V88 by V Magazine

the muSic iSSue

haim Say lou lou bankS lea michele britney SPearS r. kelly gloria eStefan kurt cobain kylie minogue bryan ferry Johnny caSh PariS hilton Jennifer hudSon neneh cherry robyn ariana grande erykah badu & lady gaga!

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lorde in chanel and david yurman PhotograPhed by inez & vinoodh Styled by carlyne cerf de dudzeele

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TO V88 THE MUSIC ISSUE

V HAS ALWAYS BEEN A PLACE WHERE STARS ARE BORN AND iCONS TAKES CENTER STAGE. HERE, WE RECALL A fEW Of OuR GREATEST HiTS

V33 Pete Doherty Photographed by Hedi Slimane

V50 Robert Smith Photographed by Kevin Estrada V57 Grace Jones Photographed by Jean-Paul Goude Styled by Alex Aiku

V25 Beyoncé Photographed by Mario Testino Styled by Lori Goldstein

V61 Lady Gaga Photographed by Mario Testino Styled by Nicola Formichetti

The marriage of music and fashion has inspired some of the greatest editorials in the history of V. We love when boundaries are blurred and the mix of high/low, underground/mainstream, uptown/downtown gets all shaken up. It is this spirit of questioning everything and marching to the beat of our own drum that led to the magazine’s conception nearly 15 years ago. V was one of the frst major fashion publications to put a musician on its cover. That star was Kylie Minogue, in 2002, and soon after David Bowie and Beyoncé followed suit. That list has expanded in the following years to include Mary J. Blige, Missy Elliott, Janet Jackson, Grace Jones, Mariah Carey, Gwen Stefani, Alicia Keys, Courtney Love, Jennifer Lopez, and Britney Spears—as well as countless other icons that have been featured inside. We have always been excited about discovering young talent, too. Before the Saint Laurent Music Project, Hedi Slimane had established the “Rock Diary” series, for which he photographed young rockers of the moment (such as Pete Doherty, above). And in 2009, Stephen Gan went to see a buzzed-about performer in New York City. That singer’s name was Lady Gaga, and not long after, she would make her magazine debut in the pages of V. (She has since gone on to claim four killer covers.) In the past two years alone, we have had Justin Bieber (for our frst music issue), Ke$ha, Grimes, Sky Ferreira, Charli XCX, Rihanna (shot with Kate Moss—talk about a union of music and fashion), Miley Cyrus, and Prince headlining our issues. Our penchant for promoting young talent has carried over into this issue as well. For Lorde, HAIM, Say Lou Lou, and BANKS, V88 marks their American fashion magazine cover debut. So sit back and enjoy the music—because as you’ll see with this superstar issue, it’s only getting louder. william defebaugh 24

V69 Nicki Minaj Photographed by Inez & Vinoodh Styled by George Cortina V7 Björk Photographed by Mert Alas & Marcus Piggot Styled by Camille Bidault-Waddington

V70 Britney Spears Photographed by Mario Testino Styled by Panos Yiapanis

V84 Prince Photographed by Inez & Vinoodh Styled by Melanie Ward

V82 Rihanna and Kate Moss Photographed by Mario Testino Styled by Melanie Ward

V44 Courtney Love Photographed by Mario Testino Styled by Panos Yiapanis

V76 Jennifer Lopez Photographed by Mario Testino Styled by Carine Roitfeld

V31 Gwen Stefani Photographed by Mert Alas & Marcus Piggot Styled by Andrea Lieberman

V75 Justin Bieber Photographed by Inez & Vinoodh Styled by Nicola Formichetti

V18 David Bowie Photographed by Mario Testino Styled by Camilla Nickerson

V6 The Strokes Photographed by Donald McPherson Styled by Edward Jowdy

V78 Grimes, Sky Ferreira, and Charli XCX Photographed by Sebastian Faena Styled by Carine Roitfeld

V50 Amy Winehouse Photographed by Hedi Slimane V16 Kylie Minogue Photographed by Mario Testino Styled by William Baker

V39 Mariah Carey Photographed by Karl Lagerfeld Styled by Brian Molloy

V77 Ke$ha Photographed by Inez & Vinoodh Styled by Carlyne Cerf de Dudzeele

V83 Miley Cyrus Photographed by Mario Testino Styled by Carlyne Cerf De Dudzeele

V29 Missy Elliott Photographed by David Sims Styled by Andrew Richardson

V28 Janet Jackson Photographed by Inez & Vinoodh Styled by Beat Bolliger

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“My first concert MeMory was probably being born and watching the Madness around Me and being on the road.’ —stella Mccartney Paul McCartney with his daughters, Stella (left) and Mary, and wife, Linda, on the road for the Wings Over America tour, 1976

PhotograPhy robert ellis 42

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V MAGAZINE GOES BEHIND THE SCENES FROM LEFT: LINDSEY WIXSON, REubEN RaMachER, juLIa RESTOIN ROITFELD, aND cLEMENT chabERNauD STaR IN ThE SpRINg/SuMMER 2014 SISLEY caMpaIgN phOTOgRaphED bY SEbaSTIaN FaENa

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the concept

Set in a luxuriouS penthouSe in new york city, the campaign followS two glamorouS coupleS who are drawn to the Spotlight. thiS conceptual portrait concentrateS on the youth of today and our voyeuriStic fixation with modern royalty.

right: one of the final campaign images, featuring julia restoin roitfeld and clement chabernaud photographed bY sebastian faena

S I S L E Y. CO M

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the star

as a FasHION DaRLING aND cReatIve DIRectOR, JULIa RestOIN ROItFeLD Is accUstOmeD tO LIFe IN tHe PUBLIc eYe. wItH INcReDIBLe stYLe aND GRace, sHe emBODIes tHe INDePeNDeNt YOUNG wOmaN tHIs cOLLectION was maDe FORâ&#x20AC;&#x201D;maKING HeR tHe PeRFect FIt FOR tHe teLLING OF tHIs stORY. backstage PhotograPhy todd sines and andries boekelman

STILL LIFE PHOTOgRAPHY gIULIO RUSTICHELLI

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tHe cOllectIOn

1. MICRO STAR LASER-PRINT DENIM SHIRT 2. LEATHER BOMBER WITH PRINTED TEE 3. TREATED CHINO PANTS WITH A FLORALPRINT BOMBER jACkET 4. CHUNkY STRIPED SWEATER 5. COTTON HOODED jACkET WITH REVERSIBLE jERSEY SWEATER

FOR HIM

for spring, sisley offers A CleAn-CUT, nATUrAlly refineD ColleCTion for An UrBAn genTleMAn. TreATeD leATHer BoMBer JACKeTs, BolD sTripeD KniTs, prinTeD DeniM, AnD innoVATiVe sUiTs in BrigHT sHADes Are AMong THe sTAnDoUT pieCes.

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FOR HER

CLASSIC ROMANTICISM MeeTS TOMbOy ATTIRe wITh FLOwING MAXI DReSSeS wORN wITh bIkeR bOOTS, bOMbeR jACkeTS ADORNeD wITh FLORAL eMbROIDeRy, AND FeMININe, FORM-FITTING SuITS ThAT ARe peRFeCT FOR A NIGhT OuT ON The TOwN.

2 1. fluid bomber with floral embroidery 2. fauX-leather ClutCh with gold detailing 3. dreSS with Shoulder CutoutS 4. Satin maXi Skirt and leather biker bootS 5. fluid Satin JaCket and Pleated Shirt with treated denim Short

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the shoot

this spread: behind the scenes at the two-day shoot in n.y.c. next spread: one of the final campaign images starring julia restoin roitfeld and clement chabernaud

backstage PhotograPhy todd sines and andries boekelman

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t n ig h ic k K a e n a N e i ma n a st i a n F ad l i d i Sl b d He d sbø S e K a r i m S n ro l e f r e n k g y u a z S Mu r L e S ølv per K a sp ago Tom i lson K a rl W o d h a r d s on r c i o a a t n t F K i a x h ue V P ez & er r y R ic r t Wat son au le Ma Ba r nes ie M i nog s n I 8 T a l e M e V8 y i i b y s d l K t n o A o f o J m A nt h Hu seby on B oeh nt hony C i It kes r v A m e a l o i d h ul an w e l en s Na Sm it A le x er g J Ma x ll a m i n el O t tenb Bra ndon a ley Wo s A keem Meško B e nj m H M r ia n an er i l lia a ld n nw evely t t hew W h i Ito Ad W i l l St y n el S a A n n a T r a c o i o i l s n l M n n e a u i c h D on i n d d b ent J s e T r u s n ox R o b Fent iel L ma n i a B e t h b e s D a n o bi n B r o o p e D e n i l s on K i c e S t u d e d e r R T is W For nC xa n D a n S c h m id t u c i a B e c o b s C h r i K r i s t i n C ole A le o L n a h a a o J i c k d u .C Ja s ga s C l au r r i s M a r a r y H . K m i l y Gr e Ba r E M No ha ni Mofat n n p o h e s t o p J m hoi S Jimmy nable ey Si e Jae C ce A sh l hif t Commer yonne V Fia la S e v D i a t + d c n t n e a r l A ol ma um son The C Aeli Pa rk s Ia n Ba l Peres A mber Ol rg S k n e u a A t a a be h i u o Y t n o r i n t l i e n s B t t ia i e Spec auren P Philippe Ter Lind a nni Tes indsey S Hunter L v L m ie k ker llison a rk s r G io A nne r t Pa r tne ndice M cy Lee A ef Sta lna ole a u J o A C L P a r s sle lin r no x is Cost erkeley llier a Col ne Te ly B o B e Se er Ta hr Ma ria n Reis Sa l a n k s A le Lepine céa n g a B Juli ristia n rson Jef K nig ht O aula Eken eh Y C e P de t y t n d n o A l n o r s a Bria n pka Cha a lly Daw tie Yu M t A r tists p o a K ro a n n R ze w a rd S rg K nagemen Ca r ney Y Ma rc r nb e l Se a V LM Pollock a Ma r te rdan Ste mble M on Day na n Foley o n a Kim Hele four y J rge Misc Pia By r nford Da sma nn on nK eo es Pe tinia P Ltd. G Boucher c. Kelly A lison L Ca nnon l Jus h h t t R E n n e D u R o ot I n a a ill e Tota A gH d ah M Sca h Sav i ha ng Je toya Sa r k Br y nin Kathr y n Mills o c s Z c e e n i c n o N to Bo Ja ni Fr a n LM ssa M aven t el l i Meli r rison C ea na Sp agement na Dona nd D n y a u a a L a H Ca le b a nd k in R L u nd a rd M tson ine K ha r Tim How A nn Goo t tersson BR IDGE a W Liz Ja sm Hupa lo Fracca ri a rcus Pe Lucy Kay Streeter er ceher rley +V sM Heat elle Ser v i n kdeta il mond D ers Beve niel Wein Y t a N ay e Li D e e R r r r t f M ic h u e o Je Da lton S la Jenn y E x pos r tists u c Ma rc n De Katrina lders Pa me Agen r work s A olmb o r e Ca m Fla her t y ndy Smu ex 9 Ho ia no Sta na Holc Inc. a le Pr is yN Ma get Brid a A rcher et Agenc Timothy er N YC M a sey Enn obson n y i C l n g b -H e y n o os h Dea n The Ma A r tists ent L’At Inc. Jud Mat t M i ac p Grou Depa r tm ate Rya n h Julien ey Luiz ichael l l a m A r t tists K lie Smit ifer R a er M deno T he W e s t oph Ar ta nn la nd D N Y Na Ba r t Je iet y Chri r Peter C horse a l a L e n o c l R a e o g v r O S a I e F t IMG n k in The T Kyle H a zaba l S ng Velem X i l be To eros N E a rcos O ue Imag BL A N K e o h ite P eorge Sp a n Ord M d. Epilog St udios uctions h W x d t Mina Bowen G els Dunc l Lig ht L te U K Bo ea k Pro St udios i w a d Cher N Y Mo ch Dig it dio Priva re Inc. T o Ca noe t udios S i n DTou mit t St u ch Emp s Shin O o Siren t udios + Sch us Retou l Robbin lig ht SoH ROOT S t udio z t u L h tS ly n y mo lia Pea r Spla s t p os r o ok A non Ju s, N Y shleys B holm Øu o i d u k ic e A 59 S t p o f el Fa st dio, Stoc Pier u Ca m nessen t l l S i g B h a n ic h el a ga Sprin A r te ne Jo o b y n l k a i m A o L u n a M n au d R S a E n inter i A lexia icholas M A na is Ray Tess ew an r a m eed s N g e r C at o A nd r d Dav i Da niel L Pea rce M ber tson lay ne Ycm o c e g R o n M r e u l n J o Ky ven in Ia n M i Refg hi u Verhoe Soo J Ni k k Milo

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living We’re sy o t glos phed in r ly o r m la regu have es are p stars d o m le p a il n e p r ’ s s he er has signer orld w st li takeov nd de a a s in a w u im s o r x h a a amorp ign st ell. M a w is p h ga, s m a T a a . G c rics Lady hoices d as ly kes of li to orial c t e r in h a droppe t s k c anks to tyle ba to our lier high s stay th e t over in t o t h A g e n u r is he ring a dly bro e’s wea fashion hande nessed ther sh singlee (as wit s h a k h W s . a e m s r for V who a u o r w ress, o e thre lic disc d h b s u t p a y t e nd e r th ,am he pa thes, a e gown from t s, brea t p a a ow e n ll s Versac o l fe a that an wh a casu means a wom est s t s here in is e ld n u s is o fearles ar), th hers c e t r y e o h t d hes, s t d n la An nna, a the clo shion. , Riha about é t c s rt. n a ju o loves fa y t ir Be s the t is no triots expres well. I o irts s t a h compa n s s r io T e t se fash tré wa of torn u u y o o t a e y w h a d the t e aw elevate oing th se, but s h ave ung e g r r e g of cour Marc f m f o r ears d ay s o , perfo After y ce the o c ke r s r in been s e ie t r d o e N d by in has th st a g e . t s e u h t d lism. r r inspire ss fo gy Sta ividua ey dre ie’s Zig ent ind w d r o lstera way t h B o d b id tyle an eat for s o r D av r l g n e n v la e o B xt-le has be d of ne nship due this kin lish showma istory, st y in V ’s h well. e t of u s n s a All this is le y r a t indust d music te the n e a o h r t c b e ve r g s le o e e in on us er to c arks th that w re eag e a This m s hat o e t h w t s e ts and e work becaus new ac s in th esh t e fr c in part h t e je h h o t t ave p r ow, bo s t o a st h r n e t v m h o e nks c ig h r of t nd Ba r four go. All aim, a out. Ou H b , a d by u d long a o a le L re n d st y y Lou ant to oodh a rde, Sa et t o in you’ll w o s V L is & — f pop y, who y I n ez r b r e d F e r h his n faces o a pt u ing wit ). Brya antly c t work dzeele u u also o D b ( brilli e a e W d g, talks night). e Cerf in n K r k p ly st s r ic a C a this y ’s fne d by N oachell countr graphe o e t h . o t h i) h play C p L od ( y k ke up wit air bro Boy, L catch Glee debon y, Kate den to r e r luding w e c S h in C o t s h l r e a e t n v s ut), e a r e tr yn, N olo deb ith sup s (Rob nce-y s fles w a o d &B r r p R export e e d h out th on, an ussing Check r Huds hat e le (disc t e if ly h n p n ic e cts im Lea M diva, J je g o e n r t li p li ew r f o a n d o st p “ h ot ” itude o rld’s m EDM’s se mult n o uld e h v o the wo w c E . y so she d ow n R. Kell lowing intr home s e p kingpin h n h o o it t s ture w er plan ed us in fu w e o h t ll will a he nev ton, album look to ris Hil debut ls. We e il s k o s DJ, Pa h w w e nde, f her n na Gra he s h ow o ns to t rt, Aria a t . p r o e tributio ), true m n m o c u sized p s is atra ultiple ased th ncy Sin d a ke s m be rele lle, an on (Na ane m ic m p a li o S L p i i Be t a t l, g a He d u P in , o raph omack n old s p h ot o g b by W with a o in e B c g ( a issue— f in s nd new st a r r al lege , and a rrently music inson) o is cu b h o w R , g y rdin n. ett e r S m o ke rtis Ha en a b mpaig ian Cu ent ca ve r b e r e u n a , mix s music L t a t h al bea there e’s Sain the trib shion, o ave a a Sliman t f h e f v d o o ing -up, an tes. M h o s n Speak a h m introe hig imate e also o hit th the ult oss. W r R o f e n e ra time t n le m à la Dia t c h st y ults fro a t a v n m e ly d m s ent -an awles ed mo e curr inspir , who f ) to th 8 id 9 d 1 a e discoH igi 0). n (pag odel G ag e 27 fashio duce m ou’re ons (p pired s Ç r in a ther y G e s h s 0 e w ’9 d t e ic a t h m t fashge Com ere is -wop, ion of way h or doo a e l, k a t N GAN a collect E e t g e st . ST E P H ath m it loud The big -hop, rap, de y la P . r you op, trip there fo into p ay s b e lw a l il ion w

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calvin klein’s italo Zucchelli toasts the fall 2014 menswear collection with a postshow dinner, complete with a special performance by folksinger jack savoretti

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Victor Cruz Bill Miller

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Cat Power

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Patti Smith

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the beloved designer presents her pre-fall collection at a sweets-filled soirÉe adorned with cakes shaped as accessories, a chocolate fountain, and a host of fashionable friends 116

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NANCY SINATRA

THE ’60s SONGSTRESS REcENTly RETuRNEd WITH AN Album INSpIREd by HER pAST HITS. HERE, THE TImElESS vIxEN SHARES HER vIEWS ON fEmINISm, HER fAmOuS fATHER, ANd GROWING OldER WITHOuT lOSING HER SpuNk Nancy Sinatra is an American aristocrat with a star on the Hollywood Walk of Fame. Born in Jersey City, Frank Sinatra’s frst daughter became an international star in 1966, when she collaborated with Lee Hazlewood on the go-go anthem “These Boots Are Made for Walkin’” and the Cher cover “Bang Bang (My Baby Shot Me Down).” Trendsetting style and social politics defne her legacy as well. Most of her boots have been donated to charity. More recently she released a digital album, Shifting Gears—a collection of standards sung over orchestral tracks from her vaults. Name-checked as an inspiration to both Sky Ferreira and Lana Del Rey (who famously described herself as a “gangsta Nancy Sinatra”), she currently hosts the Nancy for Frank Sirius XM satellite radio show and is producing an extensive HBO documentary about her father. In January, she was pulled into a media frestorm surrounding writer Maureen Orth’s Vanity Fair profle of Mia Farrow, in which Farrow allowed speculation that Ronan Farrow, her son with Woody Allen, is instead the child of Ol’ Blue Eyes, her ex-husband. “[Ronan] is a big part of us,” Nancy had told Orth, “and we are blessed to have him in our lives”—words that Orth would take out of context in order to ft Farrow’s insinuation. When we meet at her Los Angeles ofce on a random Tuesday afternoon, Sinatra sits below a framed poster of her 1995 Playboy magazine cover, shot when she was 54 years old. MARK JACOBS

NANCY SINATRA PHOTOGRAPHED IN LOS ANGELES, JANUARY 2014 PhOtOgRAPhy hedi SliMAne SHIfTING GEARS IS OUT NOw ON AmAzON AND iTUNES 118

