V74 THE MODEL ISSUE

THE MODEL ISSUE

CandiCe and Joan in BalenCiaga By niColas ghesquière PhoTograPhed By

Terry riChardson

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THE nEw gUarD Of SUpErMODELS anD THE bEST Of rESOrT 2012

by CarInE rOITfELD pLUS: COUTUrE’S rEbIrTH, SkIwEar’S rEvIvaL, anD a SprIng faSHIOn prEvIEw!

THE nEw gUarD Of SUpErMODELS anD THE bEST Of rESOrT 2012

by CarInE rOITfELD pLUS: COUTUrE’S rEbIrTH, SkIwEar’S rEvIvaL, anD a SprIng faSHIOn prEvIEw!

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THE MODEL ISSUE

Daphne anD SaSkia in Givenchy by RiccaRDo TiSci phoToGRapheD by

TeRRy RichaRDSon

THE MODEL ISSUE

BamBi and Lindsey in Louis Vuitton PHotoGRaPHed By

teRRy RiCHaRdson

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THE MODEL ISSUE Sui and Hanaa in Céline

PHOTOGRaPHed BY

TeRRY RiCHaRdSOn

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foreword

Welcome to the model issue

People often ask us why, as a fashion magazine, we rarely feature fashion models on the cover.

Aside from the obvious—that readers today are more invested in the lives of celebrities than those of top mannequins— it boils down to the fact that there are puzzlingly few cover girls left in this world. And that’s not a cop-out. It’s been a generation since Linda, Christy, Naomi, and their friends captivated fashion and stole headlines with every new boyfriend and dye-job. Over a decade ago, Gisele burst onto the scene, harkening back to the age when no one got out of bed for less than $10,000 a day. Most recently, models like Daria and Lara have carried the supermodel torch, but that’s still shockingly few boldface names in a world that depends on them. It’s almost as if, at some point, the modeling industry stopped breeding stars and started pushing filler: those beautiful yet nameless girls who stomp down runways on exclusive each season, never to be seen again.

But all that is about to change. There’s a new crop of young models rising in the ranks, and many of them are on the verge of first-name status. Our first-ever Model Issue celebrates the arrival of Candice, Joan, Daphne, Saskia, Sui, Hanaa, Bambi, and Lindsey: eight gorgeous girls with eight vibrant personalities. They’ve been handpicked by none other than fashion editor Carine Roitfeld, a woman with an unbeatable track record for model-making. For several of these new faces, the ink had barely dried on their lucrative cosmetics and lingerie contracts before they sat for Terry Richardson’s lens back in July. In these photos, they wear Roitfeld’s picks from some of the most directional Resort 2012 collections, with an emphasis on eye-popping, color-crazy prints that scream, “Look at me!” Which is completely fitting, because the world is watching their every move. Mr. V

26

Clockwise, from top left: Candice and Joan in Balenciaga by Nicolas Ghesquière Sui and Hanaa in Céline Daphne and Saskia in Givenchy by Riccardo Tisci Bambi and Lindsey in Louis Vuitton

Photography Terry Richardson Styling Carine Roitfeld

CandiCe’S CHOiCe

hello

The South African supermodel selects her favorite holiday accessories

Bracelet Bulgari Lipstick Tom Ford Minaudière Louis Vuitton

model behavior Editor-in-Chief Creative Director Stephen Gan

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

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

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

Special Projects Jennifer Hartley

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 Thalia Forbes thalia@vmagazine.com 646.452.6018

Visionaire Cecilia Dean James Kaliardos Online Managers James Gamboa Thalia Forbes Communications Anuschka Senge/ Syndicate Media Group 212.226.1717 Copy Editors Traci Parks Anne Resnik 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

V74 Carine Roitfeld Terry Richardson Inez & Vinoodh Karl Lagerfeld Lady Gaga Hedi Slimane Carlyne Cerf de Dudzeele Sebastián Faena Richard Burbridge Daniele + Iango Jason Schmidt Vince Aletti William Norwich David Rimanelli David Colman Bethann Hardison Joanne Blades Sarah Richardson Jason Duzansky Alex Cayley Claudia Knoepfel & Stefan Indlekofer Catherine Servel Zoë Ghertner Tommy Ton Victor Demarchelier Anthony Kaufman Aimee Walleston Amy Troost Paul Maffi Deborah Afshani Anthony Unwin Vincent Gapaillard Michael Schwartz Salvatore Morale Roxane Danset Sarah Fones Jonathan Shia CyCy Sanders Dom Smith Jason Kim Special thanks Art Partner Giovanni Testino Amber Olson Candice Marks Lindsey Steinberg The Collective Shift Jae Choi Brenda Brown Christine Lavigne Lisa Weatherby Marc Kroop Brian Anderson Marianne Houtenbos Box Delphine Delhostal Katherine Marre Eric Pfrunder Mighela Shama Dtouch Michelle Vitiello Jeanny Bachelin Kim Pollock Yann Rzepka Art + Commerce Becky Lewis Lindsay Thompson Streeters Robin Jaffee Neilly Rosenblum Tim Howard Management Artists Anne du Boucheron Ford NY Paul Rowland Mohammed Fajar IMG Ivan Bart Jennifer Ramey Anne Nelson Kyle Hagler Johanne Sebag DNA David Bonnouvrier Didier Fernandez Women Louie Chaban Next Stephen Lee New York Models Duncan Ord Marilyn Cheri Bowen Supreme Caroline Poznanski Virginie Laguens Jasmine Kharbanda Sandra Sperka Fast Ashley’s Studios Michael Masse Root DRIVEIN24 Trec Kip McQueen Aldana Oppizzi Splashlight Kelley Blevins Nuela Spring Studios Bar Bar Verien Wiltshire Olivier Bialobos Ellie Hawke Sasha Rodriguez

Interns Bianca Ambrosio Julian Antetomaso Payton Barronian Sarah Lalenya Kazalski Eva Kelley Aran Kim Alicia Olivares Maddie Raedts Alexa Vignoles Jassmin Yalley

Cover photography Terry Richardson Styling Carine Roitfeld Makeup Aaron de Mey for Lancôme (Art Partner) Hair Anthony Turner (Art Partner) Models Candice Swanepoel, Hanaa Ben Abdesslem, Joan Smalls (IMG), Sui He (New York Models), Daphne Groeneveld (Supreme), Bambi Northwood-Blyth (Ford NY), Lindsey Wixson (Marilyn), Saskia de Brauw (DNA) Photo assistant Nicole Tappa Lighting technician Seth Goldfarb Digital technician Glen Fabian Videographer Brad Holland Stylist assistants Audrey Taillée and Michaela Dosamantes Makeup assistants Frankie Boyd and Sabrina Ziomi Hair assistant Mickey Viggue Manicure Alicia Torello (The Wall Group) Production Lindsey Steinberg (Art Partner) On-site production Tali Magal (Tali Magal Productions) Catering Nuela Location Milk Studios, New York Retouching Dtouch Candice & Joan cover: Candice wears Jacket, shorts, visor Balenciaga by Nicolas Ghesquière Earrings and bangle Van Cleef & Arpels Ring Carla Amorim Joan wears Dress, necklace, bracelet, visor Balenciaga by Nicolas Ghesquière Sui & Hanaa cover: Sui wears Jacket and shirt Céline Earrings Faraone Mennella Bracelets Bulgari On skin, Lancôme Teint Miracle Lit-From-Within Makeup Hanaa wears Jacket and shirt Céline Earrings Givenchy by Riccardo Tisci Menswear S/S 2012 Daphne & Saskia cover: Daphne wears Sweater, dress, belt, shoes Givenchy by Riccardo Tisci Cap and earrings Givenchy by Riccardo Tisci Menswear S/S 2012 Saskia wears Sweatshirt, skirt, necklace, shoes Givenchy by Riccardo Tisci Cap and earrings Givenchy by Riccardo Tisci Menswear S/S 2012 Bambi & Lindsey cover: Bambi wears Blouse and earrings Louis Vuitton On eyes, Lancôme Hypnôse Doll Lashes Mascara Lindsey wears Blouse and cuffs Louis Vuitton On hair, TIGI Outshine Shine Spray All tights Falke All leis stylist’s own This page: Photography Zoë Ghertner Styling Catherine Newell-Hanson 28

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The Dutch gamine picks her most-wanted accessory and all the essential accoutrements

Clockwise, from left: Sunglasses Versace Bag Chanel Bangles Bulgari Lip balm Kiehl’s Pen Tiffany & Co.

NeW Model army

32 PARTY V holds the Black & White Ball of New York fashion week; Carine Roitfeld sings karaoke in the Big Apple and celebrates the undead in Paris; Moët & Chandon journeys to the ’30s in honor of Mario Testino

34 FROM THE DESK OF LADY GAGA The artist formerly known as Gaga embraces her new identity as Jo Calderone 38 HEROES Eileen Ford, the matriarch of the modeling biz, remembers the way things were; Frédérika Levy, the late, great agent, subverted the beauty standard in the more-is-more ’80s 42 FROM EIKO TO ETERNITY The Oscar-winning costume designer takes audiences into the realm of the Immortals 46 YOUNG ONES Chloë Grace Moretz and Asa Butterfield steal scenes in Scorsese’s new film, but they’re just kids at heart 48 NEW VINTAGE; GETTING DEEPAK Versace takes high fashion to the high street; the doctor of spiritual healing now comes with a play button 50 WORK IN PROGRESS Marilyn Minter builds on the layers of her career; Robert Melee finds inspiration and idolatry in synthetic Venus 54 FILM FORUM Eva Chow makes a case for the history of film 56 CLASS ACT; THINK BIGGER Derek Blasberg expands his wildly popular Classy with more invaluable advice; Visionaire shatters a Guinness world record to become the biggest magazine ever 30

58 EXTRA From Snooki’s new shoes to the latest cyber workout.

Our guide to getting into gear for the end of the year

60 POWERHOUSE The industry’s biggest modeling agencies show us just what—and who—they’ve got 74 NEW MODELS, NEW YORK Marc Jacobs, Calvin Klein’s Francisco Costa, Alexander Wang, and Proenza Schouler’s Jack McCollough and Lazaro Hernandez share a sneak peek at Spring 2012 with their latest muses 76 GOUDE ENOUGH FOR THE LOUVRE On the eve of a major retrospective show, Jean-Paul Goude reflects on a career filled with magic and Grace 80 FINE PRINT Resort accessories prove print is very much alive 83 PRINTS AND THE REVOLUTION Our favorite print pieces, plucked from the V archives 86 RUN THE WORLD, GIRLS Carine Roitfeld picks the new muses of fashion and styles them in the best of the Resort collections.

Photographed by Terry Richardson 92 AFTER & BEFORE To celebrate their retrospective book, Pretty Much Everything, Inez & Vinoodh juxtapose vintage photographs of five iconic models against brand-new portraits, revealing stories of process and inspiration 102 JACKET REQUIRED In an exclusive preview of a still-to-be-completed photographic project, Karl Lagerfeld and Carine Roitfeld capture the timeless elegance of the Chanel jacket

108 SKI BUNNY Fashion editor Carlyne Cerf de Dudzeele transforms supermodel Candice into an icon of chalet-chic.

Photographed by Sebastián Faena 116 FACES OF NOW The new-new crop of young models name the iconic mannequins they’ve long admired.

Photographed by Hedi Slimane 126 THE NEW LOOKERS In this exclusive excerpt from an upcoming book, Patrick Demarchelier and Carine Roitfeld shoot vintage Dior couture and Ingrid Sischy explains why the designer’s legacy lives on 132 QUEEN OF ROCKS We preview the megawatt rocks from Christie’s sale of Elizabeth Taylor’s epic jewelry collection. Photographed

by Richard Burbridge 136 COUTURE 2011 Couture keeps kicking with new blood, new ideas, and all-out extravagant new clothes. Photographed

by Daniele + Iango 148 WHERE WERE YOU...FOR THE HOLIDAYS A few of our favorite faces share photos of their past holiday adventures

Photography Zoë Ghertner Styling Catherine Newell-Hanson Location Fast Ashleys Studios, Brooklyn

SaSkia’S choice

contents

Limelight Magic Hour www.piaget.com

One watch. Three positions to play with Three-position rotating bezel White gold, diamond set Piaget Manufacture

party

Lady Bunny

Max Snow and Vanessa Traina Carine Roitfeld

James Kaliardos

Jeisa Chiminazzo

Usher Cecilia Dean

Nicole Trunfio

Eugenie Niarchos

Olympia Scarry

Crystal Renn Toni Garrn

Anna Dello Russo

Lindsay Lohan

Karmen Pedaru

Olivier Theyskens

Terry Richardson

Lindsey Wixson

Dasha Zhukova Carine Roitfeld

Margherita Missoni

Vinoodh Matadin

Simon Doonan

Inez van Lamsweerde

Karlie Kloss

Karl Lagerfeld

Brad Goreski Andrej Pejic

Alexander Wang

Giancarlo Giammetti

Valentino Garavani

Mark Lee

Ryan McGinley

Ciara

Inès de la Fressange Riccardo Tisci

Peter Brant, Jr.

Linda Evangelista

Harry Brant

Hanaa Ben Abdesslem

Nicola Formichetti

Dan Macmillan

André Balazs

Mario Testino

Kanye West

Alber Elbaz

Giambattista Valli

Peter Dundas

Vladimir Restoin Roitfeld

Tamara Mellon Tatiana Santo Domingo

Doutzen Kroes

Sky Ferreira

Stephen Gan Carine Roitfeld

HEROINE CHIC

Natalia Vodianova

V Magazine hosts a Black & White Ball with Magnum Ice Cream and Belvedere Vodka to fête V73 The Heroes Issue, The Top of the Standard, New York, September 14, 2011

Pierre Casiraghi

Daphne Guinness Julia Restoin Roitfeld Courtney Love

FROM DUSK TILL DAWN

CARINE’S KARAOKE Barneys New York celebrates the publication of Carine Roitfeld’s Irreverent with a karaoke party at the Westway, New York, September 10, 2011

Mario Testino

Sienna Miller

Daniel Lalonde

A CHAMPAGNE TOAST

Cara Delevingne Georgia May Jagger

Kate Moss

Rosie HuntingtonWhiteley

Florence Welch Mary Charteris

32

Christopher Bailey

Natalie Massenet

Lady Amanda Harlech, Lucinda Chambers, and Hamish Bowles host a 1930s gala in honor of Mario Testino receiving Moët & Chandon’s first-ever Etoile Award, London, September 19, 2011

Black & White Ball photography JD Ferguson, Patrick McMullan, Billy Farrell Agency Karaoke photography Billy Farrell Agency Moët & Chandon photography Richard Young Vampire Ball photography courtesy Karla Otto

Carine Roitfeld hosts a “Bal des Vampires” to celebrate the publication of Irreverent, Raspoutine, Paris, October 4, 2011

© 2011

from the desk of lady gaga

V MAGAZine GAGA MeMorAnduM no. 4 date:

noVeMBer 2011

re:

reModelinG The Model

From: To:

M†SS.GAGA STephen GAn

Copy to:

MS. VreelAnd hAuS oF GAGA niColA ForMiCheTTi V ColleCTiVe

liTTle MonSTerS The world ArT hiSToriAnS inTelleCTuAlS Jo CAlderone

Artwork Grégory paquier

My study of gender manipulation, though not a new endeavor in the fields of art and fashion, has been both revealing and terrifying — perhaps my most emotionally challenging performance to date. Beginning as an invention of my mind, Jo Calderone was created with nick Knight as a mischievous experiment. After working together tirelessly and passionately for years, eating bovine hearts, throwing up on ourselves, giving birth to an alien nation and an AK-47, nick and i began to wonder: how much exactly can we get away with? Given the nature of this V Magazine issue, an exploration of “the model,” i felt it appropriate to investigate, in diary form, how the past few months of my work have been a deliberate attack on the “idea” of the “modern model,” or, in my case, the “modern pop singer.” how can we remodel the model? in a culture that attempts to quantify beauty with a visual paradigm and almost mathematical standard, how can we fuck with the malleable minds of onlookers and shift the world’s perspective on what’s beautiful? i asked myself this question. And the answer? drag. nick and i photographed Jo, omitted his biological sex, and shopped the photographs around to men’s fashion magazines. The cover of Vogue Hommes Japan, a major Japanese men’s publication, was a coup to say the least, exciting mostly because we had convinced the editors that Jo Calderone was a male model and had sold his look as the next big thing. nick Knight, a photographer with intuition that borders on godly, wondered immediately if they would be able to feel my spirit in the photograph. he wondered, knowing good and well his photographs were marvelous and utterly masculine, if there was still no way to mask my intensity as a performer. what an interesting venture it was, because, in truth, really brilliant models have the chameleonic ability to transform into new creatures all the time. So why should i be any different? was our experimentation devious? or is it nobody’s business whether or not Jo has a cock in his pants? it was a few weeks later, after the cover was printed, that nick said to me, sweetly, “Gaga, i believe Jo has to sing.” i wrestled with this idea. would it be convincing? what was the purpose of the piece? And if i were to do it, what would its significance be in relation to my work as lady Gaga? Yes, this is me, but in the fantasy of performance i imagined (or hoped) the world would weigh both individuals against one another as real people, not as one person playing two. lady Gaga versus Jo Calderone, not lady Gaga “as.” That would be the intention of the process, to co-exist with an alternate version of myself — in the same universe. So i reasoned, how could remodeling my current image ignite a statement or revelation about me as an artist? what is the new model of the performer and how can i push the boundaries? The answer was that Jo would not just make a statement about me as performer, but would reveal things about me as a woman. i decided then that there was only one way to execute this piece: Jo and Gaga had to argue.

