started a global farewell tour in 2006, which he is still on to this day. This fall, he’ll serve a one-month residency at the Paris Olympia Hall.

Perhaps the best way to explain the unique relationship between Aznavour and Minnelli, both icons in their own right, is by means of a Stephen Sondheim song they once performed together. “Oh what a dream, a wonderful dream, Papa,” goes the refrain to “Some People,” one of the many pieces that Minnelli and Aznavour have duetted. “Some people can be content playin’ bingo and payin’ rent / That’s living for some people, for some humdrum people / But some people ain’t me.”

Derek Blasberg Charles Aznavour in Paris, May 2011 Photography Karl Lagerfeld

woRk in pRo gRess

Last June, as the art worLd descended on the sinking city of Venice for the 54th BiennaLe, questions of authorship, citizenship, and Viewership hung in the air. these 7 artists proposed answers Via their proVocatiVe works Photography Jason Schmidt

AlloRA & CAlzAdillA United States Pavilion

It was a great honor and privilege to work with world-class athletes from USA Gymnastics and USA Track & Field for our exhibition “Gloria” in the U.S. Pavilion. Pictured here, from left, are some of them: Sadie Wilhelmi, Dave Durante (2007 men’s all-around gymnastics champion), Rachel Salzman, Olga Karmansky, Mike Moran, Chellsie Memmel (2008 Olympic silver medalist in gymnastics), Dan O’Brien (1996 Olympic gold medalist in decathalon), and Matt Greenfield. Basically, we made a new apparatus for them to perform on, which required them to relearn and reinvent their skills as athletes.

This re-skilling didn’t end there, but to a certain degree was also required of the public and their tools of comprehension.

Allora & Calzadilla 163

work in progress

mike nelson British Pavilion

164

(and whatever out) whilst placing within it another building, one with an eastern identity, is all part of that.

The title of my 2001 Venice work, The Deliverance and the Patience, related to the two boats that in the 17th century took the survivors of the wrecked Sea Venture from “the isle of the devils,” or Bermuda, to the so-called safety of colonial Virginia.

This reference formed the basis of a narrative that connected the birth of worldwide shipping lanes with pirate utopias and the Internet.

In this way, a connection has been made back to the earlier Venice work, this time to a trade route east, by land, as opposed to the west, by sea, as before. So in a sense the new work made references back to two previous works in order to make sense of two cities, their historical relationships to one another, and their relevance to me and my own subjective history. Mike Nelson

*The photograph above was taken in the basement of the pavilion among the props that hold up the courtyard above and the pipes that channel the drainage out of it.

Courtesy 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London

In The White Castle (Orhan Pamuk), a Venetian is captured by Turkish pirates and sold into servitude in 17th-century Istanbul.

His new master is the astrologer to the caliph and also his double. Thus ensues a relationship of psychological intensity, which results in the return to Venice of one of the protagonists, his identity unclear.

I gave the building two exteriors: one the neoclassical exterior of a bastardized tea house, the other an anglicized Italian building—the pavilion. The latter was based on that of a courtyard in an Istanbul han, a 17th-century caravanserai remodeled and rebuilt in concrete, re-sited in the center of the existing building by the removal of the roof and the implementation of a drainage system.* My aims were not nationalistic, they were like that of any other work: to make the most interesting use of the context as possible at that point in time, both on a conceptual or narrative level and in a structural or sculptural way. Of course, to deny an interest in the building’s identity and history would be disingenuous, and perhaps the gesture of removing the roof, letting the air in

work in progress

Monika SoSnowSka

“ILLUMInations,” Giardini

Choosing the right technicians to build my works is part of the creative process, but I’m not necessarily always looking for the most advanced ones. When I am building an object, which has to look like it was produced in Poland in the ’60s or ’70s, I have to find someone who works similarly to the metalworkers and carpenters of those times. And in those times most of the craftsmen were doing it with a cigarette in their mouth and after having a shot of vodka before they even started working.

Monika Sosnowska 166

mugler.com

SAKS FIFTH AVENUE

Eva Mendes

work in progress

MoniCa BonviCini

“ILLUMInations,” Giardini

Fifteen Steps to the Virgin is the installation I developed for the “ILLUMinations” show. It consists of a large pink curtain, two light works, four blocks of sculptures, and sound. The sculptures are inspired by some Tintoretto paintings. His paintings are so crazy when it comes to perspective. They are always very theatrical, and the past and the future are combined with a great ease and a sense of revolt, which I have always admired. The title of the installation refers to his painting The Presentation of the Virgin to the Temple, in which a little girl walks up a round staircase of fifteen steps. I wanted to create a stage situation without a play being performed. Here you see a mixture of steps and stairs made out of different materials, an excessively baroque mixture of Home Depot and Ikea. Something about it reminds me of the spectacular Hollywood staircases from the ’20s and/or less spectacular ones from television and the stage.

Monica Bonvicini 168

STORE. JILSANDER.COM

NEW YORK, MADISON AVENUE - NEW YORK, HOWARD STREET - CHICAGO, EAST OAK STREET

work in progress

Fia BackstRöm Swedish Pavilion

Traditionally, Sweden is considered a neutral country of blond, beautiful citizens, upholding socialist values of civil justice and equality. But simultaneously, it is one of the world’s top weapons exporters. This spring, pictures from Libya have been circulating that feature the Swedish rifle Carl Gustaf— named after the reigning king of Sweden.

As a representative of a nation at the Venice Biennale —in my case, Sweden— one’s given space is within the territory of one’s national pavilion. Narcissus (1903), pictured above, by Henry Nilsson, is digitally reprinted on cut-out aluminum and placed outside the Swedish pavilion; it is one out of ten remakes of existing public sculptures from ten countries, chosen from conversations with fifty-seven cultural producers about stereotypical notions of nations, icons, and other national narratives. The result is BORDERLESS BASTARDS (multi-culti abc).

I sought to negotiate the placement of each of the remaining nine sculptures with artists representing Holland, Great Britain, Israel, Canada, Korea, Uruguay, Greece, Serbia, and Egypt. Only two (Egypt and Serbia) rejected my overture—those sculptures remained on Swedish territory. The rest ended up in the interstices and secret nooks and hooks between the national pavilions. Together with an audio guide, including the edited conversations, they form a walking tour around the imaginary geography of the historic Giardini, the main venue for the Biennale. Fia Backström 170

NEIMAN MARCUS

SAKS FIFTH AVENUE

BLOOMINGDALE’S

THE BEDEG COLLECTION

JOHNHARDY.COM

© 2011 JOHN HARDY LIMITED

work in progress

steven sheaReR Canadian Pavilion

When I was imagining the faรงade, I wanted the text of the poem lifted off the ground, and eventually came to the solution that the shed could function as an entrance to the exhibition and as a structure that would frame the poem and provide a skirt.

Even though the shed materials are enlarged, I kept the door its standard scale, so that the structure still appears to be a shed rather than a warehouse. I wanted it at a human scale so that it would respond to the site of the Giardini as a lowly garden shed would. Steven Shearer 172

THE HERoEs IssUE AVAILABLE Now oN THE PAD FEATURINg ExcLUsIVE, UNsEEN coNTENT AND swATcH’s NEw FULL-BLooDED APP!

GO On set WItH MARIO testInO & CARIne ROItFeLD In FIVe beHInD-tHe-sCenes VIDeOs!

work in progress

caRol bove

“ILLUMInations,” Giardini

The tableau, being at eye-level, creates an interesting effect: small objects like seashells look medium-sized; large objects like a ten-foot I beam also look medium-sized. Everything is detached from its normal scale. Partly it’s perspectival illusion, but it also has something to do with the quality of space on the platform. The platform reads like a stage, so you interpret the arrangement as a model, something other than what it is.

It’s not an intellectual interpretation of the type of space—your unconscious and your conscious mind understand theatrical space equally well. The objects are self-evident and make no effort to be illusionistic; they provoke and repel interpretation with complete ambivalence. Carol Bove 174

NEW YORK 12 CROSBY STREET 212 966 1616 764 MADISON AVENUE DEREKLAM.COM

MARY J. BLIGE

BY MISSY ELLIOTT

Every hero has an origin story, and Mary J. Blige’s is proof of the life-changing power of music. When she was just 17 years old, she sang Anita Baker’s “Caught Up in the Rapture” in a recording booth at the Galleria Mall in White Plains, New York. That cassette found its way to Andre Harrell at Uptown Records, who signed her as the label’s first female artist. “If Anita Baker, one of my favorite singers ever, hadn’t had that song and that album, Rapture, that got us through so much, I would not have found something I love that I wanted to hear my voice on,” Blige says over the phone from Los Angeles. “I needed to hear that what was coming out of my mouth was real. And it was.”

A powerful, beloved, inspirational vocalist whose raw emotionality has become her signature, Blige was heralded by Sean Combs as “the queen of hip-hop soul” when she debuted in 1992 with the album What’s the 411? She has since enraptured collaborators from Method Man and the Game to Bono and Elton John, openly divulging her personal heartbreaks and addictions—a voyage summed up in her 2001 Behind the Music special, in which she testified about the one thing Chaka Khan told her that she will never forget: “Get out of your own way.” Missy Elliott, who nominated Blige for this issue, recognizes Blige as an elevated role model and generational caretaker, crediting her with “helping me to believe in me” and for “getting many women through relationships—from heartbreak to independence.”

Now Blige has a “My Life” fragrance, a Melodies by MJB line of sunglasses, and a charitable agency, Foundation for the Advancement of Women Now. There are Grammys, American Music Awards, BET Awards, World Music Awards, Billboard Music Awards, MTV Video Music Awards, NAACP Image Awards, and Soul Train Music Awards that she keeps on “this really, really tall shelf thing,” she laughs, in the library of her 18,250-square-foot Saddle River, New Jersey, home. “I don’t know what it’s called, but it’s made for that kind of stuff.” In 2010, Billboard ranked Blige as the top female R&B/hip-hop artist of the past twenty-five years, ahead of Whitney Houston, Mariah Carey, and Janet Jackson. “I literally got teary-eyed,” she remembers. And yet she describes her voice as “very imperfect.

But right now I’m satisfied with what I hear back,” she says. “I’m not afraid to go to certain places. I’m not afraid to let my voice be my voice. Imperfections are what heal people. They’re the things people relate to.”

As prolific as ever, Blige will appear as a strip-club owner named Justice in the feature adaptation of the Broadway musical Rock of Ages, starring Tom Cruise. (“He said, ‘Don’t worry.

Have fun. For this film, it’s not worry time,’” she says. “He said, ‘I’d tell you if it was worry time.’”) Her ballad “The Living Proof,” 176

for the sound track of the film The Help, is in heavy rotation. And then there is the release of her tenth album, My Life II… The Journey Continues, which invokes her pained and perfect 1994 sophomore record. “On the first My Life album, my fans and I were in such a place that we didn’t know if we were coming or going, whether we were going to live or die, we were just in so much pain,” Blige says. “Most of us didn’t really even want to be here. But we survived all of that suffering, and our lives have changed.” It’s a continuation of the story she has been telling over the course of her career. “And the story I’ve been telling is that life is real,” she says.

Formerly a crossover artist living in the projects, Blige is now a universal superstar who is first in line to be the next Aretha Franklin. “I hear people say things like, ‘You are the voice of the generations and the generations to come. You’re going to be here like Aretha has been here,’” Blige says. “I’ve heard it, and now it’s registering, and I’m seeing it unfold.” How does she imagine herself years from now as that grande dame? “By then I will only be getting calls to come out. I won’t actually have to come out,” she laughs. “They’ll say, ‘We want Mary to come out and sing before the new president again,’ or ‘We want Mary to perform at the Oscars.’ Or whatever.”

Blige says it wasn’t until fairly recently that she finally accepted her success. “I began to believe in 2005 [the year of her album The Breakthrough],” she recalls, “but 2011 was the year that I said I believe completely.” Then again, Blige has never been one to come up short on faith. “When I look back, I remember seeing pieces of what this woman right here was going to be,” she says. “And now she owns herself and she believes. When things get really hard and I have those moments of, ‘Okay, I’m not feeling too good,’ I have to remember, I believe.

