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Then & now fall preview 2013 US $7.50 CAN $8.75 DISPLAY UNTIL SEPTEMBER 10, 2013

The purple reign of a musical genius

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In this topsy-turvy world, creativity is what saves us. Every day we are exposed to all that is wonderful and wearying. Love, pain, life, and death all serve to form the nexus from which we draw inspiration. And it can be found anywhere—a precious painting, the strict cut of a coat, a dress so awe-inspiring it is forever emblazoned in your memory. The work of a true artist lives forever because it is timeless.

This could definitely be said of our enigmatic cover star, Prince, an eternally creative tour de force. Driven beyond compare, he’s sold tens of million of albums and graces the issue in part to promote his newest act with the band of his own creation, 3RDEYEGIRL. (You may have seen them shredding up the Billboard Awards back in May.) Prince is as quick in life as he is onstage, which required fast-acting photographers Inez van Lamsweerde and Vinoodh Matadin, along with stylist Melanie Ward, to board a last-minute flight to Las Vegas and catch him between sets at the Hard Rock Hotel. Our intrepid reporter, Vanessa Grigoriadis, made a similar jaunt during the Anaheim leg of his tour, happily waiting until 2 am before actually catching his ear.

In the issue we also look to the future and an exciting new season of Fall fashion. To start, industry icon Carine Roitfeld and photographer Sebastian Faena come together to reimagine the former’s early days as a young model. Just in time for her new blockbuster flm, Pacifc Rim, Rinko Kikuchi embodies a sci-f überbabe, in a story conceived by stylist Nicola Formichetti and photographer Tim Richardson. With a nod to Rick Owens’s windswept Fall show, sharpshooter Sølve Sundsbø partners with stylist Beat Bolliger to take on the season’s new shapes, with hair-raising results.

The issue wouldn’t be complete without a celebration of the next batch of equally passionate tastemakers. For this we asked Benjamin Alexander Huseby and stylist Jodie Barnes to capture the most beautiful new talents in London. The rising stars they snapped include models, actresses, musicians, and even a hard-core female rapper.

We hope the artists in this issue will inspire you as much as they inspire us. Let the fashion fantasy begin. Ms. V

bag giorgio armani PhotograPhy anthony Cotsifas set design MiChael reynolds

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MAKE IT A WELL-HEELED FALL Editor-in-ChiEF CrEativE dirECtor

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A BIRD IN THE HAND

V84 Inez & Vinoodh Carine Roitfeld Sølve Sundsbø Sebastian Faena Tim Richardson Benjamin Alexander Huseby Jodie Barnes Scott Trindle Mark Abrahams Anthony Cotsifas Jason Schmidt Carlos Serrao Maryam Malakpour Brendan James Vanessa Grigoriadis Amanda Harlech Christopher Bartley Christopher Tennant Natalie Evans-Harding Zac Bayly Nicole Cantanese Sarah St. Lifer

Special thankS The Collective Shift Jae Choi Brenda Brown Marc Kroop Brian Anderson Art Partner Giovanni Testino Amber Olson Candice Marks Lindsey Steinberg Allison Hunter Alexis Costa Jef Stalnaker Sally Borno Rachael Inman Julia Reis Julia Ramadan GE Projects Stereohouse Art+Commerce Jimmy Mofat Philippe Brutus Lindsay Thompson Yael Peres Annemiek Ter Linden Amanda Fiala Tahra Collins Ian Bauman Dyonne Venable Jefrey Delich Paula Ekenger Helena Martel Seward Sophie Reuthensteiner Ugo Dumont Stephane Gerbier CLM Cale Harrison Betty Kim Heath Cannon Nick Bryning Oliver Hicks Rep Ltd. George Miscamble Rachel Elliston Chantelle Shakila-Tiagi Management Artists Anne du Boucheron Pia Byron Dayna Carney Humberto Petit Francesco Savi Tara Chumpelik Laura Hinds Tim Howard Management Vanessa Setton Michelle Service-Fraccari The Wall Group Brianne Almeida Bianca Balconis Haniya Riaz Ali Bird D+V Management Andy Phillips Will Shen Manja Otten Jed Root Inc. Rachel Pearce Kellie O’Bosky Haas Streeters Stephanie Pierre Mandy Smulders Tal Ben-Oni Kate Ryan Inc. Leigh Sikorski Exposure NY Anita Bitton Carin Backof Smooch NYC Gloss Studio, New York Velem IMG Ivan Bart Jennifer Ramey Kyle Hagler Anne Nelson LaTrice Davis DNA Lorenzo Re NY Models Marilyn NY George Speros AIM Model Management Next Models Peter Cedeno Stephen Lee Major Models VNY Women Matt Holloway One Management Scott Lipps Dan Kennedy Fast Ashleys Brooklyn Michael Masse Spring Studios, London Industria Superstudio Neo Studios ROOT Studios LightSpace Studios NY Smashbox Studios, Los Angeles Alexandra Greenberg Alexandra Baker Diana Baron Clayton Blaha Chris Werner Darren Baber Justin Kleinfeld Marije de Konink Rob Willingham Hannah Holland Property Furniture NY cOVeR phOtOgRaphy inez & VinOOdh faShiOn melanie waRd prince wears clothing his own Grooming Amber Rose Lighting director Jodokus Driessen Studio manager Marc Kroop Studio producer Jef Lepine Digital technician Brian Anderson Photo assistant Barton Jahncke Stylist assistant Courtney Kryston Production Brenda Brown (The Collective Shift) On set production Lisa Grezo (GE Projects) Production assistants Max Miller, Kicker McCann, Haoyuan Ren Retouching Stereohouse Location The Joint at Hard Rock Hotel & Casino, Las Vegas

inteRnS Yalda Bagher Prudence Blain Morgan S. Boyer Jefrey Burge Eliza Florendo Sara Kim Ali Kornhauser Sacha Mendel James Mitchell McGuire Celeen Palm R. Vincent Patti Sandro Romans Ashley Walker Chun Hung Wang Jonathan Wehner Thomas White 25

Photography Anthony Cotsifas Set Design Michael Reynolds Fashion Mia Solkin and Michael Gleeson Retouching Rob Willingham Photo assistants Karl Leitz and David Chow

Table Of COnTenTs necklace Lanvin

fashion to the rescue

28 PaRTY TiME Visionaire toasts FOREVER; Versus gets a brand-new look; Armani gets camera ready; Urs Fischer brings L.A.’s fnest to MoCA; Chanel’s Singapore fing; Dolce & Gabbana’s glittering NYC fête

48 POWERHOUSE Miami’s ULTRA music festival sets the stage for photographer Mark Abrahams to capture core headliners who keep all seven continents dancing

31 EXTRa Raf Simons’s inspiration; Beyonce’s Weitzman sensation; end-of-summer beauty; bold new books; jewelry designers you need to know now

54 EvERLaSTinG nOW BY inEZ & vinOODH The artist formerly—and presently—known as Prince lives life in his own orbit, to his own rhythm, and by his own rules. Here he introduces his new band, 3RDEYEGIRL

34 LaGERFELD’S CinEMaTiC MOMEnT Karl Lagerfeld relives the advent of Coco in a star-studded Chanel fairy tale, Once Upon a Time...

66 CaRinE’S SWEET 16 BY SEBaSTian FaEna Ms. Roitfeld refects on her years as a mademoiselle, recasting her early modeling days with the season’s most style-making selections

36 FERRaGaMO’S FaiRY TaLE The magic continues at the Salvatore Ferragamo Museum in Florence, where the iconic brand traces the mythic roots of shoemaking 38 POWER PRinTS Say hello to a new type of 3-D printing. The textural prints of the season, unusually rendered, are irresistible to the touch 40 SCEnE STEaLERS Get to know them now: Aubrey Plaza, Haim, Hood By Air, and Hollywood’s new class of It Girls are ready to rule their respective felds 44 WORK in PROGRESS At this year’s New York Frieze Art Fair, visitors fell in love with Frank Heath’s passionate plague, Stewart Uoo’s couture chaos, and J. Parker Valentine’s lassoed lines 26

80 THE RiSE OF RinKO BY TiM RiCHaRDSOn Japan’s biggest crossover star returns to the big screen in a sci-f epic. Nicola Formichetti dresses her in alien fashion for the occasion 92 BLOWn aWaY BY SØLvE SUnDSBØ Inspired by the windswept wraiths of Rick Owens’s latest show, we bring you Fall’s strongest fashion—with hair for the gods 104 LOnDOn CaLLinG BY BEnJaMin aLEXanDER HUSEBY A new generation of musicians, models, actresses, and icons descend on London to show of the latest looks 112 WHERE WERE YOU WHEn YOU WERE YOUnG Check these professional posers before they became the superstars they are today

S P L A S H L I G H T.C O M

French Montana

Mia Morretti

Sky Ferreira

Angel Haze

Paloma Faith

Peter Brant Jr.

Michael Avedon

Melissa George

Geordon Nicol

Leigh Lezark

Donatella Versace

J.W. Anderson

Heidi Klum

Grimes

Jaime King

Corinne Bailey Rae

Soon-Yi Previn

Woody Allen

donAtellA’s dAnce PArty

donatella VersaCe launChes the new Versus VersaCe Capsule ColleCtion with designer j.w. anderson in a blowout affair that inCluded a runway show, performanCes by grimes, angel haze, and dead sara, and a danCe party deejayed by maxwell

Hilary Rhoda Siwon Choi

Clotilde Hesme

Dakota Fanning

Ryeo-Won Jung

Karl Lagerfeld

Astrid Bergès- Frisbey

Rinko Kikuchi

chAnel tAkes sinGAPore

Anna Mouglalis

Zhou Xun

Liz Goldwyn

Noot Saaer

May Andersen

Heidi Mount

Todd Bishop

Francesco Carrozzini

Cecilia Dean

Tiësto

Helena James Christensen Kaliardos

AlwAys And Forever

Danielle Snyder

Jean Pigozzi

Sofa Sanchez Alex Barrenechea de Betak

CeCilia dean and james kaliardos Cohost a party at the CloCktower during frieze new york to Celebrate the release of Visionaire 63 foreVer, in ConjunCtion with g-shoCk and featuring CoCktails by belVedere and Chandon

Julian Schnabel

Terry Richardson

Tara Subkoff

Neville Wakefeld

Gavin Brown

Magda Berliner

George Kotsiopoulos

Urs Fischer Zoe Lukov

Colin Donahue

Harry Brant

Stephanie Seymour

Larry Gagosian

Jeffrey Deitch

hot mocA

Laura Mulleavy

Lisa Love

Lady Victoria Hervey

Nick Kroll

art enthusiasts unite at the opening of the urs fisCher exhibition at moCa grand aVenue and the geffen Contemporary at moCa, in los angeles

Josh Duhamel

Emma Roberts

Minnie Driver

Vanessa Getty

Ellie Kemper

Coco Brandolini

Chloë Sevigny

Emilia Clarke

Giovanna Battaglia

Kylie Minogue

Natalie Dormer

Fergie

Sean Penn Kyra Sedgwick

Kevin Bacon

Roberta Armani

Jim Goldberg

stArs AliGn For ArmAni

Poppy Delevingne

giorgio armani and paris photo Celebrate the work of photographer jim goldberg with a party and dinner at mr Chow, in los angeles 28

Julia Restoin Roitfeld

Carine Roitfeld

Domenico Dolce

Gisele Bündchen

the itAliAn job

Stefano Gabbana

designers domeniCo dolCe and stefano gabbana Commemorate their new uptown boutique with a laVish party in new york City

Ziyi Zhang

Billy Farrell/BFANYC.com (Versace, Visionaire, MOCA, Dolce & Gabbana) Armani (GettyImages) Chanel (courtesy of Chanel/Anne Combaz and Olivier Borde)

Tennessee Thomas

Constance Jablonski

Marisa Tomei

karl lagerfeld and his parade of fashionable darlings traVeled to singapore for the Chanel resort show and to Celebrate the worldwide release of onCe upon a time, Commemorating the house’s 100th anniVersary

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Richard Chai

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RAF GETS REFLECTIVE

Photography Sophie Carre

Dior’s Fall/Winter show reminded us of how closely art and fashion can be intertwined. Creative director Raf Simons honored Dior’s love of art and simultaneously paid homage to Andy Warhol, whose works he has always admired, by embroidering the icon’s early paintings into his designs. “I started to think about things myself and Mr. Dior had in common, particularly an interest in art,” says Simons. “Before forming his fashion house, Christian Dior had a gallery, where he was representing Giacometti and Dalí early on in their careers, when they were young. It seems he exhibited what is perhaps Dalí’s most famous painting, The Persistence Of Memory.”

Coincidental or not, Simons’s connection to these past greats is perhaps most clearly expressed in fve designs he nicknamed the “Memory Dresses.” Much like a child’s prized treasures stored in a keepsake box, these looks could be described as walking scrapbooks, with precious Warholinspired illustrations and patches strewn throughout. Simons utilized these motifs in a mid-century manner that would have appealed to his predecessor. “It’s not always about what you make when you are a designer, it’s about what you keep near,” he says. “A postcard, a leaf, something connected to your personal taste or desire or about what you fundamentally are or what you are about to say.”