34

from the desk of lady gaga

Artwork, from left: Jane Lane, Jef Dodsworth, Catalina Novelli

As I began to reckon with Jo, I found it important to excavate what he didn’t like about me, or rather, what I struggle with liking about myself.

Concurrently, I felt it necessary to imagine what the public expects of me during a performance of this magnitude — the opening of the VMAs — and how I might destroy this expectation in a variety of ways. On a stage, the laws of fantasy are meant to be broken, but I have always found it difficult to bring my real pussy out there with me. (Or do I bring it out there and just don’t know it?) I have always feared that the reality of love, if brought into the spotlight, has the potential to destroy creativity. Needless to say, the line between fantasy and reality is blurred in my life, as this psychobabble may indicate, so I drew upon my personal experiences to initiate a deeper parallel. Do my lovers feel like an extension of my audience? Because I refuse to draw a distinction between what’s real and what is artifice, do they feel a part of the show? How can Jo become more relatable and lovable than I am?

During my performance and the three days I spent as him, I felt permission through him to confess things about myself as a woman, things I would normally keep hidden. In a way, it seemed that he could get away with a lot more than I can. He talked about his feelings, wore Brooks Brothers, smoked Marlboro Lights, drank beer on stage, and talked about what I refuse to discuss publicly: my relationships. It was by remodeling myself into something completely foreign, and in some ways crafting the anti-pop performance, that the complexities of “the model” began to unfold. For someone known as much for her image as for her music — and this has become my model — the presence of Jo in no way eradicated my spirit from the stage. I was still ever-present, and, in fact, more myself than ever. Jo had a clean slate. Jo had no past or future to answer to. Jo existed only in that moment, as I chose for him to.

By remodeling the “model artist,” “model citizen,” or “supermodel,” we can liberate the present. The transformation detaches the model from any universal paradigm and allows him or her to reinvent perspective in a pure, unattached moment. Within the different archetypes of our psychology, which part of ourselves can tackle an obstacle with more honesty or strength? Is it a farce to transform? Or is it an injustice to “the model” to treat him or her as a prototype? How will you remodel yourself and discover which model is best for today? Use every ounce of potential you have, raise revolution against what people expect of you, and tell the world this is not a rehearsal. This is the real me. And listen up, ‘cause it could be the most honest incarnation yet.

36

www.johngalliano.com

Iris & Keno

eileen foRd

THE BIG-MONEY BUSINESS OF MODELMANAGING OWES A MILLION—IN THANK-YOU GIFTS—TO THE WOMAN WHO cREATED IT At nearly 90 years of age, Eileen Ford is still her forthright, honest, dynamite self. “I have to admit, I don’t go to church anymore,” she confesses with a knowing, sheepish smile. “Well, you know, I object to things, and I’m so strong-willed.” The legendary founder of Ford, the modeling agency she opened and ran along with her husband Gerard “Jerry” Ford for fifty years, not only established one of the most prominent fountainheads for beautiful women the world has ever seen, but simultaneously created another type of model — one built for success. Establishing the industry’s very first voucher system, through which Eileen and Jerry would pay models advances on completed jobs, Ford got a long leg up in the business, and later went on to earn their girls salaries in the seven figures and beyond. In doing so, Eileen revolutionized the business of being in front of the camera— and wielded a notoriously iron fist while doing so.

Sitting in a room at midtown New York’s University Club, Ford finds herself employing the use of a walking aid. She has felt off-balance as of late, perhaps in conjunction with the fading of her hearing. Her memory, however, is sharp as ever. “God gave me my memory and took away my hearing,” she jokes, when asked by Bethann Hardison how she remembers the details of her life with such clarity. A legendary modeling agent in her own right, Hardison spoke with the mother of the modern agency about making a name for herself, setting misconceptions straight, and what modeling means to the millennial generation.

Patrik Sandberg

BETHANN HARDISON If you can, talk about the modeling industry as you know it now.

EILEEN FORD I don’t know it now.

BH Good answer. But opposed to then?

EF Well, modeling has always been a business. But it was not the way it is today where models But it was not the way it is today where models have clothing lines. Look at Kate Moss.

Back then, models were stars, but they were not at all commercially successful as brands because nobody ever thought of using them that way, except maybe CoverGirl.

BH But there were other beauty brands for you at the time, too.

EF We lived on things like Elizabeth Arden and Helena Rubinstein. But their products weren’t named after the girls, it was all about the product.

BH Celebrities have eaten into our business a great deal.

EF Yes, the models, believe me, were celebrities! You could go into places like the Star Club. Nobody could get in, but a model could just walk in. And that was nice for us. It really was. But to me, and I don’t know this to be true, it seems like it is all without heart now. When Jerry and I had that model agency, we were all so close with each other and the photographers. Look how after all these years, Carol Alt and I will have lunch. We were all just friends and it was a business— make no mistake about that.

But it was so…everyone sort of won. Well, not everybody.

BH Did you see challenges in your day as a model manager? Because you were the pioneer of making the girls important. You gave them a great deal of education. You gave them manners.

EF I taught them how to eat artichokes! [Laughs.] It was Carol, who is not a girl anymore. She lives up in Cape Cod. She wrote me not long ago and said, “You taught me how to eat my first artichoke. I’d never seen one before.” We used to do things besides dancing and staying out late. We took courses on Renaissance furniture and painting at the Metropolitan Museum. That was part of what I tried to do.

BH You wanted to educate them so that they could have a better life after modeling.

EF A lot of them did. But you see, it isn’t like that anymore. I figured out that the models don’t think that way anymore. Ford has been sold, as you know, and so I am totally out of touch with what is happening right now. I know what my daughter does, though. Do you know what Katie does?

BH No, I don’t.

EF She works to prevent human trafficking and slavery. And I’m very proud of her. But very few people think of a model agent as being that involved with all of mankind as she is. But don’t forget, I was different, I was very strict. Naomi Campbell left us four times.

The first time was when she was 16, and she was living with us, and I wouldn’t let her smoke. So she left us, and then there were various other things. But every time I would put down a new law.

38

BH It would get hard for them.

EF I’m sure anybody who’s had a teenage daughter can understand that I saved their parents a great deal of trauma.

BH When you think about your business and that era, what was the most challenging part?

EF I never thought of myself as challenged. I loved what I was doing. Fashion is fashion. And if you don’t change with it, you might as well just forget all about it. To this day, I live to know whether a skirt is long or short.

BH Recently, there has been a determination to find models in other places, and Eastern Europe has opened up. But you were the first one, I know of, who went to Europe.

EF I was the first one to go to Paris. That was because of Jacques Fath coming here. He had the first French models who were ever brought over. Then Norman Parkinson said to me one day that he’d been working in Sweden, and he said you should go there and look. So I went there, and I met a very nice man named Michael Katz, who was an editor. He had a contest— and it was the first time they ever had something like that— if you wanted to become a model you had to send in a picture, and I got one of the best models we ever had from it. She’s now a countess in the North of Ireland. Norman also found Nena von Schlebrügge, who’s Uma Thurman’s mother. She was a really good model; he found her wearing a school uniform when she was in school in London. I had great luck in Sweden, but I guess it becomes like a fish stream, it runs dry. So then you have to move on and find another stream.

BH That’s a good way of putting it.

EF Well it wasn’t all misery, I can tell you. We had a very good time traveling. We would buy champagne in each airport and open it when we got to the hotel.

BH Do you remember a time when your job was very difficult?

EF When John Casablancas opened and had all the French photographers. That, for sure, was difficult. The whole Studio 54 scene was really a problem too, you know. That was really a tough time for us. The models and the waiters would be naked up in the balcony together—they were mad.

BH When you thought of the Ford girl, who was she?

EF I never thought of it that way. It was always said that I only liked California blondes, which if you think about who we represented over the years, it could not have been further from the truth.

BH We talk a lot about diversity in the industry. What has your experience been?

EF There were black models. Diversity is gradual. We did the first modeling competition in Beijing, and the girl who won couldn’t get permission to leave China. So it’s hard to accept what isn’t, but if she’s a good model she’s a good model.

Business is business, and it’s very practical. If you can find a girl who can sell the merchandise, she’s your model. Models are saleswomen.

BH You had a good commercial eye, but what happened when the client didn’t like the girl? That must have happened sometimes.

EF If it didn’t work, it didn’t work, and I was always amazed to find that somebody didn’t agree with me. But with a girl like China Machado, she was from Portugal, actually, and I just loved the way she looked. The first thing I did was send her to Muriel Maxwell at Vogue, and Muriel—from the Bronx with a British accent— said, “Oh, she’s too chinky for us.” I was crying and crying. Dick Avedon was around the corner, and I called and told him, and I was crying away, and he said, “Send her to me, let me see her.” And he made her.

BH What is one of your proudest moments in the business?

EF Both Jerry and I were so proud, not in a snide way, but we were so happy with what Ford was and how it was and being a part of it. I guess that was it, being a part of Ford. The other part is that I raised four wonderful children somehow. You know, there wouldn’t be a me without Jerry. There really wouldn’t.

Everybody always told me, “You’re the boss,” but, and everybody knows this, one day Jerry told me I had to change, so I quit being bossy.

BH He looked out for you. We were on a panel discussion together and he was so charming, so gracious. I was very impressed by him.

EF I don’t know anybody who didn’t love Jerry.

BH When you think about your legacy, and I hate that word, because I have a difficult time when people ask that of me…

EF I’m about to be 90 in March, and I don’t like to think of the word legacy.

BH I’m glad to hear you say that!

EF How am I to know what other people will say about me?

People say, you made history… I know Jerry and I made an industry where there wasn’t one. That’s probably our greatest achievement.

Famous Ford models, 1966 Photography Ormond Gigli

Top row, from left: Barbara Janssen, Wilhelmina, Iris Bianchi, Tilly Tizzani, unknown, Diane Colon, unknown, Agneta Freiberg.

Fourth row, from left: Sondra Peterson, Hellevi Keko, Terry Reno, unknown, Donna Mitchell, Veronica Hamel, Renate Beck.

Third row, from left: Dolores Hawkins, Agneta Darin, Vicki Hilbert, Editha Dussler, Ann Turkel, Martha Branch, unknown.

Second row, from left: Babette, unknown, Astrid Schiller, Heather Hewitt, Sunny GrifďŹ n, unknown.

Front row, from left: Anne Larson, Heidi Wiedeck, Astrid Heeren, Samantha Jones

hero

Frédérika LEVY

The subveRsive model agenT RewRoTe The Rules of The game and usheRed in a sTandaRd of beauTy ThaT is influenTial To This day The ’80s are remembered today as the age of the supermodel, a time when seductive women like Christie Brinkley, Paulina Porizkova, and Cheryl Tiegs ruled fashion with their signature mix of sex and glamour. But even in those years, there were rebels. Frédérika Levy, who joined the Parisian modeling agency City Models in the early ’80s and left her post as manager in 2006, passed away last year, but her unconventional aesthetic lives on. Partly responsible for the careers of women like Leslie Winer, Jenny Shimizu, and Carla Bruni, Levy broke the modeling mold of the time.

Levy, who was born in Casablanca, Morocco, before moving to Paris with her family as a child, was famous for her transformative view of modeling and the fashion industry. “She was one of the queens of fashion from this time because of her artistic sense,” says Patrick Lemire, who worked with Levy for over a decade and is now the women’s director at Marilyn Agency in Paris. He recalls Levy’s dislike of the curvaceous bombshells who were dominating the scene. “I remember one day she showed me a photo of a girl who had a tattoo on her shaved head,” Lemire says. “And Freddie said to me, ‘You have to do something with her.’ I took this girl, Ève Salvail, and Freddie was right. It was a revolution.”

Levy formed a triumvirate with Sarah Doukas at Storm in London and Paul Rowland at Women in New York, who shared her rebellious vision, and the three worked collectively to promote their many shared models across the three markets. Both remember Levy fondly today and counted her among their closest friends. “Freddie was charismatic, and if she wanted something, she was really charismatic,” says Rowland, who now manages the women’s board at Ford in New York. “She just had that ability to convince you. But at the same time, she could be a bit tricky, a bit on edge.” Doukas adds, “To me, she was the best agent. I was all about finding girls on the street, and I thought Freddie was a genius because she could transform them.”

The office at City, which would eventually also include Levy’s sister Laetitia and Laetitia’s daughter Johanne Sebag, now at IMG in Paris, was famously intense. “Freddie really wanted everything perfect,” recalls Sebag. “The way you put the images in the book had to be perfect, the photos on the cards had to be perfect. I spent hours doing books with her because she wanted everything perfect. Her image of what

she was showing to the outside world was really important.”

Lemire adds, “She was there pushing all the bookings in the right direction. Frédérika was a tough woman and she had a strong vision for everything, and she was there managing the team with conviction. Sometimes things were tough, but it was a very good school for me because I learned a lot and everything I have, all my knowledge in this business, came from this time.”

But while Levy ran a notoriously tight ship at the agency, her models say that she never treated them with anything less than complete respect. Winer, who considers her modeling career a “very brief period of my life,” switched from Elite to City after a chance meeting with Levy. “Fred was just a genuine human,” she says. “She was totally herself. She didn’t think that what other people thought of her was any of her business. She was kind, loyal, supersensitive, opinionated, thoughtful, creative, daring, and mischievous, and she didn’t suffer fools gladly.” Shimizu, who today works for Elite as an agent, says that Levy was one of the few agents back then who viewed her models as people.

“She taught me that you could work hard, you could be a shark, you could make tons of money, but you can also still be kind, because this business is so difficult,” Shimizu says.

In reaction to the major corporate agencies then dominating the industry, Levy emphasized individualized attention and a personal touch to help her charges navigate an increasingly complicated business. Winer and Shimizu both say that intimate bond was what attracted them to City and set it apart from the other agencies. Levy’s well-known insistence that her models serve as active participants in their work rather than just mannequins was another revolution. “She brought the idea to the clients and to the fashion world that models have a personality and we can spotlight this personality to create a story and push the girl to express the personality in the picture,” says Sebag. “It was really important for her, and I think she was the first to do this, to teach them about fashion. Before a girl went on a job, she would make sure she knew everything about who she was working with and what they were trying to do. And she taught them that for them to be more secure.” Model manager Michael Flutie, who worked at City under Levy, remembers, “We were not trained to find or scout or discover models that physically represented an archetype. We were trained, specifically by Frédérika and Louise [Despointes, who founded City] to explore and find girls who could become muses and collaborators.”

Despite her enormous impact on the modeling agency, on the way the girls look and the way they are treated, Levy is perhaps best remembered for her powerful and eccentric personality.

“Fred was an amazingly complicated person,” says Winer, who spoke at Levy’s funeral. “Let’s just say that she was the perfect imperfect friend.” Laetitia adds, “She was someone who was always encouraging people and helping them blossom. What she wanted most was for people to be doing what they wanted to do, and she wanted to help them succeed.”

In the end, Levy’s most lasting impact will be her upheaval of the traditional standards of the modeling industry. As Winer put it in her eulogy, “She had an unparalleled ability to see beauty where others couldn’t, until they could.” Jonathan Shia

Above: Carla Bruni, Leslie Winer, Elle MacPherson, Inés Sastre, and Jenny Shimizu in the City Models show package, c. early ’90s. Far right: Frédérika Levy in Paris, c. 1990.

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TOMFORD.COM

THE NEW COSMETICS COLLECTION AVAILABLE AT NEIMAN MARCUS

film

FROM EIKO TO ETERNITY

THE OSCAR-WINNING COSTUME DESIGNER HAS MADE STRANGE BEAUTY HER SIGNATURE. IN HER LATEST PROJECT, SHE EXPLORES IMMORTALITY, AND THE RESULTS ARE APPROPRIATELY UNFORGETTABLE

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Illustration of the red oracle in Immortals

Still from Immortals. The Sybelline Priestesses arriving at their watering hole

Red Oracle illustration Henry Fong Still photography Jan Thijs © 2011 War of the Gods, LLC. All Rights Reserved

“Beauty itself is her medium,” Francis Ford Coppola wrote of artist Eiko Ishioka in the introduction to her 2000 monograph, Eiko On Stage. “She is, and always will be, something of a foreigner in the film industry, no matter how many films she works on or awards [she receives].”

“I don’t know if it’s beauty or not,” Ishioka says in reference to this statement. She is seated at a clean, white table over a pile of carefully organized illustrations and sketches. We are in her immaculate, minimalist high-rise apartment that overlooks Central Park from the seventieth floor. “It is from my point of view, and I always want to create my own kind of beauty.” But one thing is for sure: the Academy Award–winning costume designer behind the costumes for Coppola’s Bram Stoker’s Dracula has not only found her niche as a designer for film, she remains one of the industry’s most in-demand costumers.

