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V94 Inez & Vinoodh Steven Klein Karl Lagerfeld Bruce Weber Sølve Sundbsø Mario Sorrenti Sebastian Faena Arianne Phillips Patti Wilson Roe Ethridge Pierre Debusschere Robbie Spencer Richard Burbridge David Vandewal Richard Bush Mel Ottenberg Nagi Sakai Jai Odell Emma Wyman Dario Catellani Vittoria Cerciello Anna Trevelyan Driu + Tiago Jack Borkett Junichi Ito Matthew Sprout Dan Forbes Donald Robertson Therese Aldgard Amy Verner Jesse Bravo Carolina Gonzalez Mark Jacobs Jeremy Lewis SPECIAL THANKS theCollectiveShift Jae Choi Lauren Pistoia Stephanie Bargas Disco Meisch Art Partner Giovanni Testino Amber Olson Marianne Tesler Candice Marks Lindsey Steinberg Alexis Costa Deanna Archer Cristian Banks Katherine Marre Océane Sellier Art + Commerce Jimmy Mofat Philippe Brutus Annemiek Ter Linden Yael Peres Becky Lewis Jessica Daly Colleen Cullen Nadine Javier-Shah Amanda Fiala Nicole Lepage Ziggy Levin Matthew Leiderman Tahra Collins Little Bear Inc. Nan Bush Jeannette Shaheen Nathaniel Kilcer Artist Commissions Shea Spencer Felix Frith Intrepid Anya Yiapanis Roberta Arcidiacono Total Justinian Kfoury Jordan Sternberg Joey Kuskin REP Ltd. George Miscamble Chantelle-Shakila Tiagi Maxim Akua Enninful Exposure Stacy Fischer Megan Tully Artlist Michael Quinn Amanda Jones Streeters Robin Jafee Daniel Weiner Paula Jenner Lisa Stanbridge Gosia Chalas Management Artists Sofe Geradin Anita Lee Micole Rondinone 2B Management Sandrine Bizzaro Lalaland Brianne Almeida Anne-Gael Selic Elise de Rudder Utopia Kenny Roche CLM Jasmine Kharbanda Jed Root Rachel King Susan Price The Magnet Agency Julian Watson Agency Julian Watson Stania Jaspert Frank Reps Brian Blair Sara Catullo Home Agency Christine Lavigne Danielle Palma The Wall Group Leela Veeravalli L’Atelier NYC ABTP Atelier 68 Kate Ryan Inc. Artists at Wilhelmina DNA Valerie Bullen Richie Keo Carlotta Sironi FORD Natalie Smith Julien Miachon-Hobson IMG Ivan Bart Jennifer Ramey Steven Bermudez Josh Otten The Lions Ali Kavoussi Christiana Tran Next Kyle Hagler NY Models Marcos Olazabal Duncan Ord Re:Quest Oscar Garnica The Society Management Christopher Michael Cheri Bowen George Speros Supreme Kady Davies Women Pedja Govedarica Stereohorse Digital Light Ltd. Love Retouch Lutz + Schmitt 1514 Arc Lab Ltd. 254Forest Studio ROOT Studios Splashlight SoHo Fast Ashleys Brooklyn Big Sky Studios, London Street Studios, London HMS Production Lock Productions Pony Projects Daphne Seybold Gia Kuan Sandy Park Patty Sicular Zoe Chodosh V MAGAZINe 1 0 0

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v’s gotta have it 108 MUSES Bask in the unadulterated glamour of some of the greatest muses of all time: Cher, Pat Cleveland, and Sayoko Yamaguchi

117 NEWS Björk’s MoMA-rama, Chloë Sevigny’s chronicles of style, the Dior-cumentary you can’t miss, Chanel’s rouge re-up, Prada’s skewed vision, Stuart Weitzman’s next step, Bottega Veneta’s cause célèbre, and Stella McCartney’s rosy reveal 120 BEYOND CONVERSATION Psychic Jesse Bravo summons the legendary muses Dovima and Lisa Fonssagrives 122 GLOBAL FASHION Meet the mavens who set the fashion bar in Denmark, Ukraine, China, and Australia 124 EMERGE Five maverick designers embrace their inspirations and reset the womenswear standard V MAGAZINe 1 0 2

130 DIARY OF A DIRTY HIPPIE Miley Cyrus launches a new column of hysterical observations from her out-of-control life 132 V GIRLS The new It Girls have arrived! Suki, Pia, Lydia, Lauren, Allie, Lola, Crystal, and Justine are about to be all over your radar 140 GUILTY AS CHARGED If shopping is a crime, lock us up—especially away from this lineup of must-have bags 142 AFTER SCHOOL SPECIAL Decked in trends inspired by decades past, these darlings in detention never looked so good 149 MOST VALUABLE LAYERS Dior Beauty’s creative director breaks down the inspiration behind his trendsetting looks, layer by layer

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the stories v tell 158 HearTBreaKer BY INeZ & vINOODH Disney princess turned spring breaker turned superstar heartbreaker—Selena Gomez doesn’t care how you view her, and as she tells her former costar James Franco, her roller coaster of a career is just getting started

172 FIGHT FIre WITH FIre BY sTeveN KLeIN Joan, Ajak, Maria, and Riley give a regal edge to a fery climate in a story that couldn’t be any more relevant right now 186 UNIQUe PaIGe vIeWs BY INeZ & vINOODH New York’s buzziest new face has arrived in the form of a girl-next-door—meet Paige Reifer before she rockets to fashion stardom 190 BIG reD BY sTeveN KLeIN Rei Kawakubo’s latest Comme des Garçons collection takes the idea of blood and roses to its most outré limit, as modeled by Karlie Kloss 198 MaGNIFIceNT MUses Karl Lagerfeld, Donatella Versace, Ralph Lauren, Francisco Costa, Tom Ford, Hubert de Givenchy, Joseph Altuzarra, and Jason Wu pay homage to their greatest inspirations V MaGaZINe 1 0 4

214 HeaveNLY creaTUres BY sØLve sUNDsBØ Hot model of the moment Natalie Westling gets even hotter in her frst-ever shoot with girlfriend Carly Moore, showing of standout looks of the season 228 GIrL BY seBasTIaN FaeNa Grace Hartzel embodies a little girl lost with a bad occupation on the streets of New York in a combination of vintage and new classics

242 WHere’s THe ParTY? BY rOe eTHrIDGe Lexi Boling pairs Spring’s brightest and boldest with everyone’s favorite party favors, ensuring she’ll be the belle of any bash 254 sTarDUsT MeMOrIes BY rIcHarD BUsH Stella Tennant dips into the legend of Ziggy Stardust for an ultraglam tribute that couldn’t be better timed for the runway’s diamond dog duds 262 cONscIOUs cOUPLING BY PIerre DeBUsscHere Two become one in a choreographed collections story starring Sasha Luss and Daria Strokous

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that’s what v said...

When sociologists refect on the twenty-teens, will they consider it a period of enlightenment?

Thanks to social media’s hashtag activism (or “slacktivism” as some have unfairly labeled the phenomenon), it’s getting a lot tougher to ignore what’s happening in the world around us. For every #ArtSelfe, #MargielaMonday, or #DickOwens, there have been a handful of more socially aware hashtags dominating our feeds: #BlackLivesMatter, #BringBackOurGirls, #HandsUpDontShoot, #ICantBreathe, and #AmINext to name a few. We’ve even seen the moral majority extend itself into the controversies surrounding Bill Cosby, cultural appropriation in pop music videos, and the perceived whitewashing of the Oscars. Rage is now the rage and the next ofense is never too far of, whether real or imagined.

At press time, we were saddened to learn of the very real, very devastating attack on the staf of French publication Charlie Hebdo at the hands of murderous extremists. As a magazine, V stands frmly on the side of free expression without fear. It was in this same spirit that our Spring issue came to be. From Rei Kawakubo’s Blood and Roses collection, photographed by Steven Klein, to the legacy of Bob Mackie and Cher, which opens the issue, the power of expression compels us.

It felt natural to reach out to the iconic Pat Cleveland, whose lifelong connection to Stephen Burrows and Halston exemplifes creativity at its most free. Modern masters Karl Lagerfeld, Donatella Versace, Ralph Lauren, Carine Roitfeld, Tom Ford, Francisco Costa, Jason Wu, and the legendary Hubert de Givenchy tell us about their “other halves,” who’ve helped them articulate their visions. We also spotlight unstoppable talents Simone Rocha, V MAGAZINe 1 0 6

Simon Porte Jacquemus, Phoebe English, and the duos behind Marques'Almeida and Miuniku—each an example of youthful artistry at its purest.

But Spring isn’t all sunshine and rainbows: we’re cracking down on the season’s hottest bags, putting our favorite trends in detention, freeing the nipple with New York City’s new It Girl, and causing a riot of beauty with Peter Philips and Richard Burbridge. We’re also recruiting runway stars like Grace Hartzel, in a story by Sebastian Faena, and Joan Smalls, who appears alongside a group of rising girls against a backdrop of burning police vehicles,

by Steven Klein. Breakout model Natalie Westling bravely poses with her real-life girlfriend Carly Moore, in a shoot by Sølve Sundsbø, reinforcing the message that love is the answer.

Most poignantly, a former teen dream arrives at adulthood. Selena Gomez speaks to the unlikely freedom fghter James Franco (remember The Interview?) about why she won’t be defned by her past. See her styled by Carlyne Cerf de Dudzeele and photographed by Inez & Vinoodh in a shoot that proves Selena’s all grown up. Pierre Debusschere captures the beauty of the season’s collections on Sasha Luss and Daria Strokous, and Roe Ethridge fghts for our right to party.

In an age when expression is under attack, we feel emboldened by the demonstrations in Paris and around the world. We stand with the people of France in asserting our freedom to express, celebrating the power of creativity. As evidenced by Charlie Hebdo’s decision to continue publishing immediately post-attack, the best way forward is to keep dreaming and encourage others to do the same. Je suis Charlie! Mr. v

there is no place for grief in the house that serves the muse. step into the hall of heroines who elevated inspiration to a fine art

BOB MACKIE ON CHER For a man responsible for designing the most outrageous and memorable outfts that defned pop culture in the second half of the 20th century, costume designer Bob Mackie comes of rather sedate. I meet him at the Algonquin Hotel in Midtown Manhattan, a relic of New York’s bygone era and the oldest working hotel in town, where he’s dressed in nondescript jeans, a worn-in fannel, and a black V-neck sweater. But, behind the 74-year-old California native’s rimmed spectacles and jolly smile sits the brain that conjured Cher’s legendary 1986 Oscars outft, which was essentially a sequined abstract bikini top and feathered Mohawk. He did costumes for Liza Minnelli’s Vegas show, Barbra Streisand’s press junkets, and Diana Ross’s last tour with the Supremes. Mackie has had a front row seat to some of recent history’s biggest stars’ biggest moments. And what I quickly learn is that the reason he dresses like a college professor is because his knowledge of those divas is encyclopedic. Here, Mackie opens up about the art of costume design, the degeneration of red-carpet dressing, and his decades-long collaboration with the one and only Cher. DEREK BLASBERG

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Cher never wanted to look like a normal woman anyway.

She’d tell me, “I don’t want to look like a housewife.”

And she didn’t. Whose idea was it to push the envelope that far? You or her?

BM Compared to her, I’m conservative. I thought, If you’re giving an award to somebody you should try to be polite and not upstage them. I thought, poor [Oscar winner] Don Ameche [to whom Cher presented the award]. She said, “Oh, he wont mind! He’ll be fne.”

Jane Fonda famously introduced her in that dress by saying, “Wait’ll you see what’s gonna come out here.”

BM Yes, I forgot that! I can remember sketching that dress with Cher here in New York, at Tom Cruise’s apartment. She was his girlfriend at the time. That didn’t last long, but, whatever, she’s had a lot of boyfriends. She had been doing a play, and nobody had seen Cher dress like that in a few years. Then, when she came to L.A., we did a couple of fttings—everything has to be exactly in place for one of those otherwise it doesn’t work.

You’ve said you’re bored of the red carpet nowadays. Do you still feel that way?

BM It’s like a commercial. All these girls doing commercials for every dress and every piece of jewelry and shoe and handbag, and these are people who make millions of dollars for making movies. Why do they have to borrow a dress?

Do you think women today are scared of critics?

BM You have to be able to pull of whatever you’re wearing in your head. You have to be completely comfortable to do that stuf. Cher was completely comfortable in those outfts, didn’t mind the attention—at all. A lot of these younger, insecure actresses, who are good actresses quite often…they don’t know! What do they wear? Real fashion is hard to fnd now.

BoB Mackie has a line on QVc called BoB Mackie WearaBle art

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What is the diference between a costume designer and a fashion designer?

BOB MACKIE A costume designer designs for the character. Or for the personality. I got started in Hollywood dressing all these glamour girls who went onstage as themselves.

Then, of course, people thought that was all I could do. A fashion designer designs for what he thinks women should wear, or will buy.

What’s more fun to do? Musicians or actresses?

BM Back in the 1960s and ’70s, there wasn’t much of a distinction. Even the TV actresses had nightclub acts. [The stars] would go to Vegas, make some money, if you were really good you’d travel with it. There were all these divas,

like Ann-Margret and Mitzi Gaynor, who was the frst star I did all of the clothes for. Goldie Hawn did one. And Bette Midler of course.

And of course there’s Cher.

BM She still does it!

When did you meet Cher?

BM I’ve known her since 1967. I frst worked with her on The Carol Burnett Show. She and Sonny were guests. She was 22.

Did you know then that she was going to be this powerhouse?

BM Nobody knew then. But I saw her determination, which was formidable.

She wore a nude dress that had strategically placed crystals and marabou feathers when you went to the Met Gala together in 1974. It was a defning fashion moment.

It landed on the cover of Time.

BM Oh god, there’ve been so many interpretations of the dresses I did for Cher. All over. Everyone does a version.

You mean like Britney Spears’s “Toxic” video?

BM It’s fattering, and it’s a little boring, too. But to be honest, the frst one of those I did was for Mitzi Gaynor, not Cher.

Then I did one for Goldie, who had an amazing fgure. And then Cher saw Goldie’s and said she wanted something like that.

Did you see Rihanna at the CFDA Awards?

BM Yes. Adam Selman did that one. It was diferent than what I did, and she looked good. Talk about a lot of press on a dress!

You should know how much press a single dress can get a girl. I’d dare to say Cher’s Oscar dress is the most famous Oscar dress in history.

BM It keeps creeping up. Everybody was shocked [at the time]. Disgusted. They’d say, “That’s not fashion!” Well of course it’s not fashion! It’s a getup to be noticed. And it worked. It was on the cover of every paper the next day.

Cher and Bob Mackie attend the Met Gala, November 20, 1974.

muses

Stephen Burrows during a ftting with Pat Cleveland in his East Village studio, April 12, 1971

Roy Halston stepping lightly atop Joe Eula’s watercolor croquis of his F/W 1977 ready-to-wear collection with Pat Cleveland, modeling an outft from the line: a red cashmere bodystocking for day under a black cotton fannel shirtwaist dress with a large red cashmere poncho, May 1, 1977

PAT CLEVELAND ON HALSTON AND STEPHEN BURROWS

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world was the most multicolored world and Halston’s was flled with high-society women. Stephen introduced me to Halston at a party. I was sitting on a couch with Giorgio Sant’Angelo, because at that time, everybody just stayed together like sheep. We were all in the barn together having fun. Andy Warhol walked in. Halston came and sat next to me, and Stephen and Giorgio said, “Oh, you should use her.”

When you think about how much Stephen and Halston put into believing that something beautiful can come out of nothing, they are equally fantastic. When they’d get in front of me and start working, they’d move around my body like planets around the sun, just adoring me. And I’d be giving them everything I had to make them happy. I just wanted them to be happy. I wanted them to feel that what they were doing was worth more than anything, more than life. All these designers, they go to sleep and they wake up for it. They are giving their lives for it.

Some of my favorite memories with Halston and Stephen were from private life, like being in the kitchen with them.

Stephen could cook so well. Halston was not as much of a good cook. I remember one time I bought this pasta machine for him and we were up in the middle of the night, and pasta was just spitting out of the machine. We were starving by the end. It was hysterical. We were like teenagers out of our parents’ house for the frst time. But Stephen, he can feed everybody. If he wasn’t a designer, he could be a chef.

We all used to go out to Studio 54 because, when you are lonely in your house, which we all were, we were all single, no kids, no family, sometimes we’d have no lovers, we were loving each other by being together at night in the dark. We were celebrating being together. The dark, cold night is lonely, especially in New York. Studio 54 wrapped itself around us. It was full of light and good energy. It was an adventure.

I took Halston to Studio 54 the very frst time any of us went. Steve Rubell said, “Ah, just bring some friends over,” and I snuck him in because I fgured, Hey, let me get him out of the house, too. So we went over before the Studio was really open, and we hung out and listened to music, and I made Halston dance. He always had two left feet, but he liked it. And after that we started coming back.

I love dancing, and that’s why I came up with my signature twirl. I love chifon and I think fabric teaches you things.