These previously unpublished images (left) ofer a sneak peak into Simons’s intimate design process, revealing the skilled craftsmanship that goes into each piece. Layers upon layers of chifon, printed on, sewn, and/or embellished with his Warholian motifs provide an up-close and personal look into private preshow moments and demonstrate how the etchings, patchworks, and embroideries came together in the mind of the designer. The Memory Dresses are, in a word, unforgettable. MIA SOLKIN 31

Call Me DeFiNiTely

With its penchant for perfect timepieces, the city of Geneva could easily appropriate the tennis aphorism It’s all in the wrist. And thanks to Italian-born entrepreneur Alessandro Savelli, it looks like there is a new covetable handmade Swiss luxury accessory to admire. Arriving at upscale retailers such as Harrods and Printemps in July, the Savelli smartphone merges an appreciation for fne jewelry with your most essential handheld device. “I wanted to create something totally new, never attempted before,” says Savelli. “A jewel of tomorrow, only for women.”

The premiere collection, dubbed “Jardin Secret,” comprises 11 models split among three categories and features exotic embellishments like “snow-set” diamonds, leather wrapping, and high-tech, non-scratchable ceramic encased in 18k rose gold. Given the high luxe factor, it is only ftting that fashion star Julia Restoin Roitfeld serves as the brand’s muse.

The frst campaign features the model-mom in photos taken by Patrick Demarchelier. Powered by the Google Android operating system, the novel technological toy also comes with DJ-approved ringtones, courtesy of French musical artist Stéphane Pompougnac, as well as a personalized app. Text messages viewed through anything less than sun-shielding crystal? Not on our watch. Sarah St. Lifer

SAVELLI “JardiN secret” collectioN (price upoN request, savelli-GeNeve.com)

every sTep she Takes

New Jewelry DesigNers To kNow Now

From top:

NichoLaS Liu WaterFall Necklace (price upoN request, Nicholas-liu.com) Sophie BiLLe Brahe palais d’Émeraude 18k Gold riNG (price upoN request, sophiebillebrahe.com) uNcommoN matterS FoldiNG bracelet With Gold platiNG aNd iN silver ($990 aNd $950, lisa perrY, 212.431.7467)

Photography Frank Micelotta/Invision for Parkwood Entertainment/AP Images (Beyoncé) Special thanks Olivia Kozlowski

“It was never really a choice. Somehow jewelry design chose me.” A convincing argument when one considers that Sophie Bille-Brahe’s great-great-great grandfather was Danish nobleman and astronomer Tycho Brahe. Impressive family tree aside, her keep-it-simple approach to design has garnered legions of loyal fans. Crowned princesses and Madonna, the Queen of Pop, have sported her delicate and deliberate pieces, and the Palais d’Émeraude ring is certainly ft for royalty.

Equally meticulous, Nicholas Liu has gone as far as to divide his eponymous label into two distinct collections: minimalist and maximalist. The contrast, he feels, is crucial for delivering his message to customers. “I always design with the client in mind, but I never design anything for the point of making a sale,” he says. “There’s so much great jewelry out there, there’s no need for me to add to that pile of merchandise.” Of course, if his Waterfall necklace is any indication, the Hong Kong native need not worry about dollar signs.

Likewise, German-born Amélie Riech of Uncommon Matters isn’t one to sacrifce fne craftsmanship for cash fow. The fnished products, like her folding bracelet, are quite the conversation-starters: it’s the combination of traditional materials and contemporary shapes that make Riech’s work so worth talking about. Sarah St. Lifer

For the past six years, Stuart Weitzman has anticipated the hip-flexing, bootyshaking needs of his star client, Beyoncé.

The Mrs. Carter Show World Tour marks the third consecutive time that Queen Bey has enlisted the footwear guru to create the perfect pumps for both herself and her troupe. Designed in conjunction with Bey’s stylists, Ty Hunter and Raquel Smith, as well as her fashion designer mother, Tina Knowles, the current pair of glittery satin stilettos deliver diva-worthy dramatic effect with heels lined in Swarovski crystals. Rubber soles support the dance moves, and extra padding and a tonal elastic band keep her strapped in. Catch Beyoncé’s high kicks this summer while she’s touring throughout the U.S.

extra!

GIVE GOOD FACE

Summer is all about showing some skin. Maximize your natural glow from the inside out with cutting-edge ingredients and radiance-enhancing makeup. A new three-step regimen by Chanel energizes fatigued skin at precisely the right time and their sheer powder bronzer imparts subtle—and immediate—luminosity. A dual-sided water and oil-based serum infused with 20 skin-perfecting plant extracts, from Clarins, proves that opposites really do attract. Yves Saint Laurent focuses on revealing a clear, even tone. Dior debuts a 24-hour hydrator that counteracts UV damage and brightens, a light-as-air foundation, and silky soft cream blushes, while Lancôme creates a high-tech foundation-skincare hybrid. Crave instant gratification? Get a color boost from a trio of golden pearls in the liquid version of Guerlain cult favorite Meteorites powder, or saturated pigments with a hint of shimmer in the new M.A.C Tropical Taboo mineral blushes. Marc Jacobs rolls out his namesake makeup line—including eye shadows—with as many colorful twists as his iconic label implies. And don’t forget nails. NARS collaborates with Pierre Hardy to debut a limited edition color collection, including a gilded polish duo inspired by the designer’s Spring must-have beige patent-leather wedge sandal. niCoLe Catanese

CLOCKWISE FROM LEFt: Dior AIRFLASH SPRAY FOUNDAtION IN 200 ($62, DIOR.COM) CHANEL LE WEEKEND DE ChaneL, LA NUIt DE CHANEL, LE JOUR DE CHANEL ($85, $85, $115, CHANEL.COM) LanCÔMe tEINt VISIONNAIRE IN bUFF 210 N ($60, LANCOME.COM) Dior SNOW WHItE REVEAL FRESH CRÈME ($95, DIOR.COM) pierre harDY For nars POLISH PAIRS IN EASY WALKING ($29, NARSCOSMEtICS.COM) YVes saint LaUrent FOREVER LIGHt CREAtOR ($180, YSLbEAUtYUS.COM) CLarins DOUbLE SERUM ($85, CLARINS.COM) GUerLain MEtEORItES PERLES LES ORS PRIMER (LIMItED EDItION, $71, SAKS.COM) Dior bLUSH CHEEK CRÈME IN PANAMA #651 ($30, DIOR.COM) MarC JaCoBs bEAUtY StYLE EYE-CON NO. 7 PLUSH SHADOW IN 204 tHE StARLEt ($59, SEPHORA.COM) ChaneL LES bEIGES HEALtHY GLOW SHEER COLOUR SPF 15 ($58, CHANEL.COM) M.a.C CosMetiCs MINERALIZE bLUSH IN EXOtIC EMbER ($25, MACCOSMEtICS.COM)

CrImE & PunIshmEnt: FInE rEADs FOr thE FAll sEAsOn

Photography Brendan James

Sweet Thunder ($28, riverheadbooks.com) If you think times are tough, try the ’20s on for size. The latest epic from Ivan Doig, bard of the American West, fnds his hero, Morrie Morgan, pitted against a ruthless mining conglomerate waging war on workers in Butte, Montana. Very Recent History: An Entirely Factual Account of a Year (c. AD 2009) in a Large City ($25, harpercollins.com) Remember how everything sucked in ’09? The voice from the future that narrates blogger Choire Sicha’s book debut does. A nonfction work that unfolds like a novel, it’s a surreal, stinging portrait of semi-haute urban life in the late aughts. Love, Dishonor, Marry, Die; Cherish, Perish: A Novel ($27, knopfdoubleday.com) Sorely missed essayist David Rakof made his name telling embarrassing tales about himself on NPR and elsewhere. In this witty and wise novel, published close to the one-year anniversary of his passing at the age of 47, he uses a sprawling cast of characters from diferent cities and decades to tell the story of America. Dealers ($15, powerhousebooks.com) Everybody knows New Yorkers like their drugs, but far less is known about the men (and women!) who sell them to us. Enter reporter Peter Madsen, who conducted a multitude of anonymous interviews everywhere from Park Avenue penthouses to Bushwick bike messenger bars to deliver this defnitive account of drug-dealer culture. The perfect gift for your “guy.” The Panopticon ($22, randomhouse.com) Jenni Fagan’s strong debut opens in the back of a cop car, where teen felon Anais Hendricks is on her way to prison for a crime she can’t remember. But it’s inside the Panopticon where the real fun starts, as she and her fellow delinquents fght back against the adults who control them. Christopher tennant 33

film

Keira Knightley as Gabrielle Chanel in Once Upon a Time

LagerfeLd’s CinematiC moment

From the great beauty Jacqueline Forzane—played by Ashleigh Good—who paraded her “earned” ropes of pearls whenever she felt like it, to the mysterious Marchesa Casati, with her cheetahs and veil of smoke and kohl-lined eyes—a dark wraith amongst the frills and lace of Edwardian langour—Karl’s characters spring to life. His casting of Jamie Bochert as Casati reveals a gift for ascertaining what women are capable of, what they might choose to hide, and where they might shine. As a bad tempered English snob, I know that Karl was testing my acting skills when he cast me as a lady of society!

Whether Coco ever met the Marchesa, Forzane, or Lady de Grey in the way that this film would have us believe is unimportant. Karl’s witty, poetic unraveling of Chanel’s acquisitive brilliance answers his own question, “What will become of Chanel in a hundred years time?” These are Vita Sackville-West’s words to Catherine Pozzi, echoing through the credit roll, as Tante Adrienne, Étienne Balsan, Boy Capel, Ida Rubinstein, and Miss Wonderbilt hurtle into the 21st century. The film feels so true: we are there with Coco in 1913, amid the terrifying excitement a designer feels showing her work to the world for the first time, a feeling that every artist dreads and needs in a way. And what braver means to grasp the moment than to show a collection in the vertiginous city of Singapore, which is exactly what Karl himself did!

On May 9th the Chanel Cruise Collection had the audience on its feet, cellphones alight in Once upon a time, Karl Lagerfeld dreamt of a flm in which Gabrielle Chanel was opening her homage to the master, who strode onto his postcolonial set to the booming croon of Elvis’s frst boutique, in Deauville, on a bright May morning. A clock chimed in a bell tower. A pair of “Surrender.” The collection took each Chanel icon and investigated its Eastern DNA. Navy, swifts fitted through the dawn above a sleepy street. A man bicycled slowly to work as two laun- black, nude, and the very idea of white were reinvestigated with an Oriental eye. Pagoda tiles dry maids giggled about the outrageously modern shop that had materialized overnight. Their became sequined embroideries, the bird of Chinese fable lent its plumage to dresses and censure represented every prejudice Gabrielle had to conquer as a single-minded, ambitious, and skirts. Lacquered basket-weave tweeds and foral blue-and-white porcelain-inspired prints keen-eyed designer. Karl’s flm—written, designed, and directed by him—was shot over two days were mixed with batik jacquards, colonial blazers, and cricketers’ whites. The attitude was at Luc Besson’s studio outside Paris, in subzero temperatures. It is a testament to his insightful- Tina Chow meets rock and roll—linear elegance and innovation. Modern, relevant clothes ness. In a matter of minutes he evokes the world of complacent pretension that will be pierced for the world that will still ring true in another century. by the exuberance and energy of Keira Knightley’s delicate, intelligent Coco.

To make a movie involving hundreds of extras, three camera crews, production teams from The designer’s vision of Chanel and the instinctively stylish women who inspired her is Chanel and Walter Films, greyhounds, horses, a vintage car, and a life-size reproduction of a clue to his mind. Master couturier, artist-architect, and arch diviner of the female psyche, a Deauville street in 1913 is quite a feat. A month after the flm was shot, it was screened in Karl reveals his secret ideal woman, who stands in the shadow of his mother, in every attitude the garden of the Rafes Hotel, Singapore. The following evening, Karl debuted his Cruise and word of the characters—the quickness of Coco and her drive, the friendship and loyalty collection at a former nutmeg plantation, the recently revamped Loewen Cluster. How does of her aunt Adrienne, the resilient firt and charm of them both as they navigate a world in he do it? Great ideas, drive, and a loyal team and studio make it all happen. It began with which creating hats and clothes was as sinful as working in the theater or being a courtesan. Gabrielle, but Karl has taken it to another level! AmAndA HArlecH

Writer and fashion all-star amanda harlech pens a piece to commemorate chanel’s famed designer and once Upon a time, the short film he created in honor of the brand’s 100th anniversary

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Jamie Bochert embodies the Marchesa Luisa Casati

Knightley with Clotilde Hesme as Adrienne Chanel and Jake Davis as Boy Capel

Ashleigh Good as Jacqueline Forzane, with Knightley and Hesme

Amanda Harlech as a socialite, with Knightley

Good struts her stuf

Bochert, now as Catherine Pozzi, with Saskia de Brauw as Vita Sackville-West

A view of the set: Deauville, circa 1913

Harlech delivers a line

ferragamo’S faIrY TaLe

A still from The Rainbow and the Lost Bride, directed by Francesco Fei

InspIred by the ImpressIve begInnIngs of Its famous patrIarch, the IconIc ItalIan brand celebrates the art of shoemakIng wIth a dreamy, year-long exhIbItIon brImmIng wIth fashIonable folklore

36

Mimmo Paladino, Untitled, 2013

Ann Craven, Shoe Portrait (Ferragamo patchwork multicolor, 1942), 2013

All images courtesy Ferragamo

Just below the Salvatore Ferragamo boutique at the Piazza Santa Trinita, in Florence, sits an art-flled oasis for shoe enthusiasts. On display at the site’s subterranean museum is a new multi-platform exhibition, entitled “The Amazing Shoemaker,” that explores the myths and psychology behind fairy tales as they relate to footwear. Nine separate rooms divide the cavernous space, which is flled with over 300 pieces, including original works in the form of short flms, illustrations, photography, mixed-media installations, and even a comic book. Museum director and curator Stefania Ricci oversaw the realization of this epic project. “We found a lot of new legends and so many examples of books with special illustrations, all related with the shoemaker,” she says. “And the big discovery was that the shoemaker was like a philosopher.”