“I am lucky to have started working with Paul Schrader and Francis,” Ishioka says. “Dracula was my first big Hollywood film, and Francis gave me complete freedom by expecting neverbefore-seen, unique, timeless, and revolutionary design.”

This isn’t to say that Mr. Coppola’s assertion doesn’t hold a ring of truth. “Nobody realizes Eiko is a production designer,” Ishioka laments in charming third person. She speaks in careful, precise English with a Japanese accent dense enough for her to sometimes employ the use of a translator. “I really wanted to design production for Hollywood, but since [Schrader’s] Mishima, I have never received production design work. Francis wanted me to design costumes for Dracula, and then my work became too famous so I never had the chance to recede to set design after. This is a very sad thing.”

Choosing projects meticulously, Ishioka has been able to traverse media and create works of profound visual poetry from the stage to the screen to the stadium. It was she who famously designed the spellbinding sartorial creations for Tarsem Singh’s breakthrough 2000 film The Cell, as well as its 2006 follow-up, The Fall. She directed the music video for Björk’s “Cocoon,” in which the singer emerges from a lineup of clones and binds herself into a chrysalis made from animated red strands that shoot from her nipples. She also designed costumes for Cirque du Soleil’s Varekai and the Opening Ceremonies of the 2008 Beijing Olympics.

Appropriately, it was right after that job that Ishioka was again approached by Singh and asked to design for Olympians of a different sort: the ancient, battling gods in his forthcoming fantasy epic, Immortals.

film

“Hollywood is a good example of dictatorsHip. HierarcHy is very important. it doesn’t matter if i am working under a general and i say ‘i don’t like it, i don’t like it, i don’t like it.’ He sHould be able to carry on witH His own vision.” –eiko isHioka

Crown design for Athena, the Goddess of Wisdom

Design for King Hyperion’s helmet, worn in the film by Mickey Rourke

Another helmet design for King Hyperion

Ishioka fitting actor Daniel Sharman on the set of Immortals

Immortals is out in November 2011 from Relativity Media 44

Athena illustration Pierre-Alexandre Comtois King Hyperion illustrations Rafael Kayanan Still photography Jan Thijs © 2011 War of the Gods, LLC. All Rights Reserved

“The Beijing Olympics were a completely different world from Greek mythology, which is based on a story,” she says. “The process was incredible because I went to the Metropolitan Museum to look at sculpture. A [late 19th-century] helmet mask from Burkina Faso inspired me very strongly, so I cooked myself different versions of the original design. I would draw about ten different drawings, then Tarsem and I would discuss it many times until we finally reached a direction.”

This collaborative synergy is what brings Ishioka back to Singh’s productions time and again. Even though she may not be steering the ship, Ishioka finds great creative fulfillment working as part of a team. “Tarsem as a director has given me guidance,” she says. “I feel like I have a freedom to build ideas based on his guidance.” She also takes comfort in film industry’s topdown power system. “Hollywood is a good example of dictatorship. Hierarchy is very important. It doesn’t matter if I am working under a general and I say ‘I don’t like it, I don’t like it, I don’t like it.’ He should be able to carry on with his own vision. Luckily, Tarsem and I find a consensus. Mostly it’s a success.”

If the otherwordly costumes exhibited in Immortals are any indication, Ishioka’s statement comes across as incredibly modest. Ares, the god of war, wears a solid gold helmet that boasts a Mohawk of sword blades. Theseus, the film’s hero, slips into armor with intestines sculpted into its surface. King Hyperion, the villain portrayed by Mickey Rourke, sports a helmet featuring crab pinchers that resemble Satanic horns shooting out of his head, while his face looks like it’s emerging from the subterranean mouth of a primordial sea urchin. Inspired by the hollow, filigreed basket hilts of 17th-century rapiers, the vestments of the gods are designed to be “translucent,” in Ishioka’s vernacular, like gilded cages for the body, emphasizing the character’s immortality and the futility of wearing traditional armor.

Immortals marks a milestone for director Singh, as it is his most massively budgeted film to date. “I am very excited because I love to design for a huge audience,” Ishioka says. “I am not interested in a very limited, snobby, salon kind of audience. I like people walking on the street to see my movie posters and say, ‘Wow!’” Next, Ishioka takes on her very first fairy tale, designing costumes for Singh’s 2012 adaptation of Snow White, and she remains curious about what wonders the future may bring. One thing she would like to attempt is to create designs that are purely computer-generated, “like Toy Story,” she says, “but completely my way. I would love to do it not as a children’s movie but for adults, as a more exciting, never-before-seen kind of expression.”

Despite no shortage of blue-chip projects on the horizon, Ishioka laments that perhaps her imagination has grown beyond the constraints of the silver screen. “I don’t know how long I can work for film,” she shrugs. “I don’t want to limit myself. I have no idea what may come tomorrow. The future is very mysterious.”

Patrik Sandberg

Ishioka on the set of Immortals

alexandermcqueen.com

talent

Rising actoRs chloë gRace MoRetz and asa ButteRfield May Be staRRing in the season’s BlockBusteR 3-d scoRsese filM, But offscReen they’Re just kids—Which is exactly Why hollyWood loves theM “I know your name: it is youth!”

So says Martin Scorsese, the master filmmaker, referencing a line of dialogue in Jean Renoir’s classic film Boudu Saved from Drowning. “There’s a great scene early on where one of the characters says [that line] to a young man,” Scorsese explains.

“That’s what I felt working with Asa and Chloë — youth, exuberance, creativity, talent, and energy to burn.”

Indeed, Asa Butterfield and Chloë Grace Moretz, the stars of Scorsese’s upcoming 3-D fantasy film, Hugo, exude that luminescent quality that comes along every few years and reignites the allure and magic of the movies. Every generation needs them. Whether it’s the Gish sisters of D.W. Griffith’s silent epics, 1940s glamour girls like Lauren Bacall and Veronica Lake, Miss Norma Jeane Baker (aka Marilyn Monroe), or more recently, bright once-young things like Leonardo DiCaprio and Natalie Portman, Hollywood depends on its youth for survival.

But the funny thing about young stars is that they’re also just regular kids. Or they try to be. They go to school (at the moment, Butterfield is studying Of Mice and Men, physics, and advertising; 46

“If you saw me on the street, you’d think I’m just a normal kid; I am a normal kid, pretty much.”

Moretz says it’s mostly her family that keeps her grounded.

“I have four older brothers and an amazing mom,” she says.

“Without that family behind you, that’s when you stray from your values. But I have very strong spiritual values. And everybody makes sure that I’m not getting a big head.”

Making movies is also not as glamorous as it sounds.

Butterfield says he was often “fed up” during the eight months spent shooting Hugo in 3-D. “It was all really hard,” he admits.

“The exhaustion of the long hours; the set was boiling hot; and there were scenes where you were running for hours on end, being chased by a dog, or carrying something over your shoulder. And it was also mentally draining, because there were a lot of scenes where I had to cry.”

For the relatively veteran Moretz, who’s already acted in some thirty-five movies and TV shows (including the upcoming Tim Burton gothic, Dark Shadows), the biggest challenge of Hugo was the British accent. “I watched Shakespeare in Love thousands and thousands of times,” she says. Ultimately, she adds, it was just refreshing to play a “sweet girl,” as opposed to vampires or killers.

At the moment, the rising stars are taking a break. In between promoting Hugo, they’re trying to catch up on their schoolwork.

Butterfield enjoys his photography classes, and hopes someday to play a “young James Bond,” he says. “Guns and girls,” he adds, “quite cool.” And while Moretz dreams of portraying Scarlett O’Hara—”because she’s so strong, and she doesn’t take a backseat to a man and she knows what she wants and how to get it”—she’s also begging her mom for driving lessons.

“I get my learner’s permit next year.” Anthony Kaufman Chloë Grace Moretz in New York and Asa Butterfield in London, September 2011 Photography Victor Demarchelier Styling Anthony Unwin Moretz wears Dress Prada Shoes Christian Louboutin Butterfield wears T-shirt and mesh sweater Dolce & Gabbana Glasses his own Hugo is out in November 2011 from Paramount

Makeup Jake Bailey (Starworks Artists) Hair Rob Talty using Sebastian Professional (The Magnet Agency) Grooming (for Asa) Jennie Roberts (Naked Artists) Photo assistants Robert Massman and Nyra Lang Digital technician Kenny Uloa Stylist assistant Matilda Goad Producer Stacee Robert (Management Artists) Retouching Dtouch Special thanks Spring Studios, London

YOUNG ONES

Moretz is a fan of Wuthering Heights); they listen to music (“anything with a strong beat,” says Butterfield); and they lie on their beds, look up at the ceiling and fantasize about their futures.

They don’t even know who they are. (“I still haven’t lived a lot,” admits Moretz.)

And yet, they are asked to portray the suffering of the Holocaust, as the British-born Butterfield did at just 10 years old in his breakout role in The Boy with the Striped Pajamas, or avenge the death of a loved one by maiming and slaughtering dozens of bad guys, as Moretz managed at just 11 in her major big-screen debut Kick-Ass. How are they so young and yet so mature at the same time?

At the ripe old age of 14, Butterfield and Moretz don’t think much of their acting prowess. “You just have to get into the character,” says the former, “and say to yourself, if I were this character and experienced what he had, how would I be feeling and how would that affect my voice and emotions?” Moretz adds that, “It’s just acting. You just make feelings up.”

But talk to “Marty,” as Butterfield and Moretz now refer to Scorsese, the acclaimed director of Raging Bull and The Departed, who spotted an innate and instinctive — even mystical— quality in these fledgling thespians. It was Scorsese, after all, who cast a 13-year-old Jodie Foster in Taxi Driver.

In Hugo, Butterfield plays the title character, Hugo Cabret, an orphan who lives in the Paris subway and sets out on a journey to solve the puzzle of his own life. “Just looking at Asa’s face, watching him on-screen, you’re immediately drawn into a mystery,” says Scorsese. “You see those eyes — they seem to absorb everything. They have great power and eloquence, they’re mysterious.” Moretz plays Isabelle, a young girl that Hugo befriends and who helps him along the way.

Scorsese says, “It was amazing to see her modify her own unique characteristics — the way she turns her head, the way she glances at the world around her, the way she smiles— and transform them into Isabelle’s characteristics. Actually,” he adds, “it was magical.”

You might think such claims of amazement— not to mention the screaming fans, red carpets, and flashing cameras— might inflate the young actors’ egos. But Butterfield and Moretz maintain their bearing. “I don’t let it get to my head,” says Butterfield.

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NEW VINTAGE

Makeup Maud Laceppe (community.nyc) Hair Marco Santini for ION Studio (community.nyc) Model Sui He (New York Models) Photo assistants Kevin Vast, Jake Pett, Tom Neal Digital capture Jessica Gildersleeve Stylist assistant Julian Antetomaso Location Sandbox Studios, New York Retouching Dtouch Special thanks K&M Tribeca

Donatella VeRsace’s H&M collection DRaws on tHe House’s tReasuReD aRcHiVe foR clotHes tHat aRe coMpletely of-tHe-MoMent When Donatella Versace took a bow following her menswear show in Milan in June, she stood smiling, arms behind her back.

Beyond the cascade of perennially platinum blonde hair and toned, tanned limbs, one thing stood out: Versace’s dress, a sensual yet tough black leather shift punctuated with gold studs.

Three months later, Anna Dello Russo would be seen wearing the same number in Paris, and the designer herself would don a similar style in white for her Spring 2012 Versace women’s collection. Come November 19, a shorter, slightly less embellished version of that dress, which Versace designed for H&M, will hit stores in the U.S.—and likely sell out within a matter of hours.

That Versace collaborated with the Swedish retail giant at all may have surprised fast-fashion followers. Back in 2008, the designer said she had no interest in creating a lower-priced line, though she added that she respected those, like Karl Lagerfeld, Stella McCartney, and Alber Elbaz, who did. Three years on, and Versace has seemingly broadened her sartorial horizons, developing a wallet-friendly line that comprises women’s, men’s, and home collections. The timing couldn’t be better, as Versace, in all its colorful, opulent glory, has recaptured the fashion zeitgeist with its graphic, tightly edited collections and an endorsement from Lady Gaga, who wore archival Versace pieces all summer long.

Inspired by iconic vintage pieces created by Versace’s late brother, Gianni, Versace for H&M also channels a daring bravura that is distinctly Donatella. Medallion, leopard, and floral prints come alive in a riot of kaleidoscopic color, covering leggings, bomber jackets, and bustiers; chain mail and cutouts appear on minidresses, while studs dot clutches, trousers, and bright sheaths. In other words, the house’s DNA is writ large—manifest in an exuberant fusion of past and present. Sarah Fones Photography Paul Maffi Styling Tom Van Dorpe

GETTING DEEPAK

tHe new-age guRu plugs into nintenDo wii foR His fiRst-eVeR ViDeo gaMe, anD ouR soul signatuRes May neVeR be tHe saMe again His sixty-five books have sold more than 20 million copies.

Over six hundred thousand people follow his advice on Twitter.

Celebrities like Oprah, Lady Gaga, and Demi Moore have all sought his personal counsel. Now, finally, Deepak Chopra is 48

coming to Nintendo Wii. Meet Leela, a new interactive experience that helps users release stress while tapping into their inner selves. “My inspiration behind Leela is to provide a multisensory experience that expands one’s consciousness through play,” Chopra says of the unconventional tool, explaining its name: Leela means “play” in Sanskrit.

Indeed, Leela is so colorful and intuitive that users might not even realize it’s working. But it is: “Leela helps focus attention and intention in seven chakras,” Chopra explains. “It anchors the experience with the qualities of consciousness pertaining to the centers, such as stability, flexibility, transformation, achievement, love and compassion, creative expression, intuition, insight, and unity.” Despite a form that could be called unconventional — at least by Eastern standards — Leela’s traditional techniques give users a classic meditative mind and body stasis, allowing users to create “soul signatures” or mandalas.

Through mind-body coordinating movements and stimulating yoga poses, users can tap into their inner oracles and access

their all-knowing, subconscious minds.

For Chopra, birthing Leela was a personal breakthrough in and of itself. “The experience in creating these tools was exhilarating,” he says. “I found a way of using technology to access ancient traditions of wisdom.” And now that the renowned doctor of health and happiness has tapped into the technosphere, don’t expect him to back away from it anytime soon. “I see technology moving in the direction of bio-regulation, neurodevelopment, gene expression, mind-body coordination, and also expansion of consciousness,” he says, optimistically.

As Chopra sees it, technology, like most things in life, is what one makes of it. “Technology is neutral. We can use it to further the evolution of the human species and create neural networks for a planetary civilization. Or we can use it for diabolical purposes. It is up to us.” Patrik Sandberg Leela is available for Xbox 360 Kinect and Nintendo Wii in November 2011

woRk in pRo gRess Photography Jason Schmidt

THE ECSTASY

AFTER 2 YEARS SPENT PREPPING FOR A NEW SHOW AT NEW YORK’S SALON 94, ARTIST MARILYN MINTER SEES THE LIGHT AT THE END OF THE TUNNEL

This painting is called Heavy Metal. I made the image in Photoshop from the scans of many different negatives (there are probably more than eighty layers). The paint is enamel built up in translucent layers. I might be smiling, but it’s taken over a year to make this painting, and we are working like crazy to finish it in time for my show. Marilyn Minter 50

work in progress

GOLDEN YEARS

ARTIST ROBERT MELEE REFLECTS On An ECCEnTRIC AunT And OnE vERy CuRIOuS ChILdhOOd

Everything changed after my introduction to Brenda Lee at the age of 8. My Aunt Minnie, in last night’s makeup and a teddy, with her long, movie-star legs and a towering, sculpted platinum hairdo, chain-smoking Pall Malls, would lip-synch to Ms. Lee. This was the first performance art piece I witnessed. Always in touch with the latest in electronics, Minnie sang along with her eight-track tape stereo and held a professional mic (not plugged into anything) with her phantom band; there was a drum set and electric guitars, but they were never played. I remember the itchy multicolor shag carpeting against my skin as my cousin and I watched from the floor in our underwear.

In the parlor, there was a Venetian-esque mural, and a gorgeous white velvet sofa suffocated with plastic slip covering.

The baroque coffee and side tables made of real marble and gold-painted bronze had small lights inside that lit up. The centerpiece was a tall, freestanding lamp, the base of which featured a replica of the classical Greek sculpture of Venus de Milo, with a garden of plastic ferns at her feet. The faux marble sculpture was encircled by thin plastic wire that dripped beads of oil. My first request when visiting most weekends was to turn Venus on. Fake is real. Robert Melee 52

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FILM FORUM

In movIemakIng’s hometown, eva Chow Is makIng suRe the movIes aRen’t foRgotten. now, wIth a new InItIatIve at the Los angeLes County museum of aRt, she CeLebRates fILm hIstoRy wIthout skImpIng on the staRdust When Eva Chow, the former New York designer turned West Coast philanthropy powerhouse, believes in a project, you’ll know it. She’s passionate about few things—the first is her husband’s restaurant, Mr. Chow, and a close second is the status of art in Los Angeles—and she’s committed to them. That’s what I find out when I ask her about the new Film Independent program at the Los Angeles County Museum of Art, which she will fête, with her co-host Leonardo DiCaprio, at the museum’s annual winter gala. “Film influences everything in our culture, from fine art to fashion 54

to music,” explains Chow. She’s done her research, too. “Decades ago, photography wasn’t considered an art form, but we all know now that it is one of the main mediums for art today. Similarly, I think we can acknowledge that many artists currently use film as a form of expression.”