Production Kim Pollock and Yann Rzepka

How did you make Shifting Gears? I heard the Sinatra vaults used to be the Sinatra garage. NANCY SINATRA [laughs] Not anymore. We were in charge of all of these tapes that were shredding and dying. When we went to transfer them to digital, we even had to bake some of them in ovens, because the emulsion wasn’t sticking anymore. For many of them we only had one shot to get them from the analog reel-to-reel machine into Pro Tools. And we did it in the nick of time! It means a lot to me to give the players credit on the album. Shifting Gears feels like a bath of warm Sinatra honey and body shimmer. NS Did you play it loud? You’ve got to play that record loud. [Legendary producer] Michael Lloyd and I have a mutual admiration society, because I always tell him that had it not been for his work we could never have done this. He brought all of these diverse tracks into a cohesive collection. And he says, “No. What makes it a cohesive collection is your voice.” There aren’t many artists with such a diverse range of admirers. Jarvis Cocker, Jon Spencer, Wilco, Thurston Moore, all of whom you’ve collaborated with. NS Isn’t it funny? It’s that song [“These Boots Are Made for Walkin’”]. It pulls in kids at fve years old and they grow up with it. The kids who have loved it since their grandmothers were playing it, they’re on my Twitter page constantly. They keep reposting the video link. I got very lucky. Have you met Lana Del Rey? NS No! But her fans sure pair us up. And I keep telling them not to use that “gangsta” business, because she doesn’t deserve that! She’s her own person who got stuck with this thing. She’s a little more brazen than I was in those days, which is good. We’re freer now. When did you frst identify as a feminist? NS It was early on. We didn’t have that word. When I was a little kid we would sit around the table and two of my mother’s sisters who were in the workforce would talk about how they were angry because they weren’t getting the same salaries as men. So I grew up knowing that situation. It wasn’t difcult for me to slide right in when it had a name. It was like, Well, sure, I’m in. When Camille Paglia wrote that great article in Playboy—the fact that they paired us together was genius. Have you heard the phrase “slut-shamed” before? NS No, but I can dig it. What do you think of Miley Cyrus, who is alternately slut-shamed and respected? NS I doubt it has anything do with sexuality. I think she’s very talented and knows how to market her products. On a much bigger scale it’s the same as when I did the Playboy pictorial, because I needed the money for my album. It’s just that she has a bigger forum and more courage than I ever had. You’ve got to make waves. She’s got guts. You grew up within the extraordinary, far-reaching happening that is your father. Do you feel you have any critical perspective on it? NS Well, I’m not my father, so I’m an observer—although it has afected my life on a daily basis and sometimes kept me up nights. It was difcult at times, it was hilarious and fun at times. What about the controversy surrounding Ronan? NS Oh, Mia is so silly. She sent me an e-mail or something, “Wasn’t that hilarious?” And I wrote back, “I don’t think so.” But she didn’t mean any harm by it. First of all, Mia and Frank did not have a relationship after they broke up. He would have had to be around 80 years old when she conceived. And your statement in the article? NS I didn’t say that in connection with her statement. The magazine connected them. My interview with Maureen Orth was way before Mia’s comment. Would your life be diferent if you had recorded “These Mules Are Made for Walkin’”? NS You mean clickety-clackety fuck-me shoes? Uh-uh. No way. Kitten heels are all right, because they don’t throw your body out of whack. [laughs] Don’t get old. Not if you want to wear those stupid shoes that are popular now. Crazy eight-inch heels!

heroes

Johnny Cash in Nashville, 1978

JOHNNY CASH BY JOHN CARTER CASH

THE NEW JOHNNY CASH ALBUM, OUT AMONG THE STARS, WAS RECORDED IN THE EARLY ’80s AND ONLY RECENTLY DISCOVERED BY HIS SON, JOHN CARTER CASH, IN THE FAMILY ARCHIVES. THE GRAMMY-NOMINATED PRODUCER TALKS ABOUT HAVING THE MAN IN BLACK AS HIS DAD AND THE LESSONS HE LEARNED FROM THE LEGEND

I always say my parents never pushed me to go in a certain direction and they really didn’t. I think if I decided that I wanted to be a fsherman or a ship captain they would have supported me, but in some ways I didn’t have too much of a choice. They brought me on stage from the moment that I could walk and said take a bow. Being surrounded by that when I was young—the spirit of music that was all around, you know, it became who I was. I worked on the road plenty, playing guitar for my father until he retired, in 1997. I had been working in the studio, producing music for a little while, but mostly my own stuf. I did some hard rock bands, engineering, pushing buttons. But my mother asked me if I would help her produce her record Press On. And I think it was then that I fnally got in the studio, and sort of got the bug for it, started doing other projects too. I worked with Marty Stuart and I worked with Billy Joe Shaver. I did a record called The Unbroken Circle: The Musical Heritage of the Carter Family, which is a tribute record with multiple artists. I just recently fnished recording 93 songs for Loretta Lynn that will be coming out later this year, old Appalachian songs, a full gospel record, a full Christmas record, rerecorded all her hits. But the most important records of my father’s that I worked on were American III through American VI. I worked as associate producer. I hardly missed a session. So all through this time period, working under Rick Rubin (he gave my father carte blanche; he would say, “Keep recording”), I was there with him the whole time, from when he began working on American III until his very last session that he was alive, I was there. I was watching him endure through all 1 20

these physical hardships. He was ill. He had autonomic neuropathy, he had bouts with pneumonia, he was diabetic. So when I listen to those records, they mean the most to me, because it’s not just about the music, it’s about the life and the lessons he taught and the strength that he had contained within him. That he quadrupled his efort in the face of adversity. That’s what I hear. I hear frailty. I hear sadness. I hear great loss. Especially after my mother died, there is a lot of stuf on American V and American VI that was recorded after she passed away. So that’s what means the most to me, it’s about the life lessons he taught, the example he lived, that he endured. And people ask, “Did he die of a broken heart?” He died with a broken heart, but my father’s persistence would have kept him going if his body hadn’t given out. I believe it. I believe he would still be making music today. After my parents passed away it became necessary to go through the vault at their ofces in Hendersonville, Tennessee, to see what all was there. There was a monstrous camel saddle from Saudi Arabia, there were keys to every city in North America, the original eight-track recording audio tapes for The Johnny Cash Show. Just an amazing amassment of things and within these things were treasures—handwritten documents, love letters from my father to my mother, and music that nobody had ever heard before. So it was within this vault that this record was rediscovered. Of course I think Columbia knew that it existed, but it was recorded during a period of time when, sadly, Columbia wasn’t very excited about Johnny Cash. Dad was at a point in his career where he was sort of searching and Columbia didn’t quite know what to do with it. This album was recorded from 1981–84. Even though Dad wasn’t as successful selling records at that time, he was in one of his primes. My father had various primes in his life—when he began in the ’50s; the late ’60s, when he did the live at San Quentin and live at Folsom records; and of course at the end of his life, though not in his physical prime, he was still in a creative prime. But at this point in his life, he had a bout with addiction and had just gone through the Betty Ford Center, and he came out and was completely clear. He was in perfect voice when all of these recordings were made. The musicianship is masterful. It stands out as a unique body of work from when he was focused, when he was bright, when he was full of energy. It is just as important of an insight into my dad’s character, who he was as an artist, as the works done at the end of his life. It’s like catching a picture of a man who is seldom seen, you know? AS TOLD TO CHRIS WILSON

PHOTOgRAPHy NORmAN Seeff OUT AMONG THE STARS IS AvAIlAblE MARcH 25 fROM cOlUMbIA/lEGAcy

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HEROES

Celia Cruz and Gloria Estefan at an after-party for the Latin Grammy Awards in 2002

CELIA CRUZ by GLoRIA EstEfAn

latin PoP icon Gloria EstEfan oPEns uP about hEr idol and lifElonG insPiration, onE of cuba’s GrEatEst movErs and shakErs, salsa quEEn cElia cruz

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Courtesy Gloria Estefan

As a little girl I was very musical—I sang as soon as I could talk, maybe even before I could talk—and the frst things I heard were the records that my mother would play for me that she was able to slowly smuggle out of Cuba. My grandma would send us an album every time she mailed us a box of mango baby food, which was the only thing I would eat and something they didn’t sell in the States. That’s my frst memory of hearing Celia Cruz. My mom had all of her records, so when I was three or four years old I was always hearing Celia Cruz around my house. My mom also sang really beautifully—she still does, actually—and she’d be singing along to these songs. Celia was a part of my life for as long as I can remember. Then, when I was about 19 or 20 years old, Miami Sound Machine had a big hit in Latin America. We were playing in Costa Rica and it turned out that Celia was also there. We’d never met before, but she’d heard about the success we were having and she knew we were Cuban, so she sent us fowers to our hotel. There was this lovely note saying congratulations and how nice it was to see some fellow Cubans having success and that she wished us all the best. We just couldn’t believe it. Celia Cruz! In fact, we still have the note to this day—Emilio saved it. We just thought it was so incredibly kind. I mean, she was this incredible superstar and we were just kids, you know? The next time I saw her was at a tribute show where she was being honored. I was shaking I was so nervous. I said that I wanted to dedicate our performance to my idol,

Celia Cruz, and she came out onstage and sang with me. It was an unbelievable moment for me. From then on we were dear friends. Whenever there was an opportunity for us to see each other, we did. We would often cross paths in strange cities all over the world when we were both on tour. Eventually Emilio worked on her first-ever music video, for a song called “Sazón.” She was the kind of person who never forgot a birthday or an anniversary, you always got a handwritten card from her. She was just one of the most giving human beings I’ve ever known, so humble and wonderful. I remember being backstage with her at the Grammys and she was having some health problems at that point and starting to get sick. She really didn’t feel well, but as soon as she stepped out on that stage she just came to life. No one had any idea. She was just the consummate professional. She adored her fans and was incredibly disciplined and responsible. I think she was sorry that she and her husband, Pedro Knight—who she used to call “old cotton-ball head”—never had children, but they were incredibly committed to each other. She was honestly just one of the most amazing human beings that I’ve ever met. She was a symbol. She represented everything that was beautiful about the Cuban woman. She was optimistic and strong. She lived and breathed music. She was also an incredible humanitarian. Cuban women couldn’t really ask for a better representative. She was such an inspiration to me my whole life—and throughout her entire life. She was ageless. You didn’t look up on that stage and say “Oh my God, what’s that 78-year-old woman doing up there on that stage?” You looked up there and said “Oh my God, that’s Celia Cruz! And she’s just as amazing now as she’s ever been.” I mean, she was having huge dance hits right up until her late 70s. She’ll go down in history as being one of the most iconic Cuban women ever. I remember being in Holland just after we’d had our first hit there, in 1984—a song called “Dr. Beat”—and Celia’s music was playing on Dutch radio. Even then she was an icon all over the world. She wrote so many great songs about Cuba, which always filled me and my parents with nostalgia. You know, any time Celia played shows, everyone came, but for Cuban people, seeing Celia Cruz—or even just listening to her—was like going home. As told to t. Cole RAChel

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Hs lE uR gO E s

Fela Kuti performing, circa 1970

FELA KUTI by sEUn KUTI

human rights activist and godfather of the afrobeat movement, fela kuti inspired a nation and fought for those who didn’t have a voice. here, his son, seun, an accomplished musician about to release his third album, reflects on his father’s fearlessness and the power of taking a stance

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seun kuti’s long way to the beginning is available may 27 from knitting factory records

Photography Echoes/Getty Images

One of my frst memories of my dad was going to see him in prison and then later crying when I had to leave him and go back home. As a kid you don’t know what good and bad really is, so if your parent is in prison it depends on the information being said by the people around you—and the information fed to my young mind contradicted the idea that he was in prison for anything bad. Even from a young age I knew that the government was attacking him because of who he was: my mother always spoke of my father as a good man, and the other people around me spoke about my dad as a hero. When he got out of prison, my dad insisted that his children were around him all the time—he was a great dad as well as a good man. He always taught me about equality. That was his main lesson to me in life: your position or whatever you’ve achieved in life does not make you more important in the community than the next man. Your importance should only be used to the advantage of your people in general—never to oppress because you are more powerful than them, you’ve achieved more than them, or come from a better background. I grew up in Kalakuta [the communal compound and recording studio in Lagos where Fela lived with his wives, band members, various

associates, and hangers-on], and though most of the people living around us were not from privileged backgrounds, everybody was treated as equals—they were part of us. In Kalakuta you could criticize or say whatever you wanted to to Fela; he never stopped anyone from speaking their mind. And his decisions on every issue were the same no matter who you were, and he applied that to himself as well. Of course my father had a God complex. I think in his mind he thought he was the best of all men. To achieve what Fela achieved you have to think of yourself as better. You have to believe you are great. You have to believe in your own ability and in yourself as being special...but he did not let that corrupt his relationships with other people. In an oppressed society the greatest of men are not the richest, but rather those who stand up to tyranny. I think that’s why Fela is revered in Africa: people are cowed here. They are oppressed and they are made to live in fear and want—want and fear is a very dangerous combination, because it leads to easy manipulation of thought. Fela is respected because he’s not some poor guy who was hungry. Fela was from a privileged upper-class family, but he gave up those trappings and what he could’ve achieved based on that kind of neocolonialist bourgeois thinking and instead gave his life for the common man of Africa—to speak for the majority who did not have power. He’s the only selfless leader the people have had in a while: he gave his all, he spoke his mind, and didn’t compromise his music. That’s because Fela understood the power of art. Art has to speak for the majority. You cannot only entertain the rich at their parties and talk about only what the rich can relate to. Art has to speak to the poor and inspire them to change. My dad died when I was 14, so we never had any real falling out—it was just at the beginning of the father-son confrontation, the things that make normal father-son relationships real. Now I’m 31 and about to have a child of my own. I’m realizing now more than ever how privileged I was to have him as a dad. Things he taught me then I’m only understanding now, and I wish I could have those conversations today knowing what I know. So the relationship continues to evolve even in his absence. As told to knox robinson

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DREAM TEAM

wHen designeRs need a Jolt oF insPiRation, tHey can always tuRn to tHeiR Musical Muses. HeRe, a QuicK looK bacK at tHe cReative bonds tHat Have deFined soMe oF tHe Most iconic enseMbles in FasHion HistoRy

coco cHanel & igoR stRavinsKy

A turn-of-the-last-century sex symbol, the multitalented Mae West—She sings! She acts! She writes!—was, surprisingly, a muse to Elsa Schiaparelli, the surrealloving designer and Chanel rival. Born in Bushwick, Brooklyn, West’s hourglass silhouette inspired the Paris-based couturier’s Shocking perfume bottle.

Paco Rabbane & FRanÇoise HaRdy

Famous for its fashions, France is not particularly well-known for its youth culture—one exception being Françoise Hardy, the model-pretty, longhaired chanteuse, who, in the ’60s, was photographed in futuristic designs by Paco Rabanne and André Courrèges. The looks would later inspire Nicolas Ghesquière.

bob MacKie & cHeR

Odds are that Cher isn’t going to make any bestdressed lists anytime soon, but she never did set out to be another Babe Paley. The one-named wonder is the consummate performer, and costumes are among her many tools. Since 1971, most of her outfts have been provided by the feather-andsequin-loving Californian designer Bob Mackie.

stePHen sPRouse & debbie HaRRy

When asked once if she grew up around fashion, style star Debbie Harry answered: “No, not really. I grew up in New Jersey.” Later, though, she would literally move in with it, sharing a loft on the Bowery with downtown designer Stephen Sprouse, who dressed her in photo-print dresses and razor blades.

Jean Paul gaultieR vivienne westwood alexandeR McQueen cHRistoPHeR Kylie Minogue & bailey & buRbeRRy dolce & gabbana & Madonna & adaM ant & david bowie acoustic Two words: cone bra. Jean Paul Gaultier and Madonna have collaborated on many tours, but the torpedo-topped pink corset the Frenchman designed for Madge’s 1990 “Blonde Ambition” tour is now an unforgettable piece of pop history.

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Unlike Jerry Seinfeld, who failed to pull of a pufy pirate shirt in a memorable episode of his hit show, Adam Ant owned the postpunk New Romantic pirate look created by Vivienne Westwood and Malcolm McLaren for World’s End.

No fan of the establishment, boundary-pushing designer Alexander McQueen nevertheless deigned to acknowledge rock royalty when he dressed David Bowie, aka The Thin White Duke. The outlandish rock legend, whose repertoire includes “Space Oddity,” wears McQueen’s distressed Union Jack coat on the cover. of Earthling.

Christopher Bailey, the iconic British brand’s techsavvy chief creative ofcer and CEO, is not only logged on, he’s also tuned in, supporting emergent talent through the Burberry Acoustic project, which launched in June 2010 and has recently recorded artists including Jake Bugg, Tom Odell, Roo Panes, and Rae Morris.

The genius design duo, who have a longstanding relationships with glamorous musicians like Madonna, Minogue and many more, dressed the darling Aussie for her 2011 “Aphrodite: Les Folies” tour to dazzling effect.

adidas & Run-d.M.c.

For the three members of Run-D.M.C., looking fy was as easy as ABC. The components were accessible: track suits, twisted gold rope chains, and unlaced threestriped Adidas kicks. The efect was indelible, and continues to infuence hiphop style today.

FRida giannini & FloRence welcH

Among the celebrities Frida Giannini has lured to Gucci’s stable is the lanky, flame-haired British singer Florence Welch, a die-hard Stevie Nicks fan who has described her stage style as “The Lady of Shalott meets Ophelia...mixed with scary gothic bat lady,” and burnished with a little madein-Italy polish, no doubt.

Top row, from left: Apic/Hulton Archive (Schiaparelli); ©Condé Nast Archive/CORBIS (Chanel); courtesy Paco Rabanne/Jean-Marie Perrier (Rabanne); Ron Galella Collection (Mackie, Sprouse); Bottom row, from left: ©Bettmann/CORBIS (Adidas); Trunk Archive/Herb Ritts (Gaultier); Getty Images Entertainment (Westwood); Dave Hogan/Hulton Archive (McQueen); courtesy Burberry; courtesy Dolce & Gabbana WireImage (Gucci)

elsa scHiaPaRelli & Mae west

When the composer was chased out of his homeland following the Russian Revolution, the designer fung open the doors to her Paris abode, providing Stravinsky and his family refuge. She was so moved by his music that she even anonymously donated to the new 1920 Ballets Russes production of The Rite of Spring, widely considered to be one of the most infuential works of the era. Following their rumored afair, Chanel went on to create her signature fragrance, Chanel N˚5.

ones to watch

from experimental beats to slick rhymes, these three up-and-coming artists are breaking down the barriers of the music industry by releasing their own hits and making their own genres PHOTOGRAPHY mATTHew williAms fAsHiOn Akeem smiTH TexT AsHleY simPsOn

princess nokia

Twenty-one-year-old rapper Princess Nokia—previously known as Wavy Spice—doesn’t have a cell phone. If you want to get in touch with her, you have to ring her boyfriend, approach her at her women’s art collective (Smart Girl Club, up in the Bronx), or perhaps catch her out and about. “My whole approach to music is very DIY New York–inspired,” she says. “Brooklyn raves, Brooklyn house parties, downtown gay extravaganzas, punk shows, art shows, shared spaces…I just really like going out, the depth and experience of doing live shows.” Nokia’s concerts are very much refective of a postInternet-era, multifaceted New York identity. “I’m a fairy girl,” she declares. “I’m like cyber-alterna. Divine creature.