When I have it on my body, chifon talks to me; it tells me to fy. When I spin around, it’s like being on a carousel and I see everything spinning. It’s just like being a child. You have to be a child in your clothes. If you can’t play in them, they’re not worth having.

I can wear Halston’s and Stephen’s clothes and have fun in them. And when we were out, they’d have fun, too. They opened their worlds to me. And they opened doors for me, like a gentleman should. I belonged with them. My purpose is to be with a creator. PAT CLEVELAND

Pat Cleveland/Halston © Condé Nast Archive/Corbis Pat Cleveland/Burrows © Condé Nast Archive/Corbis

People come to Earth to do a job. You don’t ever really know what it is when you’re growing up. I knew I loved dancing. I knew I loved things with feeling, and I guess I just fell into the right place at the right time. Clothing is something that is made by an artist, a dreamer, a person who loves life. The people I worked with, Halston and Stephen Burrows, loved life so much that they dressed women to be beautiful. And I so desired to be beautiful.

When I frst met Stephen Burrows in his studio on the top foor of [Henri] Bendel, it was like going to visit the Wizard of Oz. I walked through the cutting rooms, and there was smoke and the smell of incense and cannabis coming out from behind his door. I opened the door and there he was. He was in the middle of creating something and everything was colorful. It was as if I’d walked into a Technicolor world. He was like a living rainbow, and somehow he decided this is great, you’re just the person I was looking for. So I started doing fttings with him.

Our creative process was very spiritual. It was like a love story. It was like making love, in a way, because we were exchanging positive energy. We’d be in the room together and when he’d put the clothes on me, he’d say, “Oh, how does that feel? Does this feel good?” It’s a process of forming something and I was part of it because they were forming it on my body. It was all about love. It was not a job for me.

Halston and Stephen both loved women from diferent parts of the world and diferent ethnic groups. Stephen’s

muses

SAYOKO YAMAGUCHI

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atracted new interest from Japanese designers, and the jobs lined up. Her look would become a proxy of Eastern beauty, representing every archetype from the geisha to Princess Kaguya (the “moon girl” from one Japanese folktale whose beauty commanded the devotion and deaths of royalty).

According to fashion lore, it was Kansai Yamamoto, one of the frst designers to take Japanese fashion global, who frst appreciated Sayoko’s looks. It was Sayoko’s work, however, with Shiseido, Issey Miyake, and Kenzo Takada—modeling in their runway shows and campaigns—that brought her international acclaim. Kenzo’s clothes, especially, were an amalgam of Eastern and Western dress at the forefront of the avantgarde, and Sayoko would be the poster girl for his unique brand of worldly optimism, a beacon for diversity in a time when the word “Oriental” was still an acceptable catchall for everything Asian. By 1977, she was considered by Newsweek to be one of the top six models in the world.

Her visage, and ultimately her aura, immortalized by Pierre et Gilles, Noriaki Yokosuka for Miyake, Hans Feurer for Kenzo, and Serge Lutens for Shiseido, exists beyond fashion photography. Like other iconic models, Sayoko was as much a performer as she was a mannequin, acting out the clothes and their circumstances, imbuing them with a character of her own creation. Venturing into flm, Sayoko straddled the role of both fashion icon and cult movie star, acting in Kazuo Kuroki’s Genshiryoku sensô (1978), Shûji Terayama’s madcap Le fruits de la passion (1981), and Seijun Suzuki’s Pistol Opera (2001).

She even served as costume designer for a 2002 ARTE-TV production of Chekhov’s Three Sisters. Though active until the end, Sayoko died of pneumonia in the summer of 2007 at the young age of 57. As we enter a world that is more and more connected, Sayoko’s legacy remains a compelling force and persona, a timeless talent of international appeal, a pioneer, a beauty without borders. jeremy lewis

© Pierre et Gilles: Bionic, Sayoko 1977

Refned, otherworldly, and yet quintessentially Japanese, she was, simply, Sayoko. A model, surely, but more than that, Sayoko Yamaguchi was an ambassador who brought Japan and its bounties of beauty to the rest of the world. Emerging on the global stage in 1972 at a time when fashion’s interests and participants grew increasingly international, Sayoko became the face of the Far East. When Issey Miyake and Kenzo Takada invaded Paris in the ’70s, it was Sayoko who held their banner of goodwill. Sayoko reconciled Western oversimplifcations of Asian beauty and bodies with Japan’s burgeoning modern identity.

Born in 1949 in Yokohama, Sayoko Yamaguchi’s initial ambition to be a fashion designer was put on pause after she was conscripted as a ft model while attending Sugino Gakuen, a fashion design school. Shy and reticent, her modeling career started of without much event, but after a drastic change in appearance—she adopted a severe bob haircut—Sayoko

new shade

“The best color in the whole world is the one that looks good on you,” Coco Chanel once said. Now, the iconic French beauty brand wants to help you fnd yours, with a collection of 29 new electric lipstick shades hitting stores this March. Each is named after a member of the visionary’s inner circle, and created with the role the muses played in her intimate, out-of-the-spotlight life in mind. Reds, of course, pay tribute to her many famous loves—a rosy rouge for Grand Duke Dmitri Pavlovich, a classic red for her frst love, Arthur Capel, and a deep burgundy for her one true love, Étienne Balsan. Variations of pink represent her best friends, from Olga Picasso to the Grand Duchess Maria Pavlovna of Russia.

There are pale nudes for her mother, Jeanne Eugénie Devolle, and her sisters, Julia and

Antoinette. Plum hues denote the artists that forever surrounded Mademoiselle Chanel, including a highly pigmented fuchsia for famous Golden Era Hollywood actress Ina Claire, an intense fuschia named after poet Jean Cocteau, and a subtle lilac for dancer Élise Jouhandeau. Lastly, lush corals stand for her personal muses, from Queen Catherine de’ Medici to pianist Misia Sert. There’s even one for Coco herself, shaded an appropriate Chanel camellia peach. NICOLE CATANESE

PhOTOgrAPhy ThErESE ALdgArd ROUGE COCO UltRa hydRatinG lip COlOR ($36, ChanEl.COm)

new sKIn

Lara Stone and Stella McCartney, courtesy of Stella McCartney

Over a decade old now, Stella McCartney’s frst fragrance, STELLA, just got a redesign—and a revisit with a dear friend. As McCartney herself puts it, “The juice is the same, it’s the outer packaging that’s new.” To echo the logo, delicate embossed polka dots appear on bottle and box, each of which now comes with a personal message inside. The brand went back to model and new mother Lara Stone, tapping her to front the campaign. She was the face (and nude body) of STELLA last year as well. “I think she is a beautiful refection of the Stella woman,” says McCartney of the 31-year-old, who made headlines late last year after being editorialized completely un-retouched. “She has a natural, honest beauty. When you see Lara in real life, she doesn’t wear makeup, she’s natural and efortless. This is very much a refection of who our woman is.” One of the most in-demand models of today, Stone has come to represent the girl next door, the high fashion head turner, and the blissed out new mom, all in one—perfect for McCartney’s almost androgynous scent.

“The fragrance has such a beautiful mix between masculine and feminine, and Lara really has that: she has a slightly harder outer, and a softer inner,” muses McCartney. “The shoot was one of her frst jobs since having her baby and it was really about fnding that side of her, of how she’s matured into a real woman. A really young, graceful mother. That just shows that she has all the diferent facets of a woman. She has a beautiful presence, she is obviously incredibly sensual, she’s voluptuous, and she is absolutely stunning.” In case you’re wondering, McCartney does have a defnition for the STELLA-wearer Stone so perfectly depicts: “The Stella woman has her own views in life and she’s not afraid to refect them in the way that she wears clothes—or the way that she smells. She has a gentle, honest approach, a natural confdence, and she’s naturally sexy. She sees life in a modern way, wants to be informed, involved, have a point of view, but also to feel alive and present in the moment.” nataSha StaGG

StElla EaU dE paRFUm iS aVailaBlE at StEllamCCaRtnEy.COm V maGaZinE 117

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BJÖRK IS ON VIEW AT NEW YORK’S MUSEUM OF MODERN ART THROUGH JUNE 7

MAKE A RESERVATION NOW AT HOTELOKURA.CO.JP

MoMA’s buzzed-about Björk takeover has been, says Chief Curator-at/DUJH .ODXV %LHVHQEDFK DERXW \HDUV LQ WKH PDNLQJ Å¢6RRQ DIWHU , PHW KHU LQ , WKRXJKW ZH VKRXOG GR DQ H[KLELWLRQ ZLWK HDFK RWKHU Å£ KH VD\V 7ZHOYH \HDUV ODWHU VKH RÆ…FLDOO\ DFFHSWHG WKH SURSRVDO ZLWK WZR VWULFW VWLSXODWLRQV Å¢, KDYH WR VKRZ KHU DV D PXVLFLDQ QRW DV D YLVXDO DUWLVW $QG LWÅ V QRW DQ H[KLELWLRQ DERXW %M¸UN EXW ZLWK %M¸UN Å£ 2IWHQ XQGHU ƃUH IRU VKRZFDVLQJ XQFRQYHQWLRQDO PXVHXP UHVLGHQWV Biesenbach is used to having to defend his curatorial choices. And that RI D SRS VLQJHU LV ERXQG WR FRQMXUH FULWLFLVP Å¢, ORRN DW ZKDW LQÆ„XHQFHV FRQWHPSRUDU\ FXOWXUH ZKDW LQÆ„XHQFHV D \RXQJ SHUVRQ Å£ KH H[SODLQV RI KLV SURFHVV Å¢,Å YH QRW QHFHVVDULO\ EHHQ LQÆ„XHQFHG E\ WKLQJV WKDW FRXOG HDVLO\ ƃW LQWR D IUDPH Å&#x;$OO ,V )XOO RI /RYH Å %M¸UNÅ V ZRUN ZLWK &KULV &XQQLQJKDP LV DQ LQÆ„XHQFH ELJ WLPH Å£ ,W PDNHV VHQVH WKDW VRPHRQH VR LQWHUHVWHG LQ VKDUHG experience would devote his turn at transforming MoMA’s prestigious space WR WKH TXHHQ RI FROODERUDWLRQ $V %LHVHQEDFK VD\V Å¢)RU %M¸UN HYHU\WKLQJ LV DERXW EHLQJ D IHPLQLVW DQ HFRORJLVW DFFHVVLEOH GHPRFUDWLF Å£ NS

Bottega Veneta’s Tomas Maier is a man who values aesthetics—and not just when it comes to his sharp ready-to-wear looks. Maier’s passion for architecture brings about his latest crusade: saving Tokyo’s modernist masterpiece the Hotel Okura. Opened in 1962, the hotel—along with other pillars of Japan’s modernist movement—will be renovated and partially demolished in anticipation of the 2020 Olympics in Tokyo. Ţ7KH ƃUVW WLPH , YLVLWHG -DSDQ ZDV LQ WKH PLG ŠV DQG WKDW ZDV WKH ƃUVW WLPH , VWD\HG DW WKH +RWHO 2NXUD ţ UHFDOOV 0DLHU Ţ:DONLQJ LQWR WKH OREE\ LV DQ H[SHULHQFH OLNH QR RWKHU , ZDV WDNHQ E\ LWV EHDXW\ WKH SHRSOH ZRUNLQJ there in their kimonos, and the top-class hospitality. There is great architecture in Japan that is highly recognized and valued worldwide, and these LFRQLF >EXLOGLQJV@ DUH QRZ DW ULVN ţ 7R UDLVH DZDUHQHVV DERXW WKH 2NXUDŠV tragic fate, Bottega and Maier have created #MyMomentAtOkura, and invite all those who have enjoyed the hotel to post images of their stay on VRFLDO PHGLD ,WŠV D VPDOO JHVWXUH EXW ZKHQ LW FRPHV WR FXOWXUDO ODQGPDUNV OLNH WKLV HYHU\ HƂRUW FRXQWV SAM FINE

NEW STEPS

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Miuccia Prada is known for turning our perception on its head, whether it’s that of femininity, domesticity, travel, or simply the construction of a shoe. Leave it to maestro Miu Miu to reinvent the window display. Corners is an evolutionary design concept by artist Martino Gamper in collaboration with Prada, which pays homage to WKH ŢKXPEOHţ FRUQHU Ţ:KHQ RQH FUHDWHV QHZ ZD\V RI VHHLQJ DQG H[SHULHQFLQJ ZLWKLQ H[LVWLQJ SDUDPHWHUV ţ VD\V *DPSHU ŢLQ WKLV FDVH shop windows, generating new ways of looking means opening new SHUVSHFWLYHV DQG SRLQWV RI YLHZ , WULHG WR ƃQG D QHZ ZD\ RI ORRNLQJ DW VRPHWKLQJ WKDW ZH DOUHDG\ NQRZ , WULHG WR FUHDWH D QHZ IRFDO SRLQW ţ $ VSDFH ZLWKLQ D VSDFH HDFK GLVSOD\ WHOOV D XQLTXH VWRU\ WKDW can evolve with each season. Built in Prada’s engineering studio in 6DQ =HQR ,WDO\ WKH VWUXFWXUHV IRXQG LQ *DPSHUŠV ƃUVW IDVKLRQ SURMHFW make the in-person shopping experience even sharper. NS

CORNERS IS ON VIEW NOW AT PRADA STORES WORLDWIDE

There’s a reason the highestpaid model in the world, Gisele Bündchen, keeps going back to 6WXDUW :HLW]PDQ )RU WKH VHFond season running, Bündchen fronts the accessories label’s ad campaign—deftly lensed by Mario Testino—in a less than body-conscious look. Here, the self-described “tomboy JLUOţ SRVHV LQ :HLW]PDQŠV ƄDW gladiator sandals and a men’s white oxford shirt, a look that epitomizes the laid-back sex appeal of the S/S ’15 collection.

Turns out, both designer and muse are comfort-obsessed these days, a sentiment further detailed in the new behind-thescenes video pictured here. SF

WATCH THE VIDEO AT STUARTWEITZMAN.COM

3.1 PHILLIP LIM 31PHILLIPLIM.COM ACNE STUDIOS ACNESTUDIOS.COM ALEX MILL ALEX-MILL.COM ALEXANDER McQUEEN ALEXANDERMCQUEEN.COM ALEXANDRE VAUTHIER ALEXANDREVAUTHIER.COM ALEXIS BITTAR ALEXISBITTAR.COM ALTUZARRA ALTUZARRA.COM AMERICAN APPAREL AMERICANAPPAREL.NET ANNINA VOGEL ANNINAVOGEL.CO.UK ANTHONY VACCARELLO ANTHONYVACCARELLO.COM ANTHONY VACCARELLO X VERSUS VERSACE VERSUSVERSACE.COM BALDWIN BALDWINDENIM.COM BALENCIAGA BALENCIAGA.COM BALMAIN BALMAIN.COM BOSS HUGOBOSS.COM BOTTEGA VENETA BOTTEGAVENETA.COM BROW NY INTERNATIONAL BROWNYINTL.COM BULGARI BULGARI.COM BURBERRY LONDON BURBERRY.COM BURBERRY PRORSUM BURBERRY.COM CALVIN KLEIN COLLECTION CALVINKLEIN.COM CARVEN CARVEN.COM CÉLINE CELINE.COM CENCI DAVIDECENCI.COM CHANEL CHANEL.COM CHANEL BEAUTÉ CHANEL.COM CHLOÉ CHLOE.COM CHOPARD CHOPARD.COM COACH COACH.COM COMME DES GARÇONS COMME-DES-GARCONS.COM DAVID YURMAN DAVIDYURMAN.COM DIANE VON FURSTENBERG DVF.COM DIESEL BLACK GOLD DIESELBLACKGOLD.COM DIOR DIOR.COM DIOR BEAUTY DIOR.COM DIOR FINE JEWELRY DIOR.COM DKNY DKNY.COM DSQUARED2 DSQUARED2.COM EARNEST SEWN EARNESTSEWN.COM EMANUEL UNGARO UNGARO.COM EUGENIA KIM EUGENIAKIM.COM FALKE FALKE.COM FAUSTO PUGLISI FAUSTOPUGLISI.COM FENDI FENDI.COM FOUND AND VISION FOUNDANDVISION.COM GANT GANT.COM GARETH PUGH LUISAVIAROMA.COM GASPAR GLOVES GASPARGLOVES.COM GIANVITO ROSSI GIANVITOROSSI.COM GIUSEPPE ZANOTTI DESIGN GIUSEPPEZANOTTIDESIGN.COM GIVENCHY BY RICCARDO TISCI GIVENCHY.COM GRAFF GRAFFDIAMONDS.COM GUCCI GUCCI.COM GUESS GUESS.COM HOOD BY AIR HOODBYAIR.COM HUGO HUGOBOSS.COM IRIS VAN HERPEN IRISVANHERPEN.COM IRO IROPARIS.COM J.W. ANDERSON J-W-ANDERSON.COM JACQUEMUS JACQUEMUS.COM JEAN PAUL GAULTIER JEANPAULGAULTIER.COM JENNI KAYNE JENNIKAYNE.COM JENNIFER BEHR JENNIFERBEHR.COM JUAN CARLOS OBANDO JCOBANDO.COM JUICY COUTURE JUICYCOUTURE.COM JUNYA WATANABE DOVERSTREETMARKET.COM JUST CAVALLI JUSTCAVALLI.ROBERTOCAVALLI.COM KENZO KENZO.COM LADY GREY LADYGREYJEWELRY.COM LEAH C. LEAHC.COM LEG AVENUE LEGAVENUE.COM LEVI’S LEVI.COM LENNY NIEMEYER LENNYNIEMEYER.COM LILLIAN SHALOM LILLIANSHALOM.COM LOEWE LOEWE.COM LOUIS VUITTON LOUISVUITTON.COM LYNN BAN LYNNBAN.COM M.A.C COSMETICS MACCOSMETICS.COM MAISON MARTIN MARGIELA MAISONMARTINMARGIELA.COM MARC BY MARC JACOBS MARCJACOBS.COM MARC JACOBS MARCJACOBS.COM MARIA BLACK MARIA-BLACK.COM MARQUES’ALMEIDA MARQUESALMEIDA.COM MAX MARA WORLD.MAXMARA.COM MEADOWLARK MEADOWLARKJEWELLERY.COM MICHAEL KORS MICHAELKORS.COM MICHAEL SCHMIDT MICHAELSCHMIDTSTUDIOS.COM MIU MIU MIUMIU.COM MORDEKAI MORDEKAI.COM MOSCHINO MOSCHINO.COM MSGM MSGM.IT NEW YORK VINTAGE NEWYORKVINTAGE.COM OSKLEN OSKLEN.COM OYE OYESWIMWEAR.COM PATRICIA UNDERWOOD PATRICIAUNDERWOOD.COM PEDRO DEL HIERRO PEDRODELHIERRO.COM PHILIPP PLEIN PHILIPP-PLEIN.COM PHOEBE ENGLISH PHOEBEENGLISH.COM PIERRE HARDY PIERREHARDY.COM POLO RALPH LAUREN RALPHLAUREN.COM PRADA PRADA.COM PROENZA SCHOULER PROENZASCHOULER.COM RAG & BONE RAG-BONE.COM RALPH LAUREN RALPHLAUREN.COM RELLIK RELLIKLONDON.CO.UK REPOSSI REPOSSI.COM ROBERTO CAVALLI ROBERTOCAVALLI.COM SAINT LAURENT BY HEDI SLIMANE YSL.COM SALVATORE FERRAGAMO FERRAGAMO.COM SCREAMING MIMIS SCREAMINGMIMIS.COM SIMONE ROCHA SIMONEROCHA.COM STELLA McCARTNEY STELLAMCCARTNEY.COM STEPHEN JONES STEPHENJONESMILLINERY.COM STUART WEITZMAN STUARTWEITZMAN.COM TIFFANY & CO. TIFFANY.COM TOM FORD TOMFORD.COM TRASH AND VAUDEVILLE TRASHANDVAUDEVILLE.COM VALENTINO VALENTINO.COM VAN CLEEF & ARPELS VANCLEEFARPELS.COM VERSACE VERSACE.COM VETEMENTS VETEMENTSWEBSITE.COM W.KLEINBERG WKLEINBERG.COM WENDY NICHOL WENDYNICHOLNYC.COM Y-3 Y-3.COM ZANA BAYNE ZANABAYNE.COM