I believe.” Mark Jacobs

Mary J. Blige in Los Angeles, June 2011 Styling Maryam Malakpour Jacket Adrienne Landau Earrings Blige’s own Mary J. Blige’s My Life II… The Journey Continues is out in October 2011 from Matriarch/Geffen/Interscope Makeup D’Andre Michael for U.G.L.Y Girl Cosmetics (Margaret Maldonado Agency) Hair Kimberly Kimble for Kimble Hair Care (Margaret Maldonado Agency) Manicure Kimmie Kyee’s for Elegant Touch (Celestine Agency) Photo assistants Frank Terry, Nikolaus Jung, Mario Sanchez Stylist assistants Angelo DeSanto and Marc Berger Location Siren Studios, Los Angeles Retouching Dtouch Special thanks Kate Rosen

EXTRA new chick flick Lately, films about young women tend to fall into one of two categories: supernatural love stories (Twilight) or tragic allegories (Black Swan). Tatiana von Furstenberg and Francesca Gregorini’s emotionally honest debut feature, Tanner Hall, comes as a welcome change for those who prefer something a little more truthful. Rooney Mara (David Fincher’s The Girl with the Dragon Tattoo) plays Fernanda, one of four girls coming of age and exploring sexuality at an upscale New England prep school. The film portrays a sincerity by drawing on the experi-

ences of the female writers/directors: best friends who met at Brown, have famous moms (Diane von Furstenberg and Bond girl Barbara Bach), and attended English boarding schools as kids. As Tatiana explains, “We wanted to harness the hours of storytelling that we shared as best friends.” Gregorini adds, “We set out to make a film free of moral judgment, in which things just are what they are…good, bad, or indifferent.” Georgia King, Tara Subkoff, Chris Kattan, and Amy Sedaris—as a sexually frustrated teacher— round out the stellar cast. Adam Baran Tanner Hall is out in September 2011 from Anchor Bay Films

new MUST-reAD

new (nOT A PlASTic) BAG Last year, Brazilian entrepreneur Oskar Metsavaht watched as a fire burned down the archives of his cherished lifestyle brand, Osklen, which had been his life focus since its founding in 1989.

As a result, Fall represents something of a return to the grindstone for him. “I believe it’s natural, after a period of experimentation, to want to go back to essentials,” Metsavaht says of the season’s stripped-down aesthetic. One of the most covetable manifestations of this newfound clarity is Osklen’s unmistakably chic paper bag—which is made of leather. The must-have tote injects subtle luxury into the simplicity of everyday design.

Patrik Sandberg

Wow. So not only has Christopher Bollen worked as editor of this magazine and editor-at-large of Interview, he has also found the time to write the amazing Lightning People, his first novel and a book you just want to dive into. You’ll be reminded of Dirk Wittenborn’s Fierce People, or Danny Moynihan’s Boogie Woogie, when one character says, “One day you have to wake up and see this city as more than a playground for bad decisions and never-ending hangovers.” You’ll read about the lives and loves of this generation of young New Yorkers and the lightning bolts they are struck by. And you’ll find it fun, gritty, and mesmerizing, especially if you want to read about (or live in) what remains of Manhattan’s last true neighborhoods—the East Village, the far West Side, Chinatown—where kids from the Midwest and Florida, artists, gallerists, photojournalists, actors, and rattlesnake handlers hang out on empty rooftops, and lightning can strike at any minute. Lightning People is a refreshing burst of ions, positive and negative. Grab this book. Open it where you can, open it anywhere — whenever— and be struck.

Tama Janowitz

Lightning People is out in September 2011 from Soft Skull Press

new MOnOGrAPh “Could Ryan Trecartin be the first 21st-century artist?” The question is posed by MoCA director Jeffrey Deitch in his foreword to the monograph Ryan Trecartin, out this fall on the heels of the artist’s successful and widely heralded New York solo exhibition, Any Ever, at MoMA P.S.1. Edited

by Kevin McGarry, the 160-page tome includes an introduction by Trecartin’s chief collaborator, Lizzie Fitch, and a one-on-one interview conducted by Cindy Sherman. Featuring three hundred full-color phantasmagorical stills from Trecartin’s prodigious body of work, the text takes readers back in time through the virtuoso’s oeuvre, without skipping a microsecond of his and his casts’ maniacal postmillennial performances. PS Ryan Trecartin is out in October 2011 from Skira Rizzoli 178

Osklen photography Dom Smith Styling Katelyn Gray Special thanks Joe Chai and Casey Smith; Trecartin still courtesy Skira Rizzoli/Elizabeth Dee Gallery

new MC Q Tartan’s centuries-old affiliation with Scottish clans has long lent it a whiff of the tribal. Many of its proponents nowadays are warriors too, but strictly of the urban variety. Appropriated by ’70s-era misfits who mocked its ties to both the military and the aristocracy, tartan references punk as well. McQ’s Fall 2011 collection channels the pattern’s subversive vibe to cool-girl effect.

It’s all about embellishment, of course, with ripped-sleeve suit jackets revealing frayed armholes, skinny, cropped trousers featuring exposed zip flys, and an abundance of safety pins — small, gold, and affixed to the thigh-grazing skirt of a bell-shaped tartan dress.

Leather lends the collection much of its edge: cinching waists, harnessing silhouettes, paneling bodices—conjuring armor to ready its wearer for battle.

Sarah Fones

m a xm a r a.co m

KAWS photography Matt Irwin; Halsted photography © Hustler Video

new CoUPle AleRt The world of artist collaborations can be a messy one, producing problematic pairings. But when done right, the results are often worthy of a toast. As if to prove the point, storied French cognac producer Hennessy has found a partner in KAWS, the New York— based street artist famous for his colorful imagery and highly coveted limited-edition toys. KAWS designed a special-edition vessel for the libation: individually numbered Hennessy KAWS V•S bottles (available this month across the country) feature the artist’s eye-popping graphics and bold design−giving the centuries-old label a playful, contemporary twist. “When designing the bottle, I tried to incorporate the key iconic elements of the brand’s visual history and bring them into my artwork in a way that feels natural to me,” says KAWS. Fittingly, the familiar vine and raised armor-clad arm make their appearance—and look surprisingly natural alongside the sharp blocks of color that swirl across the bottle. Opposites do indeed attract. Jonathan Shia

new AdUlt nonfiCtion To gay-porn enthusiasts who came of age in the 1970s and ’80s, director and porn star Fred Halsted is considered one of the gods of the genre and a true pioneer. Halsted spread the joys of gay sex through his 1972 debut film L.A. Plays Itself, a still-astonishing tale of a newly out man who comes to Los Angeles and gets an education in the sins of the flesh. Halsted Plays Himself, a new biography by film and video artist William E. Jones, explores the life and tragic death of the legend. Halsted’s films still bear the distinction of being the only gay porn acquired by the Museum of Modern Art’s permanent film collection. The book includes a wealth of archival photographs, erotic writing, press clippings, and more—all sure to thrill and fascinate casual XTube viewers and queer-cinema scholars alike. AB Halsted Plays Himself is out in September 2011 from Semiotext(e)/The MIT Press

new look book Leave it to Kate and Laura Mulleavy, the endlessly innovative pair behind Rodarte, to find an ingenious new way to showcase their work. This time it’s a book of original photography by Catherine Opie and Alec Soth. Each artist’s work fills the first-ever publication devoted to Rodarte’s intricate, gallery-worthy pieces, bringing their equally inimitable styles together. “Kate and I made Alec a list of all the things that inspired us in California, and he spent two weeks on a road trip photographing them,” says Laura. The views of barren deserts and gnarled trees are paired with Opie’s stark images of Rodarte muses like Cecilia Dean and Jenny Shimizu.

“Each portrait conveys an intense sense of intimacy with the subject, which only a Catherine Opie picture can do,” explains Kate.

“Cathy worked separately from Alec, but there ended up being a real tangible dialogue between the works.” JS Rodarte, Catherine Opie, Alec Soth is available in October 2011 from JRP Ringier 180

new exhibit If clothing is armor, then consider Daphne Guinness properly suited up. This month at The Museum at FIT, a new exhibit showcases some of the eclectic icon’s exceptional clothing and accessories, including Shaun Leane’s bespoke silver jewelry and Alexander McQueen’s spikeheeled leather boots. Demi-couture, images, video, and Guinness’s own movies will be on view too. While fashion metamorphosis may have put her on the map, the artist/writer/filmmaker says that her creativity is just as often manifested in other forms of self-expression. “I would say that fashion alone is ill-equipped to transform an individual,” Guinness explains. “But clothes can be used as a tool to reflect evolving identity.” SF “Daphne Guinness” runs September 16, 2011 – January 7, 2012, at The Museum at FIT, New York

Missoni for Target is available September 13 – October 22, 2011, at Target stores nationwide

new mixtape “I am the black sailor moon, Mykki Sinatra, Mykki Blanco, young black Selena,” raps performance artist–turned–hip-hop princess Mykki Blanco, introducing herself on her mixtape, Cosmic Angel. A persona born of poet and artist Michael David Quattlebaum Jr., “Mykillah Nicole Blanco” has become an enigmatic, outré outlet for the NYC artist, one through which poetry is transformed into mutating rap lyrics. But really, what’s the difference? With a little help from a battery of producers, including Nguzunguzu, Brenmar, Adeptus, Gatekeeper, Teengirl Fantasy, Physical Therapy, and more, Mykki’s first mixtape sounds like the real deal. “Mykki Blanco is a wiccan stoner,” Quattlebaum says. “She’s a hitchhiking priestess. She’s a grown flower child, springing out of broken concrete in the hood.” PS

Missoni for Target photography Dom Smith Styling Katelyn Gray Model Louise Donegan (Ford NY) Makeup MinMinMa using M.A.C Cosmetics (See Management) Hair Yoichi Tomizawa using Shu Uemura Art of Hair (See Management) Mykki Blanco photography David Toro Styling Khalid Al Gharaballi

new fusion The Missoni family, fashion’s knitwear dynasty, has an interesting philosophy when it comes to design: “We try our best never to take ourselves or fashion too seriously.”

So explains Margherita Missoni, the family ambassador– turned–accessories designer, when discussing a new collaboration she worked on with American massretailer Target—the store’s largest collaboration to date, including womens, mens, childrens, and homeware collections. “It was the first time my mother [Angela Missoni, the company’s creative director] and I worked together so closely on a specific project, and we were working with a team at Target that none of us had met before,” Margherita explains. “But the exchange was prolific, and we all learned a lot from one another.” Her favorite pieces? The blue puffer jacket and the blackand-white vases from the homewares line. But it’s the bicycles, covered in Missoni’s notorious zigzags, that are getting the most attention. “We wanted to do something really Italian and fun,” Missoni says. “And a bike seemed like the perfect thing.” Derek Blasberg

Cosmic Angel is out in October 2011 on DISmagazine.com

new shoes

new photo BooK As home to one of the world’s only burgeoning economies, Brazil is hot property at the moment. But Brazilian Style, a new coffee-table book edited by Armand Limnander with a foreword by Sonia Braga, proves that the melting pot of South America has always been home to vibrant and soulful work in music, food, fashion, design, and culture. No, the birthplace of cachaça and Caetano Veloso isn’t just about skin (though its natives are quite unconcerned about baring theirs). Brazilian Style runs down the contemporary icons—from the Campana Brothers and Gisele Bündchen to Oscar Niemeyer and Vik Muniz—who’ve shaped the glistening, wrinkle-free, perfectly tanned face of the nation. Christopher Bartley Brazilian Style is out in October 2011 from Assouline

new vigil

Available at occulter.org 182

Morrissey candle photography Gisel Florez

It’s safe to say that millions of people worldwide continue to carry a torch for Morrissey.

Come September, the devoted can actually carry a torch of him, thanks to a series of candles by artist Derrick R. Cruz.

“As an E.S.L. teen, I think his delivery drew me in at first,” Cruz explains. “He appeared wild, wise, and honest. I needed that.” Experienced in working with beeswax, Cruz chose to immortalize the former Smiths front man and legendary solo performer not to deify him, but to put “a nail in the proverbial coffin of youth.”