Christian Marclay’s The Clock, a 24-hour video installation featuring appropriated footage of clocks ticking, is an example of the type of work Chow says the museum plans to show at the LACMA. As was the recently closed Tim Burton retrospective, which included illustrations and drawings from the seminal director. “We’re the only encyclopedic museum in L.A.,” says Chow, “so we’re positioned as the best museum to present cinema in an artistic and historical context.”

DiCaprio, who Chow and LACMA’s Michael Govan agree is modern culture’s bridge between established and young Hollywood, has organized with Chow a sensational opening for the program, calling two influential members of the film and art communities as guests of honor: artist John Baldessari and actor and director Clint Eastwood. Why them? “Clint is the idol for any movie lover,” says Chow. “He represents to me the most artistic and talented film director today.” She is equally enthusiastic about Baldessari: “John is the father of conceptual photography.” Together, they make for quite an illustrious pairing. Derek Blasberg Details from The Clock, 2010 Artwork Christian Marclay Courtesy White Cube, London, and Paula Cooper Gallery, New York The Film Independent program at the Los Angeles County Museum of Art program launched in October 2011

jilsandernavy.com

release

class act

In DeRek BlasBeRg’s expanDeD ReIssue of Classy, theRe’s even moRe InvaluaBle aDvICe foR the woRlD’s woulD-Be laDIes It’s a good deed done in a dirty world anytime and anyplace anything causes even the tiniest ripple of kindly manners.

Thank you, Derek Blasberg. Very Classy, the just-published edition of his New York Times bestseller, Classy: Exceptional Advice for the Extremely Modern Lady, is that good deed. With over seventy new pages of material and brotherly, bon-vivant wisdom, Very Classy is the end of loneliness— like having a GBF (Gay Best Friend) whispering advice in your ear. Here is guidance for everything a girl needs to keep a garden, hold her liquor, or hit the gym—in class and style.

Blasberg was raised in St. Louis, Missouri, and educated at New York University. He is an enthusiast and a wit. He is everywhere with NAPP (no apparent private plane) and he is the GBF to ladies such as Lauren Santo Domingo, Daphne Guinness, and Emma Watson, just to name a few. Somewhere between the street and the Top of the Standard, Blasberg has done his homework and learned that fashion has a history. Not only is he erudite, he can punctuate! His Twitter feed is so engaging, it is the reason why many people I know do not tweet—they simply can’t compete.

As international as Blasberg is, it was his Missouri roots that inspired Classy. After all, the Show-Me State is where Blasberg often returns to be both grounded and horrified, like when his mother admits she doesn’t know who Carine Roitfeld is. The book was his “reaction to a larger problem.” As Blasberg sees it, “Too often the girls I see put on society’s pedestal—worshipped and photographed and given TV shows—are standing up there for the wrong reasons.” His goal was not “to create troupes of boring, puritan, conservative women,” but to inform and amuse.

If “you never go to Europe or throw a dinner party, but you’ve gained the confidence to swap the string bikini your slutty friend talked you into buying for a sensible one-piece,” Blasberg feels like he’s “performed some sort of service.”

Similar missions of social service have always informed the best manners books. Emily Post got started in the roaring 1920s, a time of indulgence if there ever was one. “She must not shout,” Post wrote, “and she must not, while wearing her bridal veil, smoke a cigarette.” Before her death in 1960, Post’s etiquette book was revised ten times and was in its 89 th printing. Syndicated in more than 200 newspapers—syndication was the Twitter of its day— Post appealed not only to the new rich but also to the great numbers of immigrants flooding into the United States. Like Blasberg, her message was to be unaffected and follow the golden rule of good manners: forget the rules—

including elbows on the dinner table or where the fork goes— when necessary to make the other person feel comfortable.

Society may be less regimmented than in Post’s day, but who doesn’t feel like a stranger sometimes in our sped-up world in which new phones and handbags are more compelling to most than new ideas or even new husbands? Very Classy is the modern-day guide to life. “You will make all kinds of mistakes,” Blasberg quotes Winston Churchill, “but as long as you are generous and true, and also fierce, you cannot hurt the world or even seriously distress her. She was made to be wooed and won by youth.” William Norwich

issue’s imagery. But then, the issue’s contributors— photographers like Steven Klein, Steven Meisel, and Bruce Weber, fine artists like Maurizio Cattelan, Rob Pruitt, and Marina Abramovic, and several in between like Inez & Vinoodh, Philip-Lorca diCorcia, and Ryan McGinley — are not exactly known for thinking inside the box. While figuring out what order to put the issue in, Dean noticed an interesting thread running through it all.

“There’s this narrative that ranges from the ultra-natural, like diCorcia’s photo of an apple tree, to the extra-digital, like Doug Aitken’s rendering of a surreal fantasy landscape. It’s not obvious or concrete, but it does feel like it moves from the past to the future or from nature to cyberspace.”

Assembling the art turned out to be the easy part. Far more difficult: getting the damn thing printed. “Because of the paper size,” Dean says, “all the printing houses we knew in Europe and Asia wouldn’t even bid on the job.” Finally, it took good-

old American know-how—and a billboard printer in Milwaukee, Wisconsin—to get the job done.

And so it was that one of the strangest photo-ops of New York fashion week last September was a Guinness Book agent giving Dean a certificate for the magazine as the biggest ever.

(And maybe the most expensive: the big-daddy deluxe version retails for $1,500.)

The only question now is for readers: how and where do you peruse the thing? “I think it’s perfect gym reading,” deadpans Dean, adding mischievously, “Visionaire is always about the experience.” David Colman

Above: Byrdie Bell illustrates the importance of gym gear Very Classy is out now from Razorbill

tHINK BIGGER The one size that fits all in fashion is larger-than-life. In a world in which extravagant gestures are so much the norm that topping yesterday’s showstopper is not only hard, it’s anticlimactic, how can you ensure that your coup has the most theater? Well, you can do what Visionaire did: get the Guinness Book of World Records to certify it.

That’s just what Stephen Gan, Cecilia Dean, and James Kaliardos set out to do when they decided to make the new issue of Visionaire the largest magazine ever. It was an idea they’d had for years, having always wanted to see all the magazine’s eyepopping photography and artwork in XXL. But it wasn’t until Dean was batting around ideas for an upcoming issue with Nizan Guanaes, the founder of Africa Global, a Brazil-based ad agency under the umbrella of the massive Grupo ABC, when it suddenly hit her: what would be more perfect for an issue sponsored by Africa than a magazine the size of a bus shelter?

“He loved the idea right away,” says Dean, standing in the Visionaire offices, flipping through the issue’s pages. (Though given that each page of the standard issue is 36 by 49.5 inches, and that each in the even-bigger deluxe edition is 57.5 inches by 79 inches, Dean looks more like she’s making a bed.)

Dean says she was surprised by the sheer diversity of the 56

Photography CyCy Sanders Visionaire 61 LARGER THAN LIFE is out in November 2011.

Buy a copy and see a film of the issue at visionaireworld.com

Makeup Ralph Siciliano (D+V Management) Hair Lacy Redway using Redken (See Management) Models Lida Fox, Anastasia Kuznetsova (Next), Clark Cord (Ford NY) Photo assistant Jasper Rischen Stylist assistant Maddie Raedts Hair assistant Sonia Castleberry Special thanks Moid Newsstand and Rahman

vIsIonaIRe’s latest Issue shatteRs a guInness woRlD ReCoRD to BeCome the most DIffICult to pRoDuCe, ImpossIBle to peRuse magazIne eveR. In shoRt, It’s a fashIon must-have

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extRa NEW GIFT NEW EXPERIENCE

If the current American healthcare situation depresses you — and it should — you’ll have reason enough to support Diane Brown’s RxArt, whose Between the Lines coloring book is now in its third edition. Brown launched her well-intentioned charity with the aim of installing contemporary artwork in typically dreary hospital rooms. The annual coloring book is a

Brazilian art phenomenon Ernesto Neto takes over the cathedral room at the Faena Arts Center in Buenos Aires through November with his latest, self-titled exhibition. Exploring the experiential, overwhelming relationship between spectator and artwork through gigantic, netted sculptures, the artist invites visitors to touch and smell the pieces, which are made of elastic fabrics and laced with different aromas, like saffron and cloves.

(Above, Arts Center founder Alan Faena takes it all in.) Fixed and stretched taught at varying points, the sculptural forms achieve an overwhelming effect by enveloping the spectator into their collective mass, a practice known as Neo-Concreto, a popular movement in Brazilian art. Get caught up in the Neto.

smaller yet equally powerful piece of philanthropy distributed to children being treated at participating institutions. This year, artists as diverse as Cecily Brown, Matthew Ritchie, Andrea Zittel, and Carrie Mae Weems have contributed work, and conceptual art legend Adrian Piper even colored hers in — exclusively for V. James Block Above: Artwork Adrian Piper

sNOOkI’s NEW kICks This winter, Santa Claus trades his arctic boots for some vivid and totally DTF sandals, as loud and colorful as their namesake designer, Nicole “Snooki” Polizzi. The Jersey Shore star’s first footwear collection bows this holiday season and includes pickle-print flip-flops, Grecian sandals, and platform wedges with an assortment of embellishments—all of which spell “chic” from South Beach to the shore. Mr. V

Above: “Ernesto Neto” installation view, 2011

NEW sHOW

NEW CELEBRATION Giorgio Armani first became an indelible part of the fashion zeitgeist in the early 1980s, when he dressed Richard Gere in American Gigolo and graced the cover of Time magazine. A decade later, the designer would add to his ever-burgeoning global empire, launching A/X Armani Exchange in 1991. To mark twenty years of the progressive, street-chic label, the label has unveiled A/XX, a series of seasonal capsule collections, including one for the holidays that is filled with sexy, standout separates.

The edgy-elegant line offers polished leather trenches, ruched sheath dresses, and sumptuous maxi sweaters, admittedly better-suited to dashing across town than cozying up by the fire. Lace and crochet detail, glimpsed on chic minidresses, complements the modern silhouettes. Meanwhile, metallic sequins, which cover slick cocktail numbers, cropped trousers, and a slim blazer imbue the collection with its requisite sparkle. Sarah Fones 58

Left, from top: Personal Cuts, 1982; From the Double Life series, 1975.

Artwork Sanja Ivekovic

NEW musT-HAvE This holiday season, the only gym circuit you need to worry about is the one you plug your Run Personal treadmill into. Thanks to the industrious equipment brand Technogym, whose products are used by more than twenty million people every week, all the cardio you could ever want comes in one sleekly designed interactive machine. With features like a 19” TV screen, USB entertainment capabilities, iPhone/iPod synchronization, and the ability to upload workout data to the Internet— in order to instantaneously access it from any Technogym machine in the world—your physical fitness is virtually covered.

Snooki photography Dom Smith; Armani photography Jason Kim Styling Tom Van Dorpe Makeup Nico Guilis (The Magnet Agency) Hair Kozmo (Bryan Bantry Agency) Model Amanda Norgaard (DNA) Photo assistants Daniel Gruber and Jesse Jacobs Stylist assistant Julian Antetomaso; Ivekovic artwork © 2011 Sanja Ivekovic

A new appreciation of under-represented Eastern European artists has taken hold in New York, and now one of Croatia’s most important provocateurs, Sanja Ivekovic, is getting her first U.S. retrospective. Opening December 18 at MoMA, “Sweet Violence” catalogs the past thirty-seven years of Ivekovic’s work, including many of her investigations into politics and the media. Ivekovic, who came of age in post-1968 Yugoslavia as part of a generation known as the New Art Practice, “is really a groundbreaking feminist activist and performance pioneer,” says MoMA’s Roxana Marcoci.

The piece that perhaps best defines Ivekovic’s startlingly original work is 1979’s Trokut (Triangle). On a day when President Tito was scheduled to visit Zagreb, Ivekovic staged the performance on her balcony, which overlooked the street where the presidential motorcade would pass. In the performance, the artist drank whiskey, read Tom Bottomore’s Elites and Society, and masturbated, until eventually a policeman rang her doorbell and insisted all “persons and objects” be removed from the balcony.

“Her balcony was secluded, so she knew she was being watched from above by a communist agent of the secret police, and that he was communicating through walkie-talkie with a policeman on the street,” explains Marcoci. “That’s the triangle of the piece. It is an act of political defiance.”

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FRom Yale UniveRsitY to Yankee stadiUm to a tRUck stop—even UndeRwateR!—the woRld’s biggest modeling agencies have leFt no stone UntURned in theiR pURsUit oF the next big names. heRe, theY shaRe theiR secRets

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Ford Model MANAGeMeNT

Founded: 1946 Location(s): 57 West 57th Street, ph Who are your current stars? Alana Zimmer, Anna Jagodzinska, Anais Mali, Catherine McNeil, Crystal Renn, Hanne Gaby Odiele, Karmen Pedaru, Maryna Linchuk, Sigrid Agren, Tao Okamoto, and Valerija Kelava. Who are your most promising up-and-comers? Andie Arthur, Antonia Wesseloh, Bambi Northwood-Blyth, Corinna Ingenleuf, Erjona Ala, Julie Nobis, Julia Saner, Karolina Waz, Kate King, Lara Mullen, Laura

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Love, Ming Xi, Ondria Hardin, and Ruby Jean Wilson. What is the most coveted job for a model?

Cosmetics contracts and personal branding. What separates you from other agencies? In terms of beauty, we tend to set trends as opposed to following them. If you could take any legendary model from the past and manage him or her now, who would it be? Christy Turlington, hands down. What is the most difficult part of your job? Wanting a girl’s career for her more than she does for herself. What is the secret to longevity? Not compromising your integrity. How has the industry changed in the last ten years? It has become more about commerce and less about art. How has it changed in the last year? It hasn’t. Team motto: There isn’t one.

Art direction Paul Rowland Photography Salvatore Morale Illustration Sissel Kardel

powerhouse

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Founded: 1991 Location(s): New York, London, Paris, and Milan Who are your current stars? Tyra Banks, Candice Swanepoel, Carolyn Murphy, Chanel Iman, Daria Werbowy,

Du Juan, Elisa Sednaoui, Erin Wasson, Frida Gustavsson, Freja Beha Erichsen, Gisele BĂźndchen, Heidi Klum, Jac Jagaciak, Jessica Stam, Joan Smalls, Kate Moss, Karolina Kurkova, Kinga Rajzak, Lara Stone, Lauren Hutton, Laetitia Casta, Lily Aldridge, Lily Donaldson, Liv Tyler, Liya Kebede, Milla Jovovich, Miranda Kerr, Sasha Pivovarova, and Stephanie Seymour.

Who are your most promising up-and-comers? Caitlin Lomax, Gertrud Hegelund, Hanaa Ben Abdesslem, Jasmine Tookes, Kate Upton, Marleen Gaasbeek, Marte Mei van Haaster, Valeriya Melnick, and Xiao Wen, to name a few. What is the most coveted job for a model? A multiyear

cosmetic contract. What separates you from other agencies? Our ability to manage a model’s career at any stage and making it the best it can be. If you could take any legendary model from the past and manage him or her now, who would it be? Jerry Hall or Bianca Jagger. What is the most difficult part of your job? Managing expectations. What is the secret to longevity?

Gotta keep it interesting. How has the industry changed in the last ten years? The invasion of “celebrities” and “personalities.” How has it changed in the last year? Social media. Team motto: It’s five o’clock somewhere.

Photography Terry Richardson From left: Erin Wasson, Joan Smalls, Candice Swanepoel, Sasha Pivovarova, Liya Kebede, Lara Stone, Karolina Kurkova, Freja Beha Erichsen, Daria Werbowy Makeup Ozzy Salvatierra (Streeters) Hair Jordan M for Bumble and bumble (Susan Price Inc.) Makeup (for Candice) Rosemary Swift (Streeters) Hair (for Candice) Duffy (Tim Howard Management) Digital technician Glen Fabian Photo assistant Nikki Tappa Studio manager Seth Goldfarb Production Lindsey Steinberg (Art Partner) Art Direction and retouching Brian Ziegler

powerhouse

Amber Valletta wears Dress and shoes Azzedine Alaïa

DNA MoDel MANAGeMeNT

Founded: 1995 Location(s): Latitude 40.74998389309733 Longitude 74.00540828704834 How many models do you manage? 112 women and 158 men. Who are your current stars? Current does not rhyme with timeless. Who are your most promising up-and-comers? For us to worry about and for you to find out. What is the most coveted job for a model? To not have to get a job anymore. What separates you from other agencies? Twenty blocks. If you could take any legendary model from the past and manage him or her now, who would it be? Mona Lisa. What is the most difficult part of your job?