Ricci did not have to look far for inspiration, as the story of Ferragamo is legendary in its own right. Growing up the eleventh of fourteen children in an impoverished family, Salvatore was always drawn to the art of shoemaking. He made his frst pair of shoes at age seven, for his sister to wear at her frst communion. At the age of 14 he went to live with relatives in California, where he continued his trade, eventually becoming the go-to shoemaker for Hollywood’s grande dames, including Marilyn Monroe and Carmen Miranda. He returned home to Italy to set up shop in Florence in 1927, a full-fedged success story. The rest, as they say, is history.

What’s impressive about this exhibition (on display until March 2014) is its breadth: nearly every instance of fantasy stories in which shoes provide comfort, peace, or freedom is cataloged. “The right shoes are necessary to go beyond obstacles and better yourself,” says Sergio Risaliti,

who curated with Ricci and Luca Scarlini. With that in mind, the trio set out to “reach the public in any form of expression.” From poetry to paintings, mixed-media installations, and flms, no stone was left unturned. Among the highlights of artists’ reinterpretations of fables: a diptych of Merce Cunningham’s dance-worn feet next to an image of rubyred slippers, by Timothy Greenfeld-Sanders; watercolors based on Cinderella, Puss in Boots, and Alice’s Adventures in Wonderland, by Ann Craven; Liliana Moro’s Donkey Skin, a piece that invites you inside the hide of a donkey, based on the fable by Charles Perrault; and Jan Švankmajer’s interpretation of The Red Shoes. Ricci dedicated an entire room to New York–based artist Frank Espinosa’s comic book installation, which illustrates the tale of Signor Ferragamo himself.

Writer and director Mauro Borrelli was so inspired by Ferragamo’s early years that he collaborated with friend and Oscar-winning art director Rick Heinrichs to create a short flm, White Shoe. Both men are renowned for their work with Tim Burton (Heinrichs took home the golden statuette for his work on The Legend of Sleepy Hollow). “I didn’t know much about Ferragamo’s story at the beginning,” says Borrelli.

“Then the bio arrived, and we could have made ten diferent movies. We extracted the essence, deciding to focus on the frst little episode from his earlier life, and we made it a little fctional on that end.” The flm ofers an enchanting vision of a young Salvatore who creates a pair of shoes for a girl, which unlocks his imagination as he dreams up all the places it will take her in life. “I used to work for Francis Ford Coppola, and once he said, ‘If you want something to happen, you have to be able to imagine it frst. Things don’t happen if you don’t see. You have to have a vision, and then maybe it happens.’ So I thought that was great advice. And I thought that Salvatore probably was able to see something to make it happen.”

With this exhibit, Ricci and the Ferragamo family extend that sense of the imagination’s power to some of those who are less fortunate: a portion of the proceeds from comic book sales will go to beneft Un Cuore, Un Mondo, a nonproft that supports children sufering from heart disease in Italy and around the world. From its inspiring visuals to its philanthropic cause, “The Amazing Shoemaker” is a feel-good fashion moment, from head to toe! SARAH CRISTOBAL

exhibit

Reese Gonzales embodies a young Ferragamo in White Shoe, written and directed by Mauro Borrelli

Frank Espinosa, Salvatore Ferragamo: Making of a Dream, 2013

Jan Švankmajer, Red Shoes, 2013

Shoes on stage, Teatro della Pergola, Florence, 2013

Collage showing Liliana Moro’s shoemaking process, with donkey ears, for her installation, “Donkey Skin”

Annette Lemieux, Messenger, 2006

Stylist assistants Carrie(Tim Weidner andManagement) Jitske Nap Makeup assistants Ryosuke and Anastasia Nicole Potter Hair assistant Makeup Frankie Boyd Howard Hair Dennis Gots (Jed RootYamazaki Inc.) Models Kolganova (AIM), Clark Phillips Manicure assistant Saita Pauline Production Dayna Carney (Management Artists) Robert Moore Studio Jessa Brown (DNA),Naoko Lin Kjerulf, Van der Cruysse (Next), Tess Hellfeuer (NYRetouching Models), Magdalena Jasek (Marilyn), Location Industria Superstudio NY Catering Monterone Estee Rammant (VNY) Manicure Maki Sakamoto for China Glaze (Kate Ryan Inc.) Digital technician Charles Lu

power prints With the neW season comes an updated take on tried-and-true patterns. From gothic Florals to cool camo looks, Fall is Full oF bold and brilliant motiFs PhotograPhy scott trindle fashion tom van dorPe

ESTEE wEarS BOOTS tom ford

FrOM LEFT: ESTEE wEarS DrESS valentino SHOES sergio rossi NECKLaCE lanvin BraCELET roBerto cavalli STOCKINGS strathcona stocKings aNaSTaSIa wEarS DrESS aND NECKLaCE lanvin SHOES valentino STOCKINGS strathcona stocKings

FrOM LEFT: MaGDaLENa wEarS CLOTHING aND aCCESSOrIES roBerto cavalli PaULINE wEarS CLOTHING givenchy By riccardo tisci EarrINGS rodarte

Makeup Photo assistants Frankie Boyd Alex Lockett (Tim Howard and Connell Management) Burke Stylist Hair Dennis assistants GotsCarrie (Jed Root Weidner Inc.) and Models Jitske Estee Nap Rammant Makeup assistants (VNY), Anastasia Kolganova (DNA), Magdalena Ryosuke Yamazaki Jasek (Marilyn), and Nicole Pauline Potter Van Hair derassistant Cruysse,Clark Lin Kjerulf Phillips(Next), Manicure Jessaassistant Brown (DNA), NaokoTess SaitaHellfeuer Production (NY Models) Dayna Carney Manicure (Management MakiArtists) Sakamoto Retouching for ChinaRobert Glaze (Kate MooreRyan Studio Inc.)Location Digital technician Industria Superstudio Charles Lu Photo Catering assistants Monterone Alex Lockett and Connell Burke

trending

LIN WEARS CAPE AND BELT HERMÈs SHORTS BERNHARd WILLHELM HANDBAG AND SHOES (ATTACHED) MICHAEL KORs

JESSA WEARS COAT MICHAEL KORs SWEATER AND SKIRT PRABAL GURUNG

SUIT AND BELT YIGAL AZROUËL JACKET PYER MOss BAGS PROENZA sCHOULER

FROM LEFT: PAULINE WEARS COAT 3.1 PHILLIP LIM

TESS WEARS

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scene stealers

haim

WITH A CATCHY AND CAVERNOUS NEW SOUND, L.A.’S COOLEST SIBLINgS BRACE FOR THE BIg TIME “Pretty much our whole lives we’ve been in a band together,” says Alana Haim, one of three sisters who form the eponymous band. “By the time I was fve we were playing gigs with our parents at charity events and street fairs, and we kept playing until Haim emerged, in 2007.”

“We knew we had to write our own songs, because before we were always playing covers with our parents,” adds 40

THE WORLDS OF TV, FILM, FASHION, AND MUSIC HAVE FIXED THEIR gAzE ON THESE BREAKOUT STARS. MEET THIS YEAR’S THIEVES OF THUNDER jUST AS THEY SNATCH THEIR THRONES PhotograPhy carlos serrao fashion maryam malakPour

Danielle. “We realized we couldn’t get gigs without recording songs, so we made some rough demos and put them on our Myspace and opened for whatever bands we could around L.A. It’s been a natural progression.”

Their sound is pure, sun-streaked FM gold, recalling the resonant California rock of Fleetwood Mac, but with a nod to R&B and funk. “We grew up listening to everything on oldies radio in the car,” eldest sister Este explains. “Disco, Motown, funk. We really love Chaka Khan. The fact that she’s a female musician who played instruments is really inspiring.”

Este’s adoration of Chaka wound up introducing her to one of her now best friends. “I met Ke$ha the week she moved to L.A., in 2005 or 2006. We had some mutual friends and we were all front-row when Chaka was playing. I have never met another person who knew the words to every Chaka Khan song,” she says. “I turned to her and said, ‘Are we friends now?’ It was like a scene from Step Brothers. When she broke,

it was amazing to watch that happen. We’re just fans.”

Now it may be Ke$ha’s turn to watch it happen to Haim.

The band hit a high note when they posted their Forever EP for free on the web, in the summer of 2012, which led to a steady buzz, BBC airplay, and gigs opening for Mumford & Sons and Florence and the Machine—not to mention what they consider the holy grail: headlining live gigs of their own. “The most surreal thing that’s happened this year is getting to play live,” they say. “We’re just happy people show up.” Patrik sandberg

HAIM IN LOS ANGELES, MAY 2013 FROM LEFT: DANIELLE WEARS TOP AND VEST nicole miller PANTS Paige denim SHOES giusePPe Zanotti ALANA WEARS SWEATER blk dnm DRESS roberto caValli SHOES casadei ESTE WEARS JACKET edun DRESS thomas Wylde SHOES christian louboutin

talent

shayne oliver

Cult New York streetwear braNd Hood bY aIr emerges from tHe uNdergrouNd wItH a breakout fall 2013 ColleCtIoN. Next stop: tHe fasHIoN stratospHere “In the beginning it was about fnding a new sense of style outside our usual way of dressing, playing around with subversion,” says 25-year-old Shayne Oliver, the entrepreneurial young designer of New York’s now-ubiquitous luxury streetwear brand Hood By Air. “The frst ofcial HBA garment we did was a dolman-sleeve Champion crewneck with Greek columns across the body.” Nearly seven years, a handful of personnel changes, thousands of T-shirts, and a couple heartbreaking production nightmares later, Hood By Air’s Oliver has managed to emerge as the young New York designer to watch: his Fall/Winter 2013 show was the most buzzed about event on the New York Fashion Week calendar, with several prominent editors, hip-hop superstars, and artists in the front row. In an act of creative solidarity, A$AP Rocky closed the show in one of his custom HBA tour ensembles. The fashion press heralded the runway presentation—a dark, raving procession with lasers, fog, and theatrical appearances by the performance artist Boychild—as a breakout moment for the brand.

For a twentysomething designer it’s undeniable serendipity, but it wasn’t always so easy. Oliver had to wing it with no money: kinks with his production team even resulted in a canceled show. “They didn’t get the design aesthetic,” Oliver says. “I decided to take a hiatus to regroup and grow as a businessperson, and grow in life. I began working with Venus X, as a resident of GHE20G0TH1K, which loosened me up and made me comfortable

with the performance aspect of design. It helped with finance and kept the heritage of the brand alive as well.” When a critical mass of New York-based musicians began to adopt the style codes of Oliver and company, retailers like Opening Ceremony and VFiles reached out and revived the line’s commercial appeal. Today HBA logos stream across the bodies of everyone from Rocky to Rihanna to Drake, not to mention young creatives everywhere, from Tokyo to London.

“One of the initial concepts of the brand was to create a breakdown of design genres,” Oliver says. “I think the challenge for me every time is to get more tuned-in with this aesthetic, to make it even more well-polished and well-oiled.” Though the clothes are technically labeled as menswear, their urban famboyance appeals across the board. “To me this is the new dress, the new luxury,” he says. “It embodies the sense of relaxed, established extravagance and appreciation for wealth. It’s guarded from the intimidation of social boundaries.

People consider this to be swag, but it’s really something else that hasn’t been fully realized yet. The hood is always current, and a balance of modernity and luxury is something I think is needed on the high-end market.”

For Spring, Oliver plans to cement Hood by Air’s status as a new aesthetic to be reckoned with. “I think some social media has diluted some of the core themes and moments for the label,” Oliver says. “This season will be a full-circle moment—very upfront and direct, designwise. It will establish the HBA cut and shape.” Fans of the brand got a preview this summer in the form of a successful pop-up shop with Scion A/V in L.A., a capsule collection of knitwear for Selfridges in London, and a concept showroom in Paris during the menswear shows.

Next up? A VFiles retail project in New York and an event in Asia, called “Yohood.” So how does it feel to be told by the The New York Times that he’s entered “the fashion big leagues?”

“It means that I have a platform,” he says, “which is what I’ve been wanting. Now it’s time to perform.” PATRIK SANDBERG

SHAYNE OLIVER IN LOS ANGELES, MAY 2013 cLOtHES hooD By AIR BOOtS SHAYNE’S OWN FASHION SHAYNE OLIVER

Hollywood IngEnuEs whether playing suburbanites, vampires, or vain l.a. criminals, tinseltown’s new batch of buzzed-about beauties is anything but average TExT KATE BRANCH

CLAIRE WEARS CLOTHING

SAINT LAURENT BY HEDI SLIMANE SHOES GIUSEPPE ZANOTTI HEADBAND MAISON MICHEL TIGHTS WOLFORD

ZOEY DEUTCH With her long limbs and dark, striking features, it’s no wonder young actress Zoey Deutch has already landed a starring role, opposite Olga Kurylenko, as the wild and reckless Rose Hathaway, in 2014 fantasy film Vampire Academy: Blood Sisters, directed by Mark Waters of Mean Girls. “Rose is a half human, half vampire...a dhampir,” the 19-year-old says from London, where she is currently training for the action-packed role.

No stranger to fantasy, Deutch played the tough chick castaway in this winter’s Beautiful Creatures, with Alice Englert and Alden Ehrenreich. Who else is on her short list of people to work with? Besides her parents, the actress Lea Thompson and Pretty in Pink director Howard Deutch, there is Emma Stone, Kristen Wiig, and Ryan Gosling (“duuuhhhh,” she says). “But, y’know, I’ll cross that bridge if I hopefully ever get there.”