You can call me a metaphysical creature,” she adds with a wink. “You can write that.” She combines diverse sonic references—Caribbean jazz, grime, Jamaican dance hall, Turkish pop, even “New Agey adult contemporary”—to create a sound that she describes as “fairy wave,” full of acutely abrasive, fast-spun ruminations on sex, drugs, and youthful materialism. “It’s really a perspective on myself and the New York experience,” says Nokia, who will be releasing her frst mixtape, Metallic Butterfy, this spring. “I take music very seriously, because it’s always been a huge part of my life.” tOP miU miU

sza

For all of her success, SZA admits that she never planned convincing her to lay down a few lines on his own rap to be a singer. “Hell no,” she tells me while calling from tracks. Eventually, their sessions gave birth to smoky, her tour bus, in Vegas, “If anything, I wanted to be a rawly assertive numbers like “Changes” and “Julia.” scientist or get into marketing or advertising. Music “People started listening,” said SZA. “Meanwhile, I was was so not on my radar.” Her early beats were copped still working at Sephora every day, still bartending every from MF Doom and her big brother. (“I just stole them— night, with no real expectations. I think only in the last from the Internet, from my brother’s computer,” she fve months did I realize, ‘I’m probably supposed to legit explains. “They definitely belonged to other people focus on singing, because I’m not going back to Sephora.’” which is crazy.”) She dresses “like a boy” and is a little Now, SZA is prepping to drop her debut major label camera shy—stuff she’s okay with. And she spent last release, Z. “I’m just excited to see the aftermath,” she says. night at a “hole in the wall” strip club with Kendrick “I want to either drop the project and have everyone think Lamar and the rest of her TDE crew. “We got lap dances I suck, or drop the project and have my life change forand ended up making some really great, kindhearted ever. So I think I’m just looking forward to that moment. stripper friends,” she says. Either way, I just want to get it over with.” Her brother was the one to recognize her talent. “If you don’t want to sing, just humor me,’” he said, jacket OPeninG ceRemOnY

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freestyle our beats—but I was the shy one,” Junglepussy says, recalling that she sat cheering in the audience as her crew performed at the school talent show. It wasn’t until a few years later, after a couple of years at FIT studying fashion merchandising, that the artist conceded to laying down a few tracks with friend (and then Patricia Fields coworker) Dai Burger. After that, “I couldn’t ignore it,” she says. “I didn’t feel like myself, just talking crap and not having anything to show for it, so I decided to take heed of everybody’s demands and put out my own music. I put out my frst single two summers ago, and it changed my life.” The tall, Versace-meets-Stefani-styled stunner is releasing her debut full-length. “Last summer, I opened for Lil’ Kim, and this past New Year’s Eve I had a show with Mykki Blanco,” says Junglepussy. “Last holiday, I was attending these shows. Now I’m performing in them! I can’t wait to see what doors open up this year and what opportunities I’m gonna be blessed with.”

tIaRa ViRGin AnGels AnD sAinTs

Makeup Yumi (L’Atelier) Hair Rudy Martins (L’Atelier) Photo assistants Cameron DeMarco and Denis Vlasov Stylist assistant Aryeh Lappin Production assistant Kyle Robertson Location Splashlight SoHo, NY

Junglepussy

“It’s not as scandalous as it seems,” suggests Brooklynborn-and-bred rapper Junglepussy. She’s talking about her not-so-subtle moniker, which she insists is just an innocent reference to a girl “growin’ up in the concrete jungle of New York City.” “Everybody took it as something sexual, like, ‘Are you a porn star? Are you a stripper?’” she explains. “No! I just like the jungle and I’m a girl, so I have a pussy. Plus, there are so many men named Dick. There’s Dick Cheney, there’s Dick Clark. So many men are named Dick in a formal way.” The quick-witted Le1f collaborator has other tricks that few dare encroach upon. She mixes raunchy, gleefully cut-to-the-point shit talking (“Picky Bitch Checklist,” “Stitches”) with politically sensitive, unapologetically feminist demands (“Feelin’ Myself”). “[As a] young black woman coming up in this time, music, media—everything that you do—[is interpreted as] something weird or ratchet or ghetto,” she explains. “I’m really here to burn down those stereotypes. Because we’re more than that.” The rapper wasn’t always so outspoken. “All through high school I was in a rap group—we used to cut class and

S T U A R T W E I T Z M A N .CO M

THE ORIGINALS

GRACE JONES

Jamaican-born, Syracuse-raised Grace Jones already had a successful modeling career and a handful of disco singles when she signed with Island Records, in 1977. Thereafter, she released a string of angular yet soulful New Wave club classics, including “Pull Up to the Bumper” and “Slave to the Rhythm.” (She returned to music in 2008, with riveting personal work on the Hurricane LP.) She also made memorable appearances in forgettable flms—a Conan movie with Schwarzenegger, a Bond fick, Eddie Murphy’s Boomerang—and in short order became an icon of the era. Grace bravely blurred sexuality, gender, and established modes of femininity. Longtime collaborator Jean-Paul Goude recalls the genesis of their Nightclubbing album art (seen here) as a direct rif on the lyrics “Feeling like a woman / Looking like a man” in her song “Walking In The Rain.” Her ferce swagger and irrevocable, confrontational black beauty make it easy to overlook the fact that she was one of the frst multihyphenates, a model-singer-actor who defned the formula. Grace was killing the fashion and music game before many of today’s pop divas were even born.

THESE fOuR dANCE, dISCO, ANd R&B ARTISTS PAvEd THE WAY fOR TOdAY’S POP SOuNd, ANd LEfT RIPPLES Of RAdIANT STYLE INfLuENCE fOR dIvAS TO COME. REAd ON ANd REvIEW WHAT IT TAKES TO BE A LEGENd PHOTOGRAPHY DANIEL LINDH TEXT KNOX RObINsON

PHYLLIS HYMAN

Because Phyllis Hyman stands out as a pained and tragic icon of late ’80s–early ’90s jazzy, quiet-storm R&B, it’s almost possible to overlook the raw style quotient of her smoldering presentation. She brought her multidimensional voice—even her whistle had vibrato!—from a ’70s avant-jazz background to a lauded turn on Broadway. Even at six feet tall she sometimes seemed to be merely a vessel for her outsize gifts. The same could be said for her personal style, from the curvaceous frame, masses of hair, and smoky eyes that dramatized her delivery to her wardrobe: chandelier earrings, sculptured shoulder pads in linear, oversize jackets, and of course the hats. The combined efect was one of regal largesse and elegance—part fn de siècle afrocentrism, part overt “fashion.” Phyllis took everything to the max, sadly including an appetite for destruction, which led to a fatal overdose shortly before her forty-sixth birthday, in 1995, but not before she had left her mark in so many hearts.

ANITA BAKER

In the time before hip-hop ruled the airwaves, Anita Baker was the sound of urban radio. Her 1986 breakout album, Rapture, was precisely that. With an emotive sense of timing and a voice that passed easily along three octaves, Anita drew you into a world of her own making. Lines could begin as an idea deep down in her throat and end up as airy ad libs; her delivery could turn from percussive vernacular to abstract jazz in a few measures. But if these songs sent the listener soaring, they were also quite literal—simplistic and devoted to expressing a somnolent kind of love, beyond the cheap thrills of lusty lyrics and sex for sale. Anita’s songs still stand up—and stand out—as evocative references for those of today’s generation of singers who aspire to make sexy music that isn’t cheap.

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Prop stylist Michele Faro (Art Department) Photo assistants Nick Damiano and Cole Slutzky Production Bo Zhang (Management Artists) Location ROOT Studios Catering Monterone

AMII STEWART

If your education in ’70s disco comes largely from a late ’90s movie about Studio 54, then you’ll remember the scene with the wild staging of the song “Knock on Wood”— an actual, factual disco hit by Amii Stewart. Musically speaking, Stewart’s number one hit single aspired to far less than the original 1966 soul classic, by Eddie Floyd, but its video was over-the-top, even by disco standards. Any aspiring pop star brave enough to watch it today will fnd a treasure trove of outlandish style cues there for the harvesting, from Technicolor eye shadow treatments to long frosted lashes and luscious lips to clothes that can only be called costume. And all the while, Stewart bops with just the right amount of groove to match the tune’s suspect production.

7forallmankind.com

une collaboration avec

POWER HOUSE

despite what you might have heard, making it in the music business takes a lot more than a laptop and a dream. meet the superstars behind the scenes who help take pop music’s biggest stars to the top of the charts and beyond

From left: Josh Abraham, Oliver Goldstein (Oligee), Bonnie McKee, Cory Enemy, and Vaughn Oliver (U-Tern)

bonnie mckee, songwriter

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mean, I’d probably just fan out and bow down like, I’m not worthy! What’s the most difcult part of your job? Reinventing the wheel What’s the easiest? Working with like-minded people How has the business changed since you started? Once upon a time you could sit down at the piano, write a song, top to bottom, and a label would pay a producer to make a demo. Now you get in a room with a producer and split it 50/50. Also there used to be bottomless budgets for celebratory dinners. You won an award? Celebrate! You got a cut? Celebrate! You started a verse? Celebrate! Those don’t really happen as much anymore. What is the biggest misconception about your work? That we have it easy, just sit back and collect checks. Songwriters work for free seven days a week. Nobody pays us to write, we only get money if the song is a hit. It’s a lot of work for an unreliable income. How do you fnd out if your song is number one? If I have something come out I’ll go on iTunes and see how it’s doing. But I usually tune into the radio and try to experience it as a regular listener. It is such an incredible feeling having a number one song. I’ve been very spoiled, so if I write something that doesn’t hit the top 10 I feel like a failure, even though having anything chart at all is a huge accomplishment. It’s like a drug! Very addicting and short-lived. Is there a particular career highlight

so far? Well, I just got my frst Grammy nomination, for Song of the Year, with “Roar”! I am very proud of that! There is always a lot of criticism directed at the major label system and the recording industry. What would you do to make the music business better for artists? I think artist development no longer exists. If an artist’s frst song isn’t a hit, they’re often abandoned. Back in the day, bands would put out four albums before they would get a hit, and the labels would stick by them and help them to see their vision through. So I think I’d put more of an emphasis on that. Also, radio plays fewer and fewer songs, because the audience’s attention span is so short nowadays. I’d like to hear more variety on the radio, to give more artists a chance to shine. I’m sure there is a way to do that and still keep everybody making money. Give us a prediction about where the sound of pop music is headed: I think after watching artists like Lorde blow up that the people are ready for something new. We may have a string of anti-hits on the way. What’s next for 2014? More dance music, probably, and more genre-bending hits. It used to be that kids belonged to a certain tribe—you’re either hip-hop or alternative or pop or country...These days the lines are blurred, and I hope to hear more unexpected collaborations. Personal motto: What would Prince do?

Photography Claudia Lucia Photo assistant Peter Juhl

Who are you currently working with? OLIVER, Dr. Luke, Max Martin Who are some of your past collaborators? Katy Perry, Ke$ha, Kelly Clarkson, Britney Spears, Christina Aguilera, Cher, Taio Cruz, Adam Lambert Biggest hits: “California Gurls,” “Dynamite,” “Roar,” “Hold It Against Me,” “Teenage Dream,” “Wide Awake,” “Last Friday Night (T.G.I.F.),” “Part of Me” Favorite song that you’ve written? “Teenage Dream” Any new acts to watch out for? Bonnie McKee! How did you get into the business of songwriting? I started out as an artist as a teenager, got dropped, signed a publishing deal out of desperation and poverty, and got lucky. What makes a good pop song? Unique simplicity Take us through your process when it comes to crafting a song: I start with titles a lot; I have a book of concepts. I sit down, listen to a track, and try to match a title that looks the way the music sounds. Sometimes I start with melody-singing gibberish and start rhyming with whatever vowels sing well. What separates you from other songwriters? My sparkling personality. Where is the strangest place you’ve ever come up with a song? Bali. I wrote a song called “Hot City” that’s on my new album! If you could take any legendary performer from the past and work with him or her now, who would it be? I am such a huge Michael Jackson fan. I

Photography Adrian Meško Photo assistant Tucker Van Wyden

From left: Desi Santiago, Zaldy, Twan Meijerink, Paul Cupo, Miki Horii, and Jarrod Glaze

ZALDY, COSTUME DESIGNER

Location and year founded: New York City, 2001 Who have been some of your biggest clients? Michael Jackson, Lady Gaga, Katy Perry, Britney Spears, Nicki Minaj, Ke$ha, RuPaul, Cirque du Soleil How did you get into costuming? After I graduated from design school, I went to Paris to get a job, but everyone wanted me to be a model. I went with the flow and ended up doing runway for Jean Paul Gaultier, Thierry Mugler, Vivienne Westwood, and campaigns for Levi’s and Paul Smith. You could book me as a boy or a girl! I shot with Steven Meisel, Steven Klein, Karl Lagerfeld, Ellen von Unwerth, Glen Luchford, and even Scavullo. It was a great portal into the industry. Eventually I pulled it together and presented eight collections. It was tough. I ended up designing L.A.M.B. for seven seasons as well, but eventually music projects pulled me away from fashion. When working with a client, what is your objective?

From left: Danielle Haim, Este Haim, Ariel Rechtshaid, and Alana Haim

To create a lasting impression that satisfies not only visually but also emotionally so it moves people to want what my client is wearing. Who is the biggest “get” when it comes to pop stars looking for an original piece? I’m always conflicted about this, because I love working with big budgets, but the artists whose music I personally love don’t have the budgets required to make my team move. I would love to work with Lykke Li, Fever Ray, Sky Ferreira, and Lana Del Rey. Hopefully soon I’ll be able to work something out! What is the strangest job you’ve ever taken? The Lady Gaga–Kanye West tour! At the time it was really bold, the merging of a hip-hop crowd with a pop-music crowd. The story boards were amazing, and it would have been monumental if Kanye hadn’t taken the microphone away from Taylor Swift at the MTV Video Music Awards, which essentially made him public enemy number one.

One day it was all over and then I started working on Gaga’s “The Monster Ball Tour.” Kanye did ask me to design his collection with him, but the project needed full-time attention, which I unfortunately was not able to give. I would have loved to, he is a genius after all. If you could take any legendary musician from the past and dress them now, who would it be? Elvis, Nico, Aaliyah, Amy Winehouse, Kurt Cobain, Ziggy Stardust Where do you predict pop-star style is going? More personalized fashion. Celebrities have been too caught up in “getting it right” instead of expressing a personal point of view. What’s next? I am launching my ZALDY collection again, for Spring 2015. Plus another big project, but it’s a secret. Personal motto: Follow through. I learned it playing tennis in high school, but it’s evolved to mean that if you start something then you have to see it all the way through.

ARIEL REChTShAID, pRODUCER

Photography Claudia Lucia Photo assistants Byron D. Gamarro and Chris Velasco

Location: Los Angeles Year founded: 2009 Who are you currently working with? Kylie Minogue Most prominent clients? Rostam Batmanglij, HAIM, Usher, Sky Ferreira, Snoop Dogg Biggest hits? “Climax,” “Unbelievers,” “The Wire” Do you have a favorite song you’ve written or produced? That’s like asking if I have a favorite child…it’s not fair to those bastards. How did you get into producing? I like telling people what to do. What makes a good pop song? Three major elements: a signature beat, signature chords, and a great lyric! What is your process like when crafting a song? I try to come up with a signature beat, signature chords, and a great lyric. What separates you from other producers in the business? Other producers? Where is the strangest place you’ve ever recorded a song? In a hut in the mountains of Jamaica with Snoop Dogg. If you could take any legendary musician from the past and work with him or her now, who would it be? I think John Lennon was on to something. What’s the hardest part of your job? Deciding what to eat for lunch. What’s the easiest part? Nothing is easy. Career highlight? There are a few, but walking the stage with Usher to receive a Rhythm & Soul Music Award was pretty ill. Give a prediction about where pop music is headed: Hopefully somewhere we could have never predicted. Plans for 2014? Talking about taking a vacation but working instead Motto: One of two on any given day: That’s not good enough or Shit is hot

Photography Ben Cope Photo assistant Rowan Daly

POWERHOUSE

From left: Adriana Arce, Taylor Mondak, Melissa Ruderman, Cassie Petrey, Adam Leber, Matt Zeidman, Larry Rudolph, Florence Tse, Dan Dymtrow, Sheila Hozhabri, Marisa Pratt, and Michael Weiss

LARRY RUDOLPH, mAnAgeR

Company and year founded: ReignDeer Entertainment, 1998 Who are your current stars? Britney Spears, Miley Cyrus, Avril Lavigne, Will.i.am, Steven Tyler Any newcomers we should watch out for? Travis Scott, GRL, and Jacob Latimore. Do not forget those names! How did you get into the business of management? I met Britney Spears when she was 13 and became her lawyer. After I helped her put together her demos and get a record deal, she wanted me to become her manager too. I originally said no, but she made me do it! Ha! What makes for a good manager? Being a good listener, problem solver, and being persuasive but not annoying. Above all, honesty and character are so important. If people don’t trust you, you’ve got no business in this business! And you have to deliver. Talk is cheap... What separates you from other managers? If I love you, the sky is the limit and there’s nothing I won’t do. Where is the strangest place you’ve ever been approached? Waitresses in L.A. hand me their demos with my check all

the time, but I guess that time I got handed a CD while using the urinal. That wasn’t good. If you could take any legendary performer from the past and manage him or her now, who would it be? No brainer... Led Zeppelin. Not only am I a huge fan, but I would love to have seen just one day of the legendary insanity that those guys lived back in the ’70s. God bless Peter Grant! What is the most difcult part of your job? Scheduling. The demands on the artists’ time are enormous. Everyone is looking for a few moments with a star, but no one understands that a few moments, times 10,000, adds up to more time than there is in a day. It’s my job to make sure that my artists are doing the important things and not everything that’s thrown at them, so their careers can stay on track and they don’t get burnt out in the process. What’s the easiest part of your job? Once all the work is done and the artist is on stage, there’s nothing like sitting back enjoying the show. What is the biggest misconception

about you and your clients? That we sleep in hyperbolic chambers and collect the bones of poor disfigured dead cretins. Only half of which is really true. Your clients have changed the pop-cultural conversation. What’s that like? Indescribable! Standing backstage at the VMA’s when Britney kissed Madonna and the crowd went ape shit, or when she walked out there with a giant snake around her neck and brought down the house, or when Miley tore it up in Brooklyn this year and caused what can only be described as a pop-culture tsunami...the adrenaline rush is indescribable! Is there a moment that stands out for you in your career that still excites you? I’d say it was the Britney/Madonna kiss. I remember standing with her on the side of the stage just chatting right before she went out. Then she walked out on that stage and proceeded to calmly tear a hole in the fabric of the universe. I love that girl! Personal motto: If you hit a wall, figure out how to go over it, around it, or through it, but DON’T STOP...EVER!

PReSS HeRe, PUbLicitY

Photography Adrian Meško Photo assistant Tucker Van Wyden

From left: Sarah Usher, Carleen Donovan, Gina Schulman, Linda Carbone, and Jen Appel

Founder: Linda Carbone Number of staf: 25 Who are some of your prominent clients? BANKS, Arctic Monkeys, Blondie, Phoenix, Questlove/The Roots, The Kills, Lenny Kravitz, Lykke Li, Robin Thicke, Carla Bruni, Depeche Mode, Bat for Lashes, Duran Duran, Juliette Lewis, Die Antwoord, Sleigh Bells, The Weeknd What does your frm do better than any other PR frm in the world? Our diversity enables us to go beyond the scope of publicity. We incorporate business development, event planning, and production. What would you say is the biggest “get” for a musician in terms of publicity? Media that represents our clients in an authentic way, allowing them to tell their story and share their art in a way that is true to who they are. If you could take any legendary musician from the past and represent them, who would it be? This question is so hard. First I thought of Ella Fitzgerald, because she makes me so happy. Then I thought of Gram Parsons, because he makes me so sad. Then I thought of Bowie, because he represents the past, present, and future. What would you change about the business? Finding a way for musicians to be properly compensated for their work while keeping it afordable for the consumer. Team motto: You look good, I look good…we all look good.