Now that is a light that’s bound to sell out. PS

Like many style-inclined children of the 1980s, Gareth Pugh harbored a passing fancy for jelly shoes. His favorite model, advertised on television, “had a little key in a clear plastic window, like a key to some secret magic garden,” he recalls. “It didn’t unlock anything, but it was a good marketing tool. Unfortunately, I was never allowed to wear girl’s shoes,” the designer adds, grinning. “But it didn’t stop me!” Pugh’s penchant for plastic made an appearance on male models for his second outing at London Fashion Week. Like the ladies, they donned slick plastic boots, courtesy of Melissa, the ne plus ultra of Brazilian footwear designers and a perennial innovator in the field. The shoes, which Pugh likened to “high-heel Wellies,” complemented the clothing−a coat that lit up, for example. “You know that when you deal with electricity you have to ground yourself,” Pugh explains. “Rubber shoes are the perfect thing.” Thus were the seeds of a future partnership sewn.

Fast forward to Spring 2012 and the launch of Melissa + Gareth Pugh, a shoe partnership bearing some expectedly chic proverbial fruit. Fans of Pugh— Melissa-lovers are known as Melisseiras in Portuguese — will no doubt recognize the designer’s imprint. Like Vivienne Westwood and Alexandre Herchcovitch before him, Pugh collaborated to produce a signature style for the Ultragirl, Melissa’s spare yet chic flat. (He also designed an aerodynamic sandal, based on the vented dresses of his Spring 2009 collection.) Covered, insole and out, with the graphic stripe pattern that Pugh has steadily worked into his collections since college, the Ultragirl comes in four color ways, including black-and-white. “Obviously very me,” he notes drolly.

Ticking off the other offerings, Pugh concedes that he deviated from his monochromatic norm with red-and-blue, a nod to the cobalt that figures prominently in his eponymous Fall collection. That particular color way— conjured months before Pugh’s virgin voyage to Rio — just so happens to recall an intersection he would later pass by. “It was the crossing right next to the hippie market in Ipanema,” Pugh says of the vibrantly red-and-blue corner of Rua Maria Quiteria and Rua Visconde de Piraja. “It’s quite coincidental.” That it may be, but some would argue that Pugh’s plastic-packaged destiny was written in the stars long ago. SF

futuRe spoRt

Designer Dirk schönberger thinks big when it comes to aDiDas sLVr, creating cLothes fit for moon men but DestineD for earthLings Photography Terry Tsiolis Styling Jay Massacret All clothing adidas SLVR 184

Makeup Yadim using M.A.C Cosmetics (Tim Howard Management) Hair Esther Langham (Art + Commerce) Models Marique Schimmel (Supreme) and Viggo Jonason (DNA) Photo assistants David Schulze, Sam Rock, Sam Crawford, Paola Ambrosi de Magistris Digital capture David Damico (Milk Digital) Digital technician David Schulze Stylist assistant Olivia Kozlowski Hair assistant Charles McNair Casting Anita Bitton (The Establishment) Location Pier 59 Studios, New York Retouching Dtouch

fashion

Dirk Schönberger’s frame of reference for his first adidas SLVR collection was out of this world.

“I thought, What do I connect with the word ‘silver?’” says the designer. “And of course, the first thing is the moon.” Indeed, Schönberger is boldly going where no man has gone before: as the first official designer behind the two-year-old label—a grown-up, discreet, and luxurious take on sportswear— he has been charged with the task of infusing the line with a cohesive and directional fashion message. For Schönberger, the 45-year-old former creative director of Joop!, this meant explorations of the ever-burgeoning sport-fashion-casual category. “I hate the word ‘casual,’” he admits. “I still think a man in a suit looks fantastic, but the reality is that people— consumers—think differently.” The challenge was injecting sportswear with tailoring, and vice versa, while giving a certain edge. “I always like to construct, but at the same time to deconstruct,” Schönberger says, “to not be so obvious and predictable.” And adidas SLVR is certainly not that. The resulting collection runs the gamut from crisp blousons and sculpted knits for women to fishtail parkas and elegant suits for men, all of which are also imagined in shimmering silver fabrics, recalling the moon theme. Emphasizing utility via futuristic, military-style details like mesh, D rings, taping, Velcro rips, and asymmetric zippers, the clothes are perfectly suited for moonwalks, space-station dockings, intergalactic travel, and plain-old life. Christopher Bartley

chat

TO caTch a kaTe

Paris is where Kate Moss coMes to cut loose, and where she dished to us about Mango Mania, british style, high-street doMination, and what she really thinKs of england’s other faMous K.M.

186

KATE MOSS Oh, it’s you. I should have known you’d be the one who’s late.

DEREK BLASBERG I promise it’s not my fault. Have you ever tried to get a cab in Paris? Well, I guess not.

KM So, have you got your questions?

DB Yes, yes, I do. First one: how’s Paris?

KM It’s great, as usual.

DB How long have you been here?

KM Just one day. I arrived yesterday, and we’re going to Corsica tomorrow.

DB I’ve seen you having quite a lot fun here lately.

KM That’s because I don’t go out in London. I only go out when I’m here.

DB And you’re always at the Ritz. I think it’s the nicest hotel in Paris, and I’m not just saying that because I’m sitting next to you, Kate.

KM Mmhmm…

DB So let’s talk about your film with Terry Richardson for Mango.

KM It was amazing to work with Terry. He’s a great director. He’s really good at films. He made me feel so comfortable. You know, I usually get quite nervous when they say action, but with him I didn’t feel like that.

Stills from The Great Escape, directed by Terry Richardson

Photography courtesy Mango

If you’ve ever tried to catch a cab in Paris when you’re already running late, you’ll know the particular sense of anxiety and anger I feel while flailing around the St. Germain trying to get myself to the Ritz Hotel on a hot day in May. (For those who haven’t suffered through the extreme irritation of hailing a Parisian taxi, it can only be described as a uniquely French form of torture.)

The reason I’m in a rush? Waiting for me in one of the gilded, swanky salons of the famous Place Vendôme hotel is a fashion legend: Kate Moss. She’s here in Paris for the debut of a television commercial for Mango, the Spanish high-street retailer, that she filmed earlier this year with her friend Terry Richardson. The commercial is what you’d expect from these tongue-in-cheek

fashion radicals: Moss and Richardson sneak around Paris wearing masks of the photographer’s bespectacled face while he films her stripping down to her Skivvies and slipping into new outfits in the back of a windowless white minivan. It’s fun stuff, and the hilarity was only compounded when the two showed up at the commercial’s unveiling at the Centre Pompidou wearing the same outfits they had worn in the commercial, providing a live-action finale to the mini-film that included a runway presentation of Mango’s Fall collection. The good news about my own Kate Moss finale is that when I finally barged in on the supermodel for our chat, she was in good spirits, her trademark sense of humor in fine form. Derek Blasberg

DB Working with Mango isn’t your first foray into high-street fashion. You did those Topshop collections, and I know you like thrifting, and you’ve had access to high fashion for the past two decades. Have you always mixed the high and low?

KM Yeah. I get lots of things. I grew up wearing Marks & Spencer, and that’s where I got all my underwear when I was young. Now I just mix it in with the Stella McCartney, darling.

DB Do you think the high street has gotten better since those Marks & Spencer days?

KM Yeah, much better. You can get amazing stuff now. Miss Selfridge, when I was a kid, was where we used to go, but now they do clothes that women can buy. It’s not just for the kids.

Now everyone goes to Topshop, everyone goes to Mango.

DB The high street is much more powerful.

KM Well, it’s not just about the teenagers who can’t afford designer clothes.

DB That’s a good fashion-business angle. Can I write that?

KM It’s true, isn’t it? Miss Selfridge and Dorothy Perkins and all those stores were just for the kids when I was growing up. But now it’s all women, and girls of all ages can find stuff. I went shopping with my 15-year-old goddaughter and she was a size six, and we were looking at the same stuff. So I thought I could get her to go shop for me now. She can be my shopper!

DB What are you wearing?

KM I’m in head-to-toe Mango today.

DB Now, that’s interesting. Mango is a Spanish brand, and you’re a British style icon, and here we are in Paris. Do you think there’s such a thing as Brit style now? Or has it converged into a European uniform? Do all women dress alike?

KM I don’t know about that. There’s definitely a different style from London to Europe: the French girls dress different from the English girls and the Spanish girls and the Italian girls.

DB That’s true. I like that the girls in Spain aren’t afraid of color…

KM Yeah, and French girls have their look with their long hair and sophistication. And then we English girls look a little…lopsided.

DB Messy?

KM Messy in the nicest way.

DB What do you think is so great about British fashion?

KM When I go to Spitalfields Market, or when I used to go to Portobello, which I don’t really do anymore, because it’s gotten so touristy, or when you go to a club, when you see the boys and the girls—there’s a real mix. The boys look like the girls, and the girls look like the boys, and that’s interesting. They don’t do that in Europe yet. The French boys don’t dress like girls.

DB It’s true. When I’m in London, I never know if I’m in a gay bar or not or if I’m chatting with a gay guy or not.

KM You can never tell!

DB And it can get really frustrating.

KM Exactly.

DB Did you see the images that Inez & Vinoodh took of you that were posted around London around the time of the Royal Wedding? You were wearing a wedding veil and nothing else, and the posters read, “There’s only one Kate.”

KM Yeah, I saw them. I watched the wedding too, of course!

We had a big party and all the kids came around. I thought Kate [Middleton] looked amazing.

DB So you’re happy to share a name with her?

KM Hmm, I think she’s called Catherine with a C now.

DB Yeah, she’s trying to polish it up, I guess. Oh no, does that sound rude? It’s not like she wasn’t polished before…

KM You’re with me, dear. You can say whatever you like. I like it when you say silly things, instead of me saying silly things.

DB Have you been to the Met yet to see the Alexander McQueen show? You know your hologram is there, right?

KM Is it there? Really! Is it actually up? Have you seen it?

DB Yes! KM I never saw it when it was done either. I was going to come in [to the show] with a wig on and pretend I wasn’t me, but then I decided no, I had better not go. I phoned up during the show— I was in Thailand—and I could hear everyone screaming.

DB I went to that Alexander McQueen show where you did the dance performance with Michael Clark. It was breathtaking.

KM That was amazing. We had good experiences with Lee. DB Okay, that girl behind you just told me to cut it off. She’s making a motion like she’ll chop my head off if I don’t stop talking to you.

KM Oh, but I could talk to you all day!

DB Can I tell all of my friends you just said that?

giorgio armani at armani 5th aVEnUE 1:58 P.m.

Dress and shoes Giorgio Armani

D O N’T G O C H A N G I N’ artist EllE mUliarchyk tEars throUgh fitting rooms to crEatE sElf-Portraits of a woman on thE VErgE Photography Elle Muliarchyk Styling Tom Van Dorpe 188

shop at www.giuseppezanottidesign.com

new york - beverly hills - bal harbour - las vegas

giuseppe zanotti design

automne-hiver 2011 2012

“My passion is exploring the powerful relationship we have with fashion—how we use it to coMMunicate with the world and our inner selves.”