ZOEY WEARS JUMPSUIT ROLAND MOURET SHOES GIUSEPPE ZANOTTI HEADBAND EUGENIA KIM

LIANA LIBERATO Since the age of three, doll-faced Liana Liberato has been acting.

“It’s really the only thing I know,” says the Texan, whose mom enrolled her in community theater to help keep shyness away. She was cast in her first professional play at seven. Now 18, Liberato has proven her chops, as an abused teen in David Schwimmer’s Trust, with Clive Owen and Zoe Levin (also pictured here), and alongside Nicole Kidman and Nicolas Cage, in Joel Schumacher’s Trespass. Last summer she played a troubled girl falling for her first love, in Stuck in Love—“the first film I got to work with people my own age!” she says of costar Nat Wolff—as well as Aaron Eckhart’s daughter in the recently released thriller Erased. Liberato is currently filming with Luke Wilson and Jessica Alba in the film Dear Eleanor. “There is nothing like waking up in the morning, going to your job, and laughing all day with your cast mates.”

ERIN MORIARTY The wide-eyed Erin Moriarty is this year’s Sundance breakout.

“The biggest challenge in filming this movie was, honestly, keeping a straight face,” says the 19-year-old native New Yorker of her scenes opposite Parks and Recreation funny guy Nick Offerman, for Jordan Vogt-Roberts’s recently released The Kings of Summer.

Moriarty can also be seen in the postapocalyptic psychological thriller The Philosophers (out later this year) alongside James D’Arcy and peers Bonnie Wright and Jacob Artist. “Without giving too much away, Vivian is a really unlucky, ill-fated person,” Moriarty says of her character. Hoping to one day work with the likes of Terrence Malick and Danny Boyle—she claims Trainspotting as her favorite movie—Moriarty is nonetheless quite satisfied with her latest feat: playing Woody Harrelson’s daughter in the upcoming HBO crime series True Detective.

LIANA WEARS JACKET, SHORTS, BOOTS

ERIN WEARS DRESS AND SHOES

TOP PRABAL GURUNG TIGHTS WOLFORD

TIGHTS WOLFORD

GIVENCHY BY RICCARDO TISCI

LOUIS VUITTON

ZOE LEVIN “I remember lying in the backseat, pinching myself to make sure I wasn’t dreaming,” says 20-year-old actress Zoe Levin of her time spent driving on set with the actors Steve Carell and Toni Collette, for The Way, Way Back, out in theaters in July. Hailing from Chicago, the blonde-tressed actress cut her teeth at the Lookingglass Theatre Company before filmmaker David Schwimmer cast her in his disturbing 2010 drama, Trust, featuring Liana Liberato (also pictured here). A whirlwind two years later, Levin can be seen in Gia Coppola’s Palo Alto, based on the James Franco short stories and starring him, Emma Roberts, and Val Kilmer. “It was so weird, because the day I got cast in the film I got an e-mail from Amazon with a book suggestion for Palo Alto: Stories,” she says. “Of course I immediately bought it and read it.”

ZOE WEARS DRESS

VIVIENNE WESTWOOD

SHOES CASEDEI HAIRCOMB JENNIFER BEHR TIGHTS WOLFORD

Makeup assistant Carissa Ferreri Hair assistant Lara Cilento Manicure assistant Kate Mosher Production Barton Bronstein and Jennifer Hook Videographers Nick Walker and John O’Hara Retouching Portus Imaging Locations Pier 59 Studios West, Los Angeles, and Smashbox Studios, Los Angeles

CLAIRE JULIEN You may recognize ice-blonde beauty Claire Julien from this summer’s Sofa Coppola-directed hit, The Bling Ring, about a string of robberies committed by a brat pack of teens who broke into the homes of Paris Hilton, Orlando Bloom, Rachel Bilson, and other celebrities and made of with millions of dollars’ worth of luxury goods.

The scandal hit close to home for 18-year-old Julien, who grew up in the Hollywood Hills, with her Oscarwinning cinematographer dad, Wally Pfster (Inception). To prepare for the role of Chloe, the spunky lookout who was more concerned with having to pick up dog shit than with actually getting caught, Julien read the news and watched a lot of reality television, like Pretty Wild and The Kardashians, as well as surveillance footage of the actual crew.

“I also drew from the various kids I grew up with and went to school with,” she says.

talent

Makeup Sabrina Bedrani for NARS Cosmetics (TraceyMattingly.com) Hair Dennis Gots for Berns & Black Salon (Jed Root Inc.) and Candice Birns (Nest Artists) Manicure Jolene Brodeur Digital technician Damon Loble Photo assistants Ron Loepp, Amy Mauth, Robin Harper Fashion assistants Catlin Myers and Manuel Parra Key grip Roger Pittard

aubrey plaza

The darling of deadpan crosses inTo leading lady TerriTory wiTh a “sexy” new film “I defnitely feel like I learned a lot about my body parts, and other people’s body parts,” Aubrey Plaza jokes of making her latest flm, The To Do List, which she likens to “shooting a porn.” The period piece—it hearkens back all the way to 1996—stars Plaza as the studious and straight-laced Brandy, who aims to lose her virginity by the end of summer in order to prepare herself for her college years. In one of the flm’s most LOL scenes, she researches sex (mainly through quizzing her promiscuous older sister, played

by Rachel Bilson) and writes out a wonderfully nerdy checklist of sexual activities, in part to train for her big moment. (“Hand jobs, blow jobs, wow there are a lot of jobs,” Brandy remarks.)

The flm is directed by Maggie Carey, who has been writing and producing comedy shorts since the early aughts (including hilarious clips for Funny or Die and the pitch-perfect insanity of The Jeannie Tate Show, in which a soccer mom conducts a talk show in her minivan). She also happens to be married to SNL alum Bill Hader, and she’s enlisted a hearty roster of comedic heavyweights, including Andy Samberg, Donald Glover, and Alia Shawkat. “The fact that I got to be there every day and kind of work with all of these people was really important for me,” says Plaza. “And the fact that I just got to pretend like I was giving Andy Samberg a blow job, that was really fun. There’s no way around feeling like you’re shooting some kind of pornographic movie, because I’m on my knees and he’s there and we’re in a tiny shower and there’s water everywhere—it’s just so awkward.

But thank God I was with people that I love.”

She demurs when asked how it feels to wear the leading lady mantle (The To Do List marks her second such role, after Safety Not Guaranteed), instead focusing on her other job, the primetime TV show Parks and Recreation, which has just been renewed for another season. “Yes, Amy [Poehler] and I are calling it ‘sexy six,’” says Plaza. “It’s our sexy sixth season. We hope it’s going to be extra sexy for everyone.” Does that mean incorporating some of her new tricks? “I hope so! I think we need to spice it up in that department.” Sarah CriStobal

left: clothing nina riCCi ShoeS Stuart weitzman tightS hue above: clothing iSabel marant bootS GiuSeppe zanotti

WORK IN PRO GRESS

three impressive upstarts featured in frieze frame, the joe fresh-sponsored young artist division of new york’s frieze art fair, offer a rare glimpse into their respective studios

PhotograPhy Jason schmidt

Island MentalIty

The works on view at Frieze intervene in New York’s smaller uninhabited islands and their collective institutional history as dumping grounds for the quarantined, diseased, incarcerated, drug-addicted, and indigent. Asymptomatic Carrier (2013) focuses on abandoned North Brother Island (adjacent to Randall’s Island) and its now defunct quarantine hospital. Famously the home of Typhoid Mary, the island and its structures have inexplicably been left untouched since its desertion in the early 1960s. The video pairs images from this overgrown, post-human landscape with audio from a peculiar telephone exchange whose caller claims to live on the island.

Three other works, each pairing a photograph and sculpture, depict a series of items constructed, severed, and sent through the postal service to obsolete addresses on other uninhabited islands. Both delivery and return addresses on these parcels are undeliverable. They are insertions into the postal system, but with no possible way out. FranK hEath

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Strike a PoSe

After we set up the studio, I started to pose for the camera.

When I accepted this invitation to be photographed in my studio, I told myself, I don’t want to look like I was caught in some sort of brooding-artist-in-her-habitat scenario. Instead I convinced myself to try a living-out-loud, not-a-model moment.

I believe Jason (the photographer) realized I had a very clear direction in mind about how I wanted to be pictured, so he was kind enough to rig a remote trigger and hand it to me. So essentially this is a selfe.

All the mannequins, when completed, will be used for a series titled “No Sex, No City.” Selections will be presented at Frieze Frame as well as the Whitney Museum. STewarT UOO

WORK IN PROGRESS

Printed Matter

Jason [Schmidt] had taken a complex shot of the entire studio with me sitting in the middle of it, and we were certain that was the one. Then he brought my attention to this more direct and active representation of my studio and me. Here you see a few works for Frieze Frame that I recently fnished while in residence at Artpace, San Antonio. I’m lifting a double-sided print. The same image is printed back and front, but ofset, and the paper is transparent, so the images merge but are just of symmetrical. Behind me are sculptures of lariats on steel supports. Although synonyms, I think of “lariat” and “lasso” as being distinct iterations of the same object.

The lariat, to me, is the stable, rigid rope, and the lasso is the active form in space. Maybe these works exist somewhere in between, but cowboys just call ’em ropes. J. PARKER VALENTINE

POWERHOUSE

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POWER hOUSE

MiaMi’S uLtRa MuSiC FeStivaL SHOWCaSeS a NeW BReeD OF MeGaStaRS MaKiNG NOiSe FOR tHe MaSSeS aND GiviNG POP iDOLS a RuN FOR tHeiR MONeY. iN 2013 tHeRe’S NO SuCH tHiNG aS tOO MaNY DJS PhotograPhy MarK aBrahaMS

DaviD Guetta

Describe your sound in three words: Are you ready? What time do you usually go to sleep and when do you wake up? It really depends where I am; I play 150 gigs a year and they can wrap anywhere between 2 am and 7 am in Europe. I’m a simple creature; I just need six hours sleep, lots of food, water, and my music. Do you have any rituals before, during, or after a performance?

Not really. I just like to have one hour to prepare my set and a little disco nap so my mind is fresh. Where is the strangest place you’ve ever performed? I wouldn’t say “strange” so much as “unique”—and I haven’t played there yet, but I’m about to spin at the Great Wall of China, which is pretty historic and a landmark show for me. I’m not sure what to expect but am honored to be invited. What’s the biggest crowd you’ve ever played to and where? New Year’s Eve 2011—I was the frst European artist to play on Copacabana Beach. It was a free party and there were people dressed in white as far as the eye could see. They estimated three to four million! But it was impossible to count. That was pretty incredible. What is the most fun part of touring?

No question, performing. I tour constantly; it’s my life and I wouldn’t live any other way. But it can be tough across time zones. But as soon as I hear the intro beat and the crowd roar, my blood pumps. Then I’m totally alive. Connecting with people through music is my drug. Least fun part?

Waking up and not knowing where I am. That happens a lot; I don’t worry about it anymore, but it used to freak me out.

Do you have a team that helps you when it comes to putting your show together? I have a great team that has been with me for many years now. Some of them since the very start. It’s much smaller than you might think, especially when you compare the crews of bands playing the same size arenas or festivals. I lead the creative, as it’s my vision, and they design it with my guidance. We are constantly evolving the content of the visuals and lighting show. I use a bespoke technology, which means that no two shows are the same. No time code; it’s all live. Do you have any lucky charms? I’m not superstitious, but traveling to gigs without my sidekick, Jean Gui, would be a nightmare. What’s on your rider that we might not expect? More like what’s NOT on my rider that you WOULD expect; it’s really simple—water, energy drinks, and that’s about it. If I’m living large, I might have a Coca-Cola. If you could play anywhere for anyone, what would be your most ideal set? I’m going to twist this. Who would I like to play with? Prince. I don’t really have idols, but he comes pretty close. What I love most is playing for people who want to let go and go on a journey together. What is the biggest misconception about electronic music? That it’s new! Our music in all its shapes and forms is decades old now and rooted in popular culture. It just gets diferent tags.

Personal motto: One Love

POWERHOUSE

Armin vAn Buuren

Describe your sound in three words: Trance, progressive, euphoric Tell us about your setup: My DJ setup is a Pioneer DJM-2000 mixer and 4 Pioneer CDJ-2000-NXS. I use my laptop to communicate with the front of house and run my music through Pioneer rekordbox. What time do you usually go to sleep and when do you wake up?

On tour I sleep whenever I can. In the last couple of weeks, close to the deadlines of fnishing my recently released album, I didn’t get a lot of sleep. Do you have any rituals before, during, or after a performance? I like to arrive an hour before my set, to listen to what the DJ before me is playing and to catch a bit of the mood/vibe of the audience. Where is the strangest

place you’ve ever performed? In the middle of the desert in Jordan. It was special and amazing! What’s the biggest crowd you’ve ever played to and where? Love Parade in Germany, for one million people. What is the most fun part of touring? We have just fnished the A State of Trance 600 Expedition world tour, which meant we did gigs in places we normally wouldn’t. We toured with a complete team, about 20 people, and we became a bit of a family because of these trips.

Least fun part? Easy answer: being away from my family. Do you have a team that helps you when it comes to putting your show together? Yes, I’m lucky enough to have a team that helps me out, together we are able to take care of both the bigger picture and the small details. Do you have any lucky charms?