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GlOW On, GiRl! CloCkwise from top left: sUNGlAsses 3.1 PhILLIP LIM sHoes fENDI BAG saINt LaUrENt by hEDI sLIMaNE BANGle ChaNEL ClUtCH raLPh LaUrEN

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giuseppe zanotti design

printemps-ĂŠtĂŠ 2014

rock steady

from top: SHoES VERSACE BrACELEtS JIL SANDER BAG CHANEL

Prop stylist Michele Faro (Art Department) Photo assistants Nick Damiano and Cole Slutzky

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mod mania CloCkwise from top left: sUNGlAsses RALPH LAUREN sHoe STUART WEITZMAN sHoe DOLCE & GABBANA brooCH AND eArriNGs LANVIN bAG DIOR

Production Bo Zhang (Management Artists) Location ROOT Studios Catering Monterone

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traveling in style

Filmmaker Wes Anderson has a penchant for designer goods. For The Darjeeling Limited, Anderson called upon Marc Jacobs to create custom Louis Vuitton bags. But for his new film, The Grand Budapest Hotel, out this month, starring Tilda Swinton, Willem Dafoe, Ralph Fiennes, and Adrien Brody, he tapped Prada to make a napa leather coat and a luggage set. (It’s not the first collaboration between the two—he did a short film for Prada back in November 2013.) The 1940s-style jacket was designed exclusively for Dafoe’s character, Joplin. In addition, Prada made a series of 21 bags, inspired by the label’s original designs from the 1920s and 30s, complete with handcrafted finishes by artist Mieke Casal.

catching stardust

Mick Jagger by David Bailey, 1964

From Mick Jagger to Kate Moss to Jack Nicholson, David Bailey has notoriously photographed some of the most famous talents of our time. However, in his new book and accompanying exhibition at the National Portrait Gallery in London, entitled Bailey’s Stardust, the distinguished lensman unveils many lesser-known and previously unseen images from his archives. For the project, Bailey personally selected the 250 shots, which span over fve decades of work and focus on subjects from the felds of music, fashion, politics, and entertainment. The Hugo Boss–sponsored exhibition, open through June 1, is one of the largest photography exhibits the museum has ever hosted. Side note: he named the show and tome after his favorite song by Hoagy Carmichael.

bailey’s stardust is currently on view at tHe national portrait gallery, london

robert heinecken oPens at MoMa

Recto/Verso #2, 1988

New York’s MoMA always aims beyond the evident when procuring a new exhibition. As the museum continues to investigate the impact of mixed media on new media, we’ve noticed an acute focus on variety in medium. Isa Genzken’s retrospective, and Mike Kelley’s at MoMA PS1, for example, both set out to prove not only impact but diversity within the artists’ careers. Open to the public on March 15 is a retrospective of Robert Heinecken’s most conceptual and seminal work, which particularly looks at art that points toward the infnitesimal. Heinecken (1931-2006) is considered a pioneer of appropriation art, collaging his own photography and found material—flm and other publications, including pornography. The hypersensitive, hyperaware imagery couldn’t be more pertinent to today’s conversations about culled images and fear of overstimulation.

robert Heinecken: object matter is on view at tHe museum of modern art from marcH 15 to june 22 1 42

raf siMons x adidas: round two

Following up on his debut sneaker collaboration for Adidas, Raf Simons joined forces once again with the sportswear brand on another standout collection. In celebration of the classic Stan Smith model, which made its return this year, the designer ofered his own futuristic take on the cult favorite. Simons swapped out laces for crossover straps, replaced the all-white fabric with faux reptile skin, and added touches of color with blue-and-green or yellow-and-white stripes. Don’t wait for our go-ahead, the collection just hit shelves, and you won’t want to miss out.

stan smith rs ($455, barneys.com)

This page, clockwise from top left: Courtesy Prada; © David Bailey; courtesy Adidas; © 2013 The Robert Heinecken Trust Opposite page: Courtesy of Monya Rowe Gallery and Mallorca Landings Gallery (Satterwhite); courtesy the artist (Allen); courtesy Harlot & Bones; courtesy Porsche Design

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Jacolby Satterwhite,“Transit,” video still from Reifying Desire 6, 2014

get floored at the whitney

Alma Allen, Untitled, 2013

The more we diminish defined roles in art, the more they reassert themselves in unexpected ways. For the last Biennial held at its Madison Avenue and 75th Street location, the Whitney has chosen three curators, Stuart Comer, Michele Grabner, and Anthony Elms (each asserting a chosen focus in the field). While traditionally the survey is a collaboration between curators, this year each of them was assigned a floor. Interestingly, when treated as its own multimedia gallery, each floor ends up housing more artists than it has in previous years, including an increasing amount of collectives. (The number of artists billed for 2014 is more than double that of 2012.) And each level, as varied in form as ever, has its own flavor. We won’t see one isolated performance floor as in 2012’s survey, instead we’ll find it popping up everywhere, perhaps forming a more cohesive bond between works on view in any given area.

a killer debut from harlot & bones

For Lady Amanda Harlech and Dominic Jones’s debut Harlot & Bones collaboration, the two looked to Edwardian mourning jewelry for inspiration. (The creative consultant and stylist and the Brit jewelry designer both admit to a shared obsession with natural forms and defenses.) The result is a series of beautifully crafted, highly sculptural pieces, all with a secret function. Think signet poison rings, a screwtop perfume bottle necklace, and embossed locket pendants. There’s also a beetle wing theme that appears on traditional shields throughout the collection, which is a nod to family keepsakes. Though the line incorporates quite a bit of history, the overall look is kept fresh by the turquoise, marcasite, and onyx materials.

Harlot & Bones Black Rhodium Shield locket Pendant necklace with onyx and maRcaSite StoneS ($1,543, net-a-PoRteR.com)

the whitney Biennial iS on view fRom maRch 7 to June 22

lindbergh at the wheel

For the second time around, Porsche Design enlisted acclaimed fashion photographer and filmmaker Peter Lindbergh to shoot its Spring/ Summer 2014 ad campaign. Of creative director Thomas Steinbrück’s newest offerings, which include super clean, minimalistic silhouettes and a futuristic color palette, Lindbergh said, “The collection strikes the perfect tone.” He added, “All the items have a very strong link with the Porsche Design philosophy. They are exactly what you would imagine.” At left is an exclusive, behind-the-scenes look at Lindbergh’s Porsche shoot in Paris with models Katrin Thormann and David Florentin. Check out the collection at shop.porsche.com/ usa and in select stores now.

WALK THIS WAY

famous for merging street culture with high fashion, designer riccardo tisci could not resist the urge to reimagine nike’s iconic air force one PHOTOGRAPHY JUNICHI ITO

Little known fact: as a youngster growing up in Italy, Riccardo Tisci was set on becoming a professional basketball player when a career-ending injury sullied his hoop dreams. “I was very good,” he says. “But then I hurt myself and had to stop. I decided to leave my country to go to university in Germany, and that’s when I started with fashion.” Over the years Tisci has remained connected to basketball culture (look to his recent menswear collection for further verifcation), including wearing Nike’s Air Force 1s both on and of the court. It was perfect synergy, then, when Nike approached Tisci with the idea of reimagining its best-selling sneaker of all time. (The Givenchy don even traveled to Portland, Oregon, to visit the company’s impressive campus.) The resulting kicks are unisex sneakers that come in four varying heights (including a knee-high version, for the maximum fashion impact) in shades of white and black. A purist at heart, Tisci altered only the decoration of the sneaks, with stripes in yellow, gray, and blue, while keeping the original ft in tact. And instead of overt designer branding, Tisci’s initials appear ever so subtly at the heel. Upon seeing the fnished product, Tisci could not help but be impressed. “I got very emotional actually,” he says. “A project like this doesn’t come every day with a company that you respect. It’s not about money, it’s about respect. That is very important to me. This brought me back to my childhood. These shoes represent that period of my life.” Sarah CriStobal SNEAKERS NiKE + r.t. air forCE 1 hi ($320, AvAIlAblE AT SElECT NIKE SPORTSwEAR RETAIlERS GlObAllY)

1 44

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“Chilly night in Montmartre, Paris”

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1 48

it’s no secret kylie minogue has been busy in the studio. the global icon takes a break from recording with her cast of cool collaborators to narrate her life behind the scenes

International pop star. Chart-topper. Television host. Humanitarian. Breast cancer survivor. Actress. Ofcer of the Order of the British Empire. The original goddess of pop has done it all, earning her a permanent seat in the global music Hall of Fame. But that doesn’t mean she has plans to quit anytime soon. This spring, the irrepressible icon is back with her twelfth studio album and a new season as a coach on the British edition of The Voice. While working with the likes of Pharrell Williams, Ariel Rechtshaid, Cutfather, and MNEK, Minogue traveled all over the globe, from New York to L.A. to London, to record. The frst single, “Into The Blue,” from her forthcoming album, Kiss Me Once (available on March 18 from Warner Bros. Records/ Parlophone) has been heralded as a “euphoric return back to the dance foor.” If it’s Kylie calling, there’s no way we won’t be there. William Defebaugh

Photography courtesy Kylie Minogue

COME INTO HER WORLD

MARK ROMANEK & PAUL McCARTNEY

“1. I take paul’s pIcture; 2. paul asks to take my pIcture; 3. paul takes my pIcture (I’m shIttIng myself). hIs pIcture Is better than mIne!” —mark romanek

jOAN sMALLs, ChANEL IMAN, jOURdAN dUNN, & BEYONCÉ

they woke up lIke thIs, they woke up lIke thIs...

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sKY fERREIRA & GIORGIO MOROdER

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RIChARd PhILLIPs & COURTNEY LOVE

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who’s bad? parIs, (far rIght), on the set of “bad,” In the ’80s, wIth (clockwIse from left) her father, rIck; Jackson; her mother, kathy; and her sIster, nIcky 14 9

riccardo tisci on erykah badu: “we belong to each other”

When it came time for riccardo tisci to bring his uniquely urban chic spring givenchy collection to life, he had a very specific campaign star in mind, the Wondrous neo-soul goddess erykah badu If you experienced a shock of delight when the Givenchy Spring ads started populating the Internet, you are probably a child of the late ’90s who remembers when “On & On” hit the MTV airwaves and a gorgeous, turbaned creature with a jazzy infection reminiscent of Billie Holiday commanded your attention. Riccardo Tisci was one of the many who was captivated by Erykah Badu, and the admiration has been everlasting. The designer had the regal songstress in mind when designing his Spring collection. Badu, who is in the “creative process” of a new album, has been quietly touring for years in between taking care of her three children at home in Dallas and continuing her duties as the world’s chicest doula. A long time admirer of the house of Givenchy, she was photographed for the campaign by Mert & Marcus last November in L.A. Here, the designer and his muse explain the genesis of their creative collaboration, their newfound familial bond, and why musicians have become the current faces of fashion. SARAH CRISTOBAL

Makeup Val Garland (StreeterS london) Hair MalcolM edwardS (StreeterS london) Set deSiGn alexander Bock diGital tecHnician edouard MalfetteS (diGitart) pHoto aSSiStantS antoni ciufo and laurent cHouard Makeup aSSiStant Veronica Martinez Hair aSSiStant adlena diGnaM production BracHfeld pariS

V Erykah, did you know Riccardo before you got the call to appear in the ads? ERYKAH BADU I just got a call from him. There’s not a big backstory to it. Unless you want to include that I’m a big fan of his work. RICCARDO TISCI I knew her as a musician and an artist. And she is a real artist. We had crossed paths before once in New York but never really knew each other. I asked her and she said yes. I was very, very happy. I wanted to represent the collection with style and elegance and I think she is perfect for that. V In addition to being an incredible artist, you’re also quite a fashion magpie. Are clothes another mode of expression for you? EB It’s all art to me. I just really enjoy expressing myself artistically in any genre. Whether it be music or cooking or hair. Costume, makeup, fashion. It’s just fun exploring all of the little things inside of my head and seeing them manifest. I would liken fashion or styling to putting a lump of clay in the middle of the table and carving away. And there’s something underneath. Layering and silhouettes. A pair of earrings. I think it comes down to my favorite things and how they come together. That’s fun when that happens. RT And this is one of the great things that drew me to Erykah. Aside from being quite talented, and the queen of the ’90s. I was thinking of someone who was quite elegant and urban. She’s always been this way. She has a very good sense of style, she’s great with jewelry. Her look can be quite feminine with the turban and a dress but also masculine with fat shoes or trainers. It all works. V Can you talk about the shoot with Mert & Marcus? RT For me it’s all about family. They are like family. Erykah, once we met on set, we fell in love. Now she is family. EB They are just so awesome. They want to work with the artist and the model to make sure that she’s seeing what exactly is going to appear. I think that’s really kind and generous. And I love Riccardo’s heart. I like that he’s very thoughtful in his art and his design. Not only does he have a superb eye for silhouette and technique, but he also has an imagination that’s pretty out there. That’s why we get along pretty well. He allowed me to contribute to the style of the shoots. V How so? RT She put the looks together in such a strong way. I was really very impressed. Some celebrities are in campaigns for money or whatever but it’s forced. But I only want to work with people that I love and respect. With Erykah the energy was already there. This was perfect because in a way we belong to each other, we help each other as artists. EB I love this idea of bringing these garments artistically into function. It’s functional art that Riccardo does, basically. That’s what I do as well. We speak each other’s language. We check on each other. He’s taught me a lot about fashion and lines and the way he sees. I really appreciate the way Riccardo sees. He reminds me to be fearless. V There have been a few musicians—Rihanna, Miley, Gaga—appearing in fashion campaigns this year. Why do you think that is? EB I think that we keep each other moving creatively, especially those that have been in this game awhile. To see our fellow artists like Riccardo and Donatella choose musicians only shows that we are all connected. My creative song is married to Riccardo’s creative eye, perhaps because I can sing a lot of songs about these designs and ideas that he has. I think it’s just the spirit of where we are as a whole tribe of humans. Visual expresses music expresses theme expresses theory. Everything goes together to more broadly express what the artist is trying to say. There’s no way I can express what I’m trying to say without the help of some visual artist completing my sentences. I think right now we’re completing each other’s sentences, artistically. RiccaRdo tisci and ERykah Badu in paRis, januaRy 2014 pHOTOgRApHy kARIm SAdLI 15 1

Donatella VeRSaCe: “MY RInGtone IS aPPlaUSe”

Famed designer donatella Versace pens a tribute to her dear Friend and current campaign star, lady gaga PhotograPhy inez & vinoodh fashion brandon maxwell text donatella versace

Makeup YadiM (art partner) Hair SHaY aSHual (tiM Howard ManageMent) Set deSign Marla weinHoff

The frst time I met Lady Gaga was when she borrowed pieces from the Versace archive for “The Edge of Glory” video. Of course I knew all about her, and I was curious to meet her. The way that we met immediately told me she was someone diferent; she didn’t want us to make her a special piece, or to do a short-term project. She wanted to get to know the heart of the brand, almost like a student coming to do research. I thought she looked incredible in the pieces. The way she wore Versace in that video showed young people around the world the energy and attitude of Versace. For me, the Spring/Summer 2014 collection was about 21st-century Versace. It was about the way that women today wear Versace, women like Lady Gaga. She can be wearing the most glamorous gown, the provocative Medusa harness, or one of our rock tour T-shirts. It means so much that she fnds strength and character through dressing in the Versace way. It’s interesting because this is how I’ve always looked, since I was a teenager. I’ve never experimented with diferent personas in the way that she has. It makes me admire her even more, and makes me even more grateful that she wanted to experiment with the Versace look. Music is something that is always there in my life. In our design studio, the volume is always turned up. I love it when my young design team plays me things that excite them, even if it is something that at frst I don’t understand. I like music to challenge me, to make me think, and there is something very special about Lady Gaga’s music. I love that the songs are loud, energetic, wild, and unexpected. But then I also love it when Gaga sits at a piano, on her own, and sings the same song as if it’s a ballad or a love song. The fact that she can do this shows that in every single one of her songs she has put her true heart. Of course hearing “Donatella” for the frst time was one of the most incredible moments of last year. It was such an honor that she would even think to write it. She played it for me for the frst time at a dinner for my birthday, in her parents’ restaurant, in New York. We listened to it over and over; it was the most special birthday present. I wouldn’t be able to express what I feel about Lady Gaga in lyrics. One thing that I have learned is to stick with what you’re good at. I’m a fashion designer. I’m not a songwriter. It has been one of the great privileges of my life to be surrounded by some of the most creative people on the planet. I love Lady Gaga for her individuality, her bravery, her extraordinary talent, her style, her humor, her loyalty, and her intelligence. I love Lady Gaga as a true friend. Our conversations are private, but I can tell you that the ringtone on my iPhone is “Applause.” That should let you know how often we speak! 15 3

britney goes to vegas

behold the majesty of britney spears. for the pop princess’s debut at the planet hollywood resort in las vegas, v had an exclusive front-row seat PhotograPhy denise truscello

sPears PerforMs “circus” in a ring of fire

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Katy Perry caPtures the suPerstar on stage

Special thanks Jeff Raymond

It’s 8 pm on December 27th at the Planet Hollywood Resort and Casino: do you know where your fedora is? You can pick up a pink sequined one at the Walgreens next door or a disposable $45 black pleather option at the Wet Seal–inspired Britney Spears merchandise boutique opposite the Axis Theater, outside of which a snaking line of superfans and apathetic gamblers marches toward their date with Britney. The opening night of her headlining Las Vegas revue, Piece of Me, was an extravaganza that did not disappoint Katy Perry, Selena Gomez, or Miley Cyrus, who danced in the front row with the Spears family matriarch, Lynn. These unabashed disciples of “Godney” faithfully gyrated alongside some of the most cynical bloggers and more institutional haters who accuse the most influential Southerner since Bill Clinton of ruining popular music. Among the pieces of Britney offered up to the ravenous crowd before her: the angel wearing a 12-footlong wedding dress, lowered from on high by a crane, for “Everytime”; the lip-synching fem-bot snapping her hair from the center of a flaming hoop, for “Circus”; the woodland nymph catapulting herself off an Olympichigh-dive-sized tree, for “Toxic”; and most scintillatingly, the goth princess, reinventing our collective national anthem, “Baby One More Time,” as a gloomy rocker dirge complete with a plague of crows and dancers twirling black cloaks with sticks. The dizzying performance left one thing clear among attendees: after all these years, we’re still slaves 4 U, Britney! Kevin Mcgarry

SpearS SetS the Stage at the axiS theater, where She will deliver 50 performanceS a year to the 4,600-Seat audience through 2015

â&#x20AC;&#x153;@mileycyruS love you So much! thank you for coming to #pieceofme! i adore you :),â&#x20AC;? Britney tweeted to miley following the performance

woRk IN pRog Ress

postmodern visual artist and budding actress kim gordon graciously opens the doors to her rural massachusetts sanctuary PhotograPhy Jason schmidt

Kim Gordon meditates on her new sound at home in Northampton, Massachusetts, January 2014. Makeup and hair Liz Washer for Make Up For Ever (Ennis Inc.)