–elle Muliarchyk

Coat, top, pants, shoes, hat Missoni

roberto cavalli at berGDorF GooDMaN 6:38 P.M. Top, dress, jacket, belt Roberto Cavalli Hat Maison Michel

Makeup Kaoru Okubo for NARS Cosmetics (Management Artists) Hair Luke Baker (Jed Root) Photo assistant Brett Moen Special thanks Christian Langbein (Giorgio Armani), John Huynh, Benjamin Rousseau (C&M Media), Lauren Picciano (Bergdorf Goodman)

MissoNi at MissoNi MaDisoN aveNUe 4:17 P.M.

jeanpaulgaultier.com

look

From left: Shearling coat with leather sleeves and wool turtleneck Tod’s Gloves LaCrasia Shoes Roger Vivier Tights Falke Wool coat with shearling sleeves and skirt Sonia Rykiel Turtleneck Wolford Gloves Carolina Amato Shoes Bally Tights Falke

192

Photography Kai Z Feng Styling Catherine Newell-Hanson

Makeup Munemi Imai (See Management) Hair Rebecca Plymate using Leonor Greyl (See Management) Models Tilda Lindstam and Daria Zhemkova (IMG) Photo assistants Britta Leuermann and Matt Ellis Location Root [Bk] Retouching Happy Finish

SHEAR gENIUS

Follow your instinct. wild and woolly details lend an animalistic bite to Fall’s must-get coats

www.cesare-paciotti.com

NEW YORK - BEVERLY HILLS - BAL HARBOUR SHOPS

look From left: Jacket Moncler Gamme Rouge Pants Tod’s Turtleneck Wolford Hat Lanvin Jacket and skirt Junya Watanabe Turtleneck Wolford Hat Lanvin

194

Photography Kai Z Feng Styling Catherine Newell-Hanson

Makeup Munemi Imai (See Management) Hair Rebecca Plymate using Leonor Greyl (See Management) Models Tilda Lindstam and Daria Zhemkova (IMG) Photo assistants Britta Leuermann and Matt Ellis Location Root [Bk] Retouching Happy Finish

THE NEW BLACK

Because Basic just won’t do. this season, designers imBue the classic Black jacket with a certain 21st-century cool

AG E N T P ROVO C AT E U R .C O M

196

Photography Robin Broadbent Beauty editor Katelyn Gray

Retouching Richard Martha (Sous Les Étoiles)

EAU SO PERFECT

Fall’s new Fragrances run the olFactory gamut, so there’s bound to be a juice that’s utterly, indescribably you

scent

From left: Cartier captures the elusive essence of the lily in the grand floral Baiser Volé L’Essence by Balenciaga Paris evokes androgyny with green notes of vetiver and violet leaf Bottega Veneta ventures to the Venetian countryside for its namesake eau de parfum, combining leathers and florals for a richly intoxicating new elixir Coco Chanel’s birth date (8/19/1883) is honored with the floral green fragrance No. 19 Poudré Estée Lauder’s Sensuous Nude strips scent to its barest essentials with natural notes of honey, coconut water, and jasmine Encased in pink and gold, Prada Candy combines caramel with benzoin for an addictive, aromatic high Diane distills the style of an icon to create the new floral fragrance by Diane von Furstenberg

back to natuRe Fall’s deliriously over-the-top cocktail rings take inspiration From the natural world and Find new homes on our Fingers Photography Robin Broadbent Fashion editor Katelyn Gray

Clockwise, from top left: Yellow gold, diamond, pearl, and sapphire “Flora” ring Bulgari Yellow gold, marble cone shell, and orange tourmaline ring John Hardy White gold, diamond, spinel, and lacquer “Egratigna Chipie” ring Dior Fine Jewelry 198

Retouching Richard Martha (Sous Les Étoiles)

rocks

WWW.EQUIPMENTFR.COM

Julia wears Swimsuit Norma Kamali

SUDDENLY LIZ Before the many diamonds and drinks, elizaBeth taylor was just the girl on the Beach in the white swimsuit. julia restoin roitfeld revisits taylor’s legendary suddenly, last summer role to recreate her legendary looks Photography Julia Restoin Roitfeld Styling Tom Van Dorpe 200

Bodysuit Dolce & Gabbana Shorts Nicole Miller Earrings Swarovski Crystallized Necklace Lynn Ban Bracelet (her left) Cartier Sunglasses (in hand) Agent Provocateur Bracelet (her right) David Yurman Scarf (worn around waist) New York Vintage

Bustier Guess Skirt Marc Jacobs Earrings Swarovski Cry stallized Necklace Lynn Ban Pendant necklace David Yurman

Shirt Nicole Miller Bra Agent Provoc ateur Pants Dsquared Earrings and ring d Swarovski Crystallize Necklace Lynn Ban Bracelet Car tier

Makeup Daniel Martin using Lancôme (The Wall Group) Hair Rutger (Streeters) Stylist assistant Jassmin Yalley Hair assistant Lizzie Anderson Makeup assistant Cyndle Strawhecker Location Panoramic View, Montauk Retouching Peter Rundqvist (View Imaging) Special thanks Dom Smith and Harvey O’Brien

Clockwise, from top: Robe and bra Kiki de Montparnasse Necklace Lynn Ban Pendant necklace David Yurman Earrings Ben-Amun Swim cap New York Vintage

Top Express Bra Agent Provocateur Brooch and earrings Lynn Ban Headscarf Yves Saint Laurent

Towel Versace Home Ring Guess

Dress Blumarine Bra Kiki de Montparnasse Scarf (worn around waist) Hermès Earrings David Yurman Necklace, bracelet, rings (her left) Lynn Ban Ring (her right) Alexis Bittar Shoes Manolo Blahnik

loot

9

7

10 8

6

11

5

4

12 2

3 1

v-bay Photography Junichi Ito

204

elizabeth taylor never met a bejeweled accessory she didn’t love.

Fall’s most irresistible bags and shoes channel her maximalist spirit 1 Swarovski bag, $900, similar styles available at Swarovski boutiques, 800.426.3088 2 Dolce & Gabbana bag, $7,275, select Dolce & Gabbana boutiques, 877.703.4872 3 Dolce & Gabbana shoe, $1,825, select Dolce & Gabbana boutiques, 877.703.4872 4 Casadei shoe, $3,250, casadei.com 5 Emporio Armani minaudière, $995, Emporio Armani boutiques, 212.339.5950 6 Roger Vivier shoe, $2,275, Roger Vivier New York 212.861.5371 7 Giorgio Armani clutch, $1,995, Giorgio Armani boutique, 212.988.9191 8 Nina Ricci bag, $1,450, Carla Martinengo, Dallas, 214.739.7076 9 Lanvin clutch, $1,990, lanvin.com 10 Salvatore Ferragamo shoe, $3,100, Salvatore Ferragamo boutiques, 800.628.8916 11 Nine West shoe, $119, ninewest.com 12 Salvatore Ferragamo minaudière, $5,500, Salvatore Ferragamo boutiques, 800.628.8916

carry on “my

has a handle on style.”

new

fall collection 2011

glamour purse

lady like

carry on case study

very structured

power clutch DBP, Toluene and Formaldehyde free

America’s nail salon expert.

Since 1981. essie.com

Missoni campaign, 1984

ANTONIO LOPEZ BY JERRY HALL

Nearly four decades later, Jerry Hall can still remember the first time she met her close friend, former lover, and longtime collaborator Antonio Lopez, the preeminent fashion illustrator of the ’70s and ’80s. “It was in Paris, when I was 16, at a club called Sept,” Hall says in her notorious, endearing Texan drawl. “This beautiful man came up to me and asked if I would pose for him. I was wearing gold satin with lots of glitter and feathers, and he was wearing a white satin jacket and red beret. I didn’t know it at the time, but that moment changed the rest of my life.”

Hall had only recently arrived in France from her native Gonzales, Texas, bringing with her little more than a case full of dramatic homemade fashions and a dream. “My mom had made me all these dresses in python print and red satin that were tight all the way to the knee and then flared out,” the supermodel laughs, “like Barbie’s dresses, you know?” Not long after their meeting, however, Lopez filled Hall’s mind with brave new ideas. “He was so artistic, so smart,” she says. “He taught me everything about everything, from art to modeling, from how to pose to how to make myself up. He would spend hours doing me up in eyeliner and false lashes.”

The relationship between Hall and Lopez produced some of the most important illustrations in fashion history. Lopez’s work regularly appeared in Vogue, Harper’s Bazaar, and The New York Times, and has been the subject of books and exhibitions around the world. Today, he is considered the father of modern fashion illustration and a crucially influential figure in fashion generally. According to Hall, that’s not just because his work inspired so many others. “He

was a Svengali, and he had his muses,” she says. “He was so generous, and he helped everyone.” It was Lopez who introduced Hall to Helmut Newton, which resulted in her first French Vogue cover. And it was Lopez who asked Andy Warhol to take Hall out on the town when she moved to New York. Lopez was also the link between Hall’s then-roommate Grace Jones and photographer Jean-Paul Goude, another fashion couple who produced indelible imagery that continues to inspire today.

Art and affection blended into love, however briefly, when Hall and Lopez lived together and dated for a short time. But theirs was ultimately a bond that transcended romance: he painted murals on her children’s bedroom walls, and she was with him in the hospital when he lost his battle with AIDS. “His drawings were so ahead of their time,” says Hall, who continues, in Lopez’s memory, to support “the lost art of fashion illustration.” He remains dear to Hall, however, for reasons other than his brilliant artwork. “He was a wonderful, big-hearted man, super talented and gracious,” she says. “He was like a gardener, and we were all his flowers. He just wanted everyone he loved to bloom.” Derek Blasberg Above: Flight from Puerto Rico to NYC, May 1975.

Photography Antonio Lopez and Jerry Hall Courtesy the estate of Antonio Lopez and Juan Ramos 207

MY FATHER

BY RICCARDO TISCI

Riccardo Tisci, the creative director of Givenchy, has made no secret of his idolization of the female physique, which invariably informs his gothic and angelic designs. Tisci is, after all, the youngest sibling to eight sisters, born to an elderly father who passed away while his son was still an infant. Thus, the father—a figure that plays a major part in any young child’s life— became an influence in absentia on Tisci’s development. As the designer explains, “Not having grown up with him led my imagination to religion.” And fashion is all the better for it: his creations for Givenchy, his collaborations with artists, like close friend Marina Abramovic, and the Visionaire issue he guest-edited earlier this year all find their origins in the world of spirituality—both romanticizing and questioning it. As much as chiffon and leather, darkened angels and billowing saints are Tisci’s stock-in-trade, and it all relates back to his youth. “My father represents strength and belief,” the designer says. “Just like Jesus Christ.”

Tisci has never doubted the presence of a higher power— be it Jesus or his father—throughout his life and career. His most powerful example? Just before he was awarded the top job at Givenchy, his mother was about to lose the family home, which Tisci’s father had built— it was one of the few things left in this world that he could identify with him. When Tisci was hired by the French fashion label, he was able to keep the house, in which his mother had raised her nine children. In his mind, this turn of circumstance was nothing short of religious.

Nietzsche once wrote, “When one has not had a good father, one must create one.” Tisci found his father in his faith, and he says, “This is the reason I chose Jesus Christ.” Derek Blasberg

Michelangelo’s Pietà, detail of Christ’s head tilted back, Vatican City, Saint Peter’s.

Photography Aurelio Amendola Photography courtesy Archivio 24 ORE Cultura

MY MOTHER

BY YOKO ONO

My hero is my mother. She was absolutely beautiful, an impeccable dresser, and had good taste in everything. When I was about 4 years old, I said, “My mother is the most beautiful woman in the world. Don’t you think? I dare you to tell me who you think is beautiful like her or more beautiful!” My nanny just laughed. Lately, I’ve been thinking about my mother’s life, about things I figured out later. She was a victim of the social conventions of her time. But the thing is, she knew it. An extremely sharp and quick thinker, she certainly didn’t think her life was great.

Hers was the classic story of a woman who fell in love, gave up being an artist, and stayed with one man — my father, who was often living in Europe or the U.S., sending birthday cards to us. She once told me that I should never get married. “And if you do marry, never have any children.” She never complained about her life, but such remarks made me wonder what she was thinking.

When she passed away, I saw her lying in the coffin with her beautiful skin. What a waste! I thought. To have good skin and not have a life. Yoko Ono Isoko & Yoko Ono, 1936. Photography courtesy Yoko Ono 209

release

a life in pictuRes

A NEW BOOK hONOrs CArINE rOITFELD’s sUBVErsIVE CArEEr AND rEmINDs sTEPhEN GAN OF GOOD TImEs IN ThE GLOss i imagine Carine Roitfeld was the little girl everyone loved to hate in school. She must have seemed so annoyingly perfect.

Beautiful, clever, and sexy, she must have been so stylish, and probably told all the other kids how to dress. She must have been thought of as a snob.