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CHLOÃ&#x2039; SEVIGNY (RIZZOLI) IS AVAILABLE APRIL 7 GO TO VMAGAZINE.COM TO READ THE FULL INTERVIEW

BEYOND

BEYOND CONVERSATION

IN THEIR DAY, LISA FONSSAGRIVES AND DOVIMA WERE MAJOR MODELS CELEBRATED IN IMAGES

BY IRVING PENN AND RICHARD AVEDON. NOW THEY’RE BACK TO PROVE IT, WITH HELP FROM V’s CELEBRITY PSYCHIC, JESSE BRAVO

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STILL LIFE PHOTOGRAPHY THERESE ALDGARD

GUIDE

GLOBAL FASHION

FASHION IS STILL OVERWHELMINGLY REPRESENTED BY ITS CAPITALS, BUT SINCE THE DAWN OF E-COMMERCE, MORE OF THE WORLD’S MOST TALENTED DESIGNERS WOULD RATHER STAY HOME

ANNE SOFIE MADSEN: DENMARK BIRTHDAY: 2011 ADDRESS: Copenhagen FAMOUS FANS: Stacy Martin, Rihanna, Ciara, Oh Land, Icona Pop WHO: Anne Sofe Madsen WHAT: “The studio is placed in a very old part of the center of Copenhagen, next to the canal. It’s a beautiful neighborhood and I love my bike ride through the old part of the center each morning. I can’t say if it infuences my design directly, but it’s defnitely a big part of my life. The S/S ’15 collection is about coming undone in time, falling apart, foating of in space. It embodies the contrasts between something extremely

private and personal but at the same time exposed and revealed. An intimate room within infnity. The silhouettes are inspired by the idea of the existence of cybernetic organisms that embrace both organic and technologic components. The invention and reinvention of nature. A cat lady in a broken time machine.”

WHERE: 10 Corso Como, Browns, Luisa Via Roma, LN-CC, H. Lorenzo, Atelier NY, Ssense, D-Mop, Secret Service, Selfestate, Celestine Eleven, Les Creatures, SPRMRKT, Cartel Dubai, Sid-Anma, Be-Jewel

PhotograPhy JenS LangkJaer

LITKOVSKAYA: UKRAINE BIRTHDAY: 2009 ADDRESS: Kiev FAMOUS FANS: Cate Underwood, Miroslava Duma, Elina Halimi, Alessandra Lanvin WHO: Lilia Litkovskaya WHAT: “We were born in a country that doesn’t exist anymore (the USSR). Having lived through all the turmoil and challenges of the ’90s, that still feels quite surreal. Our culture has been such a melting pot, an insane mixture of Soviet legacy and capitalist liberation with all the strengths and faws that come with that. And being deprived from the world’s cultural dialogue for so long made

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us crave for more. For Spring 2015, I started doing research on Francis Bacon, and suddenly I found all these amazing visual similarities to Alfred Hitchcock’s aesthetics—the power suit, the classic menswear fabrication, and androgyny. The story I started thinking about was how these notably struggling and sufering men in Bacon’s paintings could relate to the über-styled, suited women from Hitchcock’s pictures.”

WHERE: Opening Ceremony, Kabuki, TsUM, Air Store

PhotograPhy anton kovaLenko

DI$COUNT UNIVER$E: AUSTRALIA BIRTHDAY: 2009 ADDRESS: Melbourne FAMOUS FANS: Katy Perry, Miley Cyrus, Charlie XCX, Rita Ora, Kimbra, Iggy Azalea, Azealia Banks, Britney Spears, Kreayshawn WHO: Nadia Napreychikov and Cami James WHAT: “We grew up using the Internet, so what we are inspired by tends to be an increasingly global library as opposed to our immediate surroundings. The structure of our brand is very time specifc to when we started, less about our location, more about our frustration. At that time, blogs were blowing up and designers everywhere were throwing their work at popular fashion

STEVEN TAI: CHINA

BIRTHDAY: 2012 ADDRESS: Hong Kong and London FAMOUS FANS: Anja Rubik, Laurinda Ho WHO: Steven Tai WHAT: “Being located in diferent places with such diferent cultures allows me to observe the diferences and similarities between modern women. I am becoming quite fascinated by how trends are almost instantaneously becoming global phenomena now. S/S ’15 was based on Emma Hauck, a psychiatric patient in the 1900s in Germany who wrote countless letters to her husband composed of repetitive words

bloggers to get easy grassroots press, so to push the paradigm we decided to become blogger and brand simultaneously. We consciously pinpointed a moment in our industry which was in a state of serious fux (and has obviously changed hugely since), and recognized that this was the moment that we could gain access to a global audience without needing to ft in to our local industry. That said, Australia [as an infuence] is pretty unique in its isolation, landscape, and small population.”

WHERE: I.T Hong Kong, VFILES

PhotograPhy Zac Stone

that were written illegibly on top of each other. The heartbreaking and obsessive quality of her strokes was translated into the textile inspirations of the season. The theme is then contrasted with the vibrant and playful culture of ’90s hip-hop and basketball culture to bring a dynamic quality to the collection.”

WHERE: Dover Street Market, 127 Bricklane, Holt Renfrew, Isetan, In Support Of, D-Mop, A MAZE, Very Much, Mahani, Mimosa, Hyères

PhotograPhy chriStoPher FerguSon (ateLier)

get to know the faces defining fashion’s next era as they pose with the people who inspire them most PhotograPhy Driu + tiago Fashion Jack Borkett text katharine k. zarrella

simone rocha

Simone Rocha’s sunlit East London studio may be miles away from her native Dublin, but when the 28-year-old is designing, she’s never far from home. Since launching her line in 2011, Rocha has infused each collection with notes of her heritage. For instance, Rocha, who is of Irish and Chinese descent, was inspired by her grandmothers when crafting her F/W ’14 collection of bubblegum-pink dresses, furry canary-yellow frocks, and loads of leopard prints. Her S/S ’14 muses were the Irish landscape and sea, which translated into transparent black foral dresses, coy cutouts, full skirts, and pearl embellishments. Meanwhile, for a recent Dover Street Market London installation, Rocha reproduced the lane behind her family home via a living sculpture. “I fnd working very personal,” Rocha says. “When I’m creating, I have to feel something. If I personally relate to a subject, I can relay it through the clothes in a strong, sincere way.”

Rocha’s father, John Rocha, was a pillar of the London fashion scene for three decades (his S/S ’15 collection marked his retirement). She grew up playing in his studio, where she’d construct dresses out of skirts that didn’t quite make the cut. “The reject rail was always my favorite place,” she laughs. Even so, Rocha didn’t realize she wanted to become a designer until the age of 18. “I was very creative—I wasn’t going to be a doctor or anything—and I loved clothes, but I also loved photography and fne art. When I went to art college in Dublin, I realized that design was my path. Actually, I probably knew it all along but was just in denial.”

Though she was quite literally born into fashion, it’s impossible to argue that Rocha hasn’t paved her own way. After graduating from Central Saint Martins’ M.A. program, where she earned the unwavering support of the late course director Louise Wilson, Rocha was picked up by Fashion East, a young designer initiative founded by Lulu Kennedy. It was during this time that she developed one of her signatures, Perspex-heeled brogues. They were an early indicator of the bold, hyperfeminine-meets-cleverly-masculine aesthetic that would soon V magaZine 1 24

captivate retailers and editors worldwide. “Putting feminine clothes with a masculine shoe felt so natural to me,” she says. “It caught much more attention than I had anticipated, and we’ve made it one of our house codes.”

Said kicks exemplify the rebellious undertones that often cut the romance of Rocha’s designs. “I’m defnitely not a goody two-shoes,” Rocha giggles. “I never want to make boring clothes or make clothes that wouldn’t excite me. I’m always trying to challenge myself and the system.”

Rocha accomplishes this with her textile experiments, like lace trapped in rubber, or sculpted plastic dresses. “It’s like a painter and paint. Textiles are my tools, and when you have an interesting fabric, and you can mold it into a beautiful silhouette, it gives the [garment] another life.” She used those tools deftly for S/S ’15. Looking to Hong Kong, where her father grew up, Rocha turned out a collection sprinkled with chinoiserie. Alongside a series of marabou-trimmed black and nude outfts, she proposed vivid red dresses, skirts, and tops printed with mad fowers. “But I wanted the print to go beyond the surface,” she says. “So I embellished it with 3-D fowers, like an optical illusion.”

Rocha already has two British Fashion Awards under her belt, stockists that range from Dover Street Market and Colette to Saks Fifth Avenue and Net-a-Porter, and last year, she debuted a collaboration with denim powerhouse J Brand. “It’s wild! But there are a lot of people around me who don’t let it go to my head, unfortunately,” she jokes. As for what’s on the horizon? “There are a lot of really exciting opportunities, but my focus is the collection. Every season my mission is to do something better than what I’ve done in the past.

Something that speaks to people. That’s always my goal.”

Simone rocha (left) in london with JeSSica peel, both in the deSigner’S S/S ’15 collection

marques'almeida

It worked out well that ’90s grunge made a triumphant return to the runway just a year after Marta Marques and Paulo Almeida, the Portuguese couple behind London-based label Marques'Almeida, launched their line of gritty frayed denim wares. But for this pair of Central Saint Martins M.A. alums, grunge is much more than a passing, nostalgic fad—it’s a raw attitude grounded in reality. Particularly impressive is how the pair, who met while studying at the CITEX Fashion School in Porto, Portugal, has evolved this aesthetic, morphing it from a look that appealed to East London’s youth culture into a brand that now boasts nearly 50 retailers worldwide.

“It’s hard to explain,” ofers Marques, 28, when asked what frst drew her and Almeida, 29, to oversize, shredded denim. “When we were in Portugal, we didn’t have access to a lot of fashion research. But in the library at Saint Martins, we found all these editions of i-D from the early ’90s that connected fashion to our childhood.” While pouring over advertising campaigns and editorials from the era, many of which exuded an unedited authenticity, both designers were reminded of their siblings. “Paulo would always talk about his older brother, and how he’d throw parties in the garage and wear black Levi’s and Doc Martens. I have similar memories of my sister, so we just identifed with the whole thing.”

The couple’s joint dedication to this particular style is somewhat miraculous, seeing as the designers’ individual tastes fall at opposite ends of the sartorial spectrum. “When we were undergraduates, Paulo liked clean lines and architectural, bodycon dresses, while I was doing messy, tribal, of-the-wall things. But we’ve always worked side by side,” Marques explains.

“So I don’t think there’s anything that pushed us together in terms of common ground. It’s mostly just because we liked each other. I don’t even know how it works, it just does.”

To say their partnership “works” is an understatement. Following their graduation from Saint Martins in 2011, Marques and Almeida were picked up by Fashion East, and later

earned the support of the British Fashion Council’s NEWGEN program. The team went on to launch a menswear range in 2013, Topshop tapped them for a much-touted collaboration last September, and they doubled their retailers after both the Fall ’14 and Spring ’15 seasons.

It’s Marques’s and Almeida’s ability to adapt that’s turned their fedgling label into a viable brand with staying power. “In the beginning, we were obsessed about putting this [’90s] girl on the catwalk as best as we could in terms of clothes, styling, music, everything. We weren’t really concerned about sales or range at that point,” Marques admits. “But we’re lucky to have developed a following of very inspiring women who started buying early. We see how they wear the stuf and how it makes them feel, and it’s become about these real girls, as well as the girl in the ’90s editorial picture.”

They’ve pushed themselves in terms of technique and fabrication, too. Marques'Almeida’s S/S ’15 lineup incorporated black chifon and crystal embellishments, as well as the signature denim. It was a notable leap into maturity in that, for the frst time, the clothes were not exclusively inspired by their unkempt dream girl. “It started with an abstract idea of black,” says Marques, adding that this season was a very introspective one. But even though the couple is no longer tethered to their conceptual muse, her attitude remains.

It’s an attitude that V93 cover girl FKA twigs appreciates. The singer, who used to live next door to Marques’Almeida’s East London studio, enlisted the designers to dress her for her ongoing tour. “Apparently she already wore our clothes and liked them a lot, so she just popped by the studio one day and we started putting some things together,” recalls Marques. “It’s been quite incredible to work with someone like twigs. And I think this might just be the beginning.”

Paulo almeida and marta marques (second and third from left) in london with their studio team, all in the designers’ s/s ’15 collection

talent

phoebe english

Phoebe English wanted to be an actress. She grew up in Shakespeare’s hometown, Stratfordupon-Avon, England, and studied drama throughout her childhood. “My parents are both artists,” says the 28-year-old London-based designer, whose piercing eyes and high cheekbones would have served her well on the silver screen. “My dad is a conceptual land artist, and my mother is a painter, but she also writes and plays the saxophone and used to be in a punk band, so theater and art were a big thing when I was a child.”

Through her creative upbringing, English developed an interest in fashion, and when it came time for college, she fipped a coin to decide what to study. “It turned up drama, and I applied to loads of schools, but it just didn’t work out. So I took a fashion course and never looked back.”

Black is a mainstay in English’s collections, and in her life, for that matter. Her mother used to wear the shade (“She always said black didn’t show the paint”), and you’ll never see the designer in any other color. In 2011, when she graduated from the M.A. program at London’s Central Saint Martins, English presented a fnal collection made entirely of synthetic coal-hued hair and rubber. It won her the coveted L’Oréal Professionnel Creative Award.

But English’s afnity for darkness doesn’t come from a desire to be moody or alternative.

It’s not even a response to the Technicolor London fashion scene. Rather, English loves black because it is the purest shade with which to showcase her painstaking construction and mind-boggling textiles (think glass beads strung onto thread and turned into dresses, layered strips of rubber made to look like plumage, or ruched bands of upholstery). “My textiles are about reintroducing craft,” muses English, who has a background in knitwear.

“I work with the ethos that craft doesn’t need to be crafty. It can look really cool or contemporary if you’re just open-minded about making it fresh and new.”