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hall of cobain

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the bristling honesty of kurt cobain echoes through time, unspoiled by age. the ascent of a punk from aberdeen to the highest altar of popular music culminates this spring when nirvana is inducted into the rock and roll hall of fame. we pay our respects to saint kurt by presenting a few relics of his 27 years photography dan forbes

This page: Kurt’s cardigan Previous page: Kurt’s Vandalism Fender Stratocaster

“COME, DOUSED IN MUD, SOAKED IN BLEACH, AS I WANT YOU TO BE.” – Come As You Are, Nevermind

The Moon Man trophy presented to Nirvana at MTV’s 1992 Video Music Awards for Best Alternative Video “Smells Like Teen Spirit”

“I’M WORSE AT WHAT I DO BEST AND FOR THIS GIFT I FEEL BLESSED.” – Smells Like Teen Spirit, Nevermind

Kurt’s Vandalism Fender Stratocaster, famously played at the 1991 Reading Festival and at the Paramount Theater in Seattle on Halloween of that same year

“SKIN THE SUN. FALL ASLEEP. WISH AWAY. THE SOUL IS CHEAP. LESSON LEARNED. WISH ME LUCK. SOOTHE THE BURN. WAKE ME UP.” – Dumb, In Utero

83 Mercer street New York

www.carven.com

OCK R O H W S L GIR M A L G F O R E TH THE GODFA OF SOUL T H E S A I N T S BA L TRI F O L A V I V A RE VA I D A F O N TIO THE EVOLU P MODEL TO S ’ W O R R O TO M SS E C N ENE I C R S P G P I O B P S ’ T DEN NEX E S ’ W A S C I R X E I M M A IME E RE L G Y E T R S R S E ’ N G G N D ES I SPRI A G N I H K T S U ’ O B S & R E N OF OF TH R G U T N E O R S E W H E Y T X THE N E HION S S S A T F E L G A T T R N A E HE UM AND T S N TV’S SWEET EME DREAM INSTR A C U S YO E O H S E H A SUPR T ALL N! O I J T D C E L W L E O N G ARY C N O I S I V A SHOCKIN A & 16 3

The soulful new zealand Teen changed The course of pop (and Took home Two grammys in The process) phoTography inez & Vinoodh fashion carlyne cerf de dudzeele TeXT John norris 1 64

Pop Solo Performance” and “Song of the Year”), Lorde is a refreshing corrective to pop’s hedonist bent—but please don’t call her, as some have, “the voice of a generation.” “Oh, come on!” objects Ella Yelich-O’Connor when informed that an NPR writer has just referred to her as “the Nirvana of now.” A New Zealander, and therefore, she says, cynical by nature, Yelich-O’Connor is well aware of Who’d have thought a year ago that one of the biggest the sort of reaction such hyperbole might provoke among breakout pop stars of 2013 wouldn’t stand on jiggling, the Cobain faithful. “I’m sure so many people will read twerking, or a saccharine roar? No, this smarty-pants that and be like, Fuck off!” she says. While the praise teen from the Antipodes instead merely crooned that she for “Royals” and the rest of her slice-of-suburban-teenand her tribe weren’t exactly caught up in the culture’s unrest album, Pure Heroine, is flattering, Lorde is quick material love afair. And yet Lorde’s “Royals” hectored us to point out that most of the over-the-top acclaim has for months on end about our collective label fetish, and come from, well, older folks. “If that’s what people want we loved it. Nine weeks at number one in the U.S., and to say, that’s okay, I guess, then fair enough,” she says. four Grammy nominations (she nabbed two for “Best “But a lot of this is coming from adults, who are saying

Clothing Chanel Jewelry DaviD Yurman on brows, m.a.C COSmeTiCS VelUXe brow liner in DArK brUnette

what I’ve done has had some profound impact. But for “anti” anyone, even if, as she admits, she is demographically a lot of my peers, they appreciate what I’m doing, that something of an in-between. “I have heaps of friends in there’s someone who’s talking about stuff a bit different high school, but I also hang out with a lot of older people. or maybe more relevant to them. But I don’t know if peo- It means that I get to have these stimulating encounters ple my age think it’s wizardry. They just think, Oh, okay, with people that I idolize, which is cool.” someone’s saying that. I mean, I wrote this record about One such person is David Bowie, for whom Lorde permy mates and my town and my life, and nothing more.” formed at the Museum of Modern Art’s Annual Film Beneft, It’s easy to forget her age. Given those preternaturally in New York. The event was sponsored by Chanel and also incisive lyrics and her tendency to shoot from the hip attended by Karl Lagerfeld, Tilda Swinton, and many other with opinions (an inclination that she has learned to dial members of the glitterati. Altogether her success has creback since headline-seeking journalists started baiting ated something of a paradox: the non-material girl who her about other artists), as well as the 1940s-Hollywood- ostensibly has no interest in “that kind of luxe” suddenly meets-goth-girl features, the wild mane of hair, and the fnds herself rubbing elbows with red-carpet-walking roygenerally buttoned-up look, it’s all been enough to prompt als. Chances are she’s even seen a few diamonds in the fesh some to portray her as an “anti-Miley,” an “anti-Taylor.” by now. “Totally,” says Yelich-O’Connor. “You’re right, it Lorde insists she’s not particularly interested in being is at odds with what I write about, and the reality of my

life until a few months ago. But when I go home, I still do all the stuf I used to do. I dunno...part of me feels like it’s weird to just get sucked into that world.” While she says she’s written a good amount of new lyrics recently—“stuf on GarageBand and shit”—album number two is likely a ways of. She’s wary of Lorde overload. “I want to let people stop hearing Lorde on the radio all the time and give them a little bit of breathing room before I unleash something diferent.” And, she promises, it will be diferent. Life has changed for the Kiwi kid, and will continue to do so, with her frst proper tour, which launches its U.S. leg in Austin on March 3. “I’m a big believer in making a record that has a certain aesthetic and touring that record, and fnishing that,” she says, “and then a kind of reinvention taking place. I like that. And I don’t think you can do that without giving things time to breathe.”

bewitching gemini twins unleash a new sound from sweden

More than 8,000 miles apart and maybe even farther in said, ‘I know it’s about Julian Casablancas!’ We were like, terms of temperament, Sweden and Australia are almost ‘Um, no. But okay, it could be if you want it to!’” never thought of together. One context in which they Whatever its inspiration, “Julian” is a woe-is-he stunner that together with the band’s moody woe-ismight be, though, is Julian Assange—the Aussie founder me debut single, 2012’s “Maybe You,” made Say Lou of WikiLeaks, wanted by the Swedes and currently holed up in an embassy in London. The two countries also Lou (formerly Saint Lou Lou) an act to watch. A flurry regularly come together in the form of pop music— of press, photo shoots, and appearances later, industry many of the Top 40’s biggest producers hail from the Goliath Columbia Records came calling. The label will Scandinavian country. Last year, Australian-Swedish release the sisters’ debut album in early summer, right duo Say Lou Lou happened to release a lovely, swirly around the time these Geminis (obvs) celebrate their slice of dreampop with a lyric about a man with secrets, twenty-third birthday. in trouble, trying to make it across a border. It’s title? All the attention has taken the Kilbeys by surprise. “Julian.” And yet, the girls insist, it had nothing to do While they originally toyed with the idea of making with the Wiki man. music six years ago, demoing several early tunes, the “I know, people thought that!” laughs Elektra Kilbey. twins had put those tracks and dreams aside as someHer twin sister, Miranda, adds, “It’s so funny, other people thing “for another life.” But then, two years ago, with

from left: elektra and miranda wear Clothing Michael Kors Jewelry DaviD YurMan on Cheeks, Michael Kors BronZe Powder in glow the encouragement of a friend, they took another stab at it. “It just seemed to come out of nowhere,” admits Miranda. “When things started happening online, we just didn’t expect it. It was so weird and exciting, but we were just so unprepared. We had been in the studio, but we didn’t have any more songs. We hadn’t been on stage!” “We did everything backwards,” ofers Elektra. “We were new to everything.” “It feels like there is always more to be done,” she adds of the forthcoming LP. “But it’s our frst record, so we want it to be right.” The girls, who admit to being “perfectionists,” have tapped Addeboy vs. Clif, the northern Swedish team behind the 2009 electro club banger “Beep My Beep,” to be their sonic architects. On the songwriting front it’s ex-Brainpool singer Janne Kask who’s been Say Lou Lou’s right-hand man, having collaborated with

the duo on its frst few singles, including the sugary and their personalities. Shy and retiring Swedes they are not. explosive title track from last fall’s Better In the Dark EP “We have Swedish accents,” says Miranda. “But we have and their expected next single, “Everything We Touch,” an Australian sense of humor. We can be silly, and we’re a song “about life’s guilty pleasures.” loud, and we talk a lot.” But back to that binational heritage: truth be told, Say “We’ve been told of our whole lives for being that way!” Lou Lou is probably more Sverige than Oz. The twins says Elektra. “We love going to America and fghting for moved from Australia to Sweden at age four and spent attention, which you have to there, because everyone their formative years there, including high school (they wants to say something all the time!” attended diferent ones), though they visited Down They’ll be getting that chance to speak up in the comUnder annually. They concede that their music is more ing year, as a U.S. tour should accompany the album’s Scandinavian cool than Aussie bold. “It’s a bit detached, release. For now, the sisters admit that Say Lou Lou and we like that,” explains Miranda, adding that they remains very much a work in progress. admire the nonchalance of their alt-pop countrymen the “We’re still exploring,” says Miranda. “Every morning Cardigans, as well as British dreampop pioneers Cocteau we wake up and we’re like, ‘What is Say Lou Lou?’ We’re Twins and Kate Bush (“she’s forestlike and magical,” says still defning our sound, and we’re defnitely pushing Elektra). If there’s an Aussie aspect to the sisters, it’s in ourselves to try new things.”

three sisters from the valley are bringing back california rock

It’s brunch time on New York's Upper West Side, and gotten on the show. That’s how they do it, that’s so brilthree sisters from L.A. are feeling fne. Why wouldn't they liant!’” Well, not exactly. But SNL was a capper to a remarkable year for HAIM, flled with one jaw-dropbe? The most-celebrated new band to emerge in 2013 is only twelve Manhattan blocks and a few hours away ping, wtf-is-this-really-happening-for-us? moment after from yet another milestone: HAIM’s appearance as the the next. “Every week it’s something diferent,” explains musical guest on Saturday Night Live, an honor nearly Danielle, the middle Haim. “It’s been like the best surunheard of for artists just over a month after releasing prise party ever.” a debut album. Only weeks earlier, HAIM learned of the The party got started in 2012, when Britain was the gig in a very Portlandia way. frst to latch on to the trio. U.K. radio jumped on the sin“We found out about it when we were in Portland,” gles “Better Of” and “Forever,” the band landed supportrecalls big sister Este, over a Sicilian breakfast of scram- ing slots on the tours of Mumford & Sons and Florence bled eggs, tomato, and hummus, “and that night we were and the Machine, as well as props from tastemakers Zane hanging out backstage, after the show, and in walks Fred Lowe and NME.com, and ultimately they won the BBC’s Armisen. And he says, ‘I just wanted to say congratula- “Sound of 2013” prize. Why England? “I think they saw tions about SNL!’ At frst we were like, ‘Oh my God. SNL the music video of us in California, and there’s somemust, like, fy cast members out to tell bands they’ve thing exotic about it to them,” ofers “Baby Haim” Alana.

from left: danielle, alana, and este wear Clothing Ralph lauRen Jewelry DaviD YuRman on skin, ClaRinS eVer matte sPf 15 skin BalanCing foUndation

While there’s no shortage of SoCal in their sound, joke they should use, a reference to the opening slot they HAIM is less throwback than many of those Fleetwood toiled in for the frst fve of their seven years as a band. Mac–evoking write-ups would suggest. Tom-driven San Fernando Valley teens long on talent and ambition rhythms and scat vocals contemporize the sound on but short on attention, they used to play gigs in obscurity their full-length Days Are Gone, released in September around Los Angeles, at any place that would have them. and occupying a spot on many 2013 year-end best-of “In L.A. you kind of live in a bubble,” explains Danielle. lists. As for those who have painted them as latter-day “We thought, Oh, maybe we’ll get signed this way. Maybe Ladies of the Canyon–era Joni Mitchells? “I think that someone will see us after we play this show. But then just comes from the fact that we have middle-parted after like hundreds of shows in L.A. playing for no one, long hair,” says Danielle. “I don't really hear it in we were like, Oh, shit.” In fact it was Danielle who frst our music.” got a taste of the wider world, from 2008 to 2010, with “We really consider ourselves more of a rock band,” gigs playing in Jenny Lewis’s and Julian Casablancas’s adds Este. “I mean, we love Joni, but we kind of started touring bands. “When I left L.A., I just saw how excited our band and said we’d never play acoustic guitars on people were about music.” stage. And we still haven’t.” Now it’s HAIM generating the excitement, worldwide. “First Of Three” was the name that HAIM used to Dues well paid, they are the frst of three no more. In fact,

the sisters launch their biggest U.S. headlining tour in April. And yet, insists “Mama Bear” Este, they still have an “opening band mentality.” “I don’t want to lose that,” she says. “Wanting to always perform at my best and wanting to win over people. I don’t ever wanna be complacent. I think you should always try and put on the best show. Fight for it, at every show.” If and when they do go home, it’s still to the Valley. As far as these alt girls are concerned, you can keep your Echo Park, your Los Feliz, your Williamsburg and Bushwick. “It’s got such a bad rap, but the Valley is like the cool place to live now,” says Alana, as we wrap up brunch. “We’ve got an Umami Burger! There’s a Joan’s On Third opening in the Valley. It’s like every time I go home, a whole cool new vibe is happening.”

raised in l.a. and beloved in london, this night owl only wants her siren song to be heard

It’s more than mere coincidence that three of the four ris- people, when I say that I’m from L.A., be shocked.” It’s an ing female acts featured in this issue of V have taken the understandable mistake. Not to stereotype a city’s sound, same path to success: conquer Britain frst. Long the most but BANKS’s songs on her aptly titled London EP—released musically adventurous market on the planet, the U.K. has last fall—are generally more Lambeth than Laurel Canyon: a handful of pop touchstones that catalyze word of mouth, dark, smoky, atmospheric, and by her own description including the BBC’s annual “Sound Of…” poll. In the past “nocturnal,” at times recalling Englishman James Blake two years, “Sound Of…” nominees have included HAIM or New Yorker Arthur Ashin, aka Autre Ne Veut. “I think (who won the poll in 2013), Say Lou Lou, and BANKS, a Los Angeles is so sunny and kind of laid back in a way, and young purveyor of moody electro R&B from Los Angeles my music isn’t really that at all. It almost tenses you up. who has found London to be quite the welcoming place. It doesn’t feel sunny, it feels heavy.” “It’s been really crazy over there,” says Jillian Banks, Proudly untrained as an artist, BANKS found her voice who uses only her surname as an artist, and prefers her a decade ago, at ffteen, when she needed it most, as her eponymous stage name in all caps. “The British taste is a parents were going through a divorce. “I got into music by bit diferent, maybe drawn to something a little outside just needing an outlet, needing something. I feel so lucky the box. And it’s so funny, a lot of people think that I’m to have discovered it.” Consequently she holds nothing from London, after hearing my music. I have had so many back when describing its visceral importance to her. “It’s

Clothing Hugo Boss Jewelry DaviD Yurman on eyes, EstéE LauDEr sumptuous infinite Daring length + Volume masCara necessary for me just to breathe. It’s my blood. I don’t think I would be alive without it,” she proclaims. “And I’m not even kidding when I say that. It’s like air for me.” You hear a lot of unbridled passion when speaking with BANKS, who proudly considers herself a feminist, and was happy to see an “awesome conversation” around what feminism means surface in music circles in 2013, advanced by the likes of Lauren Mayberry of CHVRCHES and the Miley-Sinead back-and-forth. And two equally passionate women not given to a flter are BANKS’s oftcited idols: Lauryn Hill, whose “Ex-Factor” BANKS covers in her live set, and Fiona Apple, whose primal intensity is echoed in BANKS’s pulsating 2013 breakthrough song, “Before I Ever Met You.” “With Fiona, it’s like she needs to write those songs or she will go insane,” says BANKS. “And that’s the way I am

with my music. If I am in that mood where I need to write something and I can’t, it’s like I can’t even talk.” BANKS is poised to fnally take her homeland in 2014. While her frst-ever U.S. headlining shows only happened in December, in L.A. and San Francisco, a full American tour is expected to follow the spring release of her debut album, a record full of even more dusky, hypnotic gems. There’s “Brain,” a collaboration with L.A. producer Shlomo; “Loon,” a favorite word of BANKS’s, alluding to going crazy “like an animal” for someone; another SOHN creation, called “Alibi”; and “Siren Song,” an empowering track whose inspiration came many years ago when her mom, post-divorce, took her and her sister to Positano, Italy. “We took a boat to an island that was based of of the island from The Odyssey,” she recalls. “And there was nothing else there. Not even an animal. My mom and my

sister and I were alone and so broken, but we were also so powerful and like we were all sirens. It felt special to sit there, like it was meant to happen. And it was this amazing thing, because I think I always want women to feel empowered and like goddesses, like Mother Earth.”

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bryan ferry On PLayInG COaCHeLLa, tHe state Of rOXy MUsIC, anD JaMMInG WItH HIs sOns PHOtOGraPHy nICK KnIGHt teXt CHrIs WILsOn In a career that has spanned more than 40 years, Bryan Ferry has inhabited a multitude of public personas: the suave front man of ’70s art rockers Roxy Music, Euro-glam crooner of his early solo work, and leader of the Bryan Ferry Orchestra, whose seductively jazzy version of Roxy’s “Love is the Drug” was part of the score for Baz Luhrmann’s The Great Gatsby. Ferry, 68, is perhaps best known these days as a dapper elder statesman with a tastefully moody catalog and impeccably tailored suits, an image that earned him the enviable title of “Coolest Living Englishman” in the British press. He’s set to channel that trademark sophistication for the sun-baked throngs at Coachella Valley Music and Arts Festival in April, on the day headlined by a reunited OutKast, a duo that Ferry calls “terrifc.” But fans pining for another reunion—of his old band, Roxy Music—can forget about a new album or tour. “No, I doubt there will be another one,” Ferry says. “I’m working all the time on new stuf.” His impressive solo output is sometimes aided by two of his four sons: Tara, 23, who played drums on Ferry’s Olympia album and toured with his band, and Isaac, 28, a producer/DJ who works with his father on multiple projects. “It’s great,” Ferry says of working with his boys. “There’s obviously a kind of kinship, you have similar musical tastes and so on. And if I make a suggestion, they understand instinctively what I’m getting at. I tend to fnd that you sort of choose people like that anyway. I wish they were all [four] in my band.” Ferry plans to keep recording his next album, then tour the West Coast in April, and the East Coast after that. And don’t be surprised if he lends his distinctive croon to another soundtrack. “What I would like to do one day is a complete score for a flm,” he says. “Now that would be good.” 1 72

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rooted in gospel, jazz, and rhythm & blues, soul music speaks from the heart like no other genre. the incredible artists on these pages have been saving us with their sound for over 50 years. bow down to the harmonizers of humanity

photography hedi slimane 1 74

SMOKEY ROBINSON

Dubbed “America’s greatest living poet” by none other than Bob Dylan, Robinson (along with Berry Gordy, Jr.) can largely be credited as one of the architects of Motown sound. As the leader of the Miracles, he helped put Motown Records on the map with such generation-defning hits as “You’ve Really Got a Hold on Me,” “The Tracks of My Tears,” and “I Second That Emotion.”

He spent 27 years as a vice president at the label, the man on the ground who would write and produce music for the likes of The Temptations and Marvin Gaye. In addition to Dylan, the Beatles, the Rolling Stones, and countless other bands have cited his indelible infuence. At 77 years young, Robinson is still performing. A legend through and through.

BOBBY WOMACK

“Some people think it’s a color, it has nothing to do with that,” says Womack. “It’s just recognizing what your soul is, and how to present it.” He started as Sam Cooke’s backing guitarist and continued to work with a diverse range of artists, including Aretha Franklin, Wilson Pickett, Janis Joplin, and countless others before breaking out on his own with “Lookin’ For a Love,” “That’s the Way I Feel About Cha,” and “Across 110th Street.”

For Womack, who recently released The Bravest Man in the Universe, produced by Damon Albarn, and has another track en route with Rick Ross, individuality is key. “You listen to Mick Jagger, he’s got a lot of soul, it’s Mick Jagger’s soul,” he says. “Then you listen to a diferent artist and they have their own way of expressing themselves. The most important thing about soul music is that it never leaves you,” he says. “Once it’s in your soul, it’s there forever.”