Snob was my impression of her when we first met. it was 1993, and Mario Testino was in town and rang up to ask me to bring Cecilia Dean and all my friends because he and Carine needed some “cool downtown kids” to be extras in a fashion shoot for French Glamour. All i remember was her looking at how each of us was dressed, as we stood alongside the models. She didn’t say a word to us. Years later, she told me she had been quiet only because she felt shy. in 1996, when asked which label she wanted to shoot with Mario for Visionaire’s FAShion SpeCiAl, Carine chose one i didn’t think any “hipster” would: Yves Saint laurent. Monsieur Saint laurent was still around, and at the time it was a bit of an odd choice. But Mario and Carine shooting women’s Yves Saint laurent clothes on Taber, a male model, made for an intriguing set of images. The results were epic—and to many insiders, even visionary—as they seemed to prophesy the coming of hedi Slimane to design the house’s menswear two years later. in 1997, Carine and i were working on another series of images with Mario for Visionaire’s ChiC issue. having just been in a car accident, Carine put model Kim iglinsky in her very own neck brace. Carine was, at that point, Tom Ford’s Gucci girl, and Kim was photographed in that season’s hottest Gucci heels, on a bicycle. At the launch of that issue, Carine walked into the pavillon ledoyen in paris a half hour after everyone else had sat down to dinner. Resplendent in a white John Galliano gown that Mario had given her, she apologized out loud: “i’m sorry i’m late, i had to park the car.” i thought to myself, there’s nothing chicer than a woman who slips into an evening gown and drives herself to a dinner party, parks the car herself, and is proud enough to let everyone know that’s why she’s late!

These are the wonderful memories i have while looking through Carine’s dazzling collection of images— her honesty, her naïveté, her nonchalance, her sense of fantasy, and her ability to channel experiences and feelings onto clothes, just as a singer pours everything into a song. if your average picture is worth a thousand words, then a Carine Roitfeld photo must convey ten times as much. What word would her body of work leave you with? “irreverent,” for one—the apt title of her new book.

As i close it, i’m reminded of a line from Sunset Boulevard: “We gave the world new ways to dream.” That is what Carine has given the world, and what this book will give forever. Cherish it.

Stephen Gan

Carine Roitfeld: Irreverent is out in october 2011 from Rizzoli

Kim iglinsky photographed by Mario Testino for Visionaire 22 ChiC

210

Roitfeld photographed by Mario Testino, 2001

Taber Schroeder photographed by Mario Testino for Visionaire 18 FAShion SpeCiAl

Above, left: Stephen Gan, Cecilia Dean, and friends photographed by Mario Testino for French Glamour, December/January 1993/94

www.missoni.com – New York – Beverly Hills – Malibu

Ottavio Missoni

HONEY BLONDE For 30 years, hair hero oribe has craFted awe-inspiring ’dos atop the world’s most Famous heads. here, he transForms supermodel Joan smalls into a Fly, Fearless pop star with a penchant For statement Furs and dramatic diamonds—courtesy oF Fashion editor carlyne cerF de dudzeele Photography Sebastian Faena Styling Carlyne Cerf de Dudzeele Hair Oribe 212

Joan wears Dress Nicole Miller Jewelry Jacob & Co. On lips, Estée Lauder Pure Color Long Lasting Lipstick in café chic

Cropped sweater Pringle of Scotland Necklace Louis Vuitton Fine Jewelry Rings David Yurman Watch Jacob & Co. Jacket Trash and Vaudeville Shorts Patricia Field Earrings and bracelets Kenneth Jay Lane Boots Versace Lighter vintage Gianni Versace

Jacket and bag Chanel Earrings, necklace, bracelet, rings Chanel Fine Jewelry Sunglasses Dior Top, belt, pavĂŠ iPhone case, pavĂŠ headphones Patricia Field Shorts Trash and Vaudeville Boots Cesare Paciotti On hair, Oribe Impermeable Anti-Humidity Spray

Fur Pologeorgis Earrings, bracelet, ring Jacob & Co. On eyes, EstĂŠe Lauder Double Wear Stay-in-Place Gel Eyeliner in stay onyx

Fur Salvatore Ferragamo Earrings Van Cleef & Arpels Cuffs and rings Kenneth Jay Lane Clutch Judith Leiber Sunglasses vintage James Arpad On skin, EstĂŠe Lauder Double Wear Mineral Rich Loose Powder Makeup SPF 12 in intensity 4.0

On hair, Oribe Royal Blowout Heat Styling Spray

Top Stella McCartney Earrings, bracelets, rings Erickson Beamon Cubic zirconia bracelets (her left, closet to hand) Kenneth Jay Lane Watch Chanel Watch Fur Adrienne Landau On eyes, EstĂŠe Lauder Pure Color EyeShadow Duo in black chrome

Fur vest Pologeorgis Track jacket and pants Adidas Originals Jewelry and watch Jacob & Co. Shoes Manolo Blahnik Bag and sunglasses vintage Chanel On hair, Oribe Dry Texturizing Spray

Dress Sophie Theallet Earrings and ring Jacob & Co On eyes, EstĂŠe Lauder Sumptuous Extreme Lash Multiplying Mascara in extreme black On hair, Oribe Volumista Mist for Volume

Makeup Ayako Model Joan Smalls (IMG) Manicure Bernadette Thompson for Bernadette Thompson Nail Care Collection Set design Anthony Asaro (11th Street Workshop) Digital capture Luke Lanter (Capture This) Photo assistants Carlos Ruiz and Chek Wu Stylist assistant Kate Grella Hair assistants Judy Erickson and Kevin Apple Makeup assistant Maiko Kitamura Set design assistant Kristina Vazquez Production Helena Martel Production assistants Cosmo Erazo and Daniel Restrepo Retouching Dtouch Location The Mark Hotel, New York Special thanks Ernesto Floro

DV F.CO M

“ Be the woman you want to be...”

THE BEST OF FALL FASHION 20 BY MArIO TESTINO & CArINE rOITFELd Dedicated to te legendary E lizabet Taylor 223

here was a real fearlessness in her says Kate Winsle of te iconic actress.

“Which in old Hollywood perhaps didn’t feel quite as prevalent. Now, actors and actresses can bend the rules a lot. Back then, there did seem to be a rule book, and there was some expectation in terms of how glamorous women should look. There’s a sort of coolness and aloofness to the way [Elizabeth Taylor] would look in posed photographs. In candid snapshots she was really quite soft, and she would really screw up her face. I do that as well.”

Beauty standards, and antistandards, are on Winslet’s mind today. I’ve met her for coffee at a Chelsea café; she’s sleek and animated, a smart and chic city mom (and currently the face of St. John), wearing leggings, a blazer, and gold ballet flats. She is a professional, and she has little patience for the voracious tabloids that dominate English newsstands—particularly when it comes to her family. “A friend of mine had said they’d seen a picture of me and my children in some magazine or other,” she recalls. “And you could see both of the children’s faces very clearly. I said, ‘That’s not right, this is the U.K., you’re supposed to blur out the children’s faces.’” The experience led her down the dark path of Googling herself, “Which I have never done, because I can’t imagine anything more disgusting. And up popped this whole article: ‘I’m sick of Kate Winslet’s lies about weight loss and Botox.’ Please look at my face. Please study it. Look! Look!”

Appearances aside, the Oscar-winning star of The Reader—she’s had four nominations and is only 35 — has never shied from putting herself out there, whether it’s furrowing her brow for a reporter or appearing girlishly psychotic (her debut, Heavenly Creatures), casually nude (Titanic and Little Children, among many others), or emotionally raw (in nearly every performance, the latest being HBO’s adaptation of Mildred Pierce). Now, with that long-awaited Oscar on the mantle—and after a challenging year in which she separated from the director Sam Mendes and faced the ensuing press scrutiny—she has come to feel another kinship with Taylor. “She was very strong in her head and in her heart, not just in the exterior, and I suppose I am,” says Winslet. “To me, she hid vulnerability fairly successfully, and I do that too. We all have vulnerable sides. I think for a long time I pretended I didn’t have one, and I definitely do. The last couple of years, I really had to pay attention to that. The great thing about acting is you can fling it all into the mix of the part.”

As for the latest catapults: Winslet has two big movies coming out this year, and she’s coming off great reviews for Mildred Pierce, the five-hour HBO adaptation of the classic ’40s novel and film. (Winslet still hasn’t seen the 1945 Joan Crawford original, claiming it would have put too much pressure on her.) The story— of a single mother who falls for the wrong man and sacrifices everything for her driven, ruthless daughter only to be betrayed by her—had personal resonance for Winslet, who grew up in a family of stage performers and could relate to both maternal support and youthful drive. “As a child, I was extremely self-sufficient,” she says. “At the age of 9, I knew I wanted to be an actress. I had that sort of determination that I can imagine, in a 9- or 10-year-old girl, for a parent must have been fairly disconcerting. ‘That’s what I’m going to do, you do know that?’ I didn’t know how on Earth I was going to pull any of that off, but I was just sure of it.”

Mildred also included another buzzy nude scene, which Winslet shared with Guy Pearce. “I hate it!” Winslet laughs on the subject of disrobing on-screen. “Listen, make no mistake, I just get on it. I just go in and say, ‘Oh fuck, let’s do it,’ and boom. If you complain about it or procrastinate, it’s not going to go away. It’s a profoundly bizarre thing to do. As actors, you talk about it all the time. You can be literally tangled in sheets, and you turn to the other actor and say, ‘What the fuck are we doing?’ Dear Mum, at work today, I had so-and-so’s left nutsack pressed against my cheek. It’s sort of unethical if you think about it in those terms.” In the past, she’s vowed she won’t do more nude scenes, “Which definitely makes me the hypocrite of the decade,” she says.

“I’m just going to stop saying it.”

224

“Camelia Resille” brooch in white gold and diamonds Chanel Fine Jewelry

This spread: Diamond panther ring in platinum, yellow gold, and emeralds David Webb Diamond cluster earrings set in platinum Harry Winston Headscarf Maison Caillau Swimsuit Norma Kamali On eyes and brows, Lancôme Hypnôse Mascara in deep black and Le Crayon Poudre in brunet

er next project is Contagion, a Steven Soderbergh thriller about the breakout of a global pandemic. It features an ensemble cast including Matt Damon, Marion Cotillard, Jude Law, and Gwyneth Paltrow. Winslet plays an intelligence officer; she researched the part in military labs and at the Centers for Disease Control. “Everything I learned was terrifying,” she says. “Literally everything. There wasn’t one single thing that didn’t scare the living daylights out of me. And what’s interesting about these people is they don’t shake hands. I’m telling you, you will start questioning whether you want to shake hands with people. It’s definitely going to freak people out.”

After that, she’ll star in Carnage, alongside Jodie Foster, John C. Reilly, and Christoph Waltz. Shot in Paris, it’s Roman Polanski’s adaptation of the lauded Broadway play God of Carnage, about two sets of parents who lock horns when one of their children bullies the other. “At first I thought it was almost wrong to put those characters on celluloid, because it had been done so brilliantly [on Broadway],” says Winslet. “I was really intimidated. We all were. One of the actors asked me, ‘How was Marcia Gay Harden? She was amazing, wasn’t she?’

And I would say, ‘Yes,’ and she’d say ‘Fuck, fuck, don’t tell me that. Tell me she sucked!’ ‘Well, she didn’t suck.’ ‘We’re screwed.’ We would say that all the time.” The Broadway production incorporated, among other things, a climactic vomiting scene. It’s been retained for the film version; Winslet gets to do the vomiting. “Projectile,” she clarifies, having just come from a looping session.

That work done, she’s taking some time off at her new home in the English countryside. “To tell you the truth, I’m at odds about being famous,” she says. “It’s very difficult to say that and not make it sound like I’m complaining or being ungrateful for what I have. But the truth is, gone are the days where you can just do your job and have your life. And when I’m not doing my job,

This spread: Emerald drop earrings in platinum and diamonds; white enamel fish bracelet in yellow gold, platinum, diamonds, and emeralds (her right); diamond horse bracelet in platinum and emeralds (her left); cabochon emerald ring in platinum and diamonds David Webb Headscarf Adrienne Landau Swimsuit vintage On lips, Lancôme Color Design Lipstick in pink preview

I want not to be doing it. I don’t want to be in the public eye in those moments. I want to be able to give my children as normal a life as possible. They need to take the bus, the subway, muck around on the playground without having five paparazzi take their picture. I don’t want those memories for them. I didn’t sign up for that.”

Has she thought about an escape? “I haven’t,” says Winslet. “I don’t want to be running and hiding. That’s not me, that’s not who I am. I like being in the city. I like the diversity that my children are exposed to every day. I love the way their brains work. Joe [her son] turns to me the other day and says, ‘One day, I will have a girlfriend. But I might have a boyfriend. If I’m gay.’ He’s 7! And I said, ‘You might have a girlfriend or a boyfriend, darling.’ And he said, ‘Which would you prefer?’