Deciding what to eat for lunch. What is the secret to longevity? An elixir that took us sixteen years to develop, the formula of which is locked in a safe at a secret location. How has the industry changed in the last ten years? See our defunct page on MySpace. How has it changed in the last year? See our answer on Twitter. Team motto: What’s in your DNA? Photography Alex Cayley Styling Maher Jridi

Edie Campbell wears Suit Hakaan

Raquel Zimmermann wears Briefs and belt Louis Vuitton Shoes Alexander Wang Makeup Shiseido

Amanda Norgaard wears Dress Isabel Marant Boots Dior

Audrey Marnay wears Dress and shoes Emilio Pucci

Emily Baker wears Coat Balenciaga by Nicolas Ghesquière Boots Dior Briefs model’s own

Vika Falileeva wears Dress Emilio Pucci Shoes vintage

Linda Evangelista wears Dress Azzedine Alaïa Shoes Hakaan Cuff Hermès

Cara Delevigne wears Jacket Burberry Prorsum Jeans Hudson Shoes Nike

Dree Hemingway wears Briefs The Row

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Zuzanna Gregorova wears Coat, belt, hat, shoes Louis Vuitton

Simone Doreleijers wears Top and skirt Balmain Boots Miu Miu

Charlie Westerberg wears Top, pants, shoes Mugler

Alexander Beck wears Jacket, vest, pants Mugler Shoes John Galliano

Anna De Rijk wears Tank Givenchy by Riccardo Tisci Shoes Converse

Caterina Ravaglia wears Dress Emilio Pucci Shoes Azzedine Alaïa

Tony Ward wears Pants Alexander Wang

10/25/11 7:44:53 AM

Miles McMillan wears Jacket, top, jeans Balmain Shoes Converse

Siri Tollerød wears Sweater and shorts The Row Shoes Alexander Wang

Lindsay Ellingson wears Jacket Alexander Wang Boots Francesco Scognamiglio Briefs model’s own

Doutzen Kroes wears Dress Hakaan Shoes Azzedine Alaïa Hair and makeup L’Oréal

Kirsi Pyrhonen wears Dress The Row Shoes Alexander Wang Collar and cuff Michael Kors

Luisa Bianchin wears Top Marc Jacobs Briefs American Apparel

Mackenzie Hamilton wears Jacket, briefs, boots Louis Vuitton

Jeremy Young wears Jacket, T-shirt, jeans Balmain Shoes Vans

Jessica Clarke wears Dress and boots Haider Ackermann

Kristen McMenamy wears Dress and shoes Givenchy by Riccardo Tisci

Shalom Harlow wears Shorts and shoes Louis Vuitton Clutch Balenciaga by Nicolas Ghesquière

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Sofia Fisher wears Dress Emilio Pucci

Magdalena Frackowiak wears Dress Francesco Scognamiglio Shoes Nicholas Kirkwood

Marcel Castenmiller wears Vest and jeans John Galliano Boots Dr. Martens

Ymre Stiekema wears Dress and shoes Emilio Pucci

Milou Van Groesen wears Pants Alexander Wang Sweater (around waist) Isabel Marant Shoes Converse

Andrej Pejic wears Jacket and pants Chanel

Trish Goff wears Dress and boots Dior

Miles Garber wears T-shirt and shorts T by Alexander Wang Shoes Rag & Bone

Bette Franke wears Jacket, jumpsuit, boots Balmain Rings Cameo

Michaela Kocianova wears Jacket Alexander Wang Boots Dior Briefs model’s own

Alessandra Ambrosio wears Coat Emilio Pucci Briefs American Apparel

Edita Vilkeviciute wears Swimsuit Sombra e Água Fresca Shoes Alexander Wang

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Andre Bentzer wears Jacket and shorts Givenchy by Riccardo Tisci Boots model’s own

Atlanta De Cadenet wears All clothing vintage

Milou Sluis wears Top Alexander Wang Shoes BOSS Black

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Codie Young wears Dress John Galliano Necklace Cameo

Viggo Jonason wears Shorts Alexander Wang Socks Falke Boots Dr. Martens Jacket and rings vintage

Chandra North wears Pants BOSS Black

Amanda Laine wears Coat Roberto Cavalli Briefs American Apparel Boots model’s own

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Maud Welzen wears Jacket Roberto Cavalli Jeans Calvin Klein Jeans Boots model’s own

Josilyn Williams wears Jacket, briefs, boots Dsquared

Caroline de Maigret wears Cardigan Louis Vuitton Boots Dsquared

Carla Gebhart wears Cardigan, belt, boots Haider Ackermann

Luis Borges wears Hoodie and pants Alexander Wang Boots Aldo

Kim Noorda wears Top, skirt, shoes Azzedine Alaïa

Mini Anden wears Dress and shoes Hakaan

Taras Koltun wears Vest (in hand) Louis Vuitton Shorts T by Alexander Wang Boots model’s own

Natalia Vodianova wears Dress and shoes Valentino Makeup Guerlain

Rosie Tupper wears Dress and shoes Jason Wu Belt Louis Vuitton

Sara Blomqvist wears Dress Stella McCartney

Niclas Gillis wears Jacket and shoes Dries Van Noten Pants Acne

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Hind Sahli wears Dress Azzedine Alaïa Shoes Nicholas Kirkwood

Stella Tennant wears Cardigan 3.1 Phillip Lim

Mark Cox wears Jeans Robert Geller Breifs Calvin Klein Underwear Sneakers Yves Saint Laurent

Saskia de Brauw wears Coat Michael Kors

Makeup Lottie using Chanel (Atelier Management) Hair Yoichi Tomizawa (See Management) Production Butterfly Cayley and Jaga Gajewska Special thanks B2PRO and INDUSTRIA studios

Women mAnAGemenT

Photography Tommy Ton Art direction Jason Duzansky Still life photography Jarren Vink

powerhouse

Founded: 1988 Location(s): New York, Paris, and Milan Who are your current stars? A star is in the eye of the beholder. Who are your most promising up-and-comers? Valerija, Brittany, Maja, Joanna, Vita, and Zhenya. What is the most coveted job for a model? Ask a different model and you’ll get a different answer. What separates you from other agencies?

We are a lot more than just a model agency. We represent a diversity of talent. If you could take any legendary model from the past and manage him or her now, who would it be?

We already represent Veruschka who is past, present, and future. What is the most difďŹ cult part of your job? Keeping it all in perspective. What is the secret to longevity? There are way too many models. A model has to stand out as an individual. How has the industry changed in the last ten years? Technology changed the industry. There is no more mystery. How has it changed in the last year? Well, Kim Kardashian and Justin Bieber are huge stars. Team motto: Imagination is everything.

Isabel Hickmann wears Briefs La Perla

Sofya wears Shoes Tabitha Simmons Socks stylist’s own

Karlie Kloss wears Briefs La Perla Shoes Tom Ford

job? Having to tell a girl that it’s time to move on to the next stage of her life. What is the secret to longevity? Good management. How has the industry changed in the last ten years? Models have changed into actresses and spokespeople with an emphasis on celebrity. This is evident on the magazine covers and in the beauty contracts today. How has it changed in the last year? Social media has changed the landscape drastically. We are in an “of-the-minute” industry. Team motto: Be the best you can be.

Photography Claudia Knoepfel & Stefan Indlekofer Styling Deborah Afshani

Makeup Benjamin Puckey using Chanel (D+V Management) Hair Rita Marmor (Streeters) Manicure Shamina J. Di Mauro (shaminajdimauro.com) Digital technician Ken Tisuthiwongse Photo assistants Matt Roady and Chad Tenorio Stylist assistants Stella Lee and Jonathan Zakarya

Shu Pei Qin wears Slip Cosabella

Ruby Aldridge wears Briefs Cosabella Boots Prada

Aline Weber wears Shorts Kiki De Montparnasse

Abbey Lee Kershaw wears Shoes Céline Stockings Wolford Briefs vintage

Arizona Muse wears Boots Tom Ford

Tati Cotliar wears Tights Wolford

Hailey Clauson wears Shoes Tabitha Simmons Socks Falke Briefs vintage

Founded: 1989 Location(s): New York, Paris, Milan, London, Los Angeles, Miami Who are your current stars? Abbey Lee Kershaw, Alexa Chung, Aline Weber, Anja Rubik, Arizona Muse, Karlie Kloss, Kendra Spears, Malgosia Bela, Marloes Horst, Shu Pei Qin, and Suvi Koponen. Who are your most promising up-and-comers? Ella Kandyba, Isabel Hickmann, Julia Frauche, Hailey Clauson, Molly Smith, Nadine Ponce, Rose

Anja Rubik wears Briefs Kiki De Montparnasse

Suvi Koponen wears Shoes Tom Ford All nurses’ uniforms vintage from Helen Uffner Vintage Clothing

NEXT MANAGEMENT

Smith, Ruby Aldridge, Tati Cotliar, and Zuzanna Bijoch, to name a few. What is the most coveted job for a model? The cover of American Vogue. What separates you from other agencies? The way we handle our talent one-on-one and our 360-degree management. We treat our models like we are all part of an extended family. Where is the strangest place you’ve ever discovered a new girl? At Yale University. If you could take any legendary model from the past and manage him or her now, who would it be? Cindy Crawford, because she is smart, beautiful, and understands that she is her business. She is truly the first real supermodel with a brand that was built around her. What is the most difficult part of your

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Katlin Aas

powerhouse

Liu Wen

Merethe Hopland

Nyasha Matonhodze Lindsey Wixson

Constance Jablonski

Camille Rowe

Eniko Mihalik

Josephine Skriver

Arlenis Sosa

Caroline Brasch Nielsen

Emanuela de Paula

maRilyn

Erin Heatherton

Founded: 1997 Location(s): Paris and New York How many models do you manage? Eighty-eight. Who are your current stars? Adriana Lima, Arlenis Sosa, Brooklyn Decker, Caroline Brasch Nielsen, Eniko Mihalik, Erin Heatherton, Lindsey Wixson, Naomi Campbell, Constance Jablonski, Liu Wen, and Patricia van der Vliet. Who are your most promising up-and-comers? Kelly Mittendorf, Daga Ziober, Josephine Skriver.

What is the most coveted job for a model? Two words: cosmetics contract. What separates you from the other agencies? Personal attention. We are a boutique management company, which allows us to spend more time focused on the individual career path of each of our models. Where is the strangest place you’ve ever discovered a new girl? At a truck stop. What is the most difďŹ cult part of your job?

Dealing with adults who act like spoiled children. What is the secret to longevity? Charisma. How has the industry changed in the last ten years? It is a global business now. You need to be adept at doing business all over the world. How has it changed in the last year? No more 15 year olds on the runway. Thank you, Nian! Team motto: Well done is better than well said.

Madelene de la Motte

Photography Terry Richardson

Alyona Subbotina

Monika Sawicka

Kelly Mittendorf

powerhouse

Founded: 2003 Location(s): Soho, New York How many models do you manage? Sixty. Who are your current stars? Jacquelyn Jablonski, Daphne Groeneveld, Marique Schimmel, Sessilee Lopez, Lakshmi Menon, and Sheila Marquez Who are your most promising up-and-comers?

Beegee Margenyte, Iris Egbers, Suzie Bird, and Josefien Rodermans What is the most coveted job for a model? Beauty contract. What separates you from the other agencies? Teamwork.

Where is the strangest place you’ve ever discovered a new girl? Underwater. If you could take any legendary model from the past and manage him or her now, who would it be?

Grace Coddington. What is the most difficult part of your job? Not enough days in the year to please everyone. What is the secret to longevity? Credibility. How has the industry changed in the last ten years? The advent of the Internet and the way in which it has become the preferred form of advertising, marketing, and social networking. Communication has altered our business forever. How has it changed in the last year? There has been a return to a more mature, fully formed model. Team motto: “The way a team plays as a whole determines its success. You may have the greatest bunch of individual stars in the world, but if they don’t play together, the club won’t be worth a dime.” – Babe Ruth

Photography Catherine Servel Styling Roxane Danset Back row, from left: Jacquelyn Jablonski wears Top Jil Sander Briefs Petit Bateau Shoes Marni Socks American Apparel Marique Schimmel wears Hoodie Y-3 Boots BOSS Black Ieva Laguna wears Dress McQ Shoes Yves Saint Laurent Socks American Apparel Sessilee Lopez wears Shirt Equipment Shorts Balenciaga by Nicolas Ghesquière Boots Miu Miu Stockings Falke Maaike Klaasen wears Dress Missoni Jefimija Jokic wears Dress Christopher Kane Hat Prada Shoes Roberto Cavalli Socks Doré Doré Josefien Rodermans wears Dress Ports 1961 Hat G-Star Shoes Converse Suzie Bird wears Dress Stella McCartney Shoes Converse Lakshmi Menon wears Dress Jil Sander Sheila Marquez wears Cardigan Guess Shoes Yves Saint Laurent Front row, from left: Iris Egbers wears Dress Jovani Vest G-Star Shoes Converse Daphne Groeneveld wears Dress Osklen Earrings Helen Ficalora Shoes Converse Socks American Apparel Hirschy Hirschfelder wears Tank Theory Briefs Stella McCartney Visor Balenciaga by Nicolas Ghesquière Shoes Prada Stockings Falke Chrishell Stubbs wears Top Bally Briefs and socks American Apparel Shoes Yves Saint Laurent

Makeup Chiho Omae using M.A.C Cosmetics (FRANKREPS) Hair Shin Arima using Redken (FRANKREPS) Manicure Dawn Sterling using Dior Vernis (Starworks Artists) Set design Tara Marino Production Matthew Mitchell (D+V Management)

supReme management

NEW MODE LS NEW

MARIA BRADLEY

V Why did you choose Maria as your favorite new model of the moment?

ALEXANDER WANG She has a disinterest in fashion that is so intriguing. Her body is obviously amazing, but in a super athletic way. She just embodies the energy that every girl wants to have— sexy but not in the conventional way and completely effortless in her approach.

V When did you meet her?

AW Three days before my show.

V What about her do you find most exciting?

AW She just walks in and is completely confident in herself. Everything we threw on her just came to life. When she puts on a dress, it’s as if she is throwing on a T-shirt, and that is something that I always admire in a girl. She’s not precious.

V In your opinion, what makes a good model?

AW Everyone is different and has qualities that make them special and successful at what they do. Only Freja can be Freja, and only Lara can be Lara. It’s about embracing what’s special and unique about you.

Photography Paul Maffi Jacket and T-shirt Alexander Wang S/S 2012

JOSEFIEN RODERMANS

V Why did you choose Josefien as your favorite new model of the moment?

FRANCISCO COSTA After working closely with Josefien for our past two collections, I have watched her grow into a stronger model and can see she has incredible potential. Josefien has a beautiful face and lovely demeanor. She is a very smart girl with a wonderful career ahead.

V When did you meet her?

FC I first met Josefien during the casting for our Resort 2012 presentation. After she walked in that show, we were so impressed by her that we immediately booked her as an exclusive for the Spring 2012 runway show.

V What about her do you find most exciting?

FC I love how Josefien is extremely feminine, yet still has an androgynous quality about her. It is very captivating.

V What qualities should a Calvin Klein Collection girl have?

FC She is beautiful, sexy, and elegant, and at the same time cool and intelligent.

V In your opinion, what makes a good model?

FC A top model has to have an It factor—something special that is indescribable. She represents the moment and knows how to make that last.

Photography Amy Troost Slip and bra Calvin Klein Collection S/S 2012

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Alexander Wang photography photo assistant Charley Parden Retouching Kate Bryant Special thanks Leslie Rubisch; Calvin Klein photography photo assistant Darren Hall Retouching Norkin Digital Art Special thanks Nacole Snoep; Additional thanks K&M Tribeca

ALEXANDER WANG NOMINATES

FRANCISCO COSTA OF CALVIN KLEIN COLLECTION NOMINATES

YO RK

excLUSIve PRevIeW SPRING 2012

FOR MODEL-WATCHERS, THE BIG APPLE IS THE FIRST STOP ON A GLOBAL PARADE OF SHOWS THAT MAKES (AND BREAKS) CAREERS. HERE, WE ASK 4 NEW YORK DESIGNERS KNOWN FOR DIRECTIONAL CASTINGS TO NAME THEIR FAVORITE NEW GIRL

Marc Jacobs photography photo assistant Kevin Vast Retouching Dtouch Special thanks Kate Waters and Asa Larsson; Proenza Schouler photography photo assistant Darren Hall Retouching Norkin Digital Art Special thanks Lisa Lupinski and Amanda McMillan

MARC JACOBS NOMINATES

JAMIe BOcHeRT

V Why did you choose Jamie as your favorite new model of the moment?

MARC JACOBS Of course Jamie is technically not a new model, but every season that I work with her I am reinspired by her, so in that sense she’s always new.

V In your opinion, what makes a good model?

MJ Someone you know and love who understands you and your process but also brings new energy to a collection—there’s nothing better than that.

Photography Paul Maffi Jacket and dress Marc Jacobs S/S 2012

JACK McC0LLOUGH & LAZARO HERNANDEZ OF PROENZA SCHOULER NOMINATE

JULIA NOBIS

V Why did you choose Julia as your favorite new model of the moment?