Enter English’s S/S ’15 collection. In addition to sheer tulle ensembles smeared with tactile black or white blobs of ink binder (a collaboration with Helen Bullock, the application was also used on white cotton looks in vibrant reds, blues, greens, and yellows), the lineup featured an updated take on a 16th-century knitting technique. The resulting skirts, vests, and airy jackets resemble delicate fshing nets—the sort that one could only hope to get caught in. “I like researching and exploring and developing things. It takes 20 or 30 tries to get those lace pieces right,” she says. “You never know if it’s going to be a success or a complete disaster. Maybe it’s the risk-taking element that I really love.”

There’s an innate romance in each of English’s collections. When it came to her S/S ’15 presentation, she says she wanted it to be “like walking into a jewelry box or a magical world.”

Her models are always ethereal apparitions, as was the window display she created for Dover Street Market London to herald her latest lineup. Comprising a sheer black top on a metal pole and a mammoth ghost ship fashioned from her S/S ’15 fabrics, the scene was chill-inducing.

One press photographer was moved to tears when he went to shoot it.

English may design within an eerie fantasyland, but that’s not to say she’s got her head in the clouds. Though her team consists only of one partner and a handful of freelancers, English has been picked up by 13 stockists, and even made it onto the 2015 Forbes 30 Under 30 list. The designer attributes this success to dedication and teamwork. “Actually, in that sense, there’s a lot of overlap between acting and fashion,” she proposes. “The things I’m attracted to in both felds are discipline and the idea of working with a team. Sometimes, I don’t feel like I did choose a diferent path.” Surely, if it’s drama English craves, she’ll fnd it in fashion.

Phoebe english (right) in london with fit model soPhia hamilton, both in the designer’s s/s ’15 collection

Digital technician (Jacquemus) Lucas Lauren Photo assistants Matt Lain and Mickael Bambi Makeup assistant Amber Pitkin Hair assistant Montana Lowery Production Anne-Gael Senic and Elise de Rudder (Lalaland) Production assistant Joanna Smirnova Location Rida Studios, London and Studio Abel 14, Paris

miuniku

Who knew that the Miss World pageant could plant the seeds for an LVMH-approved fashion brand? Such is the case with Miuniku, the burgeoning Mumbai-based label launched by sisters Tina and Nikita Sutradhar in 2012. “I remember watching Miss World on TV when I was 11 years old,” says Tina, now 25. “The contestants all wore diferent outfts, and there were so many colors and dresses. That’s what got me interested in fashion.”

Thankfully, the graphic, pop-hued garments that won the Sutradhar sisters a special jury award in 2014’s inaugural LVMH Young Fashion Designer competition are a far cry from anything you’d see on a beauty queen. Rather, the duo’s collections are punchy combinations of London quirk (both graduated from the London College of Fashion), the vivid palettes of Mumbai and New Delhi, and a sporty sensibility. “In London, we’ll just be on the bus and see a girl wearing something really cool. Everyone mixes and matches things, and we always keep that in mind,” ofers Nikita, 23. “And in terms of color and proportion, we are inspired by our country. People here wear incredible color combinations and they’re not even trying to make a fashion statement,” Tina adds.

All this and more comes through in Miuniku’s S/S ’15 lineup, the concept for which was born after the sisters stumbled upon a broken video camera. “In the camera, we found some old tapes. They were from our childhood vacations,” Tina says. One tape included footage of the pair splashing about in a pool. “When we saw that, we thought, Why not make the collection based on swimming? So we did something really light that uses the typography you see around a swimming pool.” The designers team their breezy, pleated skirts with slick bombers constructed from geometric panels of red, cobalt, black, and sea foam. Clever wave motifs are worked into sculptural, color-blocked tops and skirts, and the undulating form is even used for the closures of long coats (which happen to be the sisters’ favorite things to wear).

Many of the silk-satin-organza looks are printed with the words “SWIM” or “COOL POOL” in

block letters, which adds a cartoonish wink to their sharp silhouettes.

The S/S ’15 collection isn’t the only thing shaped by the sisters’ youth. The line’s unorthodox moniker is a hybrid of the their childhood nicknames, bestowed upon them by their parents. Tina was (and still is) called Miu, and Nikita was dubbed Niku. “Even when we were small, we knew we wanted to have a brand called Miuniku,” asserts Tina. They credit their father, a famous Bollywood musician, with exposing them to fashion and international tastes at an early age. “He was the frst person to wear jeans in his circle of friends,” says Tina proudly. “And when we were really small, he’d bring us clothes from London,” she continues, later noting that she was named after her father’s favorite singer, Tina Turner.

Carried by Cement in Japan and Opening Ceremony, Miuniku is well on its way to becoming a healthy contemporary label. Since moving back to Mumbai after their graduation in 2013, Tina and Nikita have been producing their garments in India. “We have more control over the quality here,” Tina explains. That being said, they miss the creative energy of London, and plan to move back to the Big Smoke this year. Eventually, they want to have studios in both London and Mumbai.

These young women have drive and vision. But one has to wonder, does sibling rivalry ever get in the way? “We don’t really disagree,” insists Tina, who supposes she designs with a more feminine, conceptual slant than her sister. “We’re very honest about our opinions, and if we don’t like something we just say it.” Nikita, who is responsible for the technical aspects and injections of masculinity, agrees. “We grew up together,” she says. “We trust and understand each other.”

Tina (lefT) and nikiTa (righT) suTradhar in london wiTh fiT model hannah Bland, all wearing The designers’ s/s ’15 collecTion

Makeup Lotten Holmqvist (Julian Watson) Makeup and grooming (Jacquemus) Min Kim (Airport) Hair Chi Wong (Julian Watson) Hair (Jacquemus) Shuko Sumida (Walter Schupfer) Set design Anna Burns (Lalaland) Digital technician Matt Lain

talent

jacquemus

Twenty-fve-year-old designer Simon Porte Jacquemus loves white. He wears white. His Paris studio, located right of the Place des Vosges, is white. And the non-hue is a fxture in all his joyful collections. “For me, white is the most beautiful color,” Jacquemus says. “It was my mother’s favorite color. It’s so pure and simple.”

Having launched his line in 2009 at the age of 19, Jacquemus had a handful of early coups. Most notably, he convinced Caroline de Maigret, whom he cites as a muse, to pose for his S/S ’12 lookbook. De Maigret is a ftting ambassador—the veteran model exemplifes the French nonchalance that defnes the Jacquemus brand. “She’s a real girl who doesn’t care,” he says of his ideal woman.

What really caught the fashion pack’s attention, however, was Jacquemus’s F/W ’13 show—a cerebral romp around a Paris pool packed with playful clothes and irreverence.

His models—many of whom were his pals—donned skirts, sweaters, and oversize T-shirts emblazoned with of-kilter maillots de bain. Some girls wore pinstriped pajama-like suits, while others came out looking as though they had been vacuum sealed in plastic. The outing was refreshing, unassuming, and most importantly, it was fun. “Fashion needs a sense of humor,” the designer chirps. “I’m always dancing and smiling. It’s all about the energy.”

Considering his jovial outlook, it’s surprising, perhaps, that a tragedy—the loss of his mother—is what moved Jacquemus to bow his brand. “I decided to focus on my dream, because I thought, Life is short, so let’s go.” Jacquemus was his mother Valerie’s surname.

She serves as the starting point for each of his collections.

After moving from his family home in the South of France to Paris, Jacquemus got right to it. He funded his line by working as a sales assistant at Comme des Garçons, a job he snatched after Rei Kawakubo stumbled upon and liked his collection. “I met with Adrian [Jofe, Kawakubo’s husband and the president of Comme des Garçons International] to discuss

my line, but I knew they were also looking for a sales assistant,” Jacquemus recalls. “Adrian said, ‘Simon, you’re such an artist. You can’t be a sales assistant.’ And I said, ‘But to make my fashion—and my dreams—I need money! And I’m going to be the best sales assistant you’ve ever had.’” Jofe not only gave him the gig—he also picked up Jacquemus’s label for Kawakubo’s fashion mecca, Dover Street Market.

Jacquemus no longer moonlights in retail. He’s sold by 87 stockists worldwide, has built a studio flled with his best friends, and was shortlisted for the inaugural LVMH Prize for Young Fashion Designers last year. “Sometimes I can’t believe it’s really true. I don’t come from a fashion family.” In fact, his kin is in the vegetable business. “It’s almost like there’s no reason all of this should be happening.”

Maybe so, but Jacquemus’s hot streak continues for S/S ’15. His whimsical lineup tells the story of a girl who went swimming, lost her clothes, and then headed to the market. Crisp blouses embellished with deconstructed yellow, blue, or pink striped bikini tops dripped of models’ shoulders during his presentation. Stif protrusions that extended from the hips of midrif-baring skirt-and-top ensembles were meant to be “conceptual towels,” and there was even a “vegetable seller” shirt, a nod to his background.

“Of course I want to grow my brand, blah blah blah. But my only real aspiration is to be happy at the end of my next show,” says Jacquemus when asked about his ambitions. He also hopes to record a French pop album. “I think my universe is not quite complete and I want to explore the whole thing.” It’s not the most traditional aspiration for a fashion designer on the rise. But hey, as Jacquemus put it, life is short, so let’s go.

simon porte jacquemus (front, center) in paris with his studio team in the designer’s s/s ’15 collection

IN HER NEW DIARY SERIES FOR V MAGAZINE, MILEY CYRUS SHARES HER INTIMATE PHOTOS AND WAXES PHILOSOPHICAL—VIA TEXT MESSAGE—ON THE MAGIC BEHIND HER PROLIFIC, POLYMORPHOUS POP-ART PRACTICE PHOTOGRAPHY CHEYNE THOMAS V MAGAZINE 13 1

PHOTOGRAPHY DARIO CATELLANI FASHION VITTORIA CERCIELLO

SUKI WATERHOUSE

THE BURBERRY BEAUTY AND STREET-STYLE STAR IS USED TO LIFE IN THE SPOTLIGHT. LEAVE IT TO HOLLYWOOD TO HEDGE ITS BETS WISELY â&#x20AC;&#x153;Modeling was this completely unexpected wave that happened to me,â&#x20AC;? says actress Suki Waterhouse, the current face of Burberry Beauty, who made news closing the Burberry Prorsum S/S â&#x20AC;&#x2122;15 show. â&#x20AC;&#x153;If anything, itâ&#x20AC;&#x2122;s taught me real disciplineâ&#x20AC;&#x201D;and about rejection. You just go to audition, audition, audition. Itâ&#x20AC;&#x2122;s like casting, casting, casting. I went to thousands.

And you win some and you lose some.â&#x20AC;?

The 23-year-old London native is on a winning streak as she successfully transitions into theatrical work with worldclass projects like The Divergent Series: Insurgent, the secRQG Ć&#x192;OP IURP WKH \RXQJ DGXOW ERRN VHULHV :DWHUKRXVH SOD\V Marlene, a smoky-eyed Dauntless-born, which means that her character is predisposed to bravery in a dystopian future where the population is divided into factions. â&#x20AC;&#x153;I love that itâ&#x20AC;&#x2122;s created by this young woman,â&#x20AC;? says Waterhouse of her meeting with Veronica Roth, the seriesâ&#x20AC;&#x2122; 26-year-old author. â&#x20AC;&#x153;Sheâ&#x20AC;&#x2122;s such a badass.â&#x20AC;? While Waterhouse did not get to demRQVWUDWH KHU EURZQ EHOW LQ NDUDWH GXULQJ Ć&#x192;OPLQJ RI WKH DFWLRQ packed Insurgent, she did employ it to win the part of Kitty Bennet, one of the repurposed literary sisters in the upcomLQJ Ć&#x192;OP DGDSWDWLRQ RI WKH -DQH $XVWHQ SDURG\ QRYHO Pride and Prejudice and Zombies. 7KH Ć&#x192;OP LV H[DFWO\ ZKDW LWV WLWOH suggests. â&#x20AC;&#x153;I like getting bruised,â&#x20AC;? she says, laughing. â&#x20AC;&#x153;The adrenaline of it mixed with acting is the ultimate! Thereâ&#x20AC;&#x2122;s that added thing of you can get hit. I was just covered in bruises in Pride and Prejudice and I was so happy.â&#x20AC;? To round out the IDQWDV\ ZRUOGV VKHĹ V LQKDELWLQJ :DWHUKRXVHĹ V Ć&#x192;UVW Ć&#x192;OP WKH romantic comedy Love, Rosie, in theaters now, comes complete with a meta moment for the young social pages regular (who is in an eagerly documented relationship with Bradley Cooper), as she plays a modelâ&#x20AC;&#x201D;albeit air-headedâ&#x20AC;&#x201D;styled to UHĆ&#x201E;HFW WKH VWRU\Ĺ V VHWWLQJ MARK JACOBS

TOP 3.1 PHILLIP LIM SKIRT SALVATORE FERRAGAMO RING REPOSSI THE DIVERGENT SERIES: INSURGENT IS IN THEATERS MARCH 21 V MAGAZINE 1 3 2

PIA MIA

HAILING FROM THE TINY ISLAND OF GUAM, CALIFORNIA’S NEWLY ADOPTED POP SINGER FEELS RIGHT AT HOME NEXT TO TV’S AND R&B’S MEGASTARS

Pia Mia Perez moved from Guam to L.A. four years ago, just another tween with a dream. Now 17, the Interscope-signed songbird and her momager, Angela, meet me in their new digs: a luxury high-rise on a stretch of Wilshire Boulevard popular with well-heeled retirees and reclusive celebrities, afectionately called Millionaires’ Mile. The island she still calls home, where her father and two younger siblings live (the elder four are also in the States), is a tropical speck between Japan and Papua New Guinea, 1,500 miles from any continent.

“Guam is very family-oriented,” Perez coos, happy to foss its quaintness. “You’ll see generations living under one roof. It’s very laid-back. The beaches are insane. Everyone’s nice.” Pia Mia is nice. And hard to look away from. It’s 11 am and she wears several sets of eyelashes and a velour sweatsuit over an intimidating Krav Maga-cut body.

“I grew up normal. I didn’t ask for extravagant things,” she tells me. Her father is a lawyer. “Since I was young I really wanted to try to do music and my parents let me come out to L.A. to try it. But here, girls are like, ‘I want a Bentley for

my sweet 16’—that’s insane to me.”

By some surreal sequence of events, Perez found kindred spirits in the likes of Jaden Smith, Kylie Jenner, and their tribe of high school students more famous than world leaders. One fateful evening, seated at the Kardashian dinner table, she sang a Drake cover for Drake, which Kim shared online, and the rest is history. Since then, she’s been in the studio with Chris Brown, Tyga, Kid Ink, G-Eazy, and Justin Bieber, to name a few. “Just this past year, I started being able to live in L.A. like normal. I just moved in here,” indicating the immaculate, carpet-scented suite. “Up until now, me and my mom were in a 600-square-foot studio apartment by the Westwood Denny’s. We were living on, like, 10 dollars a day eating peanut butter sandwiches.” In “Mr. President,” her most-viewed video to date, released last May, she vamps at the camera from a rococo couch, crooning, “You should already know-oh-oh,” her balmy, reverberating vowel sounds cawed out in a guttural Rihanna-esque ring. “When I was younger I would have to talk through my parents. They would

communicate for me. Then I started singing and I found ways to show people how I was feeling.” She learned how to belt pop music singing along with Celine Dion, Michael Jackson, Whitney Houston, and Beyoncé in her bedroom.

“Guam’s a U.S. territory, so we’re for sure up on American music, but we’re a little bit behind.” Having yet to tour, seeing the world is her greatest fantasy, and sure to happen soon. Despite the luster of her besties and her burgeoning megawatt career, Perez does play the part of hardworking and humble genuinely. “Fame doesn’t really process in my head. Everyone’s just a normal person when you get down to the bottom of it.” KEVIN McGARRY

TOP PEDRO DEL HIERRO SHORTS LEVI’S BOOTS GIANVITO ROSSI RINGS (HER LEFT) MEADOWLARK RING (HER RIGHT) LADY GREY NEckLacES aNd EaRRINGS PIa MIa’S OwN “FUck wITH YOU” IS aVaILaBLE NOw ON iTUNES

V GIRLS

ALLIE X

THIS KATY PERRY-ENDORSED POP STARLET HAS HER OWN IDEAS ABOUT IMAGE, AND JUST LIKE HER UNDENIABLY CATCHY TRACKS, THEYâ&#x20AC;&#x2122;RE A LITTLE OVER THE TOP â&#x20AC;&#x153;Currently Iâ&#x20AC;&#x2122;m obsessed with this song CATCH by Allie Xâ&#x20AC;Ś SPRING JAM!â&#x20AC;? read Katy Perryâ&#x20AC;&#x2122;s tweet that blasted L.A.based singer-songwriter Alexandra Hughes onto the radar of over 60 million people this time last year. â&#x20AC;&#x153;I was in the studio when Katy tweeted,â&#x20AC;? Allie remembers. â&#x20AC;&#x153;I checked my IHHG DQG VDZ WKDW , KDG KXQGUHGV RI QHZ QRWLĆ&#x192;FDWLRQV ,W ZDV surreal. I ended up meeting Katy that weekend.â&#x20AC;?