PATTI LABELLE

“The essence of soul is truth, emotion, love,” says LaBelle. “That which has been and will always be.” The star frst bounded onto the scene in 1974 with outré costumes, shaking up New York’s Metropolitan Opera House and lighting a pathway to stardom with her chart-topping hit “Lady Marmalade.” Eventually she would get a “New Attitude” and a platinum record for Winner In You, which featured the seminal ’80s love song “On My

Own.” More recently, the Grammy-winner made a triumphant return to Broadway in the Jay Z-produced hit Fela! She is still playing regularly, singing her great hits with aplomb, and loving it. “It’s hard to describe in words, but soul music makes me happy,” says LaBelle. “It brings back memories and gives me joy. It makes me dance. Soul music is my life!” Production Kim PollocK and Yann rzePKa

photography sĂ&#x2DC;lve sundsbĂ&#x2DC; fashion beat bolliger

spring runways ushered in a jamboree of imaginative, cross-cultural surprises. earthy hues, audacious prints, and nomadic shapes abound. the time has come to cast away the commonness of modern life and escape to the overgrown wilds within

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WITH A FEW NEW MOVIES IN THE CAN, THE IRREPRESSIBLE, OSCAR-WINNING DIVA FROM CHICAGO GETS READY TO UNLEASH A FIERCE NEW ATTITUDE, A FUN NEW SOUND, AND AN ARTISTRY THAT IS 100 PERCENT HER OWN PHOTOGRAPHY TERRY RICHARDSON FASHION MEL OTTENBERG TEXT T. COLE RACHEL 1 92

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“Go on and make yourself comfortable. The only time I ever really feel uncomfortable is when I feel like someone else is.” This is one of the frst things Jennifer Hudson says when she sits down for our interview, at her midtown Manhattan hotel room. Although she has just come from a full day of press obligations, she is more than happy to just hang out and talk, pausing occasionally to show me photos on her phone and play me songs from her forthcoming album. Despite her being, at this point, a bonafde A-lister and dual threat—a rare talent equally adept at both singing and acting—after a few minutes with Hudson it’s somehow easy to forget that you’re with an Oscar winner. She’s one of those stars who instantly feels like someone you know, or rather someone you wish was already your friend. “It’s funny, but I get that a lot,” she says. “I feel like people don’t get to see the real me, but then they’ll say, ‘I feel like we’re best friends!’…It’s so weird to me. It’s like once you know me you’ve been Jenniferized. I want to Jenniferize everyone!” Hudson is in New York to oversee the fnishing touches on her new record, slated for release this spring. Though this is her third proper LP since she entered popular consciousness—via American Idol, back in 2004, and 2006’s Dreamgirls—to Hudson the new record is something akin to a coming-out party, being the frst comprised of original material that she herself was deeply involved in writing. The record features collaborations with Pharrell Williams, Timbaland, and Babyface, and shows of a markedly diferent side of Hudson’s personality. Among the tracks is a song called “Whatever Makes You Happy,” an empowerment anthem in which she invites everyone to be themselves, with a very Jenniferized refrain: “We don’t give a shit / We don’t EVEN give a shit!” (“There will be a clean version for the kids,” she ofers.) More than anything, these songs seem to provide Hudson the chance to fnally be herself—something that, despite the fact that everyone feels like they know her, has apparently been a problem. “Earlier in my career I was just a soloist singing other people’s songs,” Hudson explains. “Now I really want to be an artist. I want to lift the people up, have fun, create a moment. I have my own visions that I want to bring to life. People think I sit in church all day or stay at home and stare at my Oscar. It’s like I’m a nun or the president or something. I realized that people don’t really know who I am. It just feels like it’s time to take the training wheels of, you know? Let them see me.” The freewheeling ’70s-infected vibe of Hudson’s new sound is something that takes her all the way back to her Chicago roots, to a time when singing in front of millions of fans, or, say, hanging out with the President of the United States, was still just a fantasy for her. “I used to go out to the gay clubs when I was a kid,” she recalls. “We were 16 or 17 and my best friend would pretend to be my manager. He’d have business cards made up and he’d negotiate for me to sing for $25 a song. I’d have these amazing drag queens style me up and down, honey. They would be up there lip-synching and then I’d get up and sing for real—some Whitney Houston or some old-school Shirley Murdock—and I would make all the money. That was like my training, basically.” As she plays me one last track from her record—a super-soul jam featuring R. Kelly, called “It’s Your World”—Hudson sings along, her perfect, sonorous voice filling up the hotel room without her even realizing it. When she catches herself, she can only look at me and smile. “This is what I love,” she says, “I just can’t help myself.”

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don’t let her doll-like features fool you. sassy 20-year-old pop star ariana Grande is not afraid to use her anGelic voice to sound off. here, she discusses divas, diet, and why music is her dharma photoGraphy tom munro fashion carlyne cerf de dudzeele text derek blasberG I meet Ariana Grande the voice, which is enormous and booming, before I meet Ariana Grande the person, who is petite and delicate. It’s New York fashion week, and I’m loitering backstage at an event where Grande will sing “The Way,” her hit single, which has 125 million views on YouTube and counting. The Nickelodeon TV actress turned fedging pop star is in her dressing room warming up her vocal chords, crooning, which flls the auditorium packed with famous designers and celebrities with a sound that music critics refer to as “mini-Mariah Carey.” When she comes out, everyone gawks at her and her cheeks fush as bright red as her lipstick. “I was so embarrassed!” she says a few months later when we meet again. “I didn’t know everyone could hear me, and it was especially mortifying because it was, like, a fashion audience. I was like, argh!” Grande’s slight, 20-year-old body is folded up on a black leather sofa in a photo studio in Manhattan. She is still starring in Nickelodeon’s Sam & Cat, which flms in L.A., so this New York visit lasts only 24 hours and is scheduled by the minute, with meetings, appearances, and our photo shoot, which has just wrapped. She’s wearing a tight, white knit sweater cropped above her belly button and a firty white skirt that fips up when she twirls around, which is often. Her hair is scooped back into her trademark high half-ponytail. “I use my hair as a mask, as a shield. I hide behind it and it’s what keeps me me. Some people make fun of me for it, but I don’t know who those some people are, so I don’t care.” Her voice isn’t her only impressive characteristic. Grande’s diminutive stature belies a ferce attitude and vast array of opinions on everything from veganism to the supernatural. “In America, almost everybody thinks you need to have meat for protein. Protein, protein, protein! And what’s in dairy? Calcium, calcium, calcium. It’s those kinds of proteins that latch onto the insides of your bloodstream and make it easier for you to have a heart attack. Look, cows produce milk with nutrients for cows. Maybe that’s why Americans end up looking like cows!” After watching the documentary Forks Over Knives, Grande 21 0

went vegan. “Ultimately, no one wants cow tit pus in their food, do they?” she deadpans. What about ghosts? “I believe in the extraterrestrial. I’ve told this story a bazillion times, so I don’t want to exhaust it, but I have had scary experiences where I feel something supernatural.” She’s referring to last summer when she went to a cemetery in Kansas City and distinctly felt a demonic presence, and even smelled sulfur, believed to be a sign of the paranormal. “I think humans are so jaded it makes me laugh. Everyone says, ‘Oh, that can’t be real.’ Our planet is 80 percent water and we haven’t even explored most of it. It’s barely even ours. Look how tiny we are in the grand scheme of the whole universe. We have no idea what the hell is going on.” She says she’s always looking for an excuse to go to a haunted house, and of course Halloween is her favorite holiday. And what about growing up in a generation of child performers where every step, every fashion choice, every selfe is judged? “Mistakes you make when you’re on TV are made in front of everybody. Those stupid, little gossipy drama moments that happen in every other high school everywhere get blown out of proportion and magnifed under a microscope by millions of people. You make the same mistakes as other kids growing up. No one says, ‘They’re just going through what we went through.’ But we are.” Grande grew up in Boca Raton, Florida. At school, she appeared in plays and excelled in musicals. Her career started in 2008, when at the age of 16 she appeared as a lead in the musical 13, on Broadway. (She won the National Youth Theatre Association Award.) She moved to L.A. when she was cast as Cat Valentine in the hit Nickelodeon show Victorious, in 2010, which spun of into its own show, Sam & Cat, in 2012. Last year, she released her frst album, Yours Truly. “I’m excited because I get to pursue both my passions, acting and singing, at the same time,” she says. But make no mistake, she prefers the latter: “Music. That’s my number one. In fact, I don’t really want to do much more acting after Sam & Cat.” Is she sure about that? “I’m sure. Music is my dharma. It’s what makes my heart smile and what I feel like I am meant to

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do. I understand music more than I understand human beings and the English language.” Grande lives in L.A. and New York with her mom, a woman whose un-stage-mother-like qualities suggest her daughter must truly be following her passion. “[It’s] the most helpful aspect of my career as an artist and an actress. I don’t have a mother who’s trying to live her life through me. I’ve met some really efed-up moms in this business who live for their daughter’s careers and live of their children’s money. I see that and I’m like, ‘This is weird and creepy, and I hate it.’ My mom has always said that if I don’t want to do this she will take me back to Boca.” The artist that she is most often compared to is Mariah Carey, and when her name comes up, Grande looks unsurprised, with an expression on her face that says, Gee, I’ve never heard that before. “I mean, it’s a huge compliment,” she says with a smile. “But when you hear my entire album, you’ll see that Mariah’s sound is much different than mine.” Despite their similar looks and range, Mariah wasn’t her biggest infuence growing up, she says. Imogen Heap, India.Arie, and a slew of other divas, like Whitney Houston, Diana Ross, and Donna Summer, inspired her. And Beyoncé, of course. “That’s where I

discovered my range. I grew up listening to Destiny’s Child. I would try so hard to mimic all Beyoncé’s little runs and ad-lib things. They are so precise. It’s like math. Remember the Destiny’s Child version of ‘Carol of the Bells?’ I took it apart, put it in GarageBand, and dissected it all. That’s how I learned about harmonies and runs and ad-libs. Thank you, Destiny’s Child!” At this shoot, though, Ariana puts Madonna—old school, new, and everything in between—on her shoot playlist. There’s a reason for that: “She is my idol as far as attitude. I just love how she stands up for what she believes in and surprises people by not ef-ing up when they want her to so badly.” Grande knows a thing or two about the pressures of the media and how tabloid culture tempts young celebrities to fail. One of her good friends? The beleaguered Justin Bieber. She attempts to draw a parallel between the pop stars of today and Madonna and Houston’s early days: “I know that it’s sad to say this, but two decades ago, if people had to put their money on who would have died because of drugs faster, Whitney or Madonna, they would have put their money on Madonna.” And while she was one of the thousands of fans who delivered fowers to the Bel-Air Hotel when Houston

died, it is the Material Girl who she has always admired most. “Madonna has always surprised people and she has always had her head on straight. Even when she pretends not to. When she shocks people and everything, there is always a method behind it.” So will that be Grande’s press strategy from now on? “Know what I love the most about Madonna? When a bad review came out, she was the frst person to say ‘Fuck you.’ When someone said she sounded like Minnie Mouse, she crawled into bed naked except for Minnie Mouse ears. It’s such a good attitude to have. It’s inspiring to me because there are times when I think I’ve been a weak, people-pleasing little mouse my whole life.” Behold the birth of a new, tougher Ariana Grande. “That’s what I am learning right now, that I have to become stronger in this industry. I’ve learned over the past year that you don’t have time to chase after every person who doesn’t understand you. The people that know me know that I’m a nice girl. My fans know that I’m a nice girl. My friends know that I’m a nice girl. And ultimately, that’s all that matters.” She grabs her phone and shows me that an old black-and-white picture of Madonna is her background image, then she winks and says, “See, she taught me that.”

LINGERIE VICTORIAâ&#x20AC;&#x2122;S SECRET MakEup pattI BRaNd-REEsE HaIR daLINa REBoLLo Digital technician Jun ho Yang Photo assistants Yvonne allawaY, nick krasznai, Xavier Muniz stYlist assistants kate grella anD luna Michel ProDuction Bo zhang (ManageMent artists) retouching BoX stuDios equiPMent rental root stuDios

todayâ&#x20AC;&#x2122;s post-genre, eclectic style cannot be commodified, categorized, or turned into a clichĂ&#x2030;. strike new sartorial harmonies by skipping past the same old refrains. fashion is just like music... itâ&#x20AC;&#x2122;s all about the mix photography benjamin alexander huseby fashion jodie barnes 21 4

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a SaINt LaurENt MuSE rEcLaIMS thE bLuES aND INJEctS NEw SouL INto oLD rocK aND roLL photography hEDI SLIMaNE INtErvIEw coLE aLExaNDEr When it comes to the kinship between music and fashion, no one has captured their embrace with more empathy and poetry than Hedi Slimane. Through his designs for Dior Homme, his “Rock Diary” series in V, his personal photo projects and exhibitions, and, most recently, his collections and campaigns for Saint Laurent, Slimane shines his light on some of the purest talents in modern rock. He’s equally drawn to legends (turn to page 174 for his “Soul Diaries,” starring some of soul and R&B’s most eminent names), icons (Courtney Love, Kim Gordon, and Marilyn Manson are but three of the countercultural stars who’ve been featured in his Saint Laurent Music Project), and discoveries (Sky Ferreira, Z. Cole Smith of DIIV, and Liza Thorn have all found notoriety through his portraiture). He’s also embraced indescribable pop savants, like Lady Gaga and Ariel Pink— singular artists whose songwriting leaves them no choice but to reach out and change the world. The one thing that Slimane subjects seem to have in common is that they’re 222

outsiders at heart. Often residing on the fringes of the pop mainstream, these are minds set apart by an unforgiving level of talent. We’ve come to rely on nothing less—it’s why we listen so carefully when Slimane turns his dial. Recently, Saint Laurent released images of an unknown bluesy garage act named Curtis Harding, and the Internet began to buzz. Who is this beguiling young man singing like a seraph over skuzzy guitars? And where did Hedi fnd him? The answer is Atlanta, where Harding moved after he was raised and trained on gospel in Michigan. He’s worked and toured as a backup singer for Cee-Lo Green, and recently completed his frst tour as a lead vocalist with members of garage-rock heroes the Black Lips, in a side project called Night Sun. About to release his debut solo record, Soul Power, on the independent label Burger Records, Curtis sat in a dive bar with Black Lips and Night Sun guitarist Cole Alexander to tell the tale of how he journeyed from performing for the homeless to hanging backstage at Paris Fashion Week.

COLE ALEXANDER I’m curious about how you got started in music, because I know you said your mom sang gospel. CURTIS HARDING Yeah, my mom is a gospel singer and we grew up traveling across the country, going to diferent churches and singing to homeless people on the street in the wee hours of the morning. On a whim, she would be like “Yo, we about to go to downtown Manhattan!” And we’d take a karaoke machine and sing to people at night. That’s how I started singing. In church they had a need for musicians and they would ask us if we wanted to play drums, or the piano, or the guitar. I just picked up music like that. CA How old were you when you frst remember going out and singing with your mom? CH Nine years old, man. CA So that would have been the late ’80s or early ’90s maybe? CH Yeah. CA See, I would have loved to see that. That’s the shit I live for. CH It carved out my personality, so to speak. It was an experience. It was something that I didn’t necessarily enjoy all of the time or understand. But when I got older I learned to appreciate it. CA I feel like people who are around music early tend to have an engrained soul. Your environment shapes you a lot. You guys went all over. You said you lived in L.A. in the late ’90s. CH Yeah, we lived in South Central. CA I remember you saying you were there when the riots were going down. CH That was crazy, man. We lived of South Central at Normandie and King. That was one of the hubs where all of that shit was going down. It looked like the world was coming to an end, at least as a young kid. CA As a musician, it must have been good to have already been traveling and exploring. CH The funny thing about it is, as a kid I did that. I lived in a van for I don’t know how long! Once I got my frst real backup singing job that was on a tour bus, it was an awakening for me…like, Holy shit! I’ve got my own bunk and stuf! Now I’m back in a van. CA Start at the bottom, go to the top, and end up back at the bottom. How did that come about? You were singing backup vocals for Cee-Lo and you were still young then. CH Yeah I was 19, 20, 21. A couple of my friends and I did it for LaFace [Records]. We were street teaming and we met Lo and Dre during that time and got a chance to go to Miami and promote OutKast and all those cats. CA That was the frst local music I heard growing up. There was West Coast rapping, New York hip-hop, and then fnally I started hearing some Atlanta stuf. I was like, This is awesome. OutKast was a group I could look up to in my hometown. CH Those guys are one of the reasons I continue to do music. They inspired me to take it further. They encouraged me to dress diferent—whatever you call diferent. Just to be myself, so to speak. I started doing that and doing promotions, and got the chance to go to the dungeon of Stankonia [Studios] and hang out with Lo and we started rapping. Lo was like, “I’m looking for some young artists,” and that turned into us going to a private session with him and getting on his frst solo record. That turned into me getting a job singing backup for him. CA Fast forward…and you’ve kept playing music. When I frst met you, we started playing music together, but somehow we got to playing with Night Sun. CH We started seeing each other and calling each other, remember? We started sharing CDs. You gave me a CD of some gospel shit and I gave you some shit from [gospel duo] the Consolers. CA I remember you were going to the studio that one time and then I came in. I had like a rif and you put some vocals on it. CH Yeah, that was the frst track, “On My Way.” And then that was so good it just spiraled from there. We didn’t go back into the studio and record until Danny Lee [of Night Beats] got into the picture, but we had written songs in the practice space. And then we recorded those as well.

CA When we toured with Night Beats and met Danny and he came to visit you, you guys started really punching it out. Then I was able to come in and help out. CH Then Burger picked it up…you called Burger, right? CA Yeah, I think I called because they were just doing our tapes at the time and I thought, They’ll do a little something. But from the time I sent it to Burger to now, they’ve come a long way. Burger Fest! They’ve put out so many bands. I never imagined they’d be putting out tapes from the Pharcyde. CH Fucking Nirvana and shit. CA I think they’re killing it because they’re really honest. They were never going into it for money. They were just putting out music they liked. They were doing tapes. CH And you had to fnd a tape player just to listen to it! That’s one of the reasons I want to do my shit with Burger. Those dudes love fucking music. They’re not industry dudes, but they know about industry shit, which is cool. Nothing against the industry dudes, but that’s not how we roll. CA Usually passion leads to good things. Then I remember you did the solo Burger tour. That was a good bill. CH I hopped in the van with Danny on y’alls tour because it was the Black Lips/Night Beats tour and I just hopped on for the ride. Once we got out to California I met up with Sean and Lee [Bohrman and Rickard, respectively, the founders of Burger Records] and we started kicking it. They asked me if I had anything going on and I said, “Yeah, I’ve got some solo shit, if y’all wanna get involved with that.” They were totally down and came back to Atlanta. I called you up, you came through and got on a song, called Jared [Swilley, of Black Lips] up, and we did a song. CA Sometimes you’ve just got to throw yourself in there. Going on the road with us and meeting with them is, like, how things happen. CH That’s just how I grew up, hopping in a van. It’s so funny, man. Once you make the decision to go forth, what would you call it? Not professionally, but to record a project and put it out into the world, then things start happening. You take yourself a little more seriously. CA I see a lot of groups that are amazing and for whatever reason nobody ever fnds out about them. Music is just one part of it and then there’s, like, a game you have to play. Sometimes it’s just going out and getting your music out there. The Internet helps. And touring helps. That Burger tour was like Pangaea… CH The Growlers were headliners, and Habibi. I hopped on that tour late. We got to play in Atlanta and they stayed at my place. Everybody stayed at my place. We had a good time. We went to the West Coast, Nashville, then Texas. We ended up at Beach Goth. It was sick. CA I’m excited because Black Lips is playing our frst show with you solo, in Macon. Macon has a huge history—Otis Redding, Allman Brothers. We’ve never played there, so I’m excited…it’s like musical heritage. I get it mixed. It might have been Little Richard. Or is that Augusta? CH Where’s James Brown from? CA Augusta. So I think Little Richard might have been in Macon. CH So it’s gonna be badass then? CA Yeah. I know the Redding family still lives there. Maybe they’ll come out. They still sing. I think they played at 529, which is where we always play. CH I didn’t even know that. A little piece of history. CA What are your future plans? I know you’re going to Paris. CH I think I’m going out there for fashion week, and then I’m supposed to attend the show. The fashion show. CA It’s a diferent world than we’re used to. CH Yeah, and then they want me to play at some club. I guess the after-party for Saint Laurent…that’ll be cool. CA I wish I could be there with you. You’re going to have to take pictures and bring me back some champagne. CH Yeah, I’ll bring that shit back. Stuf that shit in my suitcase.