JACK McCOLLOUGH & LAZARO HERNANDEZ Julia has been one of our favorite girls for a couple of seasons now. She opened and closed last Spring’s show and was one of two girls in the campaign that season. She also just closed our last show. We work closely with her during show prep and plan most of the collection on her. You can say she is our unofficial muse.

V When did you meet her?

JM & LH Our casting director, Ashley Brokaw, introduced her to us before that first show.

V What about her do you find most exciting?

JM & LH Julia has a certain quality that we are really attracted to but is hard to describe. She has a laid-back thing about her, but she can turn it on when she wants to. She has this kind of off-beauty that is captivating. Somehow it feels familiar and alien at the same time.

V What qualities should a Proenza Schouler girl have?

JM & LH Her look is a mix of high and low. Julia fits the bill.

V In your opinion, what makes a good model?

JM & LH A good model understands the vibe we’re trying to achieve and adapts to it. She inhabits a character. A good model, we guess, is similar to a good actress.

Photography Amy Troost Dress Proenza Schouler S/S 2012

GOUDE ENOUGH On the eve Of a majOR caReeR RetROspective Opening at the LOuvRe’s Les aRts DécORatifs, jean-pauL gOuDe LOOks back On a Life fiLLeD with magazine cOveRs, music viDeOs, fashiOn stORies, fRagRance cOmmeRciaLs, anD bicentenniaL paRaDes—each One mORe minD-benDingLy ORiginaL, wiLDLy fantasticaL, anD unbeLievabLy OveR-the-tOp than the Last

A previously unseen and unpublished artwork: The Grace Jones Show, Roseland, New York, 1978

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FOR THE LOUVRE

Diana Vreeland at the Metropolitan Museum of Art, New York, 1978

Despite a remarkably prolific and influential career as an art direc- Puerto Ricans in New York, and through Farida I got completely tor, graphic designer, illustrator, photographer, and filmmaker, Jean- fascinated by the Arabs in France.” Goude’s enthusiasm for the Paul Goude will forever be known as the man who invented Grace exotic anticipated the rise of multiculturalism and culminated in a Jones. Looking back at his career in anticipation of “Goudemalion,” spectacle only he could have dreamed up.

Goude, who’d been born in the suburb of Saint-Mandé, was his retrospective exhibition at the Louvre’s Les Arts Décoratifs, Goude immediately cites Jones as a “major turning point.” Their lured back to Paris to direct commercials, but not the usual collaboration—less calculated marketing ploy than inspired folie à thirty-second spots. His success with Jones had earned him deux—transformed Jones from disco curiosity to New Wave icon “enormous credibility” back home and allowed him to set his own and introduced Goude’s idiosyncratic and highly theatrical vision terms. “They offered me a commercial for jeans,” he remembers. to a wider world. Beginning in 1981, Goude designed the singer’s “I told them I’m not interested in blue jeans, but I really think I could do a little opera ballet that would be the hippest thing outfits, album covers, videos, and performances. “My Grace is the goose-stepping one with the flat-top, the constructivist costumes, around. I didn’t know what I was talking about, but when I finally and the cubist sets,” he says, identifying some of the decade’s did my first commercial [based in part on Stravinsky’s Rite of most memorable images. “Working with Grace fulfilled my desire Spring], it was a big success, especially with the kids. Even if it to get involved in show business, and we went quite far together was only a tiny thirty-second film, it was mine, from its basic conin only three years.” Halfway through their time together, they had cept to its postproduction, including the music. I liked the idea of a child, Paul Winston, called Paulo, now 30, but a year later they’d being an auteur, just like my heroes from the French New Wave: separated. “I always liked girls with guts,” Goude says. “My first Jean-Luc Godard, François Truffaut, or any of those guys.” heroine was Joan of Arc, a woman with a sword.” But by the end Goude credits his mother, who had a brief career on of their relationship, he and Jones “were at war. We had this huge Broadway before marrying and moving to France, with impartfight about me liking her more as a fictional character than as a ing a flair for the theatrical. “When I was born, she thought I would be a dancer,” he says. “I didn’t want to be a graphic person. Maybe it’s true about me in general—maybe my fantasies artist, I wanted to make musicals.” He channeled that drive exceed the realities of the people in my life.” into a series of short, inventive, and utterly dazzling films for Goude’s fantasies and obsessions had always fueled his career.

When he met Jones, he’d been residing in New York, already hav- Kodak, Citroën, Perrier, and the Chanel fragrances Égoïste and ing been the art director of Esquire for a decade. Hired at 25, he Coco, the cumulative impact of which convinced then-President was the youngest in the magazine’s history, and one of the most François Mitterand to invite Goude to stage a parade for the unpredictable. His fascination with pop culture led to Esquire feabicentennial of the French Revolution on Bastille Day in 1989. tures on graffiti, street fashion, and underground club dancers, all Goude turned the event into a celebration of French egalitarianwith vivid photo illustrations by Goude. Typically, he’d identified ism, with costumed marching bands and dancers representing and fallen in love with an element of style—“Puerto Rican kids in the former colonies and allies— England under the downpour the streets”—and championed it with a fervor that proved infec- from a rain machine, Russia under a flurry of artificial snow—and tious. After his breakup with Jones and his return to Paris, he found Jessye Norman singing “La Marseillaise.” It was a triumph— one similar inspiration in that city’s North African population, embodied that Goude doesn’t think could be repeated today. “The parade for him by the striking model Farida Khelfa, a favorite of Azzedine glorified multiculturalism,” he says. “Everybody had hope. The Alaïa and Jean-Paul Gaultier. “When I met Farida,” Goude says, “I melting pot was a reality that night, and there was not one fight. immediately made the connection between Algerians in Paris and People were happy—people from the ghettos, people from [the

bourgeoisie], though I’m afraid that page has turned.”

But Goude won’t deny the lasting impact of that “legendary evening—the biggest and most ambitious ballet ever attemped,” and it will supply his retrospective with an appropriately grand centerpiece: the locomotive that chugged up the Champs-Élysées that night. That dramatic and imposing piece of scenery anchors a vast array of smaller works: videos, illustrations, and photographs, including the great, characteristically playful work he has recently produced for this magazine and American Harper’s Bazaar. Still, Goude insists, he’s definitely not a photographer. “I’m an illustrator using photography.” As such, he has wholeheartedly embraced digital technology and retouching. “The computer is a great tool; when it’s used well it can be wonderful. What I facetiously called ‘the French correction’ in the early ’70s was originally all about correcting my own body’s deficiencies. Now it applies to anything that—according to my own golden rule—needs to be corrected.”

It all goes back to an early realization that, however much he trained, he didn’t have the right proportions to be a ballet dancer.

These days, he’s used to being described in the French press as this cute little leprechaun. “A bouncing leprechaun to be exact. A moniker invented by [current French minister of culture] Frédéric Mitterrand twenty years ago when he introduced me to the crowd at the Arles photography festival. It stuck. People still refer to me as such. I don’t mind. In fact, considering how fast time flies, I don’t mind being called a cute character.” (For the record, Goude is 71 and looks at least a decade younger.) The poster for “Goudemalion” shows the bare-chested artist stretched to impossible lengths with his trademark old-school scissors-andtape manipulations—a tall, buff, tiny-headed Superman, but still no ballet dancer. He’s made up for that old disappointment many times over, however, entertaining us along the way. “My work is all about design, music, and movement,” he says. “My masters are people like Eisenstein or Vincente Minnelli— men who had extreme visual fantasies.” Vince Aletti “Goudemalion” runs November 11, 2011—March 18, 2012, at the Louvre’s Les Arts Décoratifs, Paris

“Maybe My fantasies exceed the realities of the people in My life.”

—Jean-paul Goude

Fresco detail, Printemps department store, Paris, 1964

Fresco detail, Printemps department store, Lille, France, 1966

Lui, 1967

Libertango, costume design, New York, 1981

The little French sultana, Paris, 1964

get

Bag Versace Bag (used as backdrop) Stella McCartney

fiNe PRiNT

ResoRt 2012’s lush, pRinted accessoRies conjuRe visions of sun, sand, and sea. WhetheR you’Re island-bound oR city-slicking this WinteR, these pieces aRe a mid-season must-get Photography Vincent Gapaillard Styling Catherine Newell-Hanson 80

Clutch Givenchy by Riccardo Tisci

Set design Christopher Stone Photo assistant and digital capture Christopher Helmut Grosser Set design assistant Timothy Allen Production James Jolly (AFG Management) Location and equipment Pier 59 Digital Studios Camera and digital Pier 59 Sound + Motion Retouching Jason Tuchman (Pistol Studios) Special thanks Laura’s Thrift, New Jersey

THE MODEL ISSUE AVAILABLE NOw ON THE PAD MORE PHOTOS, MORE VIDEOS, MORE MODELS!

GO ON SET WITH TERRY RICHARDSON AND CARINE ROITFELD IN A SPECIAL BEHIND-THE-SCENES VIDEO!

flashback

PRINTS AND THE REVOLUTION

WHETHER FLORAL, DOTTED, OR psycHEDELic, pRinTs bRing LigHT AnD cOLOR TO bAsic-bLAck WinTER WARDRObEs. bUT THEy’RE MORE THAn JUsT THis sEAsOn’s EscApisT FAnTAsy-WEAR—THEy’RE A FAsHiOn cLAssic. HERE, WE LOOk bAck AT THE MOsT pOWERFUL pRinT LOOks FROM THE pAgEs OF V

pRinTs in 2011

When working with photographer Willy Vanderperre for V69, the always inventive stylist Panos Yiapanis deftly handled the most detailed prints of Spring/Summer 2011, photocopying each fabric onto acetate to construct leggings, cuffs, necklaces, and paper socks. Model Natasha Poly made print feel alive again.

pRinTs in 2008

pRinTs in 2004

Drama, color, power! In V28, photographer Sølve Sundsbø and stylist Anastasia Barbieri channeled vintage Kenzo to capture a riotous explosion of print on model Polina Kouklina, who wore four dresses at once with the greatest of ease.

Leave it to Yiapanis and photographer Steven Klein to explore the darker side of printed matter. In V51, the duo transformed Jessica Stam into a shamanistic cyberspace goddess, swaddling her in the most eye-popping prints around. Kabuki’s elaborate crystal face paint added to the visual splendor.

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The Ăźberlight, ultrachic polycarbonate case.

Available at Barneys, Bloomingdale’s, Neiman Marcus, and other fine retailers.

rimowa.com

WELCOME TO V fashiON WiNTER 2011/ 1 2

This yeaR’s Top models and The nexT cRop of supeR-mannequins! plus: couTuRe’s RebiRTh skiweaR’s ReTuRn The eTeRnal magic of dioR The culT of The chanel jackeT and The mega-waTT jewels of one elizabeTh TayloR

TheRe WILL NeVeR be aNoTheR LINda oR ChRIsTy, buT TheRe mIghT jusT be a CaNdICe oR a joaN. These 8 Top modeLs, ChampIoNed by fashIoN edIToR CaRINe RoITfeLd, aRe oN The VeRge of fIRsT-Name fame, aNd someThINg TeLLs us They’LL go househoLd IN No TIme fLaT phoTogRaphy TeRRy RIChaRdsoN sTyLINg CaRINe RoITfeLd TeXT deReK bLasbeRg 86

Jacket, shorts, visor Balenciaga by Nicolas Ghesquière Earrings and bangle Van Cleef & Arpels Ring Carla Amorim This story, all tights Falke All leis stylist’s own

Dress, necklace, bracelet, visor Balenciaga by Nicolas Ghesquière

Jacket and shirt Céline Earrings Faraone Mennella Bangle Bulgari

Jacket and shirt Céline Earrings Givenchy by Riccardo Tisci Menswear S/S 2012 On skin, Lancôme Teint Miracle Lit-From-Within Makeup

Blouse and cuffs Louis Vuitton On hair, TIGI Outshine Shine Spray

Blouse and earrings Louis Vuitton On eyes, Lancôme Hypnôse Doll Lashes Mascara

“TheRe is no foRmula. You jusT know heR when You see heR. iT’s like falling in love.”

–caRine RoiTfeld on discoveRing models

CANDiCE

“My childhood is something I could never explain. I grew up on a dairy farm in South Africa, close to animals and nature and Zulu culture. Basically everything was an adventure. Wild, free, and innocent. I was a big dreamer. I always felt I wanted to do something different from everyone else. I fantasized about all the places I would travel to; I knew at a very young age I wanted to see the world. And look, my dreams came true! I feel the most alive in Bahia, Brazil. That’s where I’m happiest. It’s strange: I can smell better, taste better, breathe better—I’m free and wild there. This shoot was a very easy day with Terry, and Carine is the epitome of elegance. She is how a woman should be: chic and feminine, yet extremely strong. She is a force to be reckoned with, and I adore working with her.”

JOAN

“Growing up on a fruit farm in Hatillo, Puerto Rico, I had lots of pets: a baby goat, a duck, a chicken, a cow, and two dogs. I was a tomboy who enjoyed the outdoors and getting dirty. I was outgoing and always making jokes. But when it came to schoolwork, I was serious— I had a 4.0 GPA! I came to New York with the help of my family, searched for the top agencies, and went to open calls. My career truly started when

Riccardo Tisci put me on exclusive for a Givenchy couture show.

One of my most memorable moments was when I came back to New York from London and saw my face in an Estée Lauder ad above the security checkpoint. Fashion reaches people from different cultural backgrounds and can inspire many. Being a model allows me to be part of that inspiration and be a channel for creativity. My favorite designers are the ones I’ve had the privilege of working with. Their creations have encouraged me to respect and admire their individuality and praise their craft. I consider myself fortunate to have been in the presence of Karl Lagerfeld, Marc Jacobs, Alexander Wang, Prabal Gurung, Frida Giannini, and Tom Ford. And as for Riccardo Tisci, he has simply been a blessing in my life.”

sAsKiA

“I’m from a small village near Amsterdam.

When I was little I always set my watch back by fifteen minutes so I could play a little longer outside. I was shy but determined and always laughing. It never passed through my mind to work in fashion, and it was definitely not the ambition of young girls where I grew up. I was discovered on the tram. I modeled through high school and continued to do it for about six years, although never full-time. At one point I stopped modeling completely. It wasn’t a difficult choice because the kind of modeling I was doing was quite different from the sort I do now.

I decided it was enough, and it was time to focus on other things, like my own artistic development. I studied fine art. Everything that happened to me came at the right moment in time. I think life is more about timing than about regrets. Stella Tennant once gave this advice to a group of young models: keep developing your own interests— develop as a person and then you will only become more interesting as a model.”

liNDsEy

“I’m from Wichita, Kansas. As a girl, I remember Barbies, above-ground swimming pools, dress-up, kid-size Jeeps, Rugrats, and lazy Saturday mornings. I used to chase boys, but I never had luck with having girlfriends over for sleepovers. I was always shy until someone talked about something I was into. I played volleyball and soccer, but I was never really part of a team— I was a loner. When I was 12, I was tall and skinny and very self-conscious. It wasn’t until people approached me and told me that I should model that I thought I could do it if I practiced. By practice, I mean walking in a straight line in heels and making faces in the mirror and watching fashion videos. I love seeing new cultures and trying new foods. I went to China for a Prada fashion show and I had the chance to try duck tongue. I was hesitant at first, but I had to try it so at least I could say that I had some.”

hANAA

“I come from Nabeul, Tunisia, which is on the coast, about an hour and a half away from Tunis. There, families live together, either in the same house or in the same neighborhood. I grew up with my grandparents, uncles, aunts, and cousins. I knew I wanted to work in fashion and be a model, but I never thought it would happen. My mother first noticed me tiptoeing across the house pretending I was on a catwalk when I was 5. My role model in fashion is Coco Chanel because her designs were controversial at the time, but she continued to create what she believed in. When I started working as a model in Tunisia and Lebanon, I never dreamed of taking my career beyond those borders. Once I crossed them and realized how different it is on the international level, I decided to contribute

to changing the misconception that the Arab world has of modeling. I am the first Tunisian to officially register as a model in my country; before then it was not recognized as a profession. I feel very close to my homeland. Being Tunisian, coming from a conservative family, I always believed my dream to be a model was far-fetched. But dreams do come true, even the far-fetched ones. With a little bit of luck, and a lot of hard work and determination, I can get there.”

sui

“I didn’t realize it was a big deal that I was the first Asian model to open a Ralph Lauren show until afterward, when I saw the media’s response. All I knew was that Ralph Lauren was a huge brand in the U.S. It was such an honor, and my family and friends were all really proud of me. When I started modeling in China, I didn’t even think I would come to the U.S. I was born in Wenzhou, a small coastal city that’s six hours south of Shanghai and surrounded by mountains. People from Wenzhou are famous for their diligence and entrepreneurial spirit. I was a good student, but lazy. Ha! I love going to the beach. The most beautiful beach I’ve ever been to is on Boracay in the Philippines.”

bAmbi

“I’ve been called Bambi since I was little. I have a Bambi tattoo on my right wrist, which I got when I finished school.

I have a few other tattoos, but I’ll leave those to the imagination. I grew up in Melbourne and have great childhood memories, particularly ones with my sisters and all the naughty things we used to get up to. I think we Australians have a good reputation. We have an easygoing nature and a great work ethic. I like to travel, except it can get so lonely! If I could bring a friend with me everywhere that would be rad!