And I said, ‘My love, that would be entirely up to you, and it doesn’t make any difference to me.’

But that he knows! It’s a real privilege. Talk about the best education.”

Among Winslet’s future plans: to play a man on-screen and do theater. But her Oscar recognition has not inspired particular confidence that she can take on any role. “I hope I’m shitting myself over the characters I play for the rest of my life,” she says. “Because the day I go, ‘Oh yeah, that’s going to be a piece of piss,’ why fucking bother? If you do that, you do not learn. I hope I’m always learning something. So I won an Oscar. It’s amazing. I’ve got that for the rest of my life for a performance I’m proud of. It nearly killed me. I’m really proud of the film. That’s it. Moving on.”

Very Elizabeth Taylor indeed. Michael Martin

Kate Winslet in New York, May 2011 Contagion is out in September 2011 from Warner Bros.

Carnage is out in November 2011 from Sony Pictures Classics

This spread: Necklace and earrings in platinum and diamonds Cartier Swimsuit Karla Colletto On eyes, Lancôme Artliner in noir and Le Crayon Khôl in gris noir

Makeup Linda Cantello (Joe Management) Hair Christiaan using Josie Maran Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Tailor Jackie Bennett (Lars Nord Studio) Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Cedric Jolivet Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Canoe Studios, New York Retouching R&D Special thanks Heidi Slan, Carrie Gordon, John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

GettinG to the essence of elizabeth tayloR isn’t an easy task. espite the avalanche of reminiscences that followed her death at the age of 79 last March, the legendary actress remains an enigma to all but those with whom she was closest. She was the hauntingly beautiful child star, driven by a relentless stage mother, who became an ideal almost as soon as she landed under the bright lights in 1944 at the age of 12, when she appeared as Velvet Brown in National Velvet. She went on to become possibly the greatest cinematic icon of the 20th century, wildly transforming herself from one role to the next: the vain, spoiled brat Amy in Little Women (1949); the desperately determined Maggie in Cat on a Hot Tin Roof (1958); the doomed queen in Cleopatra (1963); and the frightening alcoholic Martha in Who’s Afraid of Virginia Woolf? (1966). Along the way, she lived large with a propensity for precious stones, outlandish fashion statements, and endless love. She married eight times in all and twice to the same man, Richard Burton, her dream lover both on- and offscreen.

Taylor and Burton spent the 1960s traveling with their extended family like some fabulous tribe, from Gstaad to New York (where he played Hamlet on the stage) to Los Angeles and back again.

Decades later, Taylor settled down in a luxurious but nondescript ranch-style home in Bel Air encircled by the kind of luscious garden she adored. The house was filled with her collection of fine art and jewelry. When Taylor’s film roles grew rare in the 1980s, she became the star of her own courageous and fascinating life. Her intense friendships with Michael Jackson—a haunted child star, like herself—and Rock Hudson—as he battled with AIDS — symbolized her generosity and vision. Taylor pioneered the research drive toward a cure for AIDS, but most importantly, she had the courage to show she cared before many knew how.

Ultimately, we remember Taylor for the mythic roles she inhabited so fully and for the dramatic flair she exhibited for life and all of its trappings— clothes, food, booze, success, sex, stardom, love, and addiction. The idea for this issue’s tribute to Elizabeth Taylor came from Carine Roitfeld, the fashion editor par excellence.

Roitfeld and photographer Mario Testino — who, much like Taylor and Burton, are a passionate pair who have been known to transgress and seek out beauty on an epic scale— collaborated on this fashion story, interpreting Taylor through the ages. For Testino, the actress has served as an enduring inspiration. “I was young when I saw Cat on a Hot Tin Roof,” he remembers. “And it left such an impression on me because she showed such freedom — in her speech, in her body language, in her sexuality. She stood for exaggeration, glamour, beauty, jewels, drama.” Though Testino never photographed his would-be muse, he did have the occasion to observe her up close—at 36,000 feet. “I flew with her once, from Los Angeles to London,” he says. “She was sitting in front of me, and when she fell asleep, her hand fell down by her side and dangled right before me. I remember it was perfectly manicured.”

When Roitfeld set out to research Taylor’s personal style, she called on an invaluable source: Doris Brynner, the wife of the late Yul and one of the actress’s closest friends. Roitfeld and Brynner met in Paris on the first day of summer at Christian Dior’s cool-gray-and-cream flagship, where Brynner runs her own shopin-shop, to discuss the legend of Liz. Rebecca Voight CARINE ROITFELD For me, Elizabeth Taylor was the greatest actress, but perhaps not the best-dressed.

DORIS BRYNNER At times she was the worst. [Laughs] CR She had the kind of elegance that went far beyond clothes. And she had the star power. She and Richard Burton were the first famous couple to live in a tribe, with the kids, the bodyguards, the nannies…

DB I remember the first time I saw her out in Hollywood. We had bungalows next door to each other at the Beverly Hills Hotel. My husband said, “You’re going to meet Elizabeth Taylor tonight.” And when I did, I was so impressed, and I just sat there mesmerized like an old fool. We became friends, and while she’d be getting ready to go out, I used to sit in her dressing room and fiddle around with her jewelry. Because the makeup…it took forever to put everything on. She always did her own, and she was famous for being late. One day we were going out, so I rang up and asked if she was ready, and her assistant replied, “Yes, she’s having her bath.” And I thought to myself, “Oh no, the bath and then the makeup and then the hair!” But it turned out she had done everything beforehand, and the last thing she did was have her bath. It was one of her secrets.

CR What about jewelry? Why do you think it was so important to her?

DB She always had a fascination with jewelry, but it had to be given to her. She was always very gimme-gimme, you know? In Rome, Valentino had a gift store called Valentino Più, which was run by a man called Mr. Bessus. We went there before the store opened, and— I will never forget this—there was a beautiful shell mirror on the wall, and all of a sudden I heard, “Rudy, will you give me this as a present?” She used to call Valentino “Rudy.” So Valentino hid behind his partner, Giancarlo [Giammetti]. Nobody wanted to give her anything. Finally he said, “This is not my shop. It’s Mr. Bessus’s shop.” So she said, “Look, Mr. Bessus, from one 232

Jew to another, won’t you give me this mirror as a present?” Then they unhung the mirror and gave it to her. She always got what she wanted.

CR You have to ask with charm.

DB Which she did! Elizabeth knew how to make things her own. It’s one thing to act like a star and another thing to be one. Today, all these women borrow jewelry to go to Cannes, then they don’t want to give it back.

CR I think it’s terrible to wear borrowed clothes. I don’t think it’s chic. A couple of years ago, Azzedine Alaïa loaned me a coat that I wore to New York.

It was photographed a lot, and everyone wanted to buy it afterward. When I went to return it, Azzedine said, “No, you keep it. There’s nothing less chic than a woman who borrows clothes.”

DB Elizabeth loved clothes. I’ve never seen anybody with rooms upon rooms of stuff. She kept everything. There’s this famous lingerie shop in Los Angeles called Juel Park, where she would get lacy nightgowns and all that stuff nobody wears anymore. She would go there and spend thousands of dollars on satiny negligees and things, and she’d wear them with these high-heel slippers.

CR You mean mules?

DB Yes, with feathers on the toe. One day she decided to give Eddie Fisher a birthday gift, so they chartered a boat from some pier near Malibu to Catalina Island. Yul and I were invited. So we get on this grimy, terrible boat, and as we headed for Catalina, the sea turned rough and the boat started going up and down and up and down and everybody disappeared. Then all of a sudden, Elizabeth shows up wearing this $5,000 negligee. It was, like, 7:00 a.m. I asked her what she was doing. She said, “Oh I’m going to rest, but I just wanted you to see this.” So anyway, she went to her cabin and there was an oil drip, and it fell right on her negligee. I have this image of the lace and the satin and Elizabeth just lying there. The whole crew got seasick, and the trip was a total disaster.

But she had her negligee.

CR How did Elizabeth treat her skin?

DB You know what she used all her life? Just cheap aloe vera cream on her face and all over her body, and Elizabeth Arden Eight-Hour Cream on her lips.

CR Do you think she would have done beauty endorsements today?

DB Yeah, she would have cashed in. She would have sloshed any old cream on her face and asked, “Now how many millions will you give me?”

CR What did Elizabeth like to eat?

DB Oh, she loved food. We’d sit there for hours and order fried chicken. In Las Vegas, we used to order in huge pizzas at two in the morning.

CR Loving men and food, it goes together, doesn’t it?

DB Yes. She didn’t have a great figure. She had short legs. There’s the famous photograph of her for Suddenly, Last Summer, and she’s terrific in the white bathing suit, but she’s on her knees so you can’t see how short her legs are.

CR Would you say she wasn’t very interested in fashion?

DB Well, she often shopped at Valentino. He made that yellow wedding dress she wore when she married Richard Burton for the first time. Years later, she rang me up one day to tell me she was getting married to Larry Fortensky.

And she said, “I have a huge favor to ask you. Will you be my bridesmaid?” I said, “Elizabeth, don’t be ridiculous. You’re 100 and I’m 105. Are you crazy?

I don’t want to be a bridesmaid.” But she loved it. She wanted to be a bride and have bridesmaids.

CR What did she like to drink?

DB Well, there was a lot of boozing going on. They weren’t vodka people, but she must have had oodles of champagne. They were all self-destructive. Richard would go on the wagon, but never for long. His house in Switzerland was a twentyminute drive from mine. And he would come pissed out of his mind, driving on the roads. I don’t know how he didn’t get killed.

CR It’s bizarre all that, don’t you think?

DB There was too much of everything. They had too much success, too much booze, too much love, too much of everything.

CR But she did tend to come back dazzling, didn’t she?

DB Yeah, she’d go to rehab before going to rehab. The person who helped a hell of a lot was George Hamilton. He was great, just great. And he went with her the second time she went to rehab. He took her.

CR What was her idea of a good time?

DB Well, there was…I think it was her 40 th birthday. She and Richard threw a huge party in Budapest of all places. I can’t remember why. But we all had a super weekend there.

CR She loved animals, didn’t she?

DB Oh yes. Elizabeth gave me a couple of dogs. She would say, “Will you take care of Hubert for me?” And you could be sure that Hubert came and never left.

CR When was the last time you saw Elizabeth?

DB I hadn’t seen her for about a year, and I was supposed to see her last February when I was in L.A. She was already very sick in intensive care.

CR When was the last time you had a really good time together?

DB Not so long ago in L.A. I mean, not that we went yodeling down Sunset Boulevard, but I’d go and see her, and we’d sit in a room done up in flowers and millions of photographs and we’d reminisce.