soul power is available this spring from burger records Production Kim PollocK and Yann rzePKa

after suffering a very public tragedy, lea Michele has spent the better part of a year channeling her energies into her career. this spring, watch as the Multitalented spitfire froM new Jersey ascends like a cannonball into the pop stratosphere with a debut albuM, a new book, a feature filM, and the bittersweet glee finale

photography terry richardson fashion beth fenton text Mary h.k. choi 226

The frst thing I notice about Lea Michele is that she has perfect eyebrows. They are strong, angular, and likely shaped for the day, since we’re meeting on the set of her music video shoot for the frst single “Cannonball,” of her debut album, Louder. The tea-cup petite singer is taking a lunch break, a delectable-looking mélange of cubed tofu and tangled kale with a smattering of quinoa set before her. Glee’s leading glamour gal tells me she’s a vegetarian most of the time (“I eat fsh occasionally”). Her bright eyes and springy skin attest to it—or maybe she just has dynamite genes. The 27-year-old was born in the Bronx to a Turkish father, who was famous for bringing heros from his deli to the Spring Awakening set for cast mates when she was on Broadway, and an ItalianAmerican mother. Complementing her Mediterranean good looks today are blunt, shiny bangs, and she is wearing a short, white cotton slip with Uggs, uncomely yet comfortable footwear, perfect for someone in need of an on-set shoe. Lea is kicking them of beneath the cofee table with nonchalance. Not that the star hasn’t earned the right to put her pedicured feet up for a minute. Michele has been going full throttle for the release of Louder, slated for March fourth (as in, “march forth,” she says). It’s an 11-song distillation of a woman who took the time to fnd her voice. “I started working with Anne Preven, Felicia Barton, and Bonnie McKee right out of the gate, and we came up with some great, awesome pop songs,” she says. “But closer to the beginning of this year—four or fve months into making the album—the label was like, “This is great, but we need more of you in here. You sound like you’re singing awesome songs that are similar to Katy or Kelly. We need more Lea Michele.” So back to the studio she went, this time with a lot more on her mind. “My album was completed in June. We had 12 songs. And then my boyfriend passed away, in July. [The singer’s Glee costar and long-term boyfriend, Cory Monteith, died from a drug overdose, a passing for which nobody was prepared, least of all Lea Michele.] So I met with Sia [Furler], because she’s a friend and because we were thinking, Do we want to add anything to the record now? And we wrote ‘If You Say So,’ on the same day she played me ‘Cannonball.’” “If You Say So” is a cathartic tribute to her lost love. “It’s the only song that no one’s heard,” says Michele. “I can’t talk about it until people hear it. I just feel like people should hear it and I don’t know if I’m ever going to talk about it. It’s just one of those things where I understand what it means and you can take it or leave it. That song is for me.” Alternatively, Furler’s song, “Cannonball,” is an earwormy number that Michele can’t get enough of, and neither can anyone else, apparently. “That’s what everyone tells me,” says Michele with a laugh. “Everybody’s like, Fuck you, I can’t stop singing it! My friends call me just singing ‘Cannonball! Cannonball!’ What’s crazy is that I can’t stop listening to it either. Since the minute Sia played me this song it’s been my personal anthem. It’s helped me so much. I still listen to it. If I’m having a down moment, I will play this song.” While the lyrics are telling (“I let go of fear and the peace came quickly / Freedom / I was in the dark and then it hit me / I chose sufering and pain in the falling rain / I know, I gotta get out into the world again”), there’s a positive triumph-over-anguish message to be discerned amid the fst-pumping beats. And, with this tune in particular, Michele knows exactly to whom she is singing: girls and gays. “I’ve managed to have a wide range of fans,” she says, “but if ‘Cannonball’ isn’t playing at the Abbey in West Hollywood, I will go there and I will play it. Those are my people.” Which just goes to show that while she may project a Goody Two-shoes persona, she’s also not afraid to dole out a bit of sass, as further evidenced by the photos seen here. “My friends call me Grandma, but, like, Grandma’s killing it right now,” she says. “I’m pretty sure Grandma nailed it in a half-naked Terry Richardson shoot, okay? So I’m fne with it. I just do my thing. I do what’s best for me. That’s it.” In fact the whole album, with its retro, Euro, powerhouse sound and big themes—heartbreak, loving the wrong dude, getting over personal hardship—all cut in broad strokes, is fnally 100 percent hers. It’s poppy and ostentatious (“‘Burn With You’ has this beat where I’m like, Wow, I’m not that cool, but I’m doing it,” she says), and it’s designed to faunt Michele’s cavernous, muscular, pitch-perfect range. Case in point: listening to “You’re Mine,” when you have the volume knob twirled high, is like hurling yourself against a sound wall—in a tremendously good way. “That’s my favorite song on the entire record,” she says. “We recorded it a year ago, and when I played it for Cory, he asked when I wrote it, and I told him I didn’t but it described us perfectly. It was our song, and I love it more than anything.” These days Michele only partakes in activities that make her feel good, for her own reasons. “I don’t like things that other people like,” she says. “I don’t like clubs or crazy, loud music. I don’t drink a lot, and maybe that makes me boring, but I’d rather be in bed watching Homeland with my cat, Sheila, eating a sandwich,” which helps to explain why, in May, she’s voicing the ultimate good girl, Dorothy, in Legends of Oz: Dorothy’s Return, and also has a Goop-ish how-to memoir, called Brunette Ambition, coming out. “I wanted to show young girls that you don’t need to ft in with everyone and do what all the cool kids are doing,” she says. “My drive and focus have gotten me to where I am.” And where she is, despite the curveballs, is a good place. Credit her healthy habits and the people with whom she surrounds herself…for example, Stevie Nicks. “There were people who were like, I am not fucking leaving your side, and that, for me, was Stevie,” she says. They met on the set of Glee during an homage episode and kept in touch. “She’s like a fairy. She’s given me so many gifts along the way, and when I say gifts, I mean tools and advice and support. She told me from the beginning that music is going to be your therapy, and at the time I was like, What the fuck are you talking about, Stevie Nicks? I don’t want to listen to music. I can’t do anything. But once you get out a little bit of the tunnel, when you slowly start to feel like you can be yourself a little bit, it does help. It’s so cool I have her number.”

BODYSUIT VIONNET RING (THROUGHOUT) mIcHeleâ&#x20AC;&#x2122;S OWN

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JACKET GIORGIO ARMANI

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BODYSUIT AND SKIRT ALAÏA SHOES CHRISTIAN LOUBOUTIN

“My friends call Me grandMa, but, like, grandMa’s killing it right now. i’M pretty sure grandMa nailed it in a half-naked terry richardson shoot, okay? so i’M fine with it.” —lea Michele

stop! in the name of love and new face ysaunny, who channels the divine ms. diana ross while letting the chicness of the season take control. her striking poses in disco-worthy leather, lace, fur, and frocks keep us turning upside down photography daniel sannwald fashion patti wilson 232

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PARIS HILTON IS MANY THINGS, HEIRESS, MODEL, ACTRESS, SINGER, AND BUSINESSWOMAN AMONG THEM. NOW TOURING THE GLOBE AS A SUPERSTAR DJ, SHE WANTS YOU TO KNOW THAT SHEâ&#x20AC;&#x2122;S, LIKE, SUPER SERIOUS PHOTOGRAPHY MAx FARAGO FASHION HALEY WOLLENS INTERvIEW EMILY GRUCA 24 0

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CARDIGAN BLUMARINE PANTS DIANE VON FURSTENBERG SHOES CHRISTIAN LOUBOUTIN JEWELRY ELLAGEM NY

This past December, when Paris Hilton coyly remarked to paparazzi that she’s one of the top fve DJs in the world, the Internet cried foul. As if on cue, Forbes released its annual list of the industry’s biggest moneymakers, and Paris’s name was nowhere to be found (Calvin Harris, Tiësto, David Guetta, Swedish House Mafa, and Deadmau5 took the top rankings). Though she may have exaggerated, you can’t accuse her of not dreaming big. “I don’t consider myself a DJ,” Paris tells V. “I am a businesswoman, and this is just a small part of what I do. I love music and I love partying, so it’s a fun job for me.” True to her words, her newfound pastime—one that’s taken her across the world and back again—is but the latest in an impressively resilient career: in addition to her work as an actress, nightclub host, recording artist, and reality TV star, Hilton has built a megabrand that includes restaurants, charities, nightclubs, hotels, accessories, handbags, shoes, pet products, jewelry, cosmetics, hair care, lingerie, swimwear, books, and most astoundingly, 45 retail stores in Egypt, the United Arab Emirates, and the Middle East. Paychecks aside, how much credibility does Ms. Hilton possess when it comes to the fne art of spinning? We turned to rising New York DJ “EDMily” Emily Gruca—curator of our popular VMIX series on VMagazine.com—to talk shop with the dance foor’s most popular pariah.

EMILY GRUCA When did you begin deejaying? PARIS HILTON I started seriously training about three years ago, and I love it. I’ve been getting huge ofers from all around the world, so I thought, Why not? EG Who are some of your favorite DJs? PH I consider so many amazing DJs to be my friends, so it’s hard to choose favorites, but I love watching Steve Aoki and Danny Ávila play. I think they are so talented and inspirational. EG What do you like about EDM? PH Dance music can instantly make people happy, which is such a powerful thing. I have been going to raves since I was 15 and have always had a love for this music. EG You’ve been working on a new album. Is it inspired by your DJ career? PH Defnitely, because I’m around that type of music so much now. My taste in music has evolved and my favorite tracks right now are electro-pop and house. Also hip-hop. EG Are you producing on your album? PH My next goal is to get into producing, and I’m excited to learn more about it. I’m working with some of the best producers in the business and I think it’s important to

“my signature is that i’m always dressed like i came off a fashion runway.” —Paris hilton

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learn from them and soak in as much as I can. EG Have you been collaborating with anyone special? PH Yes, with my friends Lil Wayne, Flo Rida, Snoop Dogg, and more. It’s a fun album that will put you in a good mood and make you want to dance! EG What have been some of your favorite places to tour as a DJ? PH Since my residency at Amnesia in Ibiza last summer, I’ve had so many great opportunities to deejay all over the world. I just did a great show at the Cavalli Club in Dubai, and I’ve had performances in Shanghai, Hong Kong, Italy, Bulgaria, L.A., Las Vegas, Moscow, Siberia, and more. One of my favorite experiences was performing in Macau for the Red Cross beneft for relief eforts in the Philippines after Typhoon Haiyan. When I heard about it, I immediately got on a fight to Macau to help support the cause. David Beckham, Stephen Baldwin, and a lot of great people came to watch me play. A fun time for a great cause! EG Over the past decade, you’ve kept a level of stability without ever going through the typical “celebrity breakdown.” How have you maintained yourself so incredibly well while still partying so much?

PH I work hard and have so much to be responsible for—my music, my brands, and 45 retail stores, to name a few of my projects. I take every project very seriously and am proud of my work. I’m so happy in my daily life that a breakdown would not be possible. If you spend time focusing on creative ways to improve yourself and your work, I think it keeps you going in the right direction. It also helps to have such a loving and supportive family. EG Do you have a DJ signature? PH My signature is that I’m always dressed like I came of a fashion runway. I love rocking my Chanel fngerless gloves. I own more than 500 pairs and I call them my DJ gloves. EG How do you respond to criticism that you aren’t a legitimate DJ? PH There are always going to be haters in life. I don’t pay attention to those people. I’m doing what I love and selling out shows all around the world, and I’m getting paid a lot of money to do it. I’m passionate and I work hard to keep bettering my music, my sets, and myself. That’s what really matters.

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SWEDEN iS ONE Of thE tOp ExpORtERS Of muSic iN thE WORlD—NO Small fEat fOR a cOuNtRY WhOSE pOpulatiON iS aBOut thE SizE Of NEW YORk citY’S. BEhOlD, fOuR Of thEiR fiNESt phOtOgRaphY kacpER kaSpRYzk faShiON NaOmi itkES tExt t. cOlE RachEl ROBYN

Sweden’s reputation for producing forward-thinking pop music continues to loom large “When I heard her music as a child it felt like someone had been spying on my dreams— in the minds (and ears) of the world, and few have done more to cement that notion in a good way!”) This summer she tours with Norwegian pop maestros Röyksopp, with than Robyn. She’s been making music for nearly 20 years (she landed her frst record whom she is also recording new material. “They are like trolls who live in the mountains deal when she was 16), but it wasn’t until the release of 2010’s Body Talk EPs—a series and just make music all the time,” she says. “I wish I could be more like them.” of mini-albums that included the singles “Dancing on My Own,” “Call Your Girlfriend,” With all of her various projects, it is clear that Robyn is one of the rare songwriters and “Hang With Me”—that Robyn’s career launched into global hyperdrive. So after who manages to make fawless dance music with a healthy amount of emotional gravitas. touring the globe for the better part of three years, what exactly has Robyn been up to? More than anything, she wants you to feel it. “I’ve been at home in Stockholm for the past year, not really doing anything,” she “I don’t want to sound stupid or like I’m being fake-humble, but I really feel like I’m says, laughing. “I’m not good at not having a schedule or a job, but I didn’t want to make lucky to have this life where I’m able to make music and people are interested in it,” she another record right away, mostly because I didn’t feel like I had anything new to say yet.” says. “I want people to know that when I put something out I’m doing it in the most direct Those eager for Robyn’s return should check out her collaboration with fellow Swede and honest way I can. You know, Michael Jackson and Elvis Presley made pop music and Neneh Cherry, on Cherry’s new LP, Blank Project. (“She’s one of my idols,” says Robyn. they are taken very seriously. Pop music is an art form. You gotta treat it with respect.”

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NENEH CHERRY

When Neneh Cherry released her debut album, Raw Like Sushi, in 1989, she was something of an anomaly in the music world—a Swedish-born singer-songwriter and rapper who melded dance music with hip-hop, all the while donning trailblazing looks inspired by hanging out in London nightclubs. The whole package was something of a revelation, before genre-bending and outré street style had become de rigueur in pop music. But for Cherry, it was a natural progression that stemmed from a culturally rich upbringing by her mother, Swedish artist Moki Cherry, and stepfather, the American jazz master Don Cherry, in both Stockholm and New York City. “We lived in Long Island City back in the ’70s,” recalls Cherry. “There was nothing there back then, but now it’s so different. It’s kind of weird, but I always absorb changes but look for the things that I know. I took the L train today and there was a

guy sitting next to me listening to some wicked salsa music. No matter how long I’m away, there are always things here that feel instantly familiar.” Last month Cherry released Blank Project, her sixth album and frst ofcial solo record in nearly 17 years. Recorded in upstate New York, with London-based electronic artists RocketNumberNine, and produced by Kieran Hebden (aka Four Tet), Blank Project is the rawest record that Cherry has ever made—a brooding, thumping blast of soulful electronica that showcases the singer’s seemingly ageless voice. It also includes a duet with fellow Swedish songstress Robyn. “We made the record in fve days,” says Cherry. “It felt really beautiful, like a kind of surrender—like just putting your hands up and saying, I’m gonna let this happen. Out of all the things that I’ve done, this feels the best. A lot of things I’ve been involved with over the years have happened in a really haphazard kind of way, because of where I was and who was around, but this time I feel really proud of it. It feels really good.”

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KATE BOY

“At the end of 2012 we decided to just put out ‘Northern Lights’ on our own,” says vocalist Kate Akhurst of Kate Boy. “We only thought our friends would see it, but within months we were booking U.S. tours and playing shows. It was the last thing we expected.” With only a couple of singles under their belt, the trio has quickly established itself as Sweden’s newest purveyor of razor-sharp electro pop. The band’s coolly stylized videos, characterized by androgynous fgures and stark black-and-white imagery, added a chic layer of mystery to the proceedings. They seemed to emerge, fully-formed, out of nowhere. For Akhurst and her bandmates—Hampus Nordgren Hemlin and Markus Dextegen— Kate Boy was a charmed project from the start. Akhurst, an Australian who was working as a songwriter in Los Angeles, went to Stockholm for a few days to seek out like-minded musicians. The initial meeting turned out to be a productive one: they wrote “Northern Lights” on the spot. The experience seemed so fated that Akhurst decided to pull up stakes

in L.A. and relocate to Stockholm almost immediately. “I never imagined myself living here, but I was on the next plane, basically,” she says. “No decision in my life has ever been that easy, strangely enough.” “It took some balls,” says Hemlin. “But we all knew that it felt right.” Having spent the bulk of 2013 touring, Kate Boy is currently locked away in a studio putting the fnishing touches on a full-length debut, slated for release later this year. The group could have its pick of producers and musicians in Stockholm, but for now is much more interested in doing its own thing. “There is a great community here, but we tend to keep to ourselves,” says Akhurst. “We choose to work in a vacuum. Plus, I don’t know how much you know about the weather here in Sweden, but a lot of the time it’s very cold and gray. It feels cozy to lock yourself in the studio with friends and work. Sometimes it’s just easier to stay inside and make things.”

JACKET BALENCIAGA SHIRT HAIDER ACKERMANN PANTS CÉLINE EARRING LI’S OWN

LYKKE LI

Since releasing her debut album, Youth Novels, in 2008, Swedish-born artist Lykke Li has transformed from a cooing indie chanteuse into something much, much wilder— a pop artist unafraid of embracing her dark side. After touring for the better part of two years on the back of her excellent sophomore album, 2011’s Wounded Rhymes, the singer found herself not only exhausted and without a permanent home but also newly single—a tumultuous, emotionally devastating combination that turned into something of a creative wellspring. “People always tell you about the ‘Saturn return’ thing that is supposed to happen to you in your late 20s,” says Li. “I feel like I really experienced that. I started to wonder if maybe I was too sensitive for this lifestyle. I kind of realized that I am actually kind of an introvert, which makes it so weird that I’ve somehow chosen this path. The older I become the less interested I am in being in the spotlight or

becoming the next big thing. I just make music now because I feel like I have to…and in the end, it’s been so wonderful to write about these things.” On her hotly anticipated new album (slated for release this spring), Li mostly does away with the trappings of pop and goes directly for the jugular, via a series of epic windswept ballads. Her voice, which sounded timid on early releases, has grown into something akin to an intimate roar, and while the emotional landscape of her music has always been both unpredictable and decidedly dramatic, her new music is the most visceral—and achingly beautiful—she has ever made. “I feel like all this touring—plus suffering a lot in love, basically learning every possible angle of heartbreak—really changed me,” says Li. “I really figured out how to best use my voice. Everything went into this record—everything I have and everything I am. When people ask I just tell them it’s a real power-ballad record about some real grown-up shit.”

for spring, jewelry designer delfina delettrez added an extra dose of youthfulness to the storied codes of fendi, her first familial fashion collaboration that celebrates the brandâ&#x20AC;&#x2122;s legacy of fur, fun, and fantasy photography Karl lagerfeld text sarah cristobal 25 0

clothing and accessories (throughout) fendi

Perhaps more than any other fashion house, Fendi has prided itself on its matriarchal lineage. In 1925, a young leather designer named Adele Casagrande married Edoardo Fendi, and they eventually gravitated to the fur trade. The couple lived above their shop, in Rome, and produced fve daughters, who famously napped in the drawers of the atelier. Paola, Anna, Franca, Alda, and Carla would eventually take the company reins, and in 1979 Vogue would describe them as “makers of worldfamous furs, leather goods, and ready-to-wear...a clan with the precision and reliability of a Swiss watch.” Of course the sisters did not stand alone. Karl Lagerfeld (afectionately dubbed the “sixth Fendi child”) has been at the creative helm since 1965, and is credited with establishing the brand’s double-F logo, which stands for “fun and fur.” This notion of decadent frivolity has been passed down frst to Silvia Venturini (daughter of Anna), who has overseen the leather goods and accessories division for nearly two decades and now to her daughter, jewelry designer extraordinaire Delfna Delettrez Fendi, whose frst in-house collection for the brand debuted on the Spring runway during Milan Fashion Week. The fourth-generation Fendi has already earned the acclaim of the fashion set, for her eponymous line of Surrealist-inspired baubles, which debuted in 2007. She previously collaborated with Kenzo, but this marks the frst time she has teamed up with Lagerfeld. “I love working with Karl, because it’s such a fast process,” she says. “It was very organic. The frst ftting went so well.” As inspiration, Delfna sought to reappropriate the brand’s new furry-faced charms, known as Fendi Buggies, into more wearable pieces for evening. This translates to brooches, earrings, rings, and bracelets with layered crystal Art Deco–esque eye motifs (one of Delfna’s signature emblems), accented with fur so delicate it resembles feathers. “I wanted to honor the codes while making pieces that felt a little futuristic, to match the collection,” she says. “Some of the pieces even look like strange colorful parrots.” The overall efect was elegant and playful, the perfect counterpoint to Lagerfeld’s literal interpretation of data and gigabytes realized in graphic, sheared mink dresses and mille-feuille-like layers of organza. Within the greater context of her work, Delfna, who studied psychology, considers women to be her most important reference. “I like to think of my designs as the protagonist of an exciting fairy tale—delicate with a shocking attitude,” she says. “And then I always exaggerate the shape or the details, it’s more fun that way.”