On the phone, Allie speaks surprisingly softly, given the veracity of her singing voice, a pitched-up echo of pop heav\ZHLJKW /DG\ *DJD Ţ,Ĺ YH GHĆ&#x192;QLWHO\ JRWWHQ >WKH *DJD FRPSDULson] before, and I imagine I will for a bit. I mean, weâ&#x20AC;&#x2122;re both girls who started writing songs at pianos and had much bigger visions. I really relate to the grand scope of her visionâ&#x20AC;&#x201D; the creation of a world. But Lady Gaga is a lot braver than I am in a lot of ways. The intimacy that she shares with the world and her fans is something that Iâ&#x20AC;&#x2122;d never be comfortable with.â&#x20AC;? What Allie does share is artfully edited Instagram ŢVHOĆ&#x192;HV ĹŁ DQG WKH UDUH WZHHW FHQWHUHG DURXQG VHOI FUHDWHG hashtagsâ&#x20AC;&#x201D;â&#x20AC;&#x153;#FeelingX,â&#x20AC;? â&#x20AC;&#x153;#Xsistence,â&#x20AC;? and â&#x20AC;&#x153;#Xchange.â&#x20AC;? The

introvert image is all wrapped up in a penchant for pilgrim collars, dark lipstick, and a center part, summoning a twenty something Tumblr-famous Wednesday Addams. And the juxtapositions continue: while using the standing tropes of bubblegum melodies, electronic synth, and soaring choruses, Allie draws inspiration from cultural analysis. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m reading a lot of Carl Jung and learning about the â&#x20AC;&#x2DC;shadow self.â&#x20AC;&#x2122; Itâ&#x20AC;&#x2122;s the part of every person that carries the darkness, the guilt, the shame, the things that you donâ&#x20AC;&#x2122;t want the rest of the world to see. But I really love that Jung says you have to embrace the shadowâ&#x20AC;&#x201D;you canâ&#x20AC;&#x2122;t pretend it doesnâ&#x20AC;&#x2122;t exist. If you do it just becomes bigger and all encompassing, so the best thing to do is let it out creatively.â&#x20AC;?

Let it out, she has. At the tail end of March, Allie X will release her debut LP, CollXtion I. â&#x20AC;&#x153;It isnâ&#x20AC;&#x2122;t just a record. Iâ&#x20AC;&#x2122;ll be presenting it as a full multimedia experience, but itâ&#x20AC;&#x2122;s centered around seven songs.â&#x20AC;? CollXtionâ&#x20AC;&#x2122;s production credits include Montreal-based Billboard (Kesha, Robyn, Britney, and Madonna) and â&#x20AC;&#x153;a secret producer in Toronto named

WhiteFoxâ&#x20AC;Śand thatâ&#x20AC;&#x2122;s all Iâ&#x20AC;&#x2122;ll tell you.â&#x20AC;? Donâ&#x20AC;&#x2122;t bother looking KLP XS HLWKHU Ţ<RX ZRQĹ W Ć&#x192;QG KLP RQ WKH ,QWHUQHW ĹŁ VKH says coyly.

Accompanying the albumâ&#x20AC;&#x2122;s release is an ambitious list of ideas ranging from a live-streamed concert to a gallery UHVLGHQF\ DQG D FRPLF ERRN Ţ,Ĺ P JRLQJ WR EH WHOOLQJ WKH Ć&#x192;UVW chapter in the story of X, which is an abstract version of my own life.â&#x20AC;? But what exactly is X? â&#x20AC;&#x153;For me, X is the unknown... that indescribable part of your life equation that youâ&#x20AC;&#x2122;re trying WR Ć&#x192;JXUH RXW ĹŁ 'HVSLWH KHU UHVHUYHG QDWXUH $OOLH LVQĹ W DIUDLG to open up about her journey of self-discovery. â&#x20AC;&#x153;I feel like ,Ĺ YH EHHQ Ć&#x192;YH GLĆ&#x201A;HUHQW SHRSOH LQ P\ OLIH DQG ,Ĺ OO SUREDEO\ EH Ć&#x192;YH GLĆ&#x201A;HUHQW PRUH DV OLIH JRHV RQ ĹŁ VKH VD\V DQG DW KHU PRVW FDQGLGĹ&#x17E;Ţ,Ĺ P WU\LQJ WR Ć&#x192;JXUH RXW LI ,Ĺ P D JRRG RU EDG person.â&#x20AC;? IAN DAVID MONROE

TOP PROENZA SCHOULER SKIRT DIESEL BLACK GOLD COLLXTION I IS OUT APRIL 7 FROM KEMOSABE RECORDS

LOLA KIRKE

JUST LIKE EVERYONE IN HER FAMOUS FAMILY, WHATEVER LOLA WANTS, LOLA SEEMS TO GET, AND NOT UNDESERVINGLY—THIS KIRKE MIGHT BE THE MOST TALENTED YET When Lola Kirke was 11 years old, she few to Los Angeles to screen test for a movie role that ultimately went to Kristen Stewart. “After that, a friend of my mom who was a very well-known actress shot me down and told me to wait until I graduated from college. And then everybody I knew who was involved in the industry repeated that to me,” Kirke recalls, amused by her own young ambition. “I trusted those people and I’m really glad I did because I had an amazing education and an amazing experience getting one.” In the end, Kirke signed with a theatrical agent as the result of a show by her all-girl country band while a college senior. It would not be long before she arrived in David Fincher’s Gone Girl with a spotlight performance as the thieving, mini-golfng Greta.

Lola is a dutiful member of the accomplished Kirke clan that includes her father, Simon, former drummer of the British rock supergroup Bad Company; her mother, Lorraine, owner of the West Village boutique Geminola; and her sisters, Domino, an in-demand doula, and Jemima, who is celebrated for her real self–based role as Jessa on Girls. But if Jemima is a gifted performer who prioritizes her painting, Lola is focused on fnding those acting parts at which she can excel. The longtime New Yorker, born in London, graduated from Bard College in 2012 and went to work flming Free the Nipple, Lina Esco’s narrative expression of the news-making hashtag, and then the highly anticipated Noah Baumbach project Mistress America that will fnally premiere as part of this year’s Sundance Film Festival. Baumbach’s noted intensity was a welcome boot camp for Kirke, who costars as Tracy, a New York college freshman, aspiring writer, and “really arrogant nerd” infatuated with her “very glamorous, seemingly together” future stepsister, played by Greta Gerwig (who cowrote the cerebral comedy with Baumbach). “It really broke me in as an actor,” she says.

In the now-streaming Amazon Studios series Mozart in the Jungle, Kirke stars as Hailey, an obsessive professional oboist, in a naked account of the contemporary classical music world from a pedigreed team that includes writer-creators Roman Coppola and Jason Schwartzman. And then there is the upcoming dark fantasy Fallen, the requisite adaptation of a young adult book series, this time with a mystical focus on fallen angels—although Kirke does not play her usual very human “nerdy best friend of the really cool hot girl. It’s honestly the only thing I know how to do,” she says. “And I don’t even know if I know what I’m doing.” MARK JACOBS

DRESS SAINT LAURENT BY HEDI SLIMANE BOOTS GIUSEPPE ZANOTTI DESIGN RING BULGARI MOZART IN THE JUNGLE IS STREAMING ON AMAZON pRIME NOW

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AS SHE MAKES THE LEAP FROM COMPOSING MUSIC FOR THE SCREEN TO PERFORMING MUSIC SHE WRITES FOR HERSELF, THIS CULT SUCCESS CAN’T HELP BUT JUMP AHEAD

The people who attend Lydia Ainsworth’s shows apparently Matthew Lessner’s The Woods Ţ)LOP DOORZHG PH WR ZRUN minimalists, I love them.” don’t move much. She cheerfully describes the audience at RQ GHYHORSLQJ D WRRO NLW WR GUDZ IURP ţ VKH VD\V Ţ3URGXFWLRQ When we speak, it’s her recently recorded cover of KHU ƃUVW VROG RXW KHDGOLQLQJ SHUIRUPDQFH LQ 7RURQWR DV ŢDFWX techniques and composition techniques that I could drop &KULV ,VDDNŠV Ţ:LFNHG *DPHţ WKDWŠV TXLFNO\ JDWKHULQJ K\SH ally my most receptive yet, very quiet and still and enthusi LQWR P\ VRQJV ţ $V LQ DQ\ JRRG ƃOP VFRUH XQGHUQHDWK WKH ,WŠV SRZHUIXO EHFDXVH LW UHYHDOV H[DFWO\ ZKHUH $LQVZRUWKŠV DVWLF ţ ZKLFK DW ƃUVW VHHPV DQ RGG FRPELQDWLRQ (YHQ KHU WZLQNOLQJ VXUIDFH RI KHU VRQJV LV D NLQG RI TXLHW VXUJH RI FRPSRVLWLRQV JHW WKDW DUUHVWLQJ WUDQFHOLNH TXDOLW\ Ţ7KHUHŠV PRUH SURYRFDWLYH VKRZV OLNH KHU 323 0RQWUHDO VHW IHDWXULQJ HPRWLRQ PHQDFLQJ DQG PHODQFKROLF DQG VHGXFWLYH DOO DW RQFH VRPHWKLQJ LQ WKDW VRQJ WKDW LV MXVW VR XQLYHUVDO ţ VKH VD\V D OLYH VQDNH RQ D FXVWRP PDGH SOH[LJODVV SHUFK FDQŠW VHHP Ainsworth often cites Italian baroque painter Guido Ţ(YHU\WKLQJ DERXW LW 7KH PHORG\ WKH O\ULFV WKH\ŠUH VR WR ZDNH DXGLHQFH PHPEHUV IURP WKHLU WUDQFH Ţ6RPHRQH VDLG &DJQDFFL DV DQ LQƄXHQFH RQ KHU YRFDO SURGXFWLRQ Ţ3ULYDWH GLUHFW DQG UDZ 7KH\ EHDU D UHDO JOLPSVH LQWR VRPHRQHŠV Lydia Ainsworth’s snake is the best dancer here, let’s be real,” VDORQ SDLQWLQJV RI ZRPHQ RQ WKH EULQN RI GHDWK ZLWK WKHVH KLGGHQ ZRUOG DQG , ZDQWHG WR H[SORUH WKDW ţ 7KURXJK DOO VKH ODXJKV Ţ%XW WKH VQDNH ZDV MXVW FKLOOLQJ 7KH DXGLHQFH WUDQVFHQGHQW JD]HV ţ VKH H[SODLQV Ţ, ZDQWHG WR HPERG\ WKDW RI $LQVZRUWKŠV ZRUN UXQQLQJ DORQJVLGH ƃOP VFRUH GUDPD WKRXJK WKH\ ZHUHQŠW FKLOOLQJ ţ IHHOLQJ WKDW , IRXQG ţ +RZHYHU $LQVZRUWKŠV KLJK DUW SHGLJUHH DQG KDXQWLQJ PLQLPDOLVP LV WKDW VDPH UDZ SODLQWLYHQHVV RI 7KHUHŠV HQRXJK PHORG\ DQG EHDW WR GDQFH WR RQ OLHV FORVHU WR WKH WK FHQWXU\ WKDQ LW GRHV WKH WK Ţ, VWXGLHG ,VDDNŠV ZDLO +HU ZRUN LV GHFHSWLYHO\ VLPSOH DQG WHFKQLFDOO\ Ainsworth’s debut album Right from Real—the creepy wack IRU D VHPHVWHU ZLWK -RDQ /D %DUEDUD DW 1<8 ZKRŠV RQH RI FRPSOH[ŞVR FDSWLYDWLQJ LWŠV KDUG WR GR DQ\WKLQJ EXW OLVWHQ LQJ PRWLRQ LQ WKH YLGHR IRU Ţ0DODFKLWH ţ FKRUHRJUDSKHG E\ WKH RULJLQDWRUV RI H[WHQGHG YRFDO WHFKQLTXH ţ VD\V $LQVZRUWK in its presence. CAROLINA GONZALEZ Princess Lockeroo, proves that—but the intricacy and depth Ţ, ZRXOG ZRUN RQ P\ ƃOP VFRUHV XVLQJ P\ YRLFH DQG EULQJ of her music demands the same rapt, attentive reception WKHP LQ KDYH KHU FULWLTXH WKHP VWXƂ OLNH WKDW , ORYH -RDQ TOP PEDRO DEL HIERRO \RXŠG H[SHFW IURP D PRYLH DXGLHQFH $LQVZRUWK ZDV WUDLQHG /D %DUEDUDŠV PXVLF DQG KHU FRQWHPSRUDU\ 0HUHGLWK 0RQN RING REPOSSI as a cinematic composer, and most recently worked on LV D KXJH LQVSLUDWLRQ WR PH DQG 6WHYH 5HLFK WKH 1HZ <RUN AINSWORTH IS ON TOUR IN NORTH AMERICA NOW

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LYDIA AINSWORTH

CRYSTAL CLARKE

since landing a ROle in a galaxy faR, faR away.. it’s safe tO say this unknOwn theateR buff’s inneR mOvie staR has been awOken with fORce Sometimes there is an elephant in the room and sometimes there is a Millennium Falcon. Last July, when Crystal Clarke was announced as a cast member of Star Wars: The Force Awakens, joining Lupita Nyong’o, Adam Driver, Gwendoline Christie, John Boyega, Daisy Ridley, Domhnall Gleeson, and a feet of others in the frst live-action Star Wars movie in a decade, she went from not to famous, instantly. Naturally, the distinction came with a responsibility to enforce the project’s brutal information embargo, which covered even her character’s name. So, Clarke is learning to conduct interviews without talking about the thing she can’t talk about. “I fgure if I just say that I don’t know what to say, then I don’t have to say anything and then I don’t fuck up,” she says with more elegance than is represented in print. “It’s not easy.”

The 21-year-old was raised between New Jersey and

Tennessee, and attended Newark Arts High School and the Royal Scottish Academy of Music and Drama in Glasgow.

She describes the latter experience as one of the best of her life. “It was a place where I was allowed to make mistakes before I got out into the real world,” she says. That proved important, as Clarke would begin acting professionally before graduation, swiftly securing an agent and then her frst feature, April’s The Moon and the Sun, to shoot on location at the Palace of Versailles. “You always think that you’re going to have a good month to come to terms with working with Pierce Brosnan, William Hurt, and such people, and then it happens and you have three days,” she says with a laugh. The flm tells the story of King Louis XIV and his pursuit of immortality, with Clarke playing Magdaly, maid to the king’s daughter. “It’s got some love in it. It’s got

mermaids. It’s heartwarming. It’s lovely,” she says. Along with Star Wars, The Moon and the Sun is shaping a particularly sweet arc in the 21-year-old’s personal story. “I’m very happy and so grateful. Where I come from, this isn’t really a thing that happens to people,” she explains. “My family is comfortable but not well-to-do. I’m from an urban area where job and education prospects aren’t just handed out.

People from here don’t really think that they can achieve what they see other people achieving. I’d kind of like to be an example that if you want to do something, you can go and do it.” MARK JACOBS

JACKET DKNY EARRING TIFFANY & CO. THE MOON AND THE SUN IS IN THEATERS APRIL 10

V GIRLS

JUSTINE SKYE

ALREADY A SOCIAL MEDIA SENSATION, THE YOUTUBE STAR IS READY FOR HER SINGING CAREER TO GET THE MOST LIKES Since the infectious â&#x20AC;&#x153;Collide,â&#x20AC;? produced by DJ Mustard and featuring Tyga, blew up October of last year, 19-year-old Brooklyn native Justine Skye hasnâ&#x20AC;&#x2122;t slowed down for a second to ride her own wave. Thatâ&#x20AC;&#x2122;s because this particular break did not come easy. Back in 2010, before getting signed to Atlantic Records, Skyeâ&#x20AC;&#x2122;s mother, Nova (an entertainment attorney), took Justine to a BMI panel discussion, where instead of asking a question, the 14-year-old opted to sing a FDSSHOOD EORZLQJ DZD\ DOO WKH H[HFV SUHVHQW 6WLOO LW WRRN Ć&#x192;YH years of negotiating to get star collaborators, like Future and 0XVWDUG WR IHDWXUH RQ 6N\HĹ V Ć&#x192;UVW IXOO OHQJWK DOEXP RXW WKLV spring (following her 2013 EP, Everyday Living).

Although Nova plays a big role in Justineâ&#x20AC;&#x2122;s career, the existing industry connections may not have made it easier for the music to get heard by the people who mattered. â&#x20AC;&#x153;Her being my daughter worked against her,â&#x20AC;? says Nova. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m a lawyer. Everybody doesnâ&#x20AC;&#x2122;t love me.â&#x20AC;? Justine agrees. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s not easy, because thereâ&#x20AC;&#x2122;re a lot of egos in the industry. But once people get to actually know me, theyâ&#x20AC;&#x2122;re like, Oh, sheâ&#x20AC;&#x2122;s cool. Sheâ&#x20AC;&#x2122;s dope.â&#x20AC;?