Carolyn wears Earrings Tom Ford Necklace Repossi Robe vintage Floral headdress made by Oribe On eyes, Estée Lauder Double Wear Stay-in-Place Gel Eyeliner in stay onyx and Pure Color EyeShadow in glacial blue

Hair Oribe using Oribe Hair Care (Oribe Agency) Makeup Linda Cantello (Joe Management) Model Carolyn Murphy (IMG) See full production credits on page 279

On eyes, Estée Lauder Sumptuous Extreme Mascara in black

234

As quoted in How to Be a Movie Star: Elizabeth Taylor in Hollywood

by William J. Mann. Houghton Mifflin Harcourt Publishing, 2009

Lara wears Earrings and rings Moussaieff

–E lizabet Taylor

Cardigan Dior Bra and briefs What Katie Did Bag Hermès Earrings Moussaieff Stockings (worn throughout) Agent Provocateur

Sweater Jeremy Scott Slip Carine Gilson Coat MaxMara Earrings, bracelet, rings Moussaieff Scarf Hermès On eyes, Bobbi Brown Long Wear Cream Shadow in galaxy

As quoted in Liz: An Intimate Biography of Elizabeth Taylor

by C. David Heymann. Carol Publishing Group, 1995

“I Introduced LIz to beer. and she Introduced me to buLgarI.” –rIchard burton

Dress Prada Slip (worn underneath) Carine Gilson Scarf Hermès Earrings Moussaieff

Leather top Dior Cape with attached scarf Sonia Rykiel Earrings Moussaieff On cheeks, NARS Cosmetics Powder Blush in torrid

Fur Tom Ford Sweater CÊline Briefs What Katie Did Earrings, bracelet, rings Moussaieff Bag Hermès

Dress Balenciaga by Nicolas Ghesquière Earrings and ring Moussaieff Scarf Malo Bag Hermès

Cape Rick Owens Bodysuit Fifi Chachnil Earrings and ring Moussaieff Bag Hermès

Sweater and bag Hermès Slip Carine Gilson Boa Légeron Earrings and rings Moussaieff Shoes Louis Vuitton On skin, M.A.C Cosmetics Mineralize Skinfinsh Powder in light

Makeup Charlotte Tilbury (Art Partner) Hair Marc Lopez (ArtList) Model Lara Stone (IMG) Manicure Lorraine Griffin using Chanel A/W 2011 Set design Max Bellhouse (The Magnet Agency) Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Oliver Holms Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Ninni Nummela Hair assistant Oliver Waqued de Almeida Production Jemima Hobson and Michelle Lu On-set production Gawain Rainey and Araminta Markes (10-4 Inc.) Production assistant Sam Irons Video Look Films Location Snap Studios, London Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

Dress Calvin Klein Collection Slip (worn underneath) Carine Gilson Necklace, earrings, bracelet, rings Moussaieff Scarf Hermès Shoes Louis Vuitton On eyes, Elizabeth Arden Eyeliner Pencil in smoky black

Stephanie wears Jacket, skirt, bag Chanel Bodysuit Dolce & Gabbana Brooches Van Cleef & Arpels Ring Jacob & Co. Veil Your Dream Dress On lips, EstĂŠe Lauder Sensuous Rouge LipColor in wistful wisteria Matt wears Suit, shirt, bow tie, cummerbund Tom Ford 246

As quoted in LIFE, December 18, 1964

Stephanie wears Coat and belt Versace Bodysuit Dolce & Gabbana Necklace, brooches, ring Van Cleef & Arpels Bag Tom Ford Veil Benoît Missolin Gloves Carolina Amato Stockings (worn throughout) Agent Provocateur Shoes Manolo Blahnik Matt wears Suit, shirt, bow tie, pocket square, shoes Tom Ford Ring (worn throughout) David Yurman Watch Omega

“I Couldn’t Just have a RomanCe ; It had to be a maRRIage.”

–ElizabEth tayloR

Stephanie wears Dress Tom Ford Necklace and ring Harry Winston Veil Pronovias Fragrance Tom Ford Jasmine Musk On nails, Essie nail polish in waltz Matt wears Suit, shirt, bow tie, cummerbund Tom Ford Sunglasses Ray-Ban

Stephanie wears Dress and collar Louis Vuitton Bodysuit (worn underneath) Dolce & Gabbana Brooch and ring (her right) Van Cleef & Arpels Ring (her left) Dior Fine Jewelry Veil Pronovias Garter belt (worn throughout) Agent Provocateur Matt wears Suit, shirt, bow tie, cummerbund Tom Ford

Matt wears Suit, shirt, shoes Tom Ford Bow tie Charvet

As quoted in Richard Burton: A Life by Melvyn Bragg. Thorndike Press, 1990

“She iS beautiful beyond the dreamS of pornography.”

–richard burton

Stephanie wears Coat and bodysuit Dolce & Gabbana Sunglasses Tom Ford Necklace Cartier Ring Harry Winston Bag Salvatore Ferragamo Headpiece Your Dream Dress Shoes Manolo Blahnik

Stephanie wears Dress Miu Miu Earrings and ring Harry Winston Bag Dior Net veil Moline Gloves Carolina Amato On eyes, EstĂŠe Lauder Pure Color Liquid Eyeliner in graphite Matt wears Jacket, pants, shirt, bow tie, cummerbund Tom Ford

Stephanie wears Dress Azzedine Alaïa Necklace and brooch Van Cleef & Arpels Ring Jacob & Co. Bag Michael Kors Veil Benoît Missolin Shoes Manolo Blahnik Matt wears Suit, shirt, bow tie, pocket square, shoes Tom Ford

As quoted in Elizabeth Taylor, A Passion for Life: The Wit and Wisdom of a Legend by Joseph Papa. Harper Collins, 2011

“I am a very commItted wIfe. and I should be commItted too—for beIng marrIed so many tImes.”

–elIzabeth taylor

Stephanie wears Dress and coat Lanvin Bodysuit (worn underneath) Dolce & Gabbana Necklace Faraone Mennella Earrings David Webb Ring Jacob & Co. Net veil Moline On hair, Josie Maran Argan Oil Hair Serum Matt wears Suit, shirt, bow tie, cummerbund Tom Ford Watch Jacob & Co.

Makeup and grooming Tom Pecheux for Estée Lauder (The Collective Shift) Hair Christiaan Models Stephanie Seymour (IMG) and Matt Raimo (Ford NY) Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Tailor Jose Herrera (Lars Nord Studio) Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas, Oliver Holms Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Junko Kioka Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Broad Street Ballroom, New York Catering Nuela Retouching R&D Special thanks Raquel Acosta, John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

Aymeline wears Coat Yves Saint Laurent Sweater and skirt Givenchy by Riccardo Tisci Bracelet Pierre Cardin Bag Tom Ford On eyes, Dior Beauty Waterproof Eye Pencil in black

“I know I’m vulgar, but would

As quoted in Elizabeth Taylor: The Last Star

by Kitty Kelley. Simon and Schuster, 1981

254

Coat Oscar de la Renta Sweater and skirt Givenchy by Riccardo Tisci Bracelet Pierre Cardin Headband (worn as belt) Jennifer Behr Bag Tom Ford On brows, M.A.C Cosmetics Eyebrow Pencil in stud

you have me any other way?”

–elIzabeth taylor

Jacket and dress Emilio Pucci Necklace and bag Tom Ford Bow headpiece vintage On cheeks, NARS Cosmetics Bronzer in heat

Coatdress Miu Miu Necklace and bag Tom Ford Hat Emilio Pucci

Jacket Gucci Top and skirt Givenchy by Riccardo Tisci Bra and briefs Fifi Chachnil Clutch Balenciaga by Nicolas Ghesquière On lips, M.A.C Cosmetics Lipliner in redd

Jacket, blouse, skirt Givenchy by Riccardo Tisci Earrings Dolce & Gabbana Clutch Balenciaga by Nicolas Ghesquière Briefs Fifi Chachnil

As quoted in Elizabeth Taylor, A Passion for Life: The Wit and Wisdom of a Legend

by Joseph Papa. Harper Collins, 2011

“I’ve always been a broad. now I’m a dame.”

–elIzabeth taylor

Dress Balenciaga by Nicolas Ghesquière Veil Maison Caillau Bag stylist’s own

Makeup Charlotte Tilbury (Art Partner) Hair Marc Lopez (ArtList) Model Aymeline Valade (WOMEN-DIRECT NY) Manicure Lorraine Griffin using Chanel A/W 2011 Set design Max Bellhouse (The Magnet Agency) Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Oliver Holms Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Ninni Nummela Hair assistant Oliver Waqued de Almeida Production Jemima Hobson and Michelle Lu On-set production Gawain Rainey and Araminta Markes (10-4 Inc) Production assistant Sam Irons Video Look Films Location Snap Studios, London Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

Dress Dolce & Gabbana Fur cape Rick Owens Veil Maison Caillau Bow headpiece vintage Bag stylist’s own

“I wanted more than anythIng else In the world a

man who could control me.”

–elIzabeth taylor

As quoted in A Passion for Life: The Biography of Elizabeth Taylor

by Donald Spoto. HarperCollins Publishers, 1995

Ian wears Jacket Nina Ricci Belt Azzedine Alaïa Bracelets Shamballa Jewels

Bodysuit Ralph Lauren Collection Scarf (worn as skirt) Hermès Belt Azzedine Alaïa Bracelets Shamballa Jewels Shoes Gianvito Rossi Tights (worn throughout) Falke

263

Jacket Dior Scarf (worn as skirt) Givenchy by Riccardo Tisci Belt Azzedine AlaĂŻa

Jacket Chanel Scarf (worn as skirt) Givenchy by Riccardo Tisci Belt Azzedine AlaĂŻa Bracelets Shamballa Jewels Shoes Gianvito Rossi

Bodysuit Michael Kors Scarf (worn as skirt) Hermès Belt Azzedine Alaïa Bracelets Shamballa Jewels

Bodysuit Salvatore Ferragamo Scarf (worn as skirt) Gucci Belt Azzedine Alaïa Bracelets Shamballa Jewels

Grooming Tom Pecheux for Estée Lauder (The Collective Shift) Hair Oribe using Oribe Hair Care (Oribe Agency) Model Ian Mellencamp (Click Model Management) Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Junko Kioka Hair assistant Judy Erickson Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Canoe Studios, New York Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli Elizabeth Taylor in Father of the Bride™ doll by Mattel

See a film of this shoot on vmagazine.com

Makeup Charlotte Tilbury (Art Partner) Hair Sam McKnight (Premier Hair and Makeup) Model Lara Stone (IMG) See full production credits on page 294

“ExaggERation, glamouR, bEauty, jEwEls, dRama.”

–MaRio TesTino

Lara wears Dress Etro Fur Gucci Necklace, earrings, ring Faraone Mennella On eyes, Lancôme Ombre Magnetique Eyeshadow in ultra-lavande On lips, Dior Beauty Dior Addict Lipstick in fire

As quoted in Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed by Robert Sellers. Macmillan, 2009

Carolyn wears Dress and belt Chloé Slip (worn underneath) Olatz Bangles David Yurman Ring Repossi Stockings (worn throughout) Agent Provocateur On eyes, Estée Lauder Double Wear Stay-in-Place Gel Eyeliner in stay onyx On table: Beaded necklace Shamballa Jewels Chain David Yurman Earrings Repossi

271

Dress Marchesa Slip (worn underneath) and robe Olatz Earrings Shamballa Jewels Shoes Giuseppe Zanotti Design

Sweater Altuzarra Slip Olatz Necklace Shamballa Jewels Ring David Yurman On lips, EstĂŠe Lauder Pure Color Gloss Stick in honey pink

Jacket and skirt Marc Jacobs Slip Olatz Necklace stylist’s own

Cardigan and skirt Christopher Kane Slip Olatz Bangles David Yurman Necklace stylist’s own On eyes, Estée Lauder Artist’s Eye Pencil in softsmudge black

Top and skirt Alexander Wang Slip (worn underneath) Olatz Earrings Shamballa Jewels Bangles David Yurman Bag Salvatore Ferragamo Necklace stylist’s own On hair, Oribe Gun Metal Colored Cream

Shirt Equipment Skirt Loewe Slip (worn underneath) Olatz Earrings Shamballa Jewels Bangles (her left) David Yurman Bangles (her right) Hermès Shoes Giuseppe Zanotti Design

Blouse and skirt Diane von Furstenberg Slip Olatz Belt Emilio Pucci Bangles David Yurman Shoes Giuseppe Zanotti Design Necklace stylist’s own On skin, Estée Lauder Even Skintone Illuminator

Makeup Linda Cantello (Joe Management) Hair Oribe using Oribe Hair Care (Oribe Agency) Model Carolyn Murphy (IMG) Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Cedric Jolivet Hair assistant Judy Erickson Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Pierre Hotel, New York Retouching R&D Special thanks Alexandra Helou, Nora Walsh, John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

This page: Anais wears Shirt Equipment Skirt Donna Karan New York Clutch Roger Vivier Bracelets Shamballa Jewels Ring (worn throughout) Cartier Necklace (worn throughout) stylist’s own Shoes Gianvito Rossi Opposite page: Cardigan and skirt Jean Paul Gaultier Shirt Equipment Clutch Fendi Belt Givenchy by Riccardo Tisci Bracelets Shamballa Jewels Shoes Gianvito Rossi

As quoted in Furious Love: Elizabeth Taylor, Richard Burton, and the Marriage of the Century

by Sam Kashner and Nancy Schoenberger. Harper Collins, 2010

–E lizabet

Taylor

281

Coat Valentino Clutch Bulgari Bracelets Shamballa Jewels Shoes Gianvito Rossi On nails, Essie Nail Polish in downtown brown

Top and skirt Ralph Lauren Collection Clutch Valentino Belt Givenchy by Riccardo Tisci Bracelets Shamballa Jewels On skin and lips, EstĂŠe Lauder Double Wear Stay-in-Place Makeup SPF10 in soft chestnut and Pure Color Lipstick in coral sun On hair, Oribe Supershine Moisturizing Cream

Top and skirt Céline Clutch Miu Miu Belt Givenchy by Riccardo Tisci Bracelets Shamballa Jewels On eyes, Estée Lauder Double Wear Stay-in-Place Eye Pencil in onyx and Automatic Brow Pencil Duo in soft black

Cardigan and clutch Bottega Veneta Slip Olatz Belt Givenchy by Riccardo Tisci Bracelets Shamballa Jewels Shoes Gianvito Rossi Claude Lalanne chair courtesy of Tom Ford

Makeup Tom Pecheux for Estée Lauder (The Collective Shift) Hair Oribe using Oribe Hair Care (Oribe Agency) Model Anais Mali (Ford NY) Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Junko Kioka Hair assistant Judy Erickson Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Canoe Studios, New York Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

Makeup Charlotte Tilbury (Art Partner) Hair Sam McKnight (Premier Hair and Makeup) Model Lara Stone (IMG) See full production credits on page 294

“She had the kind of elegance that went faR beyond clotheS.”