My headphones! What’s on your rider that we might not expect? I think I have a very boring rider, no clown outfts, boats, or weird drinks or foods. The most important thing for me is that I always need a Wi-Fi connection. If you could play anywhere for anyone, what would be your most ideal set? We are actually working hard toward the start of my new Armin-only tour, which is named after my album Intense. We announced that two shows will take place at a new venue in the Netherlands, called the Ziggo Dome, this November. What is the biggest misconception about electronic music? Computers can’t make music. Some people think music is made entirely by computers, but it’s humans that have to tell the computers what to play! Personal motto: Don’t be a prisoner of your own style.

Disclosure

Describe your sound in three words: Dance, electronic, songs Tell us about your setup: Our studio setup is very simple. We have an iMac, a few synths, a microphone, and some other basic equipment. What time do you usually go to sleep and when do you wake up? It changes drastically every single day. Do you have any rituals before, during, or after a performance? Not really, no. Where is the strangest place you’ve ever performed?

We played in Romania on the roof of the People’s Palace. It was pretty strange, but an amazing experience. What’s the biggest crowd you’ve ever played to and where? Probably Coachella, in the U.S., or Bestival, in the U.K. What is the most fun part of touring? Playing to crowds who sing the words of our songs back to us is pretty amazing. Other than that, just meeting new people and seeing cool places. Least fun part? Lack of sleep. Do you have a team that helps you when it comes to putting your show together? Up until just under a year ago we toured on our own, but now we have a small team who we tour with and design the shows with. They’ve made our jobs a lot more enjoyable! Do you have any lucky charms? Nope. What’s on your rider that we might not expect? Pistachio nuts? What is the biggest misconception about electronic music? There are a lot of “live” shows that are actually just a man standing behind a laptop doing nothing.

From LEFT: GUY WEArS T-SHIrT T BY ALEXANDER WANG HoWArD WEArS JACKET AND SHIrT ALEXANDER WANG

Skrillex

Tell us about your setup: I use two to four CDJ-2000s, a Pioneer 900 mixer, sometimes some extra samplers with pads. It’s constantly evolving. What time do you usually go to sleep and when do you wake up? It varies greatly. When I’m on tour I could be anywhere in the world, so it’s rough. At home I have a pretty late schedule. I wake up around 11 am to 1 pm and go to bed around 4 am to 6 am when I’m making music. When I’m in business mode at home I wake up early, around 9 am. Do you have any rituals before, during, or after a performance? Usually I have a deejaying setup in the dressing room. I like to practice and try out new music I’ve worked on and hang with people and get

the vibe right before a set. Good energy is crucial. Where is the strangest place you’ve ever performed? That’s a hard one. I played a Mayan pyramid for the end of the world, on 12/21/12, in Puebla, Mexico. I’ve also played a vegan backyard barbecue with Moby. The term “too weird” doesn’t exist in the world of the DJ, the weirder the better. What’s the biggest crowd you’ve ever played to and where? Quebec City Summer Festival. There were over 100,000 people and the crowd kept going beyond capacity. What is the most fun part of touring? It’s probably traveling and meeting new people, becoming a more cultured person. Constantly juggling work with my label and making my own music and playing live is taxing, but so benefcial, because you’re always

learning. Meeting great people from diferent walks of life from all over the world—touring has brought me connections and creative relationships with people I never dreamed of meeting. Least fun part? Headlining shows and having to go straight from the venue to the airport. Like, fucking fying out right after a late European show and not knowing where you are. Do you have a team that helps you when it comes to putting your show together? Absolutely. It’s a lot of hard work, there’s a big team. The Skrillex show is more of a big festival installation. Again, it varies, a club show is a bit more focused around music and the intimacy, whereas a festival production is an installation, and that takes a lot of people to run.

Nervo

Describe your sound in three words: Bold, brave, escape Tell us about your setup: We play house music. Our tunes and other people’s tunes too. What time do you usually go to sleep and when do you wake up? We’re constantly topping up on sleep, because we work nights and days too. Do you have any rituals before, during, or after a performance?

We’re constantly refreshing our set, fnding new music, making new mash-ups, tweaking our own records, etc. Where is the strangest place you’ve ever performed? Our grandma once asked us to show her what deejaying was, so we played for her at home for about 15 minutes. She seemed to get it by the end. What’s the biggest crowd you’ve ever played to and where? Defnitely one of the Insomniac festivals, probably either Wonderland or Electric Daisy Carnival. What is the most fun part of touring? Feeding of the crowd’s energy and seeing our fans react to our music is the biggest buzz of all time.

It’s also great to see the world and experience so many diferent cultures. Least fun part? The lack of sleep! Do you have a team that helps you when it comes to putting your show together? Nope, just us. Do you have any lucky charms?

Each other What’s on your rider that we might not expect?

Most people assume we drink vodka, but Mim drinks whiskey.

We also ask for gum (for minty breath) and PowerBars, for when we’re hungry at night and no restaurants are open. If you could play anywhere for anyone, what would be your most ideal set? An 8-hour Ibiza marathon on the beach with a great sound system and all of our friends there. What is the biggest misconception about electronic music? It’s not just “doof doof doof.” There’s a lot of depth and diferent textures in electronic music. Each DJ can be diferent, in the way they produce and play. Personal motto: Art before chart

olivia (on lEFT) wEars vEsT diesel 51

POWERHOUSE

AVICII

Describe your sound in three words: Melodic big-room house Tell us about your setup: I use FL studio for my compilations and podcasts, and I deejay of USBs on the CDJ-2000s. What time do you usually go to sleep and when do you wake up? This really difers due to my intense touring schedule. I guess I’m more of an evening person rather than a morning person though. Do you have any rituals before, during, or after a performance? My pre-gig routines consist of deciding on what tracks I want to bring. I make sure I have all my things in order and then maybe go out for some dinner before the show. Where is the strangest place you’ve ever performed? I’ve played a

lot of strange places! It surprises me when people show up to remote places. Actually, the strangest place I ever played and at the same time the most overwhelming was Haiti. I went over there thinking nobody knew who I was and suddenly I was standing in front of a 4,000-person crowd. What’s the biggest crowd you’ve ever played to and where? That’s hard to tell, but probably one of the big festivals, like Ultra.

What is the most fun part of touring? Being able to play for my fans all over the world and experience so many diferent and amazing cultures. Least fun part? I love what I’m doing. But then again, of course it’s tiring, especially when you have really long tours. I have had 35 shows in a row in 30 days and double shows with no rest—it can be exhausting.

Do you have a team that helps you when it comes to putting your show together? When I met Ash [Pournouri], my manager, he took my career to a completely diferent level. I would not be where I am if it weren’t for him. Neither of us could have anticipated the kind of team we would make. When it comes to my music, touring, and deejaying, I am in control.

Ash takes care of the rest. Do you have any lucky charms?

No, not really. What’s on your rider that we might not expect? LEGOs are kind of unexpected, right? If you could play anywhere for anyone, what would be your most ideal set? That’s a very hard question. I usually prepare my set, but that always changes on stage. It’s important to read the crowd and control it with the tracks you choose to play.

Digital technician Tim Bell Photo assistant Eric Simmons Equipment rental Milk NY Special thanks Alexandra Greenberg, Clayton Blaha, Darren Baber, Chris Werner, Marije de Konink, Sander Reneman, Justin Kleinfeld, Ciara Davey, Diana Baron, Alexandra Baker

IConA PoP

Describe your sound in three words: Bittersweet electric pop Tell us about your setup: We have a table between us with a lot of gear. We call it the spaceship.

Then we also have other stations with instruments like drum machines and synthesizers. The spaceship is getting bigger and bigger. We think electronic gear is sexy. What time do you usually go to sleep and when do you wake up? We travel between diferent time zones constantly, which makes it hard to decide what time is real time. We sleep when we have time to sleep. Do you have any rituals before, during, or after a performance? We have a thing we call “rock pose” where we see ourselves like rock stars trapped in the bodies of pop stars.

We collect all energy and then we stand in a ring and scream “YEIYYEAH” with our fngers shaped like horns. You get a spot in the middle of the ring if you’ve done something really brilliant or you are in need of good energy. What’s the biggest crowd you’ve ever played to and where? We played at the opening of Sweden’s biggest arena. It was about 50,000 people.

What is the most fun part of touring? Seeing the world.

We love to meet people from diferent places and to rage and dance with them. We love our gypsy lifestyle. Least fun part?

We hate going through security at airports. They always take us aside and do an extra silly security check. Do we really look like criminals? Do you have a team that helps you when it comes to putting your show together? Dreams come true with our crew. What’s on your rider that we might not expect? Naked men and mozzarella sticks. If you could play anywhere for anyone, what would be your most ideal set?

With David Bowie in Prince’s bedroom. What is the biggest misconception about electronic music? That you can’t play it live. Personal motto: Throw yourself out there and trust your gut, because that’s what we do.

TiËsTo

Describe your sound in three words: Uplifting, energetic, melodic Tell us about your setup: I use four decks and a mixer and sync system that allows me to sync visuals with the music. What time do you usually go to sleep and when do you wake up? It’s diferent every week, but I mostly sleep between 5 am and 10 am. Do you have any rituals before, during, or after a performance? I just like to hang and relax in the dressing room. Where is the strangest place you’ve

ever performed? The Olympic Games in 2004. What’s the biggest crowd you’ve ever played to and where?

The Olympic Games in 2004.What is the most fun part of touring? I get to see the whole world, meet great people, see famous buildings, and visit amazing cities. Least fun part?

Going through airports. Do you have a team that helps you when it comes to putting your show together? Yes. I make all the creative decisions, but I have great people around me who execute my ideas. Do you have any lucky charms? No.

What’s on your rider that we might not expect? To fip the question around a little bit, I actually just took Jägermeister of my rider, which most people expect me to have on there. It’s tequila for me now! If you could play anywhere for anyone, what would be your most ideal set? I feel like I’m already doing that, playing at festivals like Electric Daisy Carnival, Ultra, and Tomorrowland. What is the biggest misconception about electronic music? That it’s just pushing buttons.

It’s so much more than that. Personal motto: Live by the day.

e v e r l a s t i n g

Nearly 40 years iNto his career, PriNce is still churNiNg out miNd-blowiNg music. curreNtly PlayiNg two shows a Night while oN tour with his New baNd, 3rdeyegirl, the icoN takes a momeNt (at 2 am) to sermoNize oN sex, religioN, aNd rock aNd roll PhotograPhy iNez & viNoodh fashioN melaNie ward text vaNessa grigoriadis

It’s no sweat for Prince to play two sets a night, as he does this evening at the 1,700-seat City National Grove of Anaheim California.

He tells me that if anything he’s more energized after the second show, not less. Both shows stretch to a delicious two hours, as the crowd, in blowouts and Vegas-style cocktail dresses (it’s worth dressing up for Prince, even in California), screams and sings along with glee. The only tense moment comes when we fle into the theater and a security guard says, “No cameras, no cellphones—don’t even take them out of your pocket. Tonight, we’re not asking, we’re just escorting.” I ask her what that means.

“If we see you with your phone out, we’re not going to ask what you’re doing—you’re just gone.”

This demand might seem extreme coming from the Purple One—a very young-looking 55, with a tight Afro instead of his usual loose curls, clad in a black bodysuit with white lines that makes him look like a spider—but in fact it’s not out of character.

You could argue that Prince was an early adopter of phone-text-speak (“I Would Die 4 U” and all that), but he’s eschewed the PR opportunities aforded by the latest tech almost completely, refusing to put his videos on YouTube and ofering new music mostly for sale on his websites. And in part by making himself so unavailable, he’s remained as mysterious as ever. Prince has always refused any label the world wants to slap on him. A devout Jehovah’s Witness since 2001, he writes music that is explicit about both Jesus and sexual desire. He’s a black man with light skin who usually dresses in clothes that seem inspired by female icons, from Twiggy to Marie Antoinette. A heterosexual man who deeply worships sexually confdent women, he nonetheless wants to dominate them. Prince keeps his private life private: he’s usually either on the road or at Paisley Park, his $10 million compound in the suburbs of his hometown of Minneapolis, with multiple recording studios, wardrobe rooms, a video-editing suite, a sound stage, production ofces, rehearsal areas, and “the vault,” which includes his extensive library of unreleased recordings.

Tonight’s show is a lot less about pop, R&B, and funk than his music has been in the past—in fact, he’s playing rock, like his new song “Screwdriver,” and doing guitar-heavy, stripped down versions of his old hits, including “Raspberry Beret,” “When Doves Cry,” and “Computer Blue,” for which the stage is sufused in blue light. For this tour he’s backed by 3RDEYEGIRL, a new rock band that he assembled himself. It’s made up of Danish bassist Ida Nielsen, wearing pigtails, blonde Chicago College 54

Jacket and necklace Prince’s own shirt Jason Wu

vest balmain sunglasses nooka other clothing and accessories prince’s own

donna wears Jacket and vest Balmain top Versace ring Delfina Delettrez

of Performing Arts at Roosevelt University jazz performance major Hannah Ford-Welton, on drums, and Canadian Donna Grantis, with half her head shaved, playing a wild, shredding guitar. “I’m trying to get these women’s careers started, because they’re all so talented,” he tells me later. “It’s not even about me anymore.”