Before she was a singer, Skye was a self-described â&#x20AC;&#x153;Tumblr-famous kid,â&#x20AC;? known to fans as the Purple Unicorn. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s not something I tried to do. I was just being myself.â&#x20AC;? She also happens to regularly hang out with (past V Girls) Kylie Jenner and Hailey Baldwin, which means the Unicornâ&#x20AC;&#x2122;s selfiesâ&#x20AC;&#x201D;Skyeâ&#x20AC;&#x2122;s violet hair mingling with Jennerâ&#x20AC;&#x2122;s mermaidgreenâ&#x20AC;&#x201D;are all over some of the most reblogged accounts. â&#x20AC;&#x153;I started going to L.A. a lot [for Novaâ&#x20AC;&#x2122;s work obligations].

Everyoneâ&#x20AC;&#x2122;s just, like, friends out there,â&#x20AC;? Justine says of her mogul and model gal pals. So what does Novaâ&#x20AC;&#x201D;who admits to spying on Justineâ&#x20AC;&#x2122;s accounts and phoneâ&#x20AC;&#x201D;think of life in the Kardashian lane? â&#x20AC;&#x153;Theyâ&#x20AC;&#x2122;re normal kids. Theyâ&#x20AC;&#x2122;re, like, at Dave & Busterâ&#x20AC;&#x2122;s.â&#x20AC;? In fact, the added surveillance of a hungry DXGLHQFHĹ&#x17E;D IROORZLQJ VR REVHVVHG RQH FDQ Ć&#x192;QG IDQ Ć&#x192;FWLRQ involving Justine in some situations more sticky than any sheâ&#x20AC;&#x2122;s most likely really encounteredâ&#x20AC;&#x201D;may make it easier for the single mother to keep tabs on her star client. Does that mean reality TV, too, is in the cards? â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m gonna stick to music,â&#x20AC;? laughs Justine. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m a terrible actress.â&#x20AC;? NATASHA STAGG

TOP MSGM BUSTIER GUESS BRIEFS MICHAEL KORS SKYEâ&#x20AC;&#x2122;S DEBUT ALBUM IS OUT THIS SPRING FROM ATLANTIC RECORDS

Digital technicians Andrew Lawrence and Chris Nowling Photo assistants David Jafe, Brian Hahn, Paul Collins Stylist assistants Danielle Combs, Denticart Exil, Caitlyn Leary Retouching House Tribeca Production Amanda Jones and Alana Goldmann (Artlist) Catering Monterone, Coral Tree Café, Heirloom Catering Location Attic Studios, NY & Siren Studios, LA

LAUREN AVERY

WITH A FAIRY-TALE BACKSTORY, THIS L.A. PRINCESS IS MOVING FROM ONLINE IT-GIRL TO FULL-ON DRAMA QUEEN Just about everything is haunting about Lauren Avery: her cultivated distance, her gloomy stories, her post-human lips.

As an apparition of modern, morbid chicness, the land heiress (one of her family’s ranches was formerly the greater part of Orange County), 23, is poised to become one of the most fascinating types of actor: one who naturally commands the spotlight, but quivers in it. When we meet at a brightly lit greasy spoon in downtown Beverly Hills for a very early dinner, the eighth-generation Angeleno is gripped with selfdeprecating anxiety. “Maybe it’s because you’re the frst person I’ve spoken to all day,” she ofers. “Sometimes I’ll say just two sentences a day. It’s the saddest thing ever.”

Born in Brentwood in the proverbial lap of luxury, Avery’s adolescence is rather harrowing. “If anything, my life is way more Grey Gardens than glamour.” She’s quick to point out that she has an eighth grade education, growing up “on an all-girls Mormon farm and in mental institutions from 13 to 18, in Utah, Oregon, and Wisconsin...The farm was a little twisted and weird, you know, Mormon, very brainwashy. Come to

Jesus group, feed the horses, that sort of thing. I wasn’t a bad kid to begin with, but it made me a bad kid.” The latkes we’ve ordered arrive. “By the time I was 18, I was in a 6-by6-foot cement cell in a lockdown facility.”

After returning to L.A., Avery found outlets in mumblecore adjunct Eugene Kotlyarenko’s shorts Feast of Burden (2012) and A Wonderful Cloud (2014). “I already feel like I’ve lived a couple diferent lives,” she says. “I’ve never gone to therapy, and as cheesy as it sounds, acting helps me get all my shit out.” Her biggest role so far is the starring one she plays on social media. “My frst iPhone and my frst boyfriend, I got them at the same time.” He taught her how to use Instagram, and through it she’s unearthed another side of California.

“For me, L.A. is not Hollywood, it’s this niche world of country clubs and WASP culture that’s unsettling but comfortable at the same time.”

Last year, following the death of her grandmother Alice Avery (the matriarch of the Avery family and one of Los Angeles society as well), Lauren wrote, directed, and starred

in Tears of Santa Barbara, a dreamy reenactment of her frst days of mourning. As she drives the Bentley she stole from her stepfather onto the grounds of a coastal resort, the voice-over lisps, “Santa Barbara, California. The Four Seasons. Where my ancestors have come for refuge in times of great emotional distress. Your husband cheats on you with your sister? You go to Santa Barbara. Bad business deal? Go to Santa Barbara.” Era-defning movie stars usually evolve into playing versions of themselves in each role, blending reality and fantasy into a cocktail of intimate faking. One example is plucky Meg Ryan during the bubbly late ’80s, whose name Avery once used as her club kid alias. Dread and excess are more apt for today, and Avery is a perfect conduit. “I love Hollywood,” she confesses, “but if I ever get pigeonholed as a Marilyn Monroe type, I’ll let someone stab me.” KEVIN McGARRY

SWEATER COACH JEANS dIEsEl RING AVERY’S OWN TEARS OF SANTA BARBARA IS STREAMING ONLINE NOW

GUILTY AS CHARGED

LOUIS VUITTON MONOGRAM SOFT PETITE MALLE GM ($4,150, LOUISVUITTON.COM)

Digital technician Todd Barndollar Prop stylist Lisa Gwilliam (Jed Root) Photo assistants Corinne Weber and Greg Kirkpatrick Location ROOT Studios

FENDI EMBELLISHED ORGANZA MINI PEEKABOO ($4,100, FENDI.COM)

HIT

THIS YEARâ&#x20AC;&#x2122;S MOST-WANTED ACCESSORIES ARE BOLD, BRANDED, AND EASY TO PICK OUT OF A LINEUP PHOTOGRAPHY DAN FORBES FASHION MIA SOLKIN

CHANEL PLEXIGLASS, RESIN, AND METAL EVENING BAG ($9,700, 800.550.0005)

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V MAGAZINE 14 1

FROM LEFT: OLIVIA WEARS CLOTHING jUiCy CoUtUre MIA WEARS DRESS gUCCi JEWELRY tiffany & Co.

AFTER SCHOOL SPECIAL

EVERY ERA HAS ITS CLASSIC MISCREANTS, AND BREAKING THE RULES IS ALWAYS IN STYLE. HERE, A fEW fRESH fACES HEAD To DETENTIoN IN THE RETRo TRENDS MoST READY foR A REVoLUTIoN PhotograPhy jai odell fashion emma wyman V MAGAZINE 1 42

1970s

PLATFORMS, TRENCHES, AND KNEE-LENGTH A-LINES IN POLy bLENDS AND LEATHER ARE IN AGAIN, AS IS ANy OuTFIT THAT CAN TuRN THE bEAT AROuND wHEN yOu DITCH STuDy HALL FOR A DOG DAy AFTERNOON

FROM LEFT: SARAh WEARS DRESS AND ShOES RALPH LAUREN MIA WEARS CLOThING AND BOOTS LOUIS VUITTON OLIVIA WEARS JUMPSUIT AND ShOES SALVATORE FERRAGAMO

1980s

thick tweeds, cuffed jeans, and androgynous silhouettes look especially pretty accented in pink . welcome back shoulders as padded and attitudes as crass as those last seen in the breakfast club

MIA WEARS CLOTHING BOTTEGA VENETA

FROM LEFT: MIA WEARS CLOTHING VERSACE SARAH WEARS CLOTHING MICHAEL KORS SHOES STUART WEITZMAN NECKLACE TIFFANY & CO. OLIVIA WEARS CLOTHING CHANEL

1990s

nodding to the super-saturated mtv generation, designers are resurfacing stripey knits, all-season jackets in denim and faux fur, and my so-called life fave, layerable crochet

Makeup Susie Sobol (Julian Watson) Hair Shingo Shibata (The Wall Group) Models Olivia Beeken, Mia Gruenwald, Sarah Marie (FORD) Manicure Gina Edwards (Kate Ryan Inc.) Digital technician Matthew Kanbergs Prop stylist Hans Maharawal Photo assistants Jordan Strong and Kiri Wawatai Stylist assistant Kat Banas Makeup assistant Yuco Kokita Equipment rental Fast Ashleys Brooklyn Catering Monterone

MIA WEARS COAT COACH TOP PHILIPP PLEIN BRA (UNDERNEATH) 3.1 PHILLIP LIM BRIEFS DKNY

FROM LEFT: OLIVIA WEARS CLOTHING DKNY SARAH WEARS JACKET BURBERRY PRORSUM TOP KENZO SHORTS 3.1 PHILLIP LIM

A FRESH COMPLEXION THAT BREATHES - NEW NUDE AIR SERUM FOUNDATION â&#x20AC;&#x201C; BROAD SPECTRUM SPF 25: E [IMKLXPIWW ¾YMH JSYRHEXMSR IRVMGLIH [MXL ER S\]KIREXIH WOMRGEVI MRKVIHMIRX JSV ER MRWXERXP] JVIWL ERH ZIPZIX] GSQTPI\MSR [MXL ¾E[PIWW GSVVIGXMSR NUDE AIR HEALTHY GLOW POWDER: ER EMV] ZIMP XLEX LIPTW TVSXIGX EKEMRWX TSPPYXMSR JSV EPP XLI VEHMERGI SJ E REXYVEP LIEPXL] KPS[ 8LI RYHI IJJIGX MW ¾E[PIWW ERH XLI WOMR QSVI FIEYXMJYP IEGL HE] *36 3* ;31)2 8,) '3140)<-32 -7 -11)(-%8)0= *6)7,)6 %8 0)%78 3* ;31)2 *))0 8,)-6 7/-2 &6)%8,) * Self-evaluation after application of the serum foundation followed by the compact powder. N=33 women. ** Self-evaluation at t=4 weeks after application of the serum foundation (N=33) or the compact powder (N=31).

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PhotograPhy richard BurBridge Fashion david vandewal makeuP Peter PhiliPs V magaZIne 14 9

IN V’S DEBUT BEAUTY SECTION, PETER PHILIPS ANIMATES THE EYES WITH BOLD COLORS AND MIRRORED ACCENTS. EMBRACE THE ALL NEW UNREAL

from outer layer: kayla wears JaCket COACH meN’s HooDIe DKNY HooDIe GUESS sHIrt CALVIN KLEIN COLLECTION HeaDBaND AMERICAN APPAREL oN lIps, DIOR rouge DIor lIpstICk IN 808

CLOCKWISE, FROM TOP LEFT: KORI WEARS SHIRT GANT SHIRT (AROUND HEAD) BURBERRY PRORSUM SHIRT ACNE, SHIRT GANT, SHIRT HUGO HOODIE POLO RALPH LAUREN SHIRT BURBERRY LONDON ON EYES, DIOR MIRROR EYES

HaIr Peter Gray usING BaNGs By House of euroPeaN HaIr (Home aGeNcy) moDels kayla scott (forD), korI rIcHarDsoN, aNGel rutleDGe (tHe lIoNs) Manicure Honey (exposure) pHoto assistants KiM GreenberG, enrico brunetti, cHarlie HawKs stylist assistants nicK wHiteHouse and saliMa breie JobarteH MaKeup assistants eMiKo ayabe and Grace aHn Hair assistant taKayuKi sHibata production colleen cullen (art + coMMerce) location root studios caterinG Monterone

from outer layer: kayla wears Dark Gray sweatsHIrt BALDWIN wHIte aND Blue sweatsHIrt RAG & BONE olIVe GreeN sweatsHIrt ALEX MILL lIGHt Gray sweatsHIrt BALDWIN Dark Gray HooDIe GUESS oN eyes, DIOR Pastel eyes

“I envisioned how a child plays with fnger paint,” says Peter Philips, creative and image director of Christian Dior Makeup, of the Technicolor hues that jump of these pages. “I wanted each page to make a color statement with the styling, and then have the models’ faces popping out so that there was almost no background,” he says. “The point was to have only a few makeup elements and bring only one Dior color into each look.”

Philips, who joined the French fashion house just a year ago, has a reputation for pushing creative boundaries, both on the runway and on the page. Along with his old friend and fellow Belgian expat Raf Simons, Dior creative director since 2012, he infuses modernity into the iconic brand, further elevating its elite status from both a fashion and beauty perspective. “It’s funny, but even after all this time, nothing has changed in our relationship and how we work together,” says Philips on reuniting with Simons. And despite their creative powwowing over the past two decades, this most recent venture “is a whole new dimension for both of us. Working with Dior, it’s a full package now, because we both represent this house.” Of their often inverse visions, Philips says the variety makes for an ideal friction. “It’s kind of nice to see how diferent we are, and yet we are able to create this bridge between beauty and fashion and put down one vision. It’s great to see how both of our worlds synchronize. Yeah, it’s actually quite fun.”

Philips’s Dior runway debut was the Resort 2015 show, followed by Spring/Summer. But perhaps his true pièce de résistance since joining the beauty brand was the robotic Kabuki eye, which perfectly highlighted the shiny details in Simons’s collection (such as turtlenecks with silver sequins) at Pre-Fall in Tokyo this past December. “I wanted to be respectful of our hosts—to pay homage to Tokyo—so in the back of my mind from the beginning, I wanted to do something that was inspired by Tokyo but from my point of view,” notes Philips, who, for inspiration, pilgrimaged to the metropolis for months leading up to the event. “I knew that I was going to do something for Tokyo and I knew that it had to be animated.”

One of Philips’s main obstacles: to create faces that could be seen by the 1,200 attendees seated within the massive space—Kokugikan, a sumo-wrestling stadium—with the capacity to house more than 10,000 people. “Raf and I had a conversation about the collection and he said that he wanted me to focus on the eyes—it was such a big venue, he wanted to make sure you could see the makeup from a distance,” remembers Philips. “And

then he showed me what Guido [Palau] was doing with the hair—kind of ’60s, which was so great—and I just had the idea of what I wanted to do.” Using Dior Show Pro Liner in pro black (a Philips brainchild, available June 2015), he drew a stark line strictly in the center of the models’ upper and lower lash lines and precisely layered catwalk black mascara on the lashes within its confnes. “I used an eyeliner that is coming out with my collection launch— it has a unique shape, like a marker, that allows you to get quite graphic because you can draw very thin lines, yet you can also draw very thick lines.” But the true showstopper was the way in which Philips played of of Simons’s use of sequins. “One of the key elements of the collection was sequins—they wore sequins everywhere,” says Philips. “So, coming back on the lash line, I applied jumbo glitter and it created this spotlight efect just under the eye. It made all of the girls almost mechanical, like robot girls. It was a little disturbing to see up close.” Next, Philips added a touch of soft pink (Diorblush Vibrant Colour Powder Blush in my rose) to the girls’ cheeks. “This made the skin look more alive, but perfect with the snow that fell onstage—it was as if they’d been outside.”

Before going full android, Philips wanted to breathe some life into mod color-blocking, and he chose to reconnect with his Royal Academy of Fine Arts clan in Antwerp—which includes, along with Simons, photographer Richard Burbridge and stylist David Vandewal, who both worked with him on set to perfect this vision for V. Don’t be fooled into thinking the shocking shades are high-maintenance makeup. “It’s almost naïve makeup—to cover the face and just do one thing—it’s not about shading or highlights,” he says. “It’s actually very raw in a way.” And while the graphic lines may seem extreme, Philips sees it as a stripped-down face. “The styling and the texture make a statement,” he says. “It’s actually a very basic approach to makeup.”

Although the full scope of Philips’s brilliant, next-generation color launches for Dior will not be seen until the Fall collection hits, he says that what he envisions for Spring is actually in line with the colors he created here, and the daytime-friendly mirrored stickers seen on eyes at the Spring shows (brought to life with Dior Mirror Eyes Multi-Wear Adhesive Eyeliner Patches). “It’s all about ’80s color. It’s about playing with color and then focusing on a feature—one element.” When it comes to what’s essential for Spring, the future is bright under Philips’s reign. NIcOLE cAtANESE

from outside layer: angel wears BlaZer 3.1 PHILLIP LIM Jeans DKNY Jeans DIESEL dress WON HUNDRED sHirt RAG & BONE Hoodie BURBERRY BRIT Hoodie GUESS on liPs, DIOR ADDIcT liPgloss in 004 tiara

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v spring fashion 2015

america’s sweetheart opens up a fashion fire starts to burn a new it girl arrives in stYle rei kawakubo paints roses red designers celebrate divine inspiration the runwaY’s hottest couple gets close a starlet wanders the citY that never sleeps prÊt-À-porter parties on ziggY stardust lives forever spring collections see double

and the brightest, boldest, and most brilliant fashion now!