–caRine Roitfeld

Lara wears Jacket and shorts Comme des Garรงons Bra and slip Carine Gilson On eyes, M.A.C Cosmetics Penultimate Eye Liner and Big Bounce Shadow in free as air Fragrance Tom Ford Violet Blonde

Candice wears Jacket Balenciaga by Nicolas Ghesquière Dress and boots Givenchy by Riccardo Tisci On hair, Oribe Dry Texturizing Spray

–elIzabeth taylor

As quoted in How to Be a Movie Star: Elizabeth Taylor in Hollywood, by William J. Mann.

Houghton Mifflin Harcourt Publishing, 2009

“I don’t remember ever not beIng famous.”

Fur, dress, boots Givenchy by Riccardo Tisci Bracelets David Webb 289

Fur Giorgio Armani Dress Givenchy by Riccardo Tisci Bracelets David Webb On nails, Essie Nail Polish in blanc

Sweater Burberry Prorsum Dress and boots Givenchy by Riccardo Tisci Bracelets David Webb On eyes and lips, EstĂŠe Lauder Pure Color Liquid Eyeliner in black quartz and Pure Color Velvet Lipstick in nude velvet

Coat Fendi Dress and boots Givenchy by Riccardo Tisci Bracelets David Webb On brows, Estée Lauder Automatic Brow Pencil Duo in dark brown

Makeup Tom Pecheux for Estée Lauder (The Collective Shift) Hair Oribe using Oribe Hair Care (Oribe Agency) Model Candice Swanepoel (IMG) Manicure Gina Viviano using Orly (Artists by Timothy Priano) Set design Bill Doig Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Shaun Hartas Stylist assistants Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Junko Kioka Hair assistant Judy Erickson Production Jemima Hobson and Michelle Lu On-set production Björn Frederic Gerling (Production Berlin) Production assistant Vincent Lacrocq Video Look Films Location Canoe Studios, New York Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli

See a film of this shoot on vmagazine.com

Cardigan Reed Krakoff Dress Givenchy by Riccardo Tisci Bracelets David Webb On hair, Oribe Après Beach Wave and Shine Spray

Makeup Charlotte Tilbury (Art Partner) Hair Sam McKnight (Premier Hair and Makeup) Model Lara Stone (IMG) Manicure Lorraine Griffin using Chanel A/W 2011 Set design Andrew Tomlinson Digital capture Christian Hogstedt (R&D) Photo assistants Eddie Wrey, Benjamin Tietge, Oskar Gyllenswärd Stylist assistants Georgie Harding, Anna Schiffel, Audrey Taillée, Michaela Dosamantes Makeup assistant Ninni Nummela Hair assistant Cyndia Harvey Production Jemima Hobson and Michelle Lu On-set production Gawain Rainey and Araminta Markes (10-4 Inc.) Video Look Films Location Park Royal Studios, London Retouching R&D Special thanks John Gayner, Maysa Marques, Pietro Birindelli

“TheRe was Too much of eveRyThing.

Too much success, Too much booze, Too much love.”

–doRis bRynneR

Lara wears Sweatshirt and pants Stefanel Jacket and vest (in lap) Yves Salomon Slip Olatz Bra FiďŹ Chachnil Necklace, bracelet, ring Faraone Mennella Earrings Lorenz Bäumer Turban (made from pants) Etro Sunglasses vintage On lips, M.A.C Cosmetics Lipliner in magenta

V-MAIL

Whether you’re going back to school, back to work, or just back on the market, your fall forecast will be infinitely brighter should you pair up with any of the comely men and women on this page. if autumn is a time for harvest, why not come together with this season’s crop of V-Mailers and reap the rewards of love.

Photography Adam Katz Sinding

TO SEE MORE V-MAILERS, OR TO BECOME ONE, VISIT VMAGAZINE.COM OR E-MAIL A RECENT PHOTO (300 DPI), YOUR NAME, AGE, OCCUPATION, AND CITY OF RESIDENCE TO VMAIL@VMAGAZINE.COM

my name is Kate i’m a 27 year old Model from Brooklyn e-mail me! aarolilypod@gmail.com

my name is Matt i’m a 25 year old from Brooklyn e-mail me! matthew.j.gearhart@ gmail.com

my name is eileen i’m an 18 year old student from seattle e-mail me! eileenkelly1@aol.com

my name is Mike i’m a 23 year old Creator from Brooklyn e-mail me! amanomurokumone@ gmail.com

my name is Anja i’m a 30 year old Actress from New York City e-mail me! anjaheli@rocketmail.com

my name is Danny i’m a 25 year old Model from the U.K. e-mail me! dannyrbeauchamp@ yahoo.co.uk

my name is hollie i’m a 25 year old earth Mother from New York City e-mail me! hollie_w@me.com

my name is julien i’m a 19 year old student from New York City e-mail me! juliensarcher@yahoo.com

my name is Aduke i’m a 29 year old Consultant from New York City e-mail me! athelwell@mba2009.hbs.edu

my name is Laura i’m a 22 year old Traveler from New York City e-mail me! texaslovesyou@gmail.com

my name is Madison i’m a 21 year old intern from New York City e-mail me! madisonjstephens@ gmail.com

my name is Landon i’m a 23 year old intern from georgia e-mail me! landon.ford@gmail.com

my name is Monster I’m a 5 year old Walking Companion from Brooklyn email me!

MonsterMaltzBlasberg@ gmail.com

my name is Madlin i’m a 20 year old hostess from New York City e-mail me! madlincowart@comcast.net

my name is Alanna i’m a 22 year old Musician from New York City e-mail me! alanna.nuala@gmail.com

my name is stoyan i’m a 26 year old Artist from New York City e-mail me! svdabov@gmail.com

my name is Tayba i’m a 20 year old Actress from New York e-mail me! tayba.v@gmail.com

my name is greg i’m a 27 year old student from Connecticut e-mail me! gregory.bryda@yale.edu

my name is rachelle i’m a 20 year old Writer from New York City e-mail me! rachelle.robinett@gmail.com

my name is Anna i’m a 26 year old Model from New York City e-mail me! annasergeeva85@ hotmail.com

V is A regisTereD TrADeMArK of V MAgAziNe LLC. CopYrighT © 2011 V MAgAziNe LLC. ALL righTs reserVeD. priNTeD iN U.s.A. V (BipAD 96492) is pUBLisheD BiMoNThLY

BY V MAgAziNe LLC. priNCipAL offiCe: 11 MerCer sTreeT, NeW YorK, NY 10013. posTMAsTer: seND ADDress ChANges To speeDiMpex 35-02 48Th AVeNUe, LoNg isLAND CiTY, NY 11101. for sUBsCripTioNs, ADDress ChANges, AND ADjUsTMeNTs, pLeAse CoNTACT speeDiMpex 35-02 48Th AVeNUe, LoNg isLAND CiTY, NY 11101, TeL. 800.969.1258, e-MAiL: sUBsCripTioNs@speeDiMpex.CoM. for BACK issUes CoNTACT V MAgAziNe, 11 MerCer sTreeT, NeW YorK, NY 10013 TeL. 212.274.8959. for press iNqUiries pLeAse CoNTACT ANUsChKA seNge AT sYNDiCATe MeDiA groUp TeL. 212 226 1717

296

V-BUY

adidas SLVR adidas.com Adrienne Landau adriennelandau.com Agent Provocateur agentprovocateur.com Alexander Wang alexanderwang.com Alexis Bittar alexisbittar.com Altuzarra altuzarra.com Armani Exchange armaniexchange.com Azzedine Alaïa Barneys New York 212.826.8900 Balenciaga by Nicolas Ghesquière balenciaga.com Bally bally.com Benoît Missolin benoitmissolin.com Blumarine blumarine.com Bottega Veneta bottegaveneta.com Bulgari bulgari.com Burberry Prorsum burberry.com Calvin Klein Collection calvinklein.com Carine Gilson carinegilson.com Cartier cartier.com Céline celine.com Cesare Paciotti cesare-paciotti.com Chanel chanel.com Chloé chloe.com Christopher Kane Barneys New York 212.826.8900 Clarins clarins.com Comme des Garçons 212.604.9200 David Webb davidwebb.com David Yurman davidyurman.com Derek Lam dereklam.com Diane von Furstenberg dvf.com Diesel diesel.com Dior dior.com Dior Fine Jewelry diorjoaillerie.com Dolce & Gabbana dolceandgabbana.com Donna Karan donnakaran.com Dsquared dsquared2.com Emilio Pucci emiliopucci.com Emporio Armani emporioarmani.com Essie essie.com Estée Lauder esteelauder.com Etro etro.it Equipment equipmentfr.com Express express.com Faraone Mennella faraonemennella.com Fendi fendi.com Fifi Chachnil fifichachnil.com G-Star g-star.com Gianvito Rossi gianvitorossi.com Giorgio Armani giorgioarmani.com Giuseppe Zanotti Design giuseppezanottidesign.com Givenchy by Riccardo Tisci givenchy.com Gucci gucci.com Guess guess.com Harry Winston harrywinston.com Hermès hermes.com Hugo Boss hugoboss.com Jacob & Co. jacobandco.com Jean Paul Gaultier jeanpaulgaultier.com Jil Sander jilsander.com John Galliano johngalliano.com John Hardy johnhardy.com Junya Watanabe 212.604.9200 Karla Colletto karlacolletto.com Kiki de Montparnasse kikidm.com Lancôme lancome-usa.com Lanvin lanvin.com Loewe loewe.com Lorenz Bäumer lorenzbaumer.com Louis Vuitton louisvuitton.com Lynn Ban lynnban.com M.A.C Cosmetics maccosmetics.com Malo malo.it Mango mango.com Manolo Blahnik manoloblahnik.com Marc Jacobs marcjacobs.com Max Mara maxmara.com Michael Kors michaelkors.com Missoni missoni.com Miu Miu miumiu.com Moncler moncler.it Moussaieff moussaieff.co.uk Mugler mugler.com NARS Cosmetics narscosmetics.com Nicole Miller nicolemiller.com Nina Ricci ninaricci.com Norma Kamali normakamali.com Olatz olatz.com Omega omegawatches.com Oribe oribe.com Oscar de la Renta oscardelarenta.com Osklen osklen.com Pierre Cardin pierrecardin.com Ports 1961 ports1961.com Prada prada.com Ralph Lauren ralphlauren.com Reed Krakoff reedkrakoff.com Repossi Barneys New York 212.826.8900 Rick Owens rickowens.eu Roberto Cavalli robertocavalli.com Roger Vivier rogervivier.com Salvatore Ferragamo ferragamo.com Shamballa Jewels shamballajewels.com Sonia Rykiel soniarykiel.com Stefanel stefanel.com Stella McCartney stellamccartney.com St. John sjk.com Tod’s tods.com Tom Ford tomford.com Valentino valentino.com Van Cleef & Arpels vancleef-arpels.com Versace versace.com What Katie Did whatkatiedid.com Wolford wolford.com Yves Saint Laurent ysl.com Yves Salomon yves-salomon.fr

V73 Fall 2011 VMaGaZINE.COM