Playing with 3RDEYEGIRL, there’s lots of room for Prince, one of the world’s most celebrated guitarists, to show of his skills (though Ms. Grantis does keep up with him). The show feels like a gospel revival, with Prince as the groovy, feel-good pastor facilitating a release of energy for the crowd, which sings along and nods when he throws out lines about “compassion” or preaches “the only love we have is the love we make—we’ve got to take care of each other, everybody.” At the end of the show he says, “Thank each and every one of you for leaving your cell phones in your pocket. I can’t see your face when you’ve got technology in front of it.” At 1:30 am, as the lights go up after the second show, two MILFs chat by the stage. “He was gorgeous up there,” says one. Prince’s elegant manager, Julia Ramadan, appears quickly and whisks me through a clutch of roadies and onto Prince’s idling tour bus, where 3RDEYEGIRL is hanging out. I’ll do my interviews here, and per Prince’s usual demand of journalists, will conduct them without a tape recorder or notepad, though I am allowed to have a list of questions. When I ask him why he’s required this of journalists over the past decade, he says, “People have sold my interviews.”

First, I talk to 3RDEYEGIRL, who are still fushed with excitement from the shows, about their experience with Prince.

Nielsen, who has played with Zap Mama, was the frst one he recruited. Prince’s manager found Ford-Welton. Grantis appeared when Prince told Ford-Welton and her husband to discover “the best female musician out there” (they found her videos on YouTube). We talk about what life is like at Paisley Park. “We practice all the time,” says Ford-Welton—it’s something like 12-hour days, six days a week. All the musicians in 3RDEYEGIRL have a background in jazz improvisation, so they’re able to react quickly to Prince’s lead when he’s composing, but they’re still astounded at how fast he is at songwriting and arranging.

Grantis calls him the “best band leader in the world.” Nilsson nods. “There’s a special chemistry between us,” she says. Later Prince will ask DJ Rashida to play a banging song for me that he wrote for Ford-Welton and her husband at the after-hours

HANNAH weArs JAcket saint laurent by hedi slimane dress bess LeggiNgs american apparel

party. I ask Rashida what Prince songs he doesn’t like her to play at his parties, and she says, “Well, not the ones with curse words, because he doesn’t curse anymore.”

Soon the door to the tour bus opens: it’s the man himself. He’s changed into a new outft of fared pants with primary color stripes, a large ring with a blue evil eye at the center of his right hand (“nothing evil about it,” he tells me) and a rhinestoneencrusted pimp cane in the other. The cane is just for decoration; he is clearly in amazing shape. Prince points at me and then at Richard Sanders, an executive at his label, NPG Records. Richard takes out a sheaf of paperwork and puts it on the bus’s kitchen table. It’s the contract for the new 3RDEYEGIRL record, which has been awaiting a fnal signature. Prince afxes with a fourish.

“That’s it,” he says, turning to Grantis, Ford-Welton, and Nilsson. “You’ve got a record deal. Now we just have to make some songs.” Everyone laughs at this joke—with Prince’s prolifc output as a producer, they’ve been recording so much for the past few months that they already have most of the album done. The women take their cue and leave the bus, with Richard hot on their heels. “Thank you so much for coming,” Ramadan says to him, graciously. “Oh, please,” he replies. “This is the fun part.”

With everyone gone, Prince and Ramadan take seats on a low-slung black leather couch. I sit opposite and throw out my frst question: “I was just talking to the women about your new band, about how they met you. But what drew you to creating the band in the frst place?”

Prince rests his thin, elegant hands on top of the cane and speaks quietly—he expended his voice during the shows, and now he’s saving it—but never averts his gaze. Framed by thick lashes, his extremely large, liquid eyes seem to occupy half his face.

He takes a breath and then begins a long monologue: “This organization is diferent than most, in the sense that we don’t take directions from the outside world. It’s like a galaxy. The sun is in the center giving of energy, and everything revolves around it.” He talks about what it would be like if instead of the sun giving of energy, energy was trying to exert its force on the sun. That wouldn’t make a lot of sense. It would be, he says, like “meteors hitting a planet!” What makes much more sense is “a sun pulling everything around on its own axis, with information. The sun is information. Nobody really talks to me. Nobody

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necklace delfina delettrez bracelet Saint laurent by Hedi Slimane other clothing and accessories her own

talks to me a lot.” He points at Ramadan. “I talk to her. She talks to you. She talks to Richard. And so on and so forth. If I trust her, then you can trust her.”

Prince likes this system. “I directed a couple flms and it was taxing in that people were asking me questions about their jobs.”

He much prefers peace and calm. “I have to be quiet to make what I make, do what I do.” He takes a breath. “Another thing that’s diferent about this organization is that time here is slowed down, because we don’t take information from the outside world.

We don’t know what day it is and we don’t care. There is no clock.”

Living in the now, he says, makes the tour go by very quickly. Indeed he couldn’t tell me how long he’s been on tour because he only counts the hours he’s actually onstage when he thinks about it. So in the last month, “I’ve only been on tour for two days,” he says. “That’s the work.”

He seems to have come to the end of this thought, so I look down at my questions, unsure if I should ask the frst one again. Better not. “Your shows are wonderful, obviously, but known to be very unpredictable,” I say. “How do you decide what you are going to play?”

“I decide in the moment,” he says. “I change the set list right then and there.” He also takes into account the state of his guitar.

“To play solos the way I’m playing them, the guitar goes out of tune sometimes. It’s just a piece of wood.”

“What happened with The Roots’ guitarist’s guitar, the one that you threw after your performance on Late Night with Jimmy Fallon?” I ask.

“What?” he says.

“Didn’t you borrow a guitar from him and then throw it after your set? It was all over the news.”

“No,” he replies, straight-faced. “Another thing that’s diferent about this organization is that we don’t think about that,” he says, pointing at the TV. He returns to speaking about guitars. Sometimes, he says, he makes sure to include a song he can play on piano so the guitar can go ofstage and get tuned. In fact, he explains, this is why he added Gratis to the band—he needed a second guitarist for

prince and 3rdeyegirl performing at the Joint at hard rock hotel & casino, las Vegas

these moments. “But that guitarist had to be great,” he says. “She couldn’t be a punk.” How does he think female and male guitarists are diferent? “I don’t think women and men are diferent in that regard. Donna can whup every man on guitar, bar none.”

What’s the diference between men and women generally?

“Well,” he says. “If we didn’t have to go to a party, we could talk about that.”

I see him shifting around in his seat a little—he has planned an after-party in the venue’s VIP lounge—and I start to think he’s going to cut the interview short. So I ask my big question: “How do you, as a religious person, reconcile the religious impulse with what most of your songs are about, which is the sexual one?”

Prince bursts out laughing and points to Ramadan. “Ha!” he says. “Now we know what you’re going to write about. We were waiting for your thread.”

He clears his throat. “First of all, do you see a diference in religions?” he asks. I say no, suggesting all religions are based on the same idea and then corrupted by their human leaders. “Then what are the wars about?” he asks, unhappy with my answer.

“If one religion believes Christ is the king, and another doesn’t, then there’s a diference in religions.” He goes on for a bit, and adds, “we are sensual beings, the way God created us, when you take the shame and taboo away from it,” and continues that religion should be thought of like a force, an electro-magnetic one or like gravity, that puts things in motion. Then he says, “I don’t want to talk about this.”

I ask him if he believes in sin. “You have to look at the origin of the word,” he says. “Humans needed a language to describe a rule given from some group from…” He pauses, then says, and this is as I remember it: “Words are tricky. And plus these days I just talk to the folks in the outside world about music. If you were a student and I was teaching you something we could get into that. We can’t do this before a dance party.”

I begin madly crossing of my non-music questions and tell him I’m thinking of learning guitar so I can teach my daughter.

“See,” he says, “if I discussed my past, your baby would never see you. And what a waste.”

from left: donna wears jacket, vest, pants, belt balmain boots saint laurent by hedi slimane HannaH wears jacket balmain turtleneck current/elliott leggings american apparel boots versace ida wears jacket, vest, cuffs saint laurent by hedi slimane pants and boots balmain gloves karl lagerfeld necklace delfina delettrez otHer jewelry Her own grooming, makeup, Hair amber rose Lighting director Jodokus driessen digitaL technician Brian anderson Photo assistant Barton Jahncke styList assistant courtney kryston Production Brenda Brown (the coLLective shift) on-set Production Lisa grezo (ge ProJects) Production assistants Max MiLLer, kicker Mccann, haoyuan ren studio Producer Jeff LePine studio Manager Marc krooP Location the Joint at hard rock hoteL & casino, Las vegas sPeciaL thanks JuLia raMadan

We talk about how he seems to be operating on a business plan that requires him to do a lot of touring. “I love it,” he says.

“What, this is so terrible? I’m sooo bored of it.” He gestures around his swank bus and laughs. We discuss which song in his vault he feels he should have released. “Which one of your children do you like the best?” he says. “Music comes from the same source. It’s all the same thing.”

What records does he listen to now? He mentions Lianne La Havas, KING (a female trio he’s worked with), Janelle Monáe, and Esperanza Spalding. “I listen to my friends’ records before they come out,” he says. “Feel me. A record nowadays comes out a year after it’s made. When we make music, we want it to come out right away. Because we’re going to have some new stuf right away.”

What does he feel about the return of vinyl? “It never left,” he says. “Think about a young person listening to Joni Mitchell for the frst time on vinyl. You know how fun that is? Whoa, we gonna be here a minute.”

I ask how tech-averse he really is; does he have an iPhone? “Are you serious?” he says. “Hell, no.” He mimics a high-voiced woman. “Where is my phone? Can you call my phone? Oh, I can’t fnd it.” He talks about people who come to his concerts all the time, akin to the Deadheads. “People come to see us ffty times. Well, that’s not just going to see a concert—that’s some other mess going on. This music changes you. These people are not being satisfed elsewhere by musicians, you feel what I’m saying? It’s no disrespect to anyone else, because we’re not checking for them. But we don’t lip synch. We ain’t got time for it.

Ain’t no tape up there.”

He stands up, planting his cane on the foor. I ask how the music that he’s playing now, with 3RDEYEGIRL, has changed him. “I’m calmer now,” he says. “I’m rougher with men. I bring my tone down with women. If they make a mistake, I don’t look at them and go, ‘Seriously?!’” He talks about Ford-Welton missing a cue on one of their songs and how he simply gestured to her and told her just not to do it next time. “I explained that she had to pay attention. Stay in the moment.” Then he smiles.

“Let’s go to the party.”

clothing Prince’s own

FASHION ICON CARINE ROITFELD FONDLY RELIvES HER TEENAGE MODELING DAYS WITH A THROWBACK SHOOT FEATURING THE CURRENT CROP OF MUST-HAvE PIECES FOR FALL

C A R I N E ’S

“The English photographer Tony Kent discovered me in the street in Paris when I was 16 and took me to Model Promotions, Elite Paris’s teenage division. After one season I went to London and signed with Bobton’s. These are my frst and only modeling composites. On the far left I’m wearing a skirt that my mother made from souleiado, a very traditional French fabric used for napkins and table linens.”

—Carine Roitfeld as told to Christopher Bartley

PHOTOGRAPHY SEBASTIAN FAENA FASHION CARINE ROITFELD 66

HAT (THROUGHOUT) EARLY HALLOWEEN PIN (THROUGHOUT) KENNETH JAY LANE SCARF (THROUGHOUT) CHARVET ON eyeS, M.A.C TROPICAl TAbOO KOHl POweR eye PeNCIl

“Back then I would pluck my eyebrows a lot, which I now think is very démodé. But I was lucky because for many girls they never grow back. At the same moment, I was spending a lot of time in the Indian shops, where I discovered raspberry extract and wore it as a fragrance. It was also in those shops that I frst found black kohl eyeliner, which I’ve worn ever since.”

TUNIC roITfeld’S oWN BooTS GIVENCHY BY RICCARDO TISCI NeCKlACe (THroUGHoUT) JENNIFER FISHER

“At this point I was listening to David Bowie nonstop. (I learned English listening to “Life On Mars?”) Hair! was huge in the theater and it infuenced me a lot. My mood was very hippie—I would wear a lot of long scarves and ankle boots in multipattern patchwork, which I bought in London. As a teenager back then you could shop in two places: the Paris fea market or in London. There was no fashion for teens and no High Street. I never aspired to wear big labels the way young people might today. I thought high fashion and fashion magazines were for old ladies and not me.”

TOP EARLY HALLOWEEN SHORTS VINTAGE

HAT WHAT GOES AROUND COMES AROUND TIGHTS (THROuGHOuT) ROITFELD’S OwN

“For a look like this I was inspired by Jean Bouquin, a big bohemian designer of the time. I would mix a vintage Romanian blouse with leather Tyrolean shorts. Both came from the fea market. The denim hat with stars came from Sisley, a label that’s still around today. I would be dressed like this when Emanuel de la Fressange, brother of Inès, would come around on his Solex motorcycle to take me to Castel, a popular nightclub. It was there that I met the other Sisley, my partner and the father of my two children.”

TOP AND SHORTS GIVENCHY bY rICCardo tIsCI LUNCHBOX (THROUGHOUT) VINTAGE ON fACE, M.a.C TROPICAL TABOO SImmER mINERALIzE BLUSH

“I was dressed like this when Tony Kent discovered me. I kind of just created looks on my own, mixing together a lot of crazy elements.”

SWEATER LOUIS VUITTON SHORTS MARC JACOBS SHOES (THROUGHOUT) REPETTO SOCKS MARIA LA ROSA

“I would wear this on the metro as a day look, which today would be impossible because you’d be chased down. I was very skinny, so I bought my tops at children’s stores for very cheap. In France no one knew what a lunch box was because no one took their lunch to work. Mine was from Walt Disney and I wore it everywhere because I was obsessed with Mickey and Minnie Mouse. There was a shop on Rue de Canettes in the 6th called Western House that imported everything from America, and I found my Disney pieces there.”