Sometimes, when I’m on the catwalk at a show, I think about what would happen if I just kept walking, like off the end and out the door. Also I think about pulling a really weird face at the end. But I haven’t done that. Yet.”

DAphNE

“I always danced when I was young, and I studied classical ballet when I was 4. I played field hockey but I had to stop two years ago when I started modeling. I was afraid to have sticks or balls hitting me in the face. As a little girl I was always smiling and I was a really happy kid. I was a girly girl, and I think I still am. I was scouted three times. The first time was in Paris on family vacation, but I was only 13 years old, which everyone thought was a bit too young. Then one time on the Internet, but I thought it was a joke, so I ignored it. And then a third time in Amsterdam: I was shopping with my mom and an agent gave me her number. The following February I went to Milan to do my first shows, which was really exciting. I had turned 15 two months earlier. One of the most remarkable moments of my career so far was getting dancing lessons from Madonna for a Miu Miu video; I could not believe my eyes when she walked into the room and started talking to me! The first time I went to New York was for Calvin Klein.

I was on the plane, looking outside, and I saw a really big city.

It looked so wonderful. I love New York, and I would love to live there, but I still live in Voorschoten, Netherlands, with my parents. My biggest discovery is that the fashion world is full of nice people. Before I started, I was told that there are many mean people in this industry. Well, I haven’t met them yet.”

Read Derek Blasberg’s full interviews and see a behind-thescenes video of this shoot on vmagazine.com

Photo assistant Nicole Tappa Lighting technician Seth Goldfarb Digital technician Glen Fabian Videographer Brad Holland Stylist assistants Audrey Taillée and Michaela Dosamantes Makeup assistants Frankie Boyd and Sabrina Ziomi Hair assistant Mickey Viggue Manicure Alicia Torello (The Wall Group) Production Lindsey Steinberg (Art Partner) On-site production Tali Magal (Tali Magal Productions) Catering Nuela Location Milk Studios, New York Retouching Dtouch

What makes a supermodel so super? It’s a question that has been answered in a variety of ways since fashion’s mannequins were propelled into international stardom. Often, it boils down to a signature trait: Jean Shrimpton’s lithe frame, Donna Mitchell’s enormous saucer eyes, Elaine Irwin’s athletic physique, Christy Turlington’s perfect face, Daria Werbowy’s endless legs, or Lara Stone’s pillowy lips. When it’s not about a specific feature or body part, it comes down to personality: the Naomi Campbells, Linda Evangelistas, Karen Elsons, and Freja Behas of the world conjure so much energy, attitude, and charm with a mere glance that they’ve proven irresistible to photographers, stylists, designers, editors, and casting directors, even as new generations of models come and go. The question we answer here: how does, say, an extraordinarily tall and winsome teenager from the Midwest or the Netherlands come to stalk the leading runways of the world and peer out from its most renowned magazine covers? As fashion editor Carine Roitfeld, who selected the eight young women on these pages, sees it, “There is no formula. You just know her when you see her. It’s like falling in love.”

Now what, pray tell, does Roitfeld see in these girls, arguably some of the most energetic and in-demand mannequins of the minute? Saskia, the current Versace face, is “very smart and very modern.” Daphne, the Givenchy campaign queen with a pout that could give Stone a run for her money, is “perhaps the most interesting new face I have seen.” And Candice, the Victoria’s Secret pinup turned high-fashion supe, is “the sexiest babe of the year.” What about Bambi the baby Brooke Shields? “Those brows!” Lindsey with the lovely lips? “She has the charisma and beauty of an Old Hollywood star.” The Ralph Lauren stunner Sui? “She has the joy of a rock star.” Exotic new Lancôme face Hanaa? “She is the one.” And, finally, the chic and smoldering Joan? “Her beauty is pure and universal.”

What is astounding about this collection of girls is their individuality. There is not a single look or style among them. Some love to dance and others love to draw; some hail from big cities and others from small villages— one even grew up on a dairy farm in South Africa! But most assuredly, these young women have a voice and a perspective. Meet the new faces of fashion as they share their stories in their own words.

Makeup Aaron de Mey for LancĂ´me (Art Partner) Hair Anthony Turner (Art Partner) Models Joan Smalls, Candice Swanepoel, Hanaa Ben Abdesslem (IMG), Sui He (New York Models), Daphne Groeneveld (Supreme), Bambi Northwood-Blyth (Ford NY), Lindsey Wixson (Marilyn), Saskia de Brauw (DNA)

Sweater, dress, belt, shoes Givenchy by Riccardo Tisci Cap and earrings Givenchy by Riccardo Tisci Menswear S/S 2012

Sweatshirt, skirt, necklace, shoes Givenchy by Riccardo Tisci Cap and earrings Givenchy by Riccardo Tisci Menswear S/S 2012

after & before To celebRaTe The Release of TheiR majoR ReTRospecTive book, pReTTy much eveRyThing, inez & vinoodh capTuRe 5 women whom They have RepeaTedly documenTed ThRoughouT TheiR caReeRs. in These models, iT TuRns ouT, The duTch phoTogRapheRs have found boTh beauTiful subjecTs and willing accomplices—Time and Time again Photography Inez & Vinoodh Styling Melanie Ward

Shalom Harlow, V Magazine, 2007

Shalom Harlow at 853 7th Avenue, Self Service, 2006

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shalom

“The great thing about Shalom is that she is never afraid to look ugly. Of course she is mostly elegant, agile, gazellelike, and breathtaking, but it’s her intelligence and readiness for any experience that has been a big inspiration to us. Because of Shalom’s complete trust in the image, we have made with her a lot of pictures that cross the boundaries between art and fashion. I am sad that we did not know her during her days on MTV’s House of Style, or when she was one of the poster children for grunge. We somehow skipped that period altogether and went straight into the high-gloss world of digital manipulation, eager to cut through the surface, both literally and figuratively. Shalom has helped us realize that in fashion, as well as in art, everything is possible when you dive in headfirst.” –Inez & Vinoodh

Bodysuit Christopher Kane On hair, Kiehl’s Super Thick Volumizer

Maggie’s Party, Yohji Yamamoto campaign, Spring/Summer 1998

Maggie Laughing, Yohji Yamamoto campaign, Fall/Winter 1998

maggie

“Look at her now—seven months pregnant! The little nymph who, while shooting the Yohji Yamamoto campaign in 1998, proclaimed a long white skirt to be ‘perfect for strawberry picking!’ (The whole Yohji team almost fainted from this breath of innocence.) On the second Yamamoto campaign, while overhearing a fashion industry discussion, Maggie asked, ‘Really? People copy?’ Well, she is all grown-up now and about to plunge into parenthood.

With her translucent skin and childlike body, Maggie embodies the surrealist side of our work, like a Hans Bellmer doll that trusts her creators.” –Inez & Vinoodh

Cape Azzaro On hair, Kiehl’s Climate-Proof Shine-Enhancing Non-Aerosol Spray

Jessica Miller, Vogue Paris, 2002

Jessica Miller, Calvin Klein Underwear campaign, Spring/Summer 2002

jessica

“She was standing in our hallway, all Jane Birkin hair, teeth, and that perfect ’70s body.

She was as bouncy as a puppy and ready to play innocent. She embodied the exact same thing that Calvin Klein had found in Brooke Shields some decades ago. Together with choreographer Stephen Galloway, stylist Joe McKenna, and art directors M/M (Paris), we danced her into being the new Calvin girl. Jessica has an innate sense of the body and its tensions.

She is fully confident and always chic. And if it is possible, she is even more beautiful now than she was in that hallway ten years ago.” –Inez & Vinoodh

Hat and jeans vintage from Melet Mercantile

Kirsten, 1996

The Widow (Red), 1997

The Widow (White), 1997

“Out of black-edged plates they had drunk turtle soup and eaten Russian rye bread, ripe Turkish olives, caviar, smoked Frankfort black pudding, game with sauces that were the color of licorice and blacking, truffle gravy, chocolate cream, puddings, nectarines, grape preserves, mulberries, and black-heart cherries; they had sipped, out of dark glasses, wines from Limagne, Roussillon, Tenedos, Val de Penas, and Porto, and after the coffee and walnut brandy had partaken of kvas and porter and stout.”

–Joris-Karl Huysmans, À Rebours Photographs mark the flow of minutes and lives. In this project for V Magazine, Inez van Lamsweerde and Vinoodh Matadin juxtapose new photographs of models Maggie Rizer, Kirsten Kazlow-Johnson, Shalom Harlow, Hannelore Knuts, and Jessica Miller alongside images of them from a decade ago or more. The consciousness of transience and a sense of mortality deferred haunts these pieces, despite, or perhaps even because of, their elegance, evoking what might be

called, after Charles Baudelaire, a kind of heroism of modern life, i.e. an unabashed contemporaneity.

The women portrayed slip between the roles of professional model and “subject,” becoming not simply the material for these startling and graceful images but confreres of their creation. A friend, an accomplice, a very specific person, someone with whom, perhaps, one shares a story, a history, and the process of passing and recording time.

In his essay for Inez & Vinoodh’s upcoming book, Pretty Much Everything, from which the archival photos in this feature are drawn, Michael Bracewell suggests that the Dutch couple accepts the fashion magazine not simply as a venue for their images, but as a medium in its own right. In this sense, it could also be said that the models are the medium, too. Their faces and physiques are malleable to a vision.

In some photographs, the artists’ digital manipulations are comparatively subtle, whereas in others—the picture of Shalom

Harlow, for instance—the transformations are deliberately blatant, striking, even shocking— displaying a quality of dislocation, even dismemberment of the figure.

Walter Benjamin said of Baudelaire that the poet had delineated the most powerful feeling of modern experience: shock.

He extended this notion of shock to trauma, and asserted that Baudelaire was “a traumatophile type,” one who yearns for the experience of shock, and that his was only a single demonstrated case of a common situation (some would say affliction). The sense of “traumatophilia” in Inez & Vinoodh’s images symbolizes a submission to and embrace of the radical and destabilizing desires of modernity. The vast lexicon of their photographic works suggests an encyclopedia of artifice à rebours. David Rimanelli

Inez & Vinoodh’s Pretty Much Everything is out in December 2011 from Taschen

KIRSTEN

“Kirsten changed our life. When she was 8 years old, she came for a casting and blew our minds. She was all spirit, in between Earth and heaven. In fact, she could have been any age. This unsettling oscillation, between young woman and old child, sweetness and cruelty, attraction and shame, the beautiful and the grotesque, is what inspired us to make with her these pictures that defined our gallery work, which was built around the ideas of identity, gender, dualism, and ambiguity. And there she was, back in our studio, now 22 years old and still every bit as brainy and captivating. Her face, seen here spiraling upward, is filled with generosity, solace, and the promise of a brilliant future.” –Inez & Vinoodh

Turtleneck Gucci On lips and eyes, Chanel Rouge Allure Luminous Satin Lip Colour in coquette and Automatic Liquid Eyeliner in noir

Makeup Jeanine Lobell using Chanel (Tim Howard Management) Hair Christiaan using Kiehl’s Models Maggie Rizer (Trump Models), Jessica Miller (IMG), Hannelore Knuts (Ford NY), Shalom Harlow (DNA), Kirsten Kazlow-Johnson Manicure Deborah Lippman for Deborah Lippman (The Magnet Agency) Lighting technician Jodokus Driessen Digital capture Brian Anderson Photo assistants Shoji Van Kuzumi and Joe Hume Studio manager Marc Kroop Stylist assistants Courtney Kryston and Gro Curtis Makeup assistant Tomomi Kawaguchi Hair assistant Yoko Sato Production Brenda Brown Location Pier 59 Digital Studios, New York Printing Box

Hannelore Post Grunge, Yohji Yamamoto campaign, Fall/Winter 1999

Hannelore, Self Service, 2004

hannelore

“When we saw Hannelore in the shows of her fellow Belgians, Véronique Branquinho and Ann Demeulemeester, it was as if all our rock-and-roll fantasies had come to life. Patti Smith, Joan Jett, David Bowie, Freddie Mercury, Kate Bush, Siouxsie Sioux, and David Sylvian all morphed into one slight girl with giant eyes. Shy but quirky, she embodied the ultimate in effortless cool. I wanted to be her so bad, and I still do! Seeing her grow as a model, able to embody any kind of woman or man, and now acting, curating, and designing, is what makes us realize how lucky we are to be looking at such unique beauty day in and day out.” –Inez & Vinoodh

Swimsuit Chanel Earrings and bracelet Cartier Necklace Harry Winston On eyes, Chanel Inimitable Intense Mascara in noir

ACKET REQUIRED

In a massIve, stIll-to-be-completed photogRaphIc pRoject celebRatIng the classIc chanel jacket, kaRl lageRfeld and caRIne RoItfeld shoot supeRmodels, socIalItes, sIsteRs, and otheR beautIful people weaRIng the same boxy black tweed chanel staple. It’s the ultImate salute to coco’s IngenuIty—and kaRl’s cReatIvIty Photography Karl Lagerfeld Styling Carine Roitfeld Chanel has never been short on iconography. Inside the house that Coco built live the “2.55” quilted, chain-strap handbags; the original tweed suits; the Gripoix bracelets; and the cap-toe ballet flats, among many other chic essentials. Chanel even has the lock on a numeral, as in No. 5, perhaps the most famous perfume on the planet.

For a new book, which is still being produced and will hit stores next year, Karl Lagerfeld captures variations on Chanel’s most versatile garment: the goes-with-everything, can-be-wornanywhere black jacket. “Novelty is not always new,” Lagerfeld explains. “The secret of the Chanel jacket is that it stays new, or let’s say, it is revived all the time.”

It’s true: Chanel’s tweed jackets are seen on the backs of both uptown ladies and downtown club kids. How can something be so sophisticated and, at the same time, so modern? The jacket today crosses many generations and genres of style, and according to Lagerfeld, “It only looks old when it’s worn with

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respect! As Molière said in The Misanthrope, ‘Voyons, monsieur, le temps ne fait rien à l’affaire.’ Style has his own fashion.”

To illustrate the jacket’s eternal quality, Lagerfeld is currently shooting portraits of stylish women (and the occasional gentleman) of many ages and occupations — actors, models, heiresses—and exploring the many different ways the garment can be styled. “This jacket is a vital and irrational impulse open to creativity and transformation,” says the designer. “Especially in the hands of Carine Roitfeld.”

The Chanel jacket, an icon of the 20 th century, continues to be a garment of status. And like all good fashion, the jacket embellishes the wearer as the wearer embellishes it. “The pleasure of wearing it must give, I suppose, a kind of happiness, and at the same time, the object itself is beautified.” But what is the key to the inexplicable longevity of the piece? According to Lagerfeld, “Transformation is the secret of survival, but never change!”

Derek Blasberg

ChaRlotte CasiRaghi Jacket and necklace (made from camellia brooches) Chanel Skirt Givenchy by Riccardo Tisci Bra Cadolle Bracelet and ring Casiraghi’s own On nails, Chanel Nail Colour in dragon

SaSkia de BRauw Jacket Chanel Bodysuit Givenchy by Riccardo Tisci Hat Sommier

Daphne GRoenevelD Jacket Chanel Shirt Marc Jacobs Hat Maison Michel Tights Wolford On hair, Pantene Pro-V Triple Volume Mousse

Dakota Fanning

Jacket, dress, earrings, bracelet Chanel Bag stylist’s own

On eyes, Chanel Illusion d’Ombre Luminous Eyeshadows in mirifique and fantasme

Makeup (for Dakota and Daphne) Peter Philips for Chanel Makeup (for Elle, Charlotte, Saskia) Emmanuel Sammartino (Marie-France Thavonekham) Hair (for Daphne, Charlotte, Saskia) Sam McKnight (Premier) Hair (for Dakota) Orlando Pita for Orlo Salon Hair (for Elle) Hugo Raiah (L’Atelier 68) Manicure (for Daphne, Charlotte, Saskia) Anny Errandonea (Marie-France Thavonekham) Manicure (for Dakota) Gina Viviano (Artists by Timothy Priano) Manicure (for Elle) Odile Sibuet Photo assistants Olivier Saillant, Bernward Sollich, Xavier Arias, Frederic David Stylist assistants Michaela Dosamantes, Anna Schiffel and Audrey Taillée Retouching Ludovic D’hardivilier

EllE Fanning Jacket Chanel Dress Lanvin Crown LÊgeron Rings Fanning’s own On nails, Chanel Nail Colour in ballerina

ski bunny this winteR, skiweaR RetuRns with a sexy, chalet-Ready exubeRance. aRmed with the ultimate apRès-ski pieces, fashion editoR caRlyne ceRf de dudzeele tRansfoRms supeRmodel candice into an icon of the jet-set Photography Sebastián Faena

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Styling Carlyne Cerf de Dudzeele

Candice wears Jacket, shorts, boots Louis Vuitton Turtleneck Stefanel Watch Chanel Watch Rings CZ by Kenneth Jay Lane

Vest, shorts, arm warmers Blumarine Boots Manolo Blahnik Earrings Jacob & Co. Watch Chanel Watch Bracelet and rings CZ by Kenneth Jay Lane On cheeks, NARS Cosmetics The Multiple in St. Barts

Sweater Jil Sander Pants Bogner Boots Blugirl Goggles Chanel Earrings Jacob & Co. Rings CZ by Kenneth Jay Lane

Coat and sunglasses Dior Turtleneck Stefanel Pants Bogner Watch Chanel Watch Rings CZ by Kenneth Jay Lane On lips, NARS Cosmetics Lip Gloss in sweet dreams

Makeup Serge Hodonou (L’Atelier 68) Hair Alain Pichon (Streeters) Model Candice Swanepoel (IMG) Manicure Kamel (B-Agency) Set design Alexander Bock Digital capture Paul-Arnaud Boitel Photo assistants Mark Blower and Alexy Benard Stylist assistants Kate Grella and Alexia Hollinger Hair assistant Salima Bouabdallah Production Sidney Kapuskar and Helena Martel Seward Retouching Dtouch Location Mires, Paris (miresparis.com)

“ST. MORITZ. GSTAAD. MEGÈVE. CORTINA D’AMPEZZO. RICH. GLAMOROUS. BOURGEOIS. JET-SET. SEXY AND CHIC. THIS IS THE WOMAN I LOVE. THIS IS ALL ABOUT CHIC AND WHAT CHIC IS.” –CARLYNE CERF DE DUDZEELE

Fur vest and stoles Adrienne Landau Turtleneck Express Pants Bogner Hat Blugirl Bag Dior Belt Versace Earrings Jacob & Co. Ring CZ by Kenneth Jay Lane On skin, NARS Cosmetics Multiple Bronzer in cap vert

faces o f noW SucceSSful modelS aRe well-VeRSed in the hiStoRy of theiR tRade. heRe, 9 of today’S moSt-wanted giRlS name the iconic mannequinS who inSpiRe them thRough eVeRy SmoldeRing new poSe and Runway tuRn Photography Hedi Slimane Styling Sarah Richardson 116

“My model heroes are Lara Stone and Saskia de Brauw. They are like my big sisters!”