V MAGAZINE 15 7

BANDANA (throughout) VINtAgE CHANEL hAts (throughout) TRASH AND VAUDEVILLE BoWs AND floWErs (throughout) CCD’$H$T oN EYEs, CHANEL lE VolumE DE ChANEl WAtErproof mAsCArA IN NoIr oN lIps, CHANEL lÈVrEs sCINtIllANtEs glossImEr IN plAIsIr

selena gomez lays it down on her hit song: the heart wants what it wants. now preparing for a slew of film roles and a new album (on a new label), the actress and pop star tells james franco that what she wants today is simply to grow up, move on, and, most importantly, bid farewell to expectations photography inez & vinoodh fashion carlyne cerf de dudzeele text james franco V MAGAZINE 15 9

DRESS (THROUGHOUT) GUESS JACKET (THROUGHOUT) DSQUARED2 EARRINGS (THROUGHOUT) CCDâ&#x20AC;&#x2122;$H$T

“I’ve got some bumps on me, some scars, some bruIses.

I actually really love that.”

—selena gomez

SHORTS (THROUGHOUT) GUESS

“You could GooGle me crYinG and there are probablY millions of videos.”

—selena Gomez

JAMES FRANCO Hi, Selena.

SELENA GOMEZ Well hello, James!

JF Do you normally get up this early?

SG Yes, but not on Saturdays.

JF What is the schedule like when you’re making an album?

SG I have a little brunch or breakfast, go in, get situated, and then it depends. I’ll go in and sometimes I really feel a song or two, and then I’ll leave.

JF So, if you’re having an of day in the studio you’ll just call it of or take a break?

SG Yeah. I have to leave. It’s just not even worth it.

JF But what’s not working?

SG Well, especially if I didn’t write the song, if I go in and I’ve bonded with the producers and they’ve envisioned a story being told a certain way, sometimes I just won’t fnd that thing that I can really connect with. I’ll try it out because obviously I love to see and try new things and have a diferent take, especially now that I’m with a new label [Interscope Records]. They’re really wonderful, and helping me fgure out my voice, which after I don’t know how many years I’ve been doing this, I still don’t even really know what that means, my voice. But it’s fun to fnd out.

So yeah, sometimes I just won’t feel it. I’m like, I just don’t think this is me, I’m sorry, and I’ll just step out.

JF How do the music and lyrics usually come together?

SG Well, the frst time I recorded an album I was 15, so how am I really gonna talk about heartbreak and devastation and loss then? I’m just gonna talk about dancing and jumping around. I’d come in and I’d want things that were uplifting and positive, and then once I started living life, I guess I realized I’m defnitely not jumping around all the time and I’m defnitely not super stoked every damn day. So, with this one, particularly, I wanted to work with people who’d pull that out of me. What I love about the opportunities I’ve had so far is that I have people who are willing to push me—including yourself—to go there emotionally. I like when people do that in the studio. This is a true story, this literally happened yesterday: I was starving, I hadn’t eaten for, like, six hours, and I kept asking when the food was coming. I was like, I’m sorry, my voice just sounds like I’m wearing it out because I’m starving. They held the food of for an hour and a half because they liked the desperation in my voice. That’s kind of genius to me. I was like, I’m not even mad at you but I’m defnitely mad at you! After my burrito, it sounded completely diferent.

JF So, if you’re saying that this is the more experienced album, they can’t just all be super downers, right?

SG Yeah, it’s just adding texture really, because my music is just super light, like disco. I have those songs that have a great time and let loose, because thank goodness I still have the ability to do that. So, we set up diferent little camps. For two weeks, I’ll work with Stargate, and for two weeks, I’ll work with Zedd. When you’re in the studio you don’t know what time of day it is, you kind of go into this vortex with these fve or six people and you end up just getting to know them. At the moment I probably do need a more upbeat song to be honest, but the stuf I’m coming up with is great. It’s just more about how I’m going to tell my story. I think I’m putting way too much pressure on myself, but I haven’t released music in two years. Now I’m an adult and I think that people are going to be interested to know what that means.

JF Do you tell the producers, I’ve had this experience, this is how I’m feeling about it?

SG Yeah. I spend some time with them, listen to diferent songs they’ve done, or just listen to beats. For me, the defnition of my voice is that the listener doesn’t imagine anybody else singing this song but Selena. “Come & Get It,” maybe a couple of other people could have sang that song. That was only because I didn’t have the opportunity to work with Stargate like I do now. I think we’ve really, together, collaboratively worked and found this really cool sound.

JF Tell me, generally speaking, how you would characterize these past two years.

SG [laughs] Generally speaking, the past two years, James? It’s just such an awkward time in my life. I think this year is going to be incredible, I feel the best I’ve ever felt in my life, but I mean, your 20s, good God, you know?

I’m super stoked that I’ve got some bumps on me, some scars, some bruises. I actually really love that. And I don’t mean that in a morbid way. It was great to experience really beautiful things, and then, you know, have the growing pains, in every possible manner, in every relationship.

It was family, it was business, it was buying my frst home, moving out of my parents’ house. There was so much going on. You can’t help but have some troubles here

and there. I don’t think it’s a smooth process for anyone, and it defnitely wasn’t for me.

JF So, when we act, right, some characters might be closer to ourselves than others, but there’s still this mask of a character over us. Musicians also in some ways have that mask, but people read that work as true. Certainly a singer’s work. Do you feel that diference when you’re acting and when you’re making music?

SG No, yeah, it’s way diferent. There’s this soul connection to someone when you’re just Selena. When I’m onstage, talking about life, whether I’m just rambling, or I’m singing, or crying...I usually always cry, so they can feel when I feel those emotions. I can instantly see in their eyes in that moment, and how they take it. It can be a little girl on her dad’s shoulders and she’s just living her life, maybe at her frst concert ever, and then next to her could be a 15-year-old girl who has been bullied, and you can see it, you can see it in all of their eyes. And then you’ve got the guys who are just there throwing their boxers onstage. It’s just kind of all over the place.

JF You have the added energy of a direct connection.

SG And you have to think about it, it’s mostly kids, which to me is even crazier. To lock eyes with this little girl that is looking at you as if you are everything. That is so overwhelming. I mean you could Google me crying and there are probably millions of videos.

JF So you usually cry when you see the children?

SG Yeah. It’s the kids. There’s just something so pure and innocent and you can just tell they’re feeling so much by even just being there, that they’re crying. It’s so crazy and it’s beautiful, it’s awesome, you know, I remember I felt that about a few artists.

JF Who did you go to see when you were that kid?

SG My frst one was Britney Spears, and we sat all the way in the nosebleeds. I didn’t care, I was living my life, and my mom got me a glow stick so I was very excited.

Christina Aguilera and ’N Sync. Actually, my mom cried because she didn’t realize she had gotten tickets behind a pole, but we ended up hanging out with the ladies in front of us. I will never forget that. And then Shania Twain.

I’m from Texas, so I just wanted to be her. [laughs] I did a whole Britney tribute on, not my last tour, but the tour before that. I did a little monologue talking about how I used to be that little girl and now I’m here and it’s nuts.

People ask, What’s your frst concert? and I say Britney Spears. You ask these kids when they’re 30 what their frst concert was and they’re going to say me. I need to deliver some good stuf.

JF Do you feel a large responsibility to your fans?

SG I used to have a very unhealthy perspective on it, to the point where I would be 21 and I would be nervous to, you know, have a glass of wine. I didn’t want anyone to see me. Honestly, I think Spring Breakers is what really helped me understand that I don’t think I’m giving my fans enough credit. I started my show when I was 13. So either they’re my age now, or teenagers. Do you remember, at the Toronto Film Festival, when I was with Harmony [Korine, director of Spring Breakers] and I was freaking out because the frst two rows were 15- to 18-year-olds with my CD? I’d thought you had to be 18 to get in. Harmony was laughing at me the entire time.

I went in and just watched the movie, and they were actually laughing when they needed to laugh, and they were scared when they needed to be scared. I know I have younger fans that still follow me, but I don’t even think they registered what Spring Breakers is, which is great, so there’s that balance. The 15-year-olds get it.

They know I’m not chilling with you in a hot tub with Vanessa [Hudgens] and Ashley [Benson]. I think that’s when things started. It was a good kind of shake-up, defending something I actually believed in. Oh my God, that press tour was amazing because every person was saying, You’re a role model and you’re doing a movie like this? After that screening, though, I was just able to pop of answers. Like, You were in a bikini! I’d say, Well, what would you like us to be in? It makes you more vulnerable if you get arrested and you have no clothes on. How is a young girl going to feel? You’re going to feel scared and vulnerable. I wasn’t in a turtleneck on the beach, or feeling safe and warm in a jail.

JF When you were ofered the movie, was that—your fans—one of the reasons that you wanted to play the role you did, because she’s the girl with the biggest conscience, who doesn’t go along with my character, Alien?

SG Honestly, I just wasn’t ready. I saw Harmony last year, before the holidays, and I even said, Now I think I’d be ready to play one of the other characters, and he started laughing, and was like, Totally. I think it was just

“PeoPle ask, what’s your first concert? and i say Britney sPears. you ask these kids when they’re 30 what their first concert was and they’re going to say me. i need to deliver some good stuff.”

—selena gomez

BIKINI (THROUGHOUT) GUESS

“I was 18 years old and It was my fIrst love…

It almost felt lIke all we had was each other, lIke the world was agaInst us.”

—selena gomez

where I was. You’re going to laugh at me, but I genuinely didn’t think a lot of people were going to hear about it.

I genuinely thought that only people who like Harmony and really underground stuf would see it. And then obviously we’re in Florida with, like, 500 photographers and it was all over the place.

JF I no longer read press about myself, but Harmony sent articles, so I know that we did get a lot of very, very positive press. But some people just aren’t going to get it. Did you experience any of that? Maybe people who liked you for Wizards of Waverly Place were like, What the heck is this?

SG [laughs] Yes, yeah, oh yeah, I deal with that a lot in general. There is always this perception of what people want me to be, and then they meet me or have a conversation with me and it’s completely diferent. It’s great that I’ve been able to kind of be consistent, but it’s also an opportunity for me to really shock people in flm.

JF How do you manage having this public persona?

SG Well, I think I had to rewire my brain a little bit. The older I was getting, the more insecure I was getting, which I didn’t think would be the case. Last year was me trying to fgure out how to reverse that, thinking, I actually, really, like, I don’t do anything. I go out every now and then, I’ll go to Soho House, do the typical L.A. thing, or I’m at home.

That’s kind of my everyday life. I want to enjoy myself and have fun. I think I had to just fgure out what genuinely made me happy. I did what you did. I don’t read anything about me anymore at all. I don’t spend my time tiptoeing around certain things, because the things I’m going to do aren’t bad. I’ll be 22 soon and I could go to a bar or go to the movies. I could do what I like.

JF I think celebrities in general, but you in particular, have this thing where if you, Selena, wear short shorts, it’s a headline on my Huffngton Post app. That must be in your head when you dress in the morning: What am I going to wear, and is it going to turn into a fucking headline? Not everybody in the world has to deal with that.

SG It just causes a lot of anxiety. There were a few months where I was a little depressed, where I wouldn’t leave as much. I love my home, it’s a really nice house and it’s the frst home I’ve owned, so I have a music room and I have a nice kitchen and I kind of just stayed put for a while, but it drove me crazy. I think I drove myself crazy for a little bit. It was just easier to say, Hey, do you mind running to the grocery store and picking some stuf up, I don’t want to get photographed. My friends will come over and I’ll have movie nights and then I’ll have not left the house, just because that was in the back of my mind.

As much as I don’t like to wake up and think about that it’s there, it’s naturally just there. My response was to stay in, which sucked. That’s what I was trying to fx this past year, I’m fnally getting a little bit more comfortable.

It’s a process.

JF What seems like one of the bigger drags is that you can’t just enjoy that kind of private regular citizen activity.

The cameras are these big, fashing arrows. It’s like, You’re not getting me doing anything, I’m just walking out of the airport, but you’re calling all this attention to me and then it seems like I’m creating this situation.

SG Oh yeah, for sure, I mean I think I’m a classifed fame whore to so many people. So many people think it’s my fault, like I caused it. It blows, it really does, and I have people-pleasing issues, so, for example, I was in Boston and it was snowing and I was walking to the hotel and this elderly man held the door open for his wife, and I said, Oh, thank you so much, and I walked in. And his 19-orsomething-year-old, like, granddaughter snapped at me for cutting of an elderly woman. I tried to explain that I didn’t mean to, there was nothing I did wrong, and later I was in the elevator and I was thinking, She’s going to tell people that I was awful and that I was disrespectful, and they’re going to tell people and they’re going to tell other people, and it just kind of started eating me alive.

That’s how I process things. I’ve got to work on that. But I still remember. Hopefully she’ll read this.

JF So now, I need some Instagram advice. You are one of the masters. How do you have so many followers?

SG [laughs] I don’t know! There’s no secret. It’s super bipolar. Sometimes I’ll be in pigtails and I’ll be at the pool, and then next thing you know I look like I’m 35 on the cover of Latina.

JF And what’s your percentage of selfes? You know that the followers would rather see you. You know that, right?

SG Of course, well, I mean, I don’t know. Some video I made was really cool and I’ve never had videos get a lot of likes, but that almost hit a million. It’s also situational.

When I was on tour, I posted a lot of photos of the fans.

But when I’m just hanging out, reading scripts, it’s like, Okay, selfe time.

JF You can be my guru in this area too: how do you manage a public relationship?

SG I think I would be silly to say that it wasn’t maybe caused a little bit by us. I mean, we were very young, so it was very fun. It was great to have somebody at all those things, and then you don’t really become individual. And that went public. It also looked like it went public especially more so for me. Because we were so young, we were defnitely easy targets. So, I don’t really know how to answer that because I don’t really do anything other than what I feel I want to do, what I feel like I need to do, and that may not make a lot of sense to a lot of people, and that’s totally fne, but it’s defnitely not my favorite part of who I am.

JF That becomes part of your life, if you’re dating someone and you’re with someone, it is part of your life. Is there a push to share some of it, and then also this defensive reaction when the glare of the lights and the interest gets so hot that you want to hide it away?

SG I think the next time will be much diferent...which will defnitely not be any time soon. That’s a growing up kind of thing. I was 18 years old, and it was my frst love. The older I get, I’m guarding certain things more. After being put through the scrutiny, I understand what it is. When you’re young and you’re being told so many diferent things…it almost felt like all we had was each other, like the world was against us, in a way. It was really weird but it was incredible. I would never take it back in a million years. You live and you learn, you know?

JF On some levels it’s so silly that media outlets, adults, are commenting on every moment of your relationship and they’re obviously doing it because there’s great interest from their readers, but they’re trying to have their cake and eat it, too. They’re reporting on what they know will get attention, but then they’re trying to act as if they’re lowering themselves by commenting on a teenager’s relationship.

SG Right, yeah, well you said it, not me. [laughs] That would be my favorite response to interviewers. I would just say, Well, what were you doing at 18 years old? What were you doing at 21 years old? That’s all it is. It’s not even about a relationship, it’s about where you were, it’s about the kind of choices you were making.

JF And any 20-year-old can wear short shorts and go to the mall and it’s not a news story but if you do it, it becomes a news story. Teenagers have relationships, they fall in love, and it’s not a news story. It’s partly because you started so young and a lot of early work was of a certain nature and then, like anyone, you came of age.

There’s this weird kind of attention and focus on you that I think has positive aspects—you can use it in your work, use it in your album, but then there’s also this frenzy of interest in everything Selena.

SG Yeah.

JF Is that fair to say?

SG Yes, you’re absolutely right, I just feel like it’s going to be that way for a bit and then it’ll be somebody else. I used to go to some events and I wouldn’t know anyone.

All of a sudden all my friends are doing awesome things and I’m seeing them at these things and I’m starting to know people, and I start stepping back and looking at how it works. Then it’ll be a whole new wave of people.

I’m here for this second, and for some reason people are interested in the strangest things at this moment, but I’m just trying to do what I love and do it well. I feel like I haven’t even really started my career, so I’m excited to see where that goes.