DRESS RALPH LAUREN SHOES GIUSEPPE ZANOTTI DESIGN EARRINGS ELLAGEM NY CHOKER (TOP) AMBUSH CHOKER (MIDDLE) ROBERT LEE MORRIS CHOKER (BOTTOM) AND BRACELET ALEXIS BITTAR

in the 20 years since his debut solo album, 12 play, the king of r&b has worn a heavy crown. through legal troubles, sex scandals, and a surgery that almost cost him his voice, r. kelly has endured by subverting expectations and entertaining us with a host of theatrics, leading to over 50 million albums sold. in an intimate shoot with supermodel irina shayk, he’s still proving that there ain’t nothing wrong with a little bump ’n’ grind photography albert watson fashion anna trevelyan text patrik sandberg 25 4

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VEST MOSCHINO BRACELET (Top) KYLE HOPKINS BRACELET (BoTTom) ALEXIS BITTAR

When a pop megastar enters the room, there can be a strange satisfaction in seeing a and early naughts, and threatened to castrate his career, legions of his disciples (a large king-size entourage in tow. On a crisp December afternoon at a studio in SoHo, the ele- percentage of them women) stuck by him. This past November, Kelly released his vator doors part and R. Kelly swoops onto the premises, adorned in Versace sunglasses twelfth album, Black Panties, twenty years after the debut of his first solo record, 12 and an enormous fur-trimmed coat. He’s flanked by so many managers, bodyguards, Play. The full-circle nature of the album, both stylistically and in terms of its success, and assorted personnel it’s nearly impossible to get an adequate glimpse of him. In has at least partially helped exhume the scandals that continue to plague him today. the age of social media, when being accessible is increasingly in vogue, the R&B titan Some say it’s a penance he’ll never fully pay. Others argue it’s a closed case best left in represents an almost antiquated brand of celebrity excess, one that hearkens back to the past. Whatever your stance, it’s hard to imagine anyone more suited, for better or the early-’90s MTV heyday in which he first made his name. During negotiations for worse, to inhabit the spotlight. this story, publicist Theola Borden lamented that to keep R. Kelly in town costs an average of $22,000 a night. His hospitality rider includes a dozen long-stemmed red You described yourself as a survivor. When critics try to bring up certain things roses, 24 black towels, broiled lobster, Grey Goose vodka, Hennessy cognac, and Moet from your past, how do you weather that? & Chandon champagne. While on set, I make the mistake of looking at him when he R. KELLY The more a soldier wins, the more the other soldiers want to take him out. bursts into a bit of song in his dressing room, and a visibly haggard staffer frantically You have to know how to metaphorically and spiritually use your gift to be your shield. ushers me out of sight. Suffice it to say, when it comes to being the King of R&B, Robert So I shield myself with my gift. I stay behind it and I continue to make music. And when Sylvester Kelly is not in the business of being subtle. the music is sharpened, I shoot it out there. I’m not a master, but I learned a lot from “Musically and creatively I feel like I’m a survivor,” the superstar tells me a few weeks my teacher Lena McLin. She was basically my Ms. Miyagi and I was her Daniel-san. I later, over the phone, from the comfort of his tour bus. He’s en route from Detroit, would listen to everything she would tell me and I’m still doing that today. where he played on New Year’s Eve, to his home in Atlanta, where he primarily resides. Was it a strategic decision after 20 years to return to the original R. Kelly sound? In conversation he’s afable, generous with his time, and surprisingly easygoing. “I do RK It was really for my fans. Everyone has been asking me when I’m going to do what I have to do to excite the crowd. I do whatever it takes to raise eyebrows and to another baby-making album, because that’s what started me out. I’ve been all around win.” This is a tactic employed since the beginning of his career, when he debuted with the world musically, in every genre. I can write “I Believe I Can Fly,” and I can write his singing group Public Announcement, in 1992. His A&R executive, Wayne Williams, “Bump ’N’ Grind.” Now is the time to bring it back around. recalls seeing them perform at a backyard barbecue in 1990 and knowing that Kelly Is it true you’re planning a sequel to the record? was born for the stage. RK Absolutely. It’s called White Panties. And you can expect a whole other level. “The way I saw girls looking at him and reacting to what he was doing reminded me Are you compromising your experimental side by creating something so speof seeing videos of Elvis,” Williams recalls. “The reaction was that extreme. I knew he cifcally for your fans? needed to sign with me.” Williams has been working with Kelly ever since. It’s worth RK No. I always follow what my spirit tells me to do. When I get into the studio I write noting the unspoken quality about Kelly that breeds a tremendous amount of loyalty from my heart. I try to write life and not songs. People live life and when you write among his team, his collaborators, and his fans. His performances have been described life you’re going to mess around and touch somebody’s heart, and they’ll relate to you as churchlike by critics, emphasizing a near religious fanaticism among his audiences. and what you’re singing about. When court cases involving statutory rape and sexual assault surfaced during the ’90s Why did you decide to enlist artists like 2 Chainz and Future?

JACKET HELEN YARMAK T-SHIRT POLO RALPH LAUREN GLOVES SKINGRAFT RING DAVID YURMAN WATCH LOUIS VUITTON NECKLACE VERSACE SUNGLASSES KELLYâ&#x20AC;&#x2122;S OWN

COAT PRADA TOp ASHISH SHOES gIUSEPPE ZANOTTI DESIgN NECKLACE EDDIE BORgO BRIEfS CALVIN kLEIN

DRESS CHANEL SHOES SPORTMAX EARRINGS ROBERT LEE MORRIS BRACELETS (TOp AND mIDDLE, HER RIGHT, AND mIDDLE, HER LEfT) DAVID YURMAN BRACELETS (TOp AND BOTTOm, HER LEfT) ALEXIS BITTAR BRACELET (BOTTOm, HER RIGHT) JENNIFER FISCHER RING EDDIE BORgO

additional styling (R. Kelly) apRil Roomet manicuRe naomi yasuda (stReeteRs) digital technician adRien potieR photo assistants Keith coleman, andReas gatteReR, david Rosenzweig stylist assistants Julien alleyne and tchesmeni leonaRd maKeup assistant maRia nguyen manicuRe assistant Jessica tong Retouching Julia peaRl Robbins and shin ono casting (iRina shayK) samuel ellis scheinman (dm casting) location splashlight soho, ny cateRing monteRone special thanKs liz watson

RK When I’m in the studio, I let my music and my lyrics do a kind of casting call. My music feels like a movie to me. I can hear in my head who should be on the song, and then I make a call. With 2 Chainz and Future, these guys respect my music and I respect what they do, so it’s just like a hand going into a glove. Now you’re going on the “King & Queen” tour with Mary J. Blige. Do you have plans to sing together? RK It’s a very exciting thing when two people like Mary and me come together. It’s never been done, but it kind of makes sense, and you’re like, Wow! And this is very exciting for me because I’m a fan of hers. I’m in the studio right now working on a song for me and Mary. I’m even looking forward to proposing that we do a whole album together. But this is the first I’ve mentioned it. The “King & Queen” album. What about working with Lady Gaga? V has a special relationship with her. What has it been like collaborating and performing together? RK It’s amazing, man. It’s an honor to be working with greatness. When I say that I say it with all my heart, because she is great on the stage and of. She is so talented. I was doing a show and she ended up on the side of the stage with her friends watching. I didn’t know what the hell was going on. I was wondering why people were screaming so loud! After the show she ended up giving me a call about a track and I was like, “Hell yeah! Send it to me, let me hear what it is!” The next thing you know, it was all over the radio. The TV performances for that song have been so amazing, and also very theatrical. Why are these aspects of performance important to you? RK The visual is the real challenge, because you want people to go home and remember it for the rest of their lives. Once you accomplish that, with a song and a visual, that’s what gives you legacy and power. Where does your energy come from? You’re known for your showmanship. RK My vision and my music is very athletic, if you will. And I don’t go by the basic moves. Some players shoot basketball exactly how they’re supposed to, but Michael Jordan can do anything on the court, he can flip it behind his back, get knocked down, and it will still go in. I’m not calling myself Michael Jordan, but musically I do what I have to do. When it comes to the game of music, I would throw the song against the wall if I felt it would draw the attention of the people and make them

go, Wow! It’s a rollercoaster. I’ve got all these twists and turns and I try to play that when I’m working. I associate that type of creative expression most with your ongoing saga, Trapped in the Closet. I don’t think anybody expected it at the time, and now it’s such a strong part of your visual iconography. Will you ever revisit it further or follow it up with another flm? RK Absolutely. When it comes to Trapped in the Closet, I want my fans to know that there is a lot more to come, and it’s forever. I’m very confident in writing it. What do you mean when you say forever? RK When I first started writing Trapped in the Closet, I didn’t know myself what it was. I had one chapter and I had no hook. It never turned into a song, it was just a cliff-hanger and one chapter led to another, and the next thing you know I have all of these chapters and now I have a leash on it. I can walk it wherever I want. I have a lot of characters. I have 57 more chapters that I haven’t released yet that are going to be released. This thing is forever. So you’re going to keep working on it until the end of time? RK Absolutely! My manager has also been putting pitches into Broadway and talking about this being a Broadway thing. Even if it’s not on Broadway, we’re going to do a play for Trapped in the Closet, because it just spells that out. Trapped in the Closet the book is the prequel meets the sequel. The book is about where these people were and who they were before the first chapter. I’m two months into writing the book and it’s very interesting because I know if I was a fan of the story I would want to know where did Chuck come from before he met Rufus? Why is Luscious being put out and not being claimed by his father, Rudolph? And Rosie loves him, his mom loves him, but you know the real fans would love to know the rest, their depth and the backstory. Do you ever worry that you’ll run out of ideas? RK You know, if Apple can keep coming out with iPhones every other week and Michael Jordan can keep putting out shoes, I have a factory of music in me that I know is great material. Why not just continue to keep putting it out? I’m going to start putting albums out like Michael Jordan shoes, because I don’t want my fans to miss out on great material. They deserve to hear it. They love it. I love doing it. So I’m going to continue to come with it.

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LEXI WEARS JACKET GIORGIO ARMANI PANTS VINTAGE JUNYA WATANABE FROM NEW YORK VINTAGE JACKET (AROUND WAIST) VINTAGE COMME DES GARÇONS FROM NEW YORK VINTAGE CUMMERbUND (WORN AS CHOKER) GIORGIO ARMANI GLOVES VINTAGE FROM ALBRIGHT FASHION LIBRARY RINGS PATRICIA VON MUSULIN

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NASTYA WEARS JACKET, SHIRT, PANTS JEAN PAUL GAULTIER SKIRT VINTAGE FROM NEW YORK VINTAGE CUMMERBUND (WORN AS CHOKER) GIORGIO ARMANI SHOES AND BELT VINTAGE DOLCE & GABBANA FROM ALBRIGHT FASHION LIBRARY HEADBAND ANA KHOURI BRACELETS PATRICIA VON MUSULIN RING JESSICA BIALES

these killer heels are the perfect fit when it comes to stepping out at the must-see music events of the season photography anthony cotsifas prop stylist philipp haemmerle

Legendary composer Ennio Morricone, who has scored over 400 flms with the world’s most renowned directors, is returning to the States for the frst time in years to play two shows—at the Nokia Theater in L.A. on March 20, and at the Barclays Center, in Brooklyn, on March 23. Such a memorable evening requires Dior’s fanciful footwear.

DIOR SATIN AND PATENT CALFSKIN PumP ($1,450, BY SPECIAL ORDER, 1-800-929-DIOR) 266

Southern spark plug Miley Cyrus has enlisted designer friends Marc Jacobs, Roberto Cavalli, Bob Mackie, and Jeremy Scott to create the costumes for her muchanticipated Bangerz tour, which makes 31 stops in the U.S. in March and April. Prove your fashion mettle and opt for colorful concert attire in Prada heels with custom Swarovski crystals.

PRADA EMBELLISHED SUEDE SHOES (PRICE UPON REQUEST, PRADA.COM)

Festival season is upon us, the kickoff of course being The Coachella Valley Music and Arts Festival, in Indio, California, (April 11–13 and 18–20). In between catching sets by The Knife and Lana Del Rey, you may want to cool down in these thonged Kenzo sandals at one of the festival’s many sponsored Palm Springs pool parties.

KENZO NEOPRENE SHOE (PRICE UPON REQUEST, OPENINGCEREMONY.US)

Photo assistants Karl leitz, amanda haKan, Caleb andriella retouChing anonymous retouCh

When Roseland Ballroom finally shutters its doors forever this spring, it wonâ&#x20AC;&#x2122;t be without an extra helping of fanfare. Lady Gaga will take to the stage for seven shows (starting March 28) for what can only be described as a spectacular New York send-off filled with stylish little monsters. Hold your own in these towering McQueen stompers.

ALEXANDER McQUEEN MAYA SANDAL ($4,345, ALEXANDERMCQUEEN.COM)

“As A technique to try to do something new this time i ActuAlly tried to be A different person. i needed to chAnge everything thAt referred to me. my life, my wAy of living, my vision, And my wAy of thinking. even though it is quite impossible to do so, i did strive to be A different me for two months. As one wAy to try to Achieve this, i stArted out with the intention not to mAke clothes As such.” —rei kAwAkubo 270

CLOTHING AND SHOES COMME DES GARÇONS (PrICE uPON rEquEST, COMME DES GArÇONS, 520 WEST 22 ST., 212.604.9200)

in a v exclusive, design pioneer and industry sage rei kawakubo reveals the thought process behind her fantastical spring collection photography sebastian faena fashion Julia von boehM

Makeup Maud Laceppe for NarS coSMeticS (StreeterS) Hair SHay aSHuaL (tiM Howard MaNageMeNt) ModeL gigi Hadid (iMg)

That Comme des Garçons designer Rei Kawakubo follows her own path has been clear since she made her Paris debut in 1981 with a collection critics described—and decried—as having a “bag lady” aesthetic (and was all the more provoking as it was markedly out of step with the cartoonish body-con mode of the times). Since then the fashion fock have come to hail her as an elusive design hero who continually challenges and surprises with boundary-pushing experimentation. Among Kawakubo’s recent adventures is the redesign of her golden Comme des Garçons Chelsea more-than-store, which rethinks the luxury boutique and puts some art back into shopping. (Swing by to see these impressive dresses in person.) Call the clothes what you will—constructs, wearable sculpture—they are at once architectural and relate to the body, and to Kawakubo’s outstanding body of work. Kawakubo continues to throw down the gauntlet, engaging us to talk about and categorize the sartorial, while cleverly never abandoning an appreciation for the resilient yet oh-so-fragile human form.

BliND DATE WiTH BlASBERG

liSA MARiE PRESlEY

while on tour for her latest album, storm & Grace, lisa marie presley sits down with editor-at-larGe derek blasberG to discuss elvis, oprah, and one infamous rock-and-roll viGil INTERVIEW DEREK BLASBERG PhoToGRAPhy ADRIAN MEšKo Is your father an inspiration to you? LMP Yes, of course. Huge. His background singers, the Sweet Inspirations, were another one. And I loved Elton John very, very early. Elton was the frst record I bought that my dad found out about. He was like, “Who is this that she’s listening to that isn’t me?” He went out and bought a few of Elton’s records after that. Have you told Elton that? LMP Yes, and he thought it was fabulous. Then I went through a country music phase. I loved the Mandrell sisters. Dolly Parton, obviously. Loretta Lynn. Tammy Wynette. Then I went into the hard-rock phase. Linda Ronstadt. Heart. Pat Benatar? Loved her. What part of the music making process are you most fulflled by? LMP Touring. Interacting with the audience. I like smaller venues because they’re more intimate. How have you dealt with being a public fgure? LMP I create a little retreat for myself wherever I live. Right now, it’s our house in England. I go there and I’m completely normal. I’ll garden or cook. My husband got me some horses for Christmas. I like to retreat from performing and then delve back into it. Getting away is an important part of the process. Does the press hound you? LMP It’s not that hard to avoid it if you want to. To tip of the paparazzi and stage a photo shoot at Starbucks? That’s insane. When I grew up you did everything you could to avoid that. People today think they’re over if they’re not in the tabloids. It’s like a drug. I think celebrities today want to be in tabloids, but don’t want to actually connect with fans. It’s like, Take my picture, but don’t talk to me. LMP I’m the opposite. I don’t want my picture in the paper, but I’ll talk to you. I busted my ass putting these records out there, and I’d like to hear what people think of them! Let’s talk about your love life! LMP [silence] Anything? LMP I can tell you I have a lady crush. On who? LMP Lady Gaga. Why, did you meet her recently? LMP No, I saw her perform with Elton John, and she was lying across a piano and belting out these songs, and it was the coolest fucking thing. She seems intelligent. And I decided after that I had a lady crush. Is it true that you are related to Oprah? LMP She did an investigation and she said that yes, many, many years ago, a Presley and a Winfrey got together. People were sneaking around and doing stuf and, yes, we are connected as a result. Does she feel like family when you see her? LMP It does, actually. But I think she’s like that with everyone. I call her Mama Moses and told her that I wanted her to adopt me. So, Lady Gaga is your crush and Oprah is your adoptive mother? LMP Exactly. And Elvis is your dad. LMP You got that?

Storm & Grace iS out now on univerSal republic/XiX recordinGS

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Photo assistant Steve Sikora

Blasberg and Presley get cozy backstage before her show in January

First impressions: you’re more petite than I realized, but your hair is just as big as I had hoped. Lisa Marie Presley Well, thank you. It’ll get even bigger by show time. I’ll pump it up before I get out there. To be expected of a Southern girl. This year is the sixtieth anniversary of the birth of rock and roll, which started with Elvis Presley’s frst single, “That’s all Right,” in 1964. When were you aware of the contributions your father made to music? LMP Not when I was a kid. He was just my dad then. But, obviously, to have that in my life now? I’m proud. Not that it’s easy. To explain to my children that their grandfather started rock and roll? That this thing that is everywhere now didn’t exist before him? Hard stuf. I tried to explain it to my youngest kids a week ago. They were like, ‘So he started music entirely?’ and I said, ‘No, not music entirely, but a certain type of music. Like what is happening now is because of him.’ We’ll try again when they’re older. Was there a distinction between Elvis Presley your father and Elvis Presley the icon? LMP There was no stage persona, no spokesperson, no alter ego. Elvis was my father and my father was Elvis. Do you have favorite songs of his? LMP I like his songs from the ’70s, because that’s when I was around. Now you create your own music. Was there ever a point when you wanted to do something else? LMP Nope. Music or poetry, which is basically what a singer-songwriter does. C’mon, you never wanted to be an astronaut or a freman? LMP Well, there was a time when I wanted to be a nurse. I wonder what a shrink would say about that. LMP If I ever feel vulnerable, I get angry. I’ll puf up. But it’s all bullshit. I am the caretaker in the family. I pride myself on being a nurturer and want to help people. I’m also a hypochondriac. I’ve been to the doctor so many times that now if any of my kids or someone I know feels sick, they call me and I’ll tell them what I think it is. It’s not an ofcial diagnosis, but I’m right most of the time. So family is important to you? LMP More than anything. We have a friend in common, Linda Ramone, who told me that when her husband, Johnny Ramone, was sick that you were there for them like no one else. LMP Yeah, I’d go be with him every day. We’d take shifts. I’d let Linda go home and take a shower and I’d stay with him until she got back. He was never alone. He fnally passed away at home, right? LMP Right in the living room. In his La-Z-Boy chair. We were with him all day and when he died in the chair. It was me, Eddie Vedder, Rob Zombie, Pete Yorn, Steve Jones—a whole bunch of us. We hung out with him. We watched a movie with him sitting there in the chair. Dead. That’s bonkers! LMP His mom called and I told her, “He is with us right now.” And she said, “I believe in that stuf too.’” And I said, “No, he’s actually sitting right here.” I mentioned that to Bono and he said it sounded like an Irish wake. I guess it’s common in Ireland… But not in Beverly Hills. There is a certain kinship among musicians, though. Do you get that? LMP I do tend to relate to people in music, but I appreciate any kind of artist. An artist is an artist is an artist.

A Daimler Brand

The new GLA 250 4MATIC and Georgia May Jagger captured by Serge Leblon. Art direction by David Carette. www.mercedes-benz.com/fashion GLA 250 4MATIC: Fuel consumption urban/extra-urban/combined: 8.3–8.2/5.6–5.5/6.6–6.5 l/100 km; combined CO₂ emissions: 154–151 g/km. Efficiency class: C. Figures do not relate to the specific emissions or fuel consumption of any individual vehicle, do not form part of any offer and are intended solely to aid comparison between different types of vehicle. The vehicle shown features optional equipment. Provider: Daimler AG, Mercedesstrasse 137, 70327 Stuttgart, Germany

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