SWEATSHIRT AND SHORTS

GIVENCHY BY RICCARDO TISCI

“I’ve always loved tights with polka dots and very feminine shoes. It’s funny because looking at this picture I realize my look really hasn’t changed so much. This is something I would very much wear even today.”

CAPE roitfEld’S oWN drESS ALESSANDRA RICH

BootS GIVENCHY BY RICCARDO TISCI

oN fACE, M.A.C luSt MiNErAlizE SkiNfiNiSh

“This is my Moroccan cape, which I still own and wear. I found it back then in an African shop in Paris. It’s not the best quality, but I love it.”

“This is meant to be in the apartment of my parents, who had a lot of Knoll furniture. Of course I didn’t own any Azzedine Alaïa at the time, but I would always wear very short dresses shaped a bit like maternity dresses. I also wore a lot of little inexpensive hippie-ish necklaces, like an antique key on a simple chain.”

DRESS ALAÏA

OVERALLS CITIZENS OF HUMANITY TOP ROiTfELd’S OWN

“At Western House I discovered oversize denim overalls. I must have excited a lot of men because I looked very Lolita when I wore them. In fact a casting director asked me to star in [the 1974 French soft-core flm] Emmanuelle, but of course my father didn’t allow it.”

COAT BURBERRY

“This coat is Burberry, but back then I would have worn a trench that was part of a traditional English school uniform.

It was very short, almost like a dress. It was also very cheap, and the trick was to belt it not in the front but in the back.

That made all the diference. It was a very trendy look to wear jeans or light blue corduroy Levi’s with a trench coat.

We’d wear that to go ice skating on a Sunday afternoon at the Piscine Molitor swimming pool in the 16th.”

JACKET CHANEL BOOTS GIANVITO ROSSI On lipS, M.A.C SO SuprEmE plAyTimE ShEEn SuprEmE lipSTiCK

mAKEup FrAnKiE BOyd (Tim hOwArd mAnAgEmEnT) hAir AKKi (ArT pArTnEr) mOdEl dAliAnAh (nExT)

“My boots came from Carnaby Street and would have a little psychedelic detail, like a lightning bolt, which always reminded me of Ziggy Stardust. Coats for girls my age were never made in bright colors, so I would always wear navy blue or dark green.

When I later worked at French Elle I started wearing black, under the infuence of three designers: Alaïa, Yohji Yamamoto, and Rei Kawakubo of Comme des Garçons.”

Nail techNiciaN hoNey (exposure Ny) light desigN chris BisagNi digital techNiciaN yoo suN Market editor Michaela dosaMaNtes set desigN JosephiNe shokriaN studio photo assistaNts Matt Marchesse aNd reMi laMaNde stylist assistaNt Julia gall Makeup assistaNt ryosuke yaMazaki hair assistaNt NaoMi eNdo productioN heleNa Martel seward productioN assistaNts aNdres altaMiraNo, eric parisi, r. ViNce patti, hugo MartiNez retouchiNg sMooch Nyc equipMeNt reNtal root [eq_capture] locatioN Four seasoNs restauraNt, New york city cateriNg MoNteroNe

JACKET GIVENCHY BY RICCARDO TISCI shorTs lOuIS VuITTON

“Crossing my legs like this was my signature. My clothes were usually very small and very tight, and I would go to lycée looking like this. The school was co-ed, so there were no dress codes, which I found very liberating.”

JAPAN’S HOTTEST ExPORT TO HOLLYWOOD HAS ALREADY BEEN NOMINATED FOR AN OSCAR AND EARNED THE APPROVAL OF THE FASHION WORLD. NOW RINKO KIKUCHI SUITS UP FOR HER MOST MAJOR MOMENT YET, BATTLING ALIENS AS A GIANT ROBOT IN GUILLERMO DEL TORO’S PACIFIC RIM. THE FUTURE OF MOVIE STARDOM IS SHINING BRIGHT IN THE BOLDEST BREAKOUT PIECES OF THE PRESENT

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DRESS AND BELT CALVIN KLEIN COLLECTION EARRING AND BRACELETS ALEXIS BITTAR

COAT FENDI SHOES MICHAEL KORS CUFFS OPENING CEREMONY BELT DIESEL LEGGINGS SALLY LAPOINTE

“SometimeS i'll wear Something really punk rock and other timeS Something very elegant. i don't like to be defined by one Style.”—rinko kikuchi

inko Kikuchi wasn’t even a twinkle in her parents’ eyes when Gloria Swanson played the part of Norma Desmond in the seminal Sunset Boulevard. But a scene in that film sums up the Asian phenom’s breakthrough performance. “We didn’t need dialogue. We had faces!” the ill-fated Desmond cries. The same can be said of Kikuchi, whose silent part in 2006’s Babel made her the first Japenese actress in half a century to be nominated for an Academy Award.

Kikuchi returns to cinema with this summer’s Pacific Rim, Guillermo del Toro’s sci-fi thriller, which has her climbing into an alien-fighting super-robot costume. She grew up outside Tokyo, in a town called Kanagawa, riding horses, fencing, and go-carting, “which I always wanted to incorporate into my acting,” she says, “which I have now been able to do.” And what of this suit, that transforms the petite actress into a crime-fighting machine? “I’d love to wear it again,” she smiles. “But not to dinner, because I can’t sit in it!”

The fashion world has fallen for Kikuchi too, particularly Karl Lagerfeld, who has invited her to Chanel shows around the world and included her in last year’s book and traveling exhibition, The Little Black Jacket. “There is nothing like Chanel to make you feel confdent on the red carpet,” Kikuchi laughs. The Chanel aesthetic fts hers, she explains, because “sometimes I’ll wear something really punk rock and other times something very elegant. I don’t like to be defned by one style.”

Kikuchi was particularly thrilled to revisit the world of futuristic fashion for us here. “I love combining sci-fi and fashion,” she laughs. “And who wouldn’t love wearing a superhero armor suit?” derek blasberg

DRESS alON lIVNe SHOES salVaTOre FerragaMO MASK eddIe bOrgO

COAT CÉLINE SUNGLASSES OLIVER GOLDSMITH BELT PROENZA SCHOULER

DRESS TOM FORD SHOES STUART WEITZMAN

COAT MARIOS SCHWAB TOP ANTHONY VACCARELLO SHOES DOLCE & GABBANA SUNGLASSES ROBERT LEE MORRIS NECKPIECE CHRISTOPHER KANE CLUTCH MAWI

SUIT COMME DES GARÇONS SHOES VIVIENNE WESTWOOD NECKLACE ALEXIS BITTAR

COAT GIORGIO ARMANI MAkeup MAki RyOke (TiM HOwARd MAnAgeMenT) HAiR TOMO JidAi (STReeTeRS) Manicure Gina edwards for deborah LippMann (Kate ryan inc.) set desiGn andrew ondrejcaK (the waLL Group) diGitaL technician saM rocK Lasers MarK nath (LiGhtwave internationaL) photo assistants dean dodos, chris coLLie, saM rocK, Matt roady styList assistants sean nGuyen, prince franco, jasper briGGs MaKeup assistant aKiKo owada hair assistant shu yanaGa creative production sophie ruthensteiner videoGraphers aGostina GaLvez and patricio LiMa Quintana set desiGn assistants adrienne Mehta, nathan sMith, aLejandro fiGueredo, dyaMi aLLen production assistant ashLey waLKer retouchinG veLeM post effects the MiLL eQuipMent rentaL root [eQ_capture] Location LiGhtspace studios ny speciaL thanKs property furniture nyc (crushed bronze eco chair)

The chic-pocalypse is coming! embrace The ouTrÉ hair-raising aTTire ThaT adorned The Fall runways— bearing Japanese inFluences and inescapable volume—For your Fashionable coaT oF arms

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DRESS VERSACE GLOVES LACRASIA On haiR, BumBLE And BumBLE BLOnDiSh haiR POwDER

TOP AND DRESS PRADA BOOTS RICK OWENS HAT PATRICIA UNDERWOOD CUFF DONNA KARAN LEGGINGS NICOLE MILLER

DRESS EMPORIO ARMANI CUFF EDDIE BORGO On haiR, BuMBlE AND BuMBlE DOES it all Styling SpRay

TURTLENECK HUGO BOSS SHRUG aNd booTS RICK OWENS SKIRT FENDI SHoRTS FALKE

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COAT AND BELT CALVIN KLEIN COLLECTION TURTLENECK AND GLOVES KLAWTEX BOOTS RICK OWENS

CLOTHING AND HAT ANN DEMEULEMEESTER SHOES WALTER STEIGER ON HAIr, BUMBLE AND BUMBLE BB. TExTurE HAIr (uN)DrESSING CrEmE

CLOTHING JEAN PAUL GAULTIER BOOTS RICK OWENS

CLOTHING GUCCI

SHRUG DIOR BRIEFS AND GLOVES KLAWTEX BOOTS RICK OWENS

JACKET, SKIRT, BRACELETS CHANEL COAT (TIED AROUND BODY) NORMA KAMALI MAKEUp YADIM (ART pARTNER) HAIR DIDIER MALIgE MODEL SUvI KOpONEN (NExT) Nail techNiciaN hoNey (exposure Ny) Digital techNiciaN DeNis VlasoV (D-Factory Ny) photo assistaNts Myro WulFF, JohN ruiz, Matt roaDy stylist assistaNts liNDsey horNyak aND NarleNa JohNsoN Makeup assistaNts MoNDo leoN aND kaNako takese hair assistaNt takashi yusa proDuctioN JeFFrey Delich For proDN (art + coMMerce) ViDeographer Bell soto retouchiNg gloss stuDio, NeW york castiNg larissa guNN (art + coMMerce) Digital equipMeNt root [eq_capture] locatioN Fast ashleys BrooklyN cateriNg MoNteroNe to see a ViDeo oF the shoot, go to VMagaziNe.coM

the talented acts that grace these pages are all the rage in the british capital. get to know the newest stars of nightlife, pop music, and model-dom photography benjamin alexander huseby fashion jodie barnes

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lily mcmenamy model

Lily McMenamy didn’t plan to follow in the impressive runway footsteps of her mother (übermodel Kristen McMenamy), but shortly after moving to Paris to wait tables and do all the other things that 19-year-olds do, she was suddenly signed to Next Paris. In a few short months she was strutting for Marc Jacobs (topless!), Louis Vuitton, Chanel, and Saint Laurent Paris.

“It had always been my dream to fnish school and move to Paris,” she explains over cofee. “And I went there with the intention of getting by somehow—working in cafés or whatever. And a friend of mine who’s a model said I should come meet her agency. I thought, Okay, sure. I went in there and they were extremely convincing, and I’m kind of spontaneous. And so I was like, ‘Okay!’ So I just signed a contract—I didn’t even read it! Whatevs!

“I’m learning other things and having fun,” she continues. “I go with the fow. I mean, I’m not that much of a diva yet. My mum got fred by her agency once because she turned down a campaign that she didn’t think was cool enough. I wish I could be like that! I’m just like, ‘Oh, cool. I’m down!’

“I want to do everything!” she exclaims when asked what besides modeling she wants to do with her life. “I want to go to school and study art history, and I want to be a contemporary dancer. I’ve started going to this club in the Pigalle in Paris. It’s this, like, Reggae bar, and I’ve been going every night. I don’t even drink! I just walk in, even if I’m alone, and I’ll dance for like four hours or something! I just start swinging my hair around, going insane. And people are like, ‘Are you wasted? Have you taken drugs?’ But no…I don’t do that.”

It’s easy to see why they’d wonder. In the middle of the café where our interview takes place, McMenamy swings her long hair and gangly limbs all around as she demonstrates her dance moves, eyes closed and a grin stretched across her face. Considering her lack of inhibition, it’s hard to imagine that just a few months ago Hedi Slimane hired the young model for her awkward walk. Has her mother given her any tips since then?

“No, we don’t really talk about that stuf,” she explains.

“I’ve always rebelled against my mum’s glamorous lifestyle.

I thought to myself, ‘I’m going to be an intellectual feminist!’ And then I got roped into this…But Mum was saying to me the other day that we both have our niche in the industry. There’s not competitiveness. We’re kind of like, ‘Oh, you got that job? Sick! See you in New York!’” Zac Bayly

LILy WEARS JACKET lOEWE TOP VINTAGE jEan cOlOnna JEANS SISlEy PENDANT TOM BInnS BELT STyLIST’S OWN 1 04

say lou lou twin musicians

It was YouTube that kicked of twins Elektra and Miranda’s career as the act Say Lou Lou. “We had no ambitions to do this,” they say, almost apologetically. “With our parents as musicians, it was too obvious. We didn’t want to feel trapped to go down that route.” So they both pursued academia, aspiring to immerse themselves in social anthropology, but still practiced and recorded together in the evenings. One day they put a video online and were bombarded with views and messages of appreciation. So what is it that so many fans tap into? “We make dreamy landscapes with pop lyrics,” a niche for which they’ve now started their own label, A Deux. And with Say Lou Lou, you get the whole package—the twins are as much concerned with their wistful visuals as they are the soft, melancholic sound. “Longing and yearning and desperation have always been themes,” they explain.

“We grew up traveling between Australia and Sweden, after our parents divorced. We were always upset and missing one part of our lives. We were very dramatic little kids, and movies remain a real source to us in terms of lyrics. Not script lines, but the mood.

When we create our music, we start with situations and scenes— like watching Bertolucci’s The Dreamers or listening to the Drive soundtrack.” The infuence of living between Sweden and Sydney infltrates in other ways too: “Stockholm gave us the pop sound, the melodies, and the intricate layering of old-school electronic music, but we really love organic and natural sound and production too, which comes from Australia.” natalie evans-harding

from left: mIrANDA WeArS SWeAter CÉline JeANS gUess eleKtrA WeArS toP herMÈs SKIrt gaP NecKlAce tOM Binns

mama musician

She may have been christened Simone, but she’s been MAMA to friends and family for as long as she can remember. She grew up in Streatham, South London, where she was exposed to music of all types from an early age. “You’d walk down the street and hear car stereos playing local pirate radio stations, or the world music from my Turkish and Ethiopian neighbors,” says MAMA. “In my house everyone liked diferent genres—my dad was passionately into country music, my mum was a huge Édith Piaf fan, and my brother was a house DJ, so I would raid through his dusty records.” All of these varied musical infuences have been parlayed into MAMA’s debut album, due out this fall. (Her frst single, “Don’t Stop the Beat,” is out in August on Congaloid Records.) “I write every day,” she says. “Drawing from emotional experiences— whether someone’s pissed me of at the supermarket or I had an argument with Vodafone...it’s how I get through life.”

MAMA’s dabbled in everything from punk rock to electronica (and opened for Kele Okereke from Bloc Party), but it’s the experience of playing live that excites her most: “Sometimes I go into a trance, I get so deeply into it. I’ve had people jumping on stage, throwing their underwear at me, grabbing my ankles—I love that exchange of energy. I do a lot of stage diving too, jumping in to interact with them all. I want to give everything.” natalie evans-harding

MAMA WEARS COAT lOUis vUittOn BOOTS stella McCartneY LEGGINGS VINTAGE jean COlOnna NECKLACE HER OWN

stacy martin actress

You may not have heard of Stacy Martin, but you’re about at international schools all her life and her mother being British. to. The 23-year-old model turned actor shares the lead That her speaking voice is so prim and proper makes it all the role in Danish avant-garde flmmaker Lars von Trier’s more surprising that she was selected for what she describes as Nymphomaniac: where the Paris-based talent plays sex- “probably the most sexually explicit flm in the world! maniac Joe between the ages of 15 and 31, while Von Triers’ “I knew how much nudity and sex was going to be in the perennial star, Charlotte Gainsbourg, portrays the character flm, but I also knew that I would have a porn double, and at a later stage in life.

I knew there was going to be prosthetics,” she explains, on How did the neophyte thespian, having just graduated from the verge of laughing. acting school, feel about playing the young Gainsbourg and How does she feel now that it’s done, and what’s on her making her debut alongside cinema veterans Shia LeBeouf, very bright horizon?

Stellan Skarsgård, Willem Dafoe, and Uma Thurman?

“It was only after we’d fnished shooting, when I got back “I guess I was nervous, or I felt like I should have been, home, that I broke down in tears. I was at home and I thought, at least,” she confesses before her V shoot. “But it all hap- Oh my God. This just happened. And I started laughing and pened so quickly that I just had to take it one moment, one crying at the same time. And I called my mum and I was like, day at a time, because what else could I do? When we were ‘I’m really happy but I’m crying?’ And she said, ‘That’s okay.’ I making this flm, I saw it as an opportunity to learn. I didn’t realized I’d been given a chance to do what I love, and I really feel the pressure to do well or anything, because I thought, hope I get to do it again. That’s all I want!” Zac Bayly Well, they’re going to be better anyway, so I’m just going to do what I know best!”

STACY WEARS jACkET (WoRn inSidE ouT) stella mccartney Martin has a perfect English accent, having been educated Top vinTAgE jean colonna SkiRT gap

KEEBO Band

Waitress, student, and tanning salon manager are just some of the trades these ambitious musicians are juggling until they can eventually take Keebo, their fve-piece girl band, full-time.

“We’ll be doing this till we’re 70!” one of them chirps enthusiastically, and they all dissolve into giggles. The band, who cite the Spice Girls as their biggest infuence before an appreciation for The Cure and Morrissey are mentioned, met practicing at Scar Studios, in Camden. “We always wanted to be a girl band— being all women together making music is empowering.” Now they meet up every other day to develop their sound, which the group likes to describe as “psychedelic pop,” and the session usually winds up in their local pub, where the girls can be found discussing everything from their hair woes to Gig Slut—one of the guys who’s started to hang around a little too often. As much as they like getting booked (they played Glastonbury in June), Keebo is still looking to expand their live shows—soon to include busking! “It’s more relaxed, and the best bit is those people who are walking past who then stop and listen to you.”

And what’s the band most proud of to date? “Finding each other,” they say. “We don’t argue, and we’re very respectful of each other. We’re fve understanding women.” For a second the scene is quite touching, then Keebo collapses into laughter again.

Who wouldn’t want to be in this band? natalie evans-harding

FROM LEFT: sOphiE wEaRs jackET louis vuitton T-shiRT armani exchange panTs michael kors bOOTs cesare paciotti aMy wEaRs jackET richard james T-shiRT vinTagE jean colonna panTs prada bOOTs hER Own RhapsODy wEaRs jackET anD panTs saint laurent BY hedi slimane TOp hER Own bOOTs giuseppe Zanotti angELina wEaRs jackET michael kors TOp hER Own panTs vinTagE comme des garçons bOOTs cesare paciotti jO wEaRs jackET edun T-shiRT joe’s jeans panTs louis vuitton bOOTs hermès

BROOKE CandY RappER

It might surprise you to learn that Brooke Candy—whose near-naked, booty-shakin’ video clip for “Das Me” went viral in October 2012—isn’t out to shock. In fact, the 24-year-old American rapper, whose singles include “I Wanna Fuck Right Now” and “Pussy Make The Rules,” has plans to record melodic pop music.

“I’m working towards world domination,” she says without a trace of irony. “My music right now is very polarizing. There are people that will listen to my music before they go out, but it’s not melodic shit that everyone can listen to, and I want to make that…What’s important is my message, not my music, you know? My music takes a backseat to my message.”

That message is one of furious feminism and gay pride. An outcast at school, Candy was kicked out after coming out. She lived in her car for a year and a half, working as a stripper and at an “illegal weed clinic.” She began freestyle rapping at clubs. Not long after someone uploaded a video of her debut performance to YouTube, she stole the show as a pink-haired Mad Max-esque entity in the video for Grimes’s hit single “Genesis.” Since then she’s become the most-watched new fgure in the music industry.

Candy is determined to make it to the top. She oozes confdence and conviction, barely drawing breath while outlining her agenda. “It was hard for me, growing up,” she says. “I wish that there had been someone who was weird and successful and cool and gay and all these things that I would have looked up to. I’m trying to be something that would appeal to the 13-year-old me. I stand for people who don’t ft in. I want them to understand that they can fall and they can fail and they can live out of their car and they can feel like nothing and have their family hate them and feel like shit and still come out of that shining and fucking winning—because I did it. If I can do it, anyone can do it.” Zac BaYlY

bROOkE wEaRs jackET diesel cOLLaR dknY jEwELRy hER Own

KatE aKhurst lEad singEr, KatE BOy

Kate Akhurst hails from Australia, but she's now a bona fde Swedish sensation as the singer for Kate Boy, whose bombastic pop song, “Northern Lights," took the Internet by storm earlier this year. It was also the spark that started it all: the frst time she met her bandmates they wrote the song on the spot.

Markus Dextegen, Hampus Nordgren Hemlin, and Oskar Sikow Engstrom were known as Rocket Boy when they deejayed around Stockholm, but once Akhurst materialized, they changed their name to Kate Boy as a joke and it stuck.

“It encapsulated exactly how we saw ourselves,” Akhurst recalls. “An ambiguous and androgynous character, the ffth member of the band.” From promo imagery to their sharp, ambient video for second single “In Your Eyes,” Kate Boy rifs on elements of exposure and obscurity, shadow and light. Often the band chooses to answer questions as one entity: it’s Kate Boy talking.

“We are very inspired by track-driven songs, rhythm, and emotion,” Kate Boy says. “It’s truly inspiring to hear what heroes from the ’70s and ’80s were able to accomplish given the equipment and technology they had. Now everything is possible. We fnd limitation inspiring.” Patrik Sandberg

KATE WEARS SWEATER MiCHaeL kOrS DRESS (unDERnEATh) AnD BELT niCOLe MiLLer EARRInG dOMiniC jOneS

aluna george pop duo

It’s quite surreal to be Aluna Francis and George Reid at the moment. “Being on Jools Holland was really bizarre,” Francis says of AlunaGeorge’s frst TV performance. “It’s a program we’ve both watched so many times. Going to the Brit Awards, we felt like impostors! We should have been watching it on the telly!”

Since meeting in the days of Myspace and putting together their frst tracks, Francis and Reid have been on a steady incline that has only accelerated with the release of the astonishingly sleek music video for “You Know You Like It.” Along the way they signed a major deal with Island Records and got their own VEVO account. The combination of Francis’s emotive R&B vocals and Reid’s sparse, angular production piqued the interest of the dark and experimental-leaning Tri Angle Records before the majors caught on—though their sound is reminiscent of something that was once considered mainstream on R&B radio, back in the ’90s.

“Internet culture has accelerated the rate at which music is heard, and I think the demand for an instant return has never been higher,” Reid says of the homogenization of radio now. “I guess some people can’t aford to take risks so much anymore.”

“Vocally I’ve been impressed by strong character,” explains Francis. “An experimental or passionate approach to singing, like Björk, PJ Harvey, or The Knife.” Further examples will no doubt come in the form of the London duo’s debut album, Body Music, out this month. “The singles are a good indication of what the album is sounding like,” Francis says. “We’ve worked really hard to make a sound that is ours for people to recognize.” patrik sandberg

ALUNA WEARS DRESS AND BOOTS

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GEORGE WEARS JACKET VINTAGE HeLMUt Lang JEANS 7 FOr aLL Mankind SHOES VINTAGE adidas

MAKEUp FLORRIE WHITE FOR NUDE SKINCARE (D+V MANAGEMENT) HAIR KARIN BIGLER FOR SEBASTIAN (D+V MANAGEMENT) Manicure Shardae Green for oPi diGital technician dave iMMS Photo aSSiStantS edd horder and JaMeS donovan faShion aSSiStantS Manuel eStevez and Polly Butler MakeuP aSSiStant nelSon catarino hair aSSiStant declan SheilS Production chantelle-Shakila tiaGi (reP liMited) retouchinG ProviSion location SPrinG StudioS, london SPecial thankS hannah holland

rosie tapner model

Rosie Tapner is living every teenage girl’s dream. Only 17, the British farm girl turned model has done campaigns for Balenciaga, Chloé, and Topshop, walked in numerous runway shows, and appeared on the cover of British Vogue. “It’s a fairy tale! I just can’t believe it! I’m so lucky to be living it,” she gushes. Growing up in the small town of Herefordshire, England, Tapner was scouted by Storm Models while on a feld trip to a fashion show. “It was probably one of the weirdest experiences of my life. I was just walking around with a friend and someone tapped me on the shoulder and told me they were from Storm and that they thought I could be a model. I just stood there in shock. I was only 15, quite a shy girl. I thought, Is this really happening? Is this a joke?!”

Shortly thereafter, she was signed by Storm—and Balenciaga— for an exclusive campaign, during which she would develop a

close relationship with Nicolas Ghesquière. “I owe so much to Nicolas. He really got my career of the ground. Balenciaga was my frst job. Before that I knew nothing about fashion, but once he threw me in I couldn’t believe how amazing it all was.”

She is studying photography, which she hopes will turn into a career someday, and gleaning every insight she can from being on the other side of the lens. Not that she plans to give up modeling anytime soon: “I want to model for another ten years. I just hope that I’m enjoying it then as much as I am now, because I’m absolutely in love with it!” So what’s up next for the young superstar? More campaigns, more editorials, and more runway shows. And a new diary project for photo class. william defebaugh

ROSIE WEARS COAT RalPh lauReN

WHERE WERE YOU WHEN YOU WERE YOUNg? a few of our favorite glamazons share photos from before they hit the big time. brace yourself!

V-BUY

nicKy hilton (on left) with paris

“My mother always dressed my sister and me as twins when we were children. She had us at such a young age that I think she loved playing dress up, like we were dolls.”

catherine mcneil

carolyn murphy

“I think I was about 11 or 12 here, doing some early ‘modeling.’”

“I’m 15 in this pic. The shaker knit sweater is so ’80s, and I’m sure I had on Guess jeans. Plus the hoop earrings, braces, and hair made higher by a difuser, mousse, and Final Net hairspray!”

Dree hemingway

“I was always a tomboy and playing outside! I was crazy about horses.”

sasKia De brauw

“My friends and I used to go to a photomaton in the station to have a picture taken together, alone, making silly faces. I think my generation has a lot less pictures of themselves.”

112

Joan smalls

“As a child I couldn’t fnd any jeans that ft me. Even size 00 was too big. My mother had to take in the inseam of all of my jeans. Later on I learned how to do it myself.”

Clockwise from top left: courtesy Carolyn Murphy; courtesy Nicky Hilton; courtesy Catherine McNeil; courtesy Saskia de Brauw; courtesy Joan Smalls; courtesy Dree Hemingway; courtesy Doutzen Kroes

Doutzen Kroes

“I used to play dress up at my grandparents’ house. That was a blanket on the couch that looked like prime wedding-dress material.”

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c-print, photoŠ Studio Wurm, Courtesy: Lehmann Maupin Gallery, New York

StandardHotels.com

Erwin Wurm, One-Minute Sculpture, 1997

V84 fall preview 2013 VMAGAZINE.COM