Makeup aaron de Mey (art partner) Hair JiMMy paul (SuSan price) Manicure Deborah LippMann (the Magnet agency) creative MoveMent Director Stephen gaLLoway (thecoLLectiveShift) Lighting Director JoDokuS DrieSSen DigitaL technician brian anDerSon StuDio Manager Marc kroop photo aSSiStant JoSeph huMe vLM proDucer Jeff Lepine StyLiSt aSSiStantS franciSco ovaLLe Jr., SteLLa evanS, aMira raSooL Makeup aSSiStant tayLer treaDweLL hair aSSiStant LucaS wiLSon taiLor MaLiSa (in-houSe ateLier) proDuction Stephanie bargaS, Lauren piStoia, DiSco MeiSch (thecoLLectiveShift) proDuction aSSiStantS tucker birbiLiS anD izzy cohan retouching StereohorSe Location root StuDioS catering DiShfuL

JOAN WEARS JACKET AND PANTS DSQUARED2 ROBE (OFF SHOULDERS) JUAN CARLOS OBANDO CHEST PLATE AND CUFF WITH SPIKES ALEXANDRE VAUTHIER CUFFS MORDEKAI RINGS LILLIAN SHALOM

amid an apocalyptic mElEE of fiEry chromE, joan, ajak, maria, and rilEy burn bright in slEEk looks that sEt thE rhythm of thE sEason. kEEp on dancing â&#x20AC;&#x2122;til thE world Ends photography stEvEn klEin fashion ariannE phillips V MAGAZINE 17 3

FROM LEFT: AJAK WEARS SWIMSUIT LENNY NiEMEYER SHOES ALEXANDER McQUEEN HARNESS GiUSEPPE ZANOTTi DESiGN MARIA WEARS SWIMSUIT OYE SHOES ALEXANDER McQUEEN EARRINGS ALEXiS BiTTAR

FROM LEFT: JOAN WEARS DRESS ROBERTO CAVALLI TURBAN EUGENIA KIM EARRINGS MICHAEL SCHMIDT BRACELETS LYNN BAN AJAK WEARS SWIMSUIT LENNY NIEMEYER SHOES ALEXANDER McQUEEN HARNESS GIUSEPPE ZANOTTI DESIGN MARIA WEARS SWIMSUIT OYE SHOES ALEXANDER McQUEEN EARRINGS ALEXIS BITTAR

MARIA WEARS BODYSUIT EMANUEL UNGARO HEADPIECE STEPHEN JONES FOR EMANUEL UNGARO

FROM LEFT: AJAK WEARS CLOTHING EMANUEL UNGARO HEADPIECE STEPHEN JONES FOR EMANUEL UNGARO SHOES TOM FORD EARRINGS GRAFF RILEY WEARS DRESS ALEXANDRE VAUTHIER EARRINGS AND HEADPIECE GRAFF

FROM LEFT: MARIA WEARS CLOTHING AND BOOTS GIVENCHY BY RICCARDO TISCI HARNESS ZANA BAYNE JOAN WEARS CLOTHING TOM FORD HEADBAND JENNIFER BEHR VEIL PATRICIA UNDERWOOD EARRINGS AND RINGS LYNN BAN BRACELETS MICHAEL SCHMIDT

riley wears Dress IRIS VAN HERPEN BraCeleT MICHAEL SCHMIDT riNG LYNN BAN

JOAN WEARS TOP AND PANTS MOSCHINO JACKET FAUSTO PUGLISI bOOTS GIUSEPPE ZANOTTI DESIGN HEADbAND JENNIFER BEHR VEIL PATRICIA UNDERWOOD CUFFS ALEXANDRE VAUTHIER NECKLACE (WORN AS bRACELET) MICHAEL SCHMIDT EARRINGS LELE SADOUGHI RINGS LYNN BAN MAKEUP KAbUKI HAIR SHON (JULIAN WATSON) MODELS JOAN SMALLS, AJAK DENG (IMG), RILEy MONTANA (Ny MODELS), MARIA bORGES (SUPREME) Manicure Honey (exposure) set design stefan BeckMan (exposure) LigHting director saM rock digitaL tecHnician devin doyLe pHoto assistants aLex Lockett, Myro WuLff, caLvin Laszakovitz styList assistants eyoB yoHannes, aLi kornHauser, Brandon BrinkLey Makeup assistants satsuki soMa, JaLeesa Jaikaran, yuMi kaizuka Hair assistants ryuta saiga and garetH BroMeLL taiLor MaLisa (in-House ateLier) props assistant coLin Lytton production assistant sHayan asadi post production JiM aLexandrou (1514) equipMent rentaL (LigHting) B2pro equipMent rentaL (production) root studios catering Monterone speciaL tHanks Jesse kaufMann

meet paige reifler, the ViVaCiOUS NeW mODel WhOâ&#x20AC;&#x2122;S gOt the WhOle WOrlD CliCKiNg thrOUgh fOr mOre phOtOgraphy iNez & ViNOODh faShiON mel OtteNberg V MAGAZINE 187

MaKeuP Lisa BuTLeR HaiR DiDieR MaLige MODeL Paige ReiFLeR (nY MODeLs) Manicure Deborah LippMann (The MagneT agency) LighTing DirecTor JoDokus Driessen DigiTaL Technician brian anDerson sTuDio Manager Marc kroop phoTo assisTanT Joseph huMe VLM proDucer Jeff Lepine sTyLisT assisTanTs aLexa Lanza anD charLoTTe feTriDge Makeup assisTanT racheL singer cLark hair assisTanT Takashi yusa proDucTion assisTanTs Tucker birbiLis, DanieL aLexanDre, eVa frances harTe reTouching sTereohorse LocaTion rooT sTuDios

“I think when you’re in a feld where you’re in the public eye, you’re gonna risk having people who are obsessed with you.”

Nineteen-year-old Paige Reifer isn’t talking about herself, though her detractors will no doubt take this quote out of context. Still new to the worlds of modeling, DJing, and being seen in New York City, Reifer has already sufered the thorns of mega-trolling. “It was a bummer that it had to turn negative when I didn’t do anything to ofend them, but in a way, I have so much respect for them,” she says, referring to the fans of Harry Styles, who started targeting her on social media after a rumor about the two of them dating spread. That was two years ago. Since then, Reifer has seen frsthand what obsession looks like. “I didn’t know that that existed anymore! I was always complaining, Why don’t people kill for bands or become groupies anymore? My mom was a Deadhead, and I think that that was such a cool era. But [One Direction] has that now. It’s diferent because there are so many ways to stalk these bands, other than traveling around, following them. But they do have that fre that the Stones have.”

So are the rumors true? “He’s a friend of mine, and it’s evolved into something that’s a lot more gossip-driven than reality. I remember, I was outside of this party in London and I was talking to a girlfriend I ran into from New York, and she and I were being Chatty Cathys. She had said that this boy was coming into town, an artist, also from New York. And I said, verbatim, ‘Oh yeah, I’m seeing him.’ And these two young girls who work for a tabloid in London turned that into that I was seeing Harry. It’s sad that people believe what they read online. But I’m guilty of it, too, all the time. It’s so weird being on the other end.”

It was weird, too, for the brand-new boarding school graduate to fall into the fashion world, and then have to hold on for dear life. “My frst job ever was technically for an Hermès fragrance, where I had to be naked. For a massive campaign, they’ll have a test shoot, and I was just the test shoot model.

I remember they had an omelet chef, a catering table, all just for this test shoot! I’ve never seen anything like it since.” After a taste of what the major models are accustomed to, not even a smear campaign could stop Reifer from going for the gold.

“When I met Harry, I’d done maybe four or fve test shoots, and it’s really just been this uphill battle. I think people have this misconception that [the gossip] has helped me. So many clients look at me as just a socialite, and they don’t take me seriously, especially after all the negative attention that I was getting.” Can a serious modeling career rise from the ashes of mainstream recognition? This story is starting to sound familiar. “[Kendall Jenner] is such a well-known face, so that’s another level, but I still see where she’s coming from, because people think that this is so much easier than it is. When people look up your name and all they see is gossip, why would they

want to hire you? That isn’t someone people want to represent their brand.”

Reifer romanticizes the 1960s and ’70s—the patent miniskirt, tassled purse, and Beatle boots she wears to this interview give this away, as do her top DJ selects, which include David Bowie and Iggy Pop. And why wouldn’t she? Her impossibly full lips forming a perfect pout, she unwittingly tells a modern-day Edie Sedgwick story, in which her Upper East Side upbringing (“It has such a bad reputation because of shows like Gossip Girl, but I had my friends, and my parents are lovely”) transported her to a young photographer’s studio. “It was random, like, live-in-themoment, young, fun things, 16 years old. He starts shooting, I put on one of his fur coats, and at 1 AM that night he sends me an e-mail saying, Listen, here’s your day tomorrow, you’re meeting with IMG and New York Models.” But unlike Andy Warhol’s contained mini-superstar franchises back in the Factory days, modeling now takes place on a completely diferent stage, and it requires a 24/7 personality. That being said, the 42K-followersstrong Instagrammer doesn’t seem intimidated by 2015’s preferred modes of publicity. “It’s just an amazing time, where people get to know more about a person, especially a model. What are they doing when they’re not in front of the camera? What do they wear on their own? I like to follow people who I think are super real, like Rihanna. One day she’s at some fashion show in Paris in a gorgeous gown, and the next day she’s in Jamaica smoking a blunt. She’s an icon for this generation.”

Creating a public persona has its downsides, as Reifer’s teen years have taught her, but now she seems ready for them.

Case in point: “Flashback to September 2014, New York fashion week. I am alone in my apartment getting ready for the Versus Versace event. I’m in my heels, carrying this metal purse, and in the corner of my bedroom is a 6’3” 400-pound man, pants falling down, with a handful of my underwear. Okay, what would you do in that situation? I just asked, ‘Who are you?’ And then it clicked in my mind: this guy is a stranger. He’s not supposed to be in the apartment. Run. Fly. Flee. So, I throw my purse out the window and just book it. I’m on the top foor and I go down the back stairwell, fall on my face, break my heel, rip up my shoes—straight out of a flm. I get to the ground foor in what to me feels like fve seconds, because I’m sprinting. I’m screaming, ‘Call 911’ to the door guy. The guy from my room comes down, beats up one of the door guys, sprints down the street, the cops follow him. I had to ID him at the police station, the whole thing. But hey, I still made it to that Versace party.” Natasha stagg

Paige ReiFLeR in neW YORK CiTY, OCTOBeR 2014 BLanKeT saiNt laureNt by hedi slimaNe jeans levi’s VinTage FROM sCreamiNg mimis jeWeLRY ReiFLeR’s OWn

CLOTHING, SHOES, AND ACCESSORIES (THROUGHOUT) COMME DES GARÃ&#x2021;ONS V MAGAZINE 1 90

REI KAWAKUBO TAKES KARLIE KLOSS OUT OF THE WOODS AND INTO BRAVE NEW TERRITORY WITH THE BLOOD AND ROSES COLLECTION FOR COMME DES GARÃ&#x2021;ONS. . .THE BETTER TO SEE HER WITH, MY DEAR PHOTOGRAPHY STEVEN KLEIN FASHION PATTI WILSON

MAKEUP YUMI LEE USING CHANEL ROUGE COCO (Lâ&#x20AC;&#x2122;ATELIER NYC) HAIR AKKI (ART PARTNER) MODEL KARLIE KLOSS (IMG) MANICURE HONEY (EXPOSURE) SET DESIGN JESSE KAUFMANN (FRANK REPS) DIGITAL TECHNICIAN JOE FERRUCCI PHOTO ASSISTANTS ALEX LOCKETT, DEAN DODOS, MARK LUCKASAVAGE, ALEXEI TOPOUNOV STYLIST ASSISTANT TAYLOR KIM HAIR ASSISTANT NAOMI ENDO PRODUCTION ASSISTANT SHAYAN ASADI CATERING MONTERONE SPECIAL THANKS DAPHNE SEYBOLD, GIA KUAN, SANDY PARK

“Blood and Roses is the expRession of a deepeR significance of Roses, typically happy and pRetty. often in histoRy the image of the Rose was moRe connected with Blood and waRs, in Relation to political conflict, Religious stRife, and poweR stRuggles. this is what was inteResting to me this time.”

—Rei KawaKuBo

BEHIND EVERY GREAT DESIGNER IS AN EVEN GREATER MUSE. DELVE INSIDE FASHIONâ&#x20AC;&#x2122;S MOST FRUITFUL CREATIVE BONDS, AND DISCOVER EIGHT INSPIRING GODDESSES OF THE PAST, PRESENT, AND FUTURE

HUBERT DE GIVENCHY & AUDREY HEPBURN

V MAGAZINE 1 98

â&#x20AC;&#x153;In a way, itâ&#x20AC;&#x2122;s sort of like the plot in )XQQ\ )DFH She wears KLV FORWKHV LQ WKH Ć&#x192;OP DQG \RX VHH KRZ VKH JRHV IURP being this dressed-down pretty-but-nothing girl to being this glamorous fashion person. And I think what you see KDSSHQLQJ WR KHU FKDUDFWHU LQ WKH Ć&#x192;OP LV ZKDW KH GLG IRU her in real life, too.â&#x20AC;? Hepburnâ&#x20AC;&#x2122;s own words echo this sentiment. â&#x20AC;&#x153;His are the only clothes in which I feel myself,â&#x20AC;? she once said. â&#x20AC;&#x153;He is far more than a couturier, he is a creator of personality.â&#x20AC;?

In a rare interview with V, Givenchy remembers the late Hepburnâ&#x20AC;&#x201D;his lifelong friend and muse. KATHARINE K. ZARRELLA +RZ GLG \RX DQG $XGUH\ +HSEXUQ Ć&#x192;UVW PHHW" HUBERT DE GIVENCHY She came to the maison de couture because she was looking for dresses for her movie 6DEULQD :KDW ZHUH \RXU Ć&#x192;UVW LPSUHVVLRQV RI KHU" HG I was charmed by her youth, her beauty, and her fragility. :KDW GUHZ \RX WR KHU" HG :KDW , OLNH DERXW KHU LV KHU SHUVRQDOLW\ $QGbKHU FKDUP Her look came through in her movies and the clothes she wore. She embellished things. She was unique at the time.

Her character helped me create fashions specially for her. +RZ GLG VKH Ć&#x192;W LQWR \RXU FUHDWLYH SURFHVV" HG 6KH ORRNHG DW ZKLFK >GHVLJQV@bLQ P\ FROOHFWLRQVbFRXOG Ć&#x192;W into the movies and scenarios she played.

+RZ GLG \RXU IULHQGVKLS GHYHORS" HG We worked together. When I agreed to make her dresses, a friendship was formed. From one movie to another, our friendship became more and more important, and the H[FKDQJH RI FUHDWLYLW\ EHFDPH GHHSHU DQG GHHSHU 7KH work we realized together continued to deepen our friendship until her death. +RZ LI DW DOO GR \RX WKLQN \RXU FDUHHU ZRXOG KDYH EHHQ GLĆ&#x201A;HUHQW KDG .DWKDULQH +HSEXUQ WXUQHG XS RQ WKDW GD\ LQ LQVWHDG RI $XGUH\" HG Each had her own personality and I would not have done WKH VDPH WKLQJV , ZRXOG KDYH EHHQ LQVSLUHG GLĆ&#x201A;HUHQWO\ E\ Katharine Hepburn, who was already very well-dressed in her movies by designers such as Jean Louis or Adrian. Everything Ć&#x192;W KHU 6KH ZDV YHU\ HOHJDQW +RZ GR \RX IHHO WKH PXVH DQG GHVLJQHU UHODWLRQVKLSV RI WRGD\ DUH GLĆ&#x201A;HUHQW WKDQ WKH\ ZHUH ZLWK \RX DQG +HSEXUQ RU VD\ <YHV 6DLQW /DXUHQW DQG &DWKHULQH 'HQHXYH" HG (YHU\WKLQJ LV GLĆ&#x201A;HUHQW WRGD\ 7KHUH DUH IHZHU KDXWH FRXture clients. It cannot be the same kind of relationship. +RZ GR \RX WKLQN $XGUH\ ZRXOG UHVSRQG WR 5LFFDUGR 7LVFLĹ V LQWHUSUHWDWLRQ RI *LYHQFK\" HG You should ask him.

HUBERT DE GIVENCHY AND AUDREY HEPBURN IN PARIS, 1982

Photography 1645/Gamma-Rapho via Getty Images

The designer and the muse. Itâ&#x20AC;&#x2122;s a clichĂŠ concept, to be sure, but itâ&#x20AC;&#x2122;s one that continues to pique our interest. There are numerous unforgettable pairings from decades past, like Yves Saint Laurent and Catherine Deneuve, Azzedine AlaĂŻa and Grace Jones, and Jean Paul Gaultier and Madonna, but no collaboration is quite so iconic as the one between Hubert de Givenchy and Audrey Hepburn. â&#x20AC;&#x153;They were the couple,â&#x20AC;? says fashion historian and director and chief curator of The Museum at FIT, Dr. Valerie Steele. â&#x20AC;&#x153;For one, itâ&#x20AC;&#x2122;s Audrey Hepburn for heavenâ&#x20AC;&#x2122;s sake! She was the little gamine, a skinny brunette who was so beautiful and kind of the alternative to Marilyn Monroe. And Givenchyâ&#x20AC;&#x2122;s relationship with her, in terms of fashion, was so perfect.â&#x20AC;?

Givenchy and Hepburn met in 1953, though on the day of their rendezvous, to which Hepburn apparently wore FURSSHG SDQWV DQG EDOOHULQD Ć&#x201E;DWV WKH GHVLJQHU H[SHFWHG to meet Katharine Hepburn. But it was Audrey who fell in love with Givenchyâ&#x20AC;&#x2122;s dresses, and Givenchy was captivated by her.

After that initial encounter, Hepburn demanded that Givenchy design all her costumes from then on. That full noir frock from Sabrina, the black gown from Breakfast DW 7LĆ&#x201A;DQ\Ĺ V that sweet little tea dress from Love in the Afternoonâ&#x20AC;&#x201D;all were Givenchyâ&#x20AC;&#x2122;s creations. â&#x20AC;&#x153;For him, she was the ideal muse. And he transformed her,â&#x20AC;? Steele continues.

KARL LAgeRfeLd & VIOLeTTe d’uRsO

Karl, do you remember when you frst met Violette?

KARL LAGERFELD I couldn’t tell you the exact date, but