–Daphne GroenevelD Dress Girl by Band of Outsiders

“My model heroes are Kiwis Kylie Bax and Rachel Hunter, because they come from New Zealand like me.”

–Emily BakEr Skirt vintage from Rellik London Fragrance Burberry Body

“My great grandma was an original Radio City Rockette and also a model. Even though I never met her, she is the only model hero I’ve ever had, because my grandpa tells me she was crazy like me.”

–Charlotte Free Sweatshirt Hudson Skirt McQ Belt vintage On lips, Chanel Rouge Coco Shine Hydrating Sheer Lipshine in boy

“My model hero is Hanne Gaby Odiele, because she looked out for me during my first show season and hasn’t ceased to provide knowledge, insight, and laughs ever since.”

–Julia Nobis Skirt Armani Exchange

“They’re not models, but my heroes are [musicians] Eve Libertine and Joy De Vivre, because they weren’t afraid of playing the music they wanted to in a male-dominated field. They are badass!”

–Ruby AldRidge T-shirt Calvin Klein Necklaces her own

“My model hero is Arizona Muse. I admire models who are famous yet still themselves.

I met her backstage, and she is really polite and sweet!”

–Marique SchiMMel Top and scarf (worn as belt) Roberto Cavalli Jeans J Brand On cheeks, Chanel Joues Contraste Powder Blush in rose ecrin

“My model hero is Veruschka, because she brings so much emotion to her photos. She inspires me.”

–Hailey Clauson Sweater Salvatore Ferragamo Jeans Hudson

“My model hero is Lara Stone, because I love her look—very strong!”

–Ilse De Boer Top Thomas Wylde On hair, Oribe Après Beach Wave and Shine Spray

“My model hero is Raquel Zimmermann, because she has been in the business for ten years and just keeps getting better.”

–Andie Arthur T-shirt Hudson Skirt McQ Bangles David Yurman On eyes, Chanel Quadra Eye Shadow in prélude

Makeup Fulvia Farolfi for Chanel (Bryan Bantry) Hair Brent Lawler for Oribe Hair Care (Streeters) Models Hailey Clauson, Ruby Aldridge (Next), Ilse de Boer, Charlotte Free (IMG), Marique Schimmel, Daphne Groeneveld (Supreme), Julia Nobis, Andie Arthur (Ford NY), Emily Baker (DNA) Manicure Alicia Torello (The Wall Group) Digital capture Dtouch Photo assistants Rudolf Bekker, Juan Dreyfus, Stian Foss Stylist assistants Alice LeFons and Anthony Allred Makeup assistant Yinna Wang Hair assistants EJ Hausman and Carolyn Riley Production Kim Pollock Retouching Dtouch Location Splashlight Soho, New York Special thanks Yann Rzepka

The New Lookers Exclusive Book Excerpt

Dior’s future is the subject on everyone’s lips, but the house’s storied past is the subject explored by photographer Patrick Demarchelier and fashion editor Carine Roitfeld in an epic Dior book out this December. In an exclusive excerpt, Ingrid Sischy explains why the Dior look is more relevant than ever—and how the house’s founder saw it all coming Dress Haute Couture Collection F/W 2009/10 Jacket Resort Collection 2010 126

Candice Bustier Haute Couture Collection F/W 2005/06 Skirt from the Aventure suit Haute Couture Collection S/S 1948, Envol line Pincushion bracelet Haute Couture Collection F/W 2005/06 Garter belt Haute Couture Collection F/W 2009/10 Shoes Haute Couture Collection F/W 2007/08

Saskia Jacket from the Aventure suit Haute Couture Collection S/S 1948, Envol line Sweater from the Stanislas ensemble Haute Couture Collection F/W 1963/64 Skirt Haute Couture Collection S/S 2011 Shoes Haute Couture Collection F/W 2007/08

Joan Jacket and girdle Haute Couture Collection F/W 2009/10 Bagatelle ring in white gold, diamonds, and pink sapphires Dior Fine Jewelry Shoes Haute Couture Collection F/W 2007/08

Sui He Corset-belt Haute Couture Collection F/W 2008/09 Skirt Haute Couture Collection S/S 2011 Shoes Haute Couture Collection F/W 2007/08

ore than fifty years ago Christian Dior decided to write his autobiography, Christian Dior and I. (Long before the celebrity memoir became popular, Dior was one of the first couturiers to write an autobiography.) Toward the end of the book, he notes that people in the 1950s were more interested in fashion than ever before. What would he say today, with the blogging, the tweeting, and the who-knows-what’s coming next? Dior correctly credited the public’s curiosity about fashion to the growing affluence of the time, the power of advertising, and the constant coverage in magazines and newspapers, but he also hit upon an idea that is key and still true today. It has to do with our collective need to

believe in some kind of magic. Describing the public’s obsession with designers, Dior wrote: “I believe it comes from the fact that in the world today, dress design is one of the last repositories of the marvelous, and the couturier is one of the last possessors of the wand of Cinderella’s fairy godmother.”

She sure was waving her wand in the studios at Chelsea Piers in New York on the day last summer that I watched Patrick Demarchelier take some of the photographs that appear in this book. It was the last shoot for Demarchelier’s sweeping photographic project, several years in the making—a highly subjective book of images of Christian Dior Haute Couture, a selection of which you see on these pages.

Ingrid Sischy, from the introduction to DIOR COUTURE, published by Rizzoli

Daphne Kamata dress Haute Couture Collection S/S 1997 Jacket from the Matadior outďŹ t Haute Couture Collection F/W 1997/98 Latex gloves Ready-to-Wear Collection F/W 2003/04

queen of rocks

Art Deco diamond-and-multi-gem bracelet of Egyptian Revival design, circa 1925, composed of six platinum-mounted pavĂŠ diamond plaques, and rubies, emeralds, and sapphires depicting an ox, sphinx, and falcon, respectively. Gift from Richard Burton.

Estimate: $500,000–$700,000 132

This DecembeR, elizabeTh TayloR’s sTaggeRing jewelRy collecTion hiTs The aucTion block aT chRisTie’s, whispeRing sToRies of glamouR anD seDucTion—anD cemenTing The acTRess’s own mega-caRaT legenD Photography Richard Burbridge Styling Catherine Newell-Hanson

In a 1993 guest appearance on The Simpsons, “Elizabeth Taylor” scrubs a jaw-dropping diamond with a toothbrush, her blinking eyes reflected in the stone’s many facets. Of course, the cartoon rendering is no match for the real-life Elizabeth Taylor Diamond, which is practically flawless. Practically, because of a tiny bruise it may have sustained from being worn nearly every day for the last four decades. Weighing in at 33.19 carats and set in a platinum ring, the bauble formerly known as the Krupp Diamond was recently rechristened by Christie’s in homage to its late owner. In mid December, the gem will figure prominently at the auction house’s epic two-day sale of Taylor’s jewelry collection, valued at over $30 million. (A portion of ticket sales will benefit the Elizabeth Taylor AIDS Foundation.) Purchased

The 33.19-carat “Elizabeth Taylor Diamond” ring. Gift from Richard Burton. Estimate: $2,500,000–$3,500,000

by Taylor’s two-time husband, Richard Burton, for $300,000 in 1968, the aforementioned Asscher-cut diamond is expected to fetch between $2.5 and $3.5 million.

Ever fond of historical pieces, Burton also bought (jointly, with Taylor) what promises to be another auction standout: an unsigned, platinum-mounted, circa-1925 Art Deco Egyptian Revival diamond bracelet. Articulated to bend to the shape of the wrist—Taylor’s wrists were small—the bracelet tells a story in hieroglyphics of rubies, sapphires, and emeralds, and is expected to fetch between $500,000 and $700,000. Big rocks are, of course, a theme of this collection, particularly in a dazzling suite of Bulgari jewels, which includes a brooch of pear-shaped diamonds surrounding a massive, rectangular-cut

emerald that is rumored to have once belonged to the Russian Grand Duchess Maria Pavlovna. It is also estimated to sell for anywhere from $500,000 to $700,000. Burton purchased the suite over the course of many trips to Rome’s Via Condotti, during the filming of Cleopatra. There, during their downtime, he and Taylor would sit and relax with Gianni Bulgari himself. Recalling the emerald suite, Taylor once wrote that Burton “would give me ‘It’s a beautiful day’ presents, or ‘Let’s go for a walk’ presents.

Over the years, I’ve come to think of these as my ‘It’s Tuesday, I love you’ jewelry.” Sarah Fones

The Legendary Jewels, from the Collection of Elizabeth Taylor, will be auctioned on December 13, 2011, at Christie’s, New York

Digital capture Dtouch Photo assistants Kim Reenberg and Jeff Henrikson Production Jessica Daly (Art + Commerce) Printing Box Special thanks Erin McAndrew

Emerald-and-diamond brooch by Bulgari. Gift from Richard Burton. Estimate: $500,000–$700,000

OUTURE 2011 Who says the aRt of the haute is a lost one? this season, coutuRe is ReboRn With neW blood, staRtling neW ideas, and, as alWays, the most meticulously executed, painstakingly peRfect, and all-out dRamatic clothing on the planet Photography Daniele + Iango Styling Joanne Blades

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Kristina wears Wedding dress in draped ivory satin, train embroidered with silver sequins, boots CHANEL HAUTE COUTURE “Comète” brooch in white gold and diamonds Chanel Fine Jewelry On hair, John Frieda Luxurious Volume Thickening Mousse

Emily wears “Bareback” evening gown in ivory washed satin, blouse with pleated herringbone basques, ivory bolero sweater embroidered with macramé lace and pearls, satin-and-metal belt GIVENCHY HAUTE COUTURE BY RICCARDO TISCI On eyes, Bobbi Brown Long Wear Cream Shadow in steel On hair, John Frieda Frizz-Ease Shape and Shine Flexible Hold Hairspray

Candice wears Multicolored pleated silk dress DIOR HAUTE COUTURE “Le Bal de Mai” necklace in gold and white gold, diamonds, opal, and emeralds; “Le Bal Bleu Nuit” ring in gold and white gold, diamonds, sapphires, chalcedony, and tanzanites; and “Le Bal d’Autrefois” ring in white gold, diamonds, emeralds, chrysoprase, tourmalines, and tsavorite garnets Dior Fine Jewelry On hair, John Frieda Frizz-EaseCurl Controller Firm Hold Gel

From left: Valerija wears Embroidered tangerine bustier dress with plissé floral jacquard underskirt and shoes GiorGio ArmAni Privé Porcelain collar Uncommon matters Pink glove Perrin Black glove LaCrasia Kristina wears Bustier dress entirely embroidered in iridescent sequins with floral details and shoes GiorGio ArmAni Privé Porcelain collar Uncommon matters Gloves LaCrasia Aymeline wears Nude sequin bodice, velvet skirt with knotted yoke and embroidered floral detail, tubular belt in patent leather, shoes GiorGio ArmAni Privé Choker and necklace ornamenta Gloves LaCrasia Fragrance Giorgio Armani Onde Extase Eau de Parfum

Saskia wears “Patch” dress in hand-painted metallic gold lace and headpieces VALENTINO HAUTE COUTURE “Art Nouveau” twin ring in black gold fully set with black diamonds (on right hand) Repossi “Magic Gardens of Piaget” rose ring in white gold and diamonds (on left hand) Piaget Gloves Carolina Amato On eyes, Chanel Ombres Contraste Eyeshadow Duo in gris subtil

Aymeline wears Striped top in Chantilly lace and marabou feathers and full skirt embroidered in grizzly, swan, and guinea feathers GAULTIER PARIS Gloves Georges Morand On lips, M.A.C Cosmetics Lip Pencil in cork and Pro Longwear Lipglass in show me!

On hair, John Frieda Frizz-Ease Dream Curls Styling Spray

From left: Joan wears Crinoline skirt “à danser” entirely embroidered in white macro-sequins and three-dimensional mirrors ATELIER VERSACE Shoes Iris van Herpen On lips, Estée Lauder Double Wear Stay-in-Place Lipstick in stay mulberry Emily wears Asymmetrical baroque-patterned evening dress in nude metallic leather ATELIER VERSACE Veil Jennifer Behr Gloves Perrin Zuzanna wears Sheath dress in silk net, leather petals, and chain mail ATELIER VERSACE Veil Maison Michel Shoes Christian Louboutin Fragrance Versace Vanitas

Makeup Hannah Murray (Julian Watson Agency) Hair Luigi Murenu for John Frieda Models Saskia de Brauw, Emily Baker (Viva Paris), Zuzanna Bijoch (Next Paris), Joan Smalls, Candice Swanepoel (IMG), Aymeline Valade, Kristina Salinovic (Women), Valerija Kelava (Ford NY) Manicure (on Saskia, Emily, Zuzanna, Joan) Magalie Sanzey (Majeure) Manicure (on Aymeline, Kristina, Valerija, Candice) Anatole Rainey (Premier) Prop styling Igor Ouvaroff (Jed Root) Photo assistants Arnaud Le Brazidec, Letizia Ragno, Tomas Begue Stylist assistants Patrycja Matysiak and Connie Berg Hair assistants Gonn Kinoshita, Olivier Schawalder, Stephane Forlay, Esther Van Maanen, Margot Van Essen, Ilham Mestour Makeup assistants Lettie Buchanan and Antonia Rudebeck Location LB Production, Paris Retouching Didier Luk for +852

From left: Candice wears Laser-cut black velvet dress with silver underlining, black cut-out suede belt with silver studs, suede booties with square silver studs AZZEDINE ALAĂ?A On eyes, NARS Cosmetics Duo Eyeshadow in grand palais Fragrance 4711 Acqua Colonia Vetyver & Bergamot Valerija wears Shoes Christian Louboutin

Joan wears “Chemical Crows” dress of brass pins edged in black leather IrIs van Herpen On eyes, estée Lauder Sumptuous Extreme Lash Multiplying Volume Mascara in extreme black

Bambi Northwood-Blyth in melbourne, australia, 1990

album

iselin steiro in tromsø, Norway, 2010

daphne groeneveld in Voorschoten, the Netherlands, 2010

Carolyn murphy in Viña del mar, Chile, 2011

Crystal renn in miami, florida, 1988

WheRe WeRe you...

FoR The hoLIDAyS? WE ASKEd A FEW OF OUR FAVORITE TOp mOdElS TO SHARE SNApS OF THEmSElVES AT THE mOST mAGICAl TImE OF YEAR isabeli fontana with sons Lucas (left) and zion, são paulo, Brazil, 2011

saskia de Brauw in figueira da foz, portugal, 2002

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E VERY ROLE X IS M ADE FOR G RE ATNE S S . THE COSMOG R APH DAY TON A , I N T R O D U C E D I N 19 6 3 , W A S D E S I G N E D T O M E E T T H E D E M A N D S O F PR OFE S S ION AL R ACEC A R D R I V ER S A ND QUICK LY E A R NED ITS ICONIC STATUS. WITH ITS PATENTED CHRONOGRAPH MECHANISM AND BEZEL WITH TAC H O M E T R I C S C A L E , I T A L L O W S D R I V E R S TO P E R F EC T LY M E A S U R E EL A P S E D C I R CU I T T I M E A N D C A L CUL AT E AV E R AG E S P E E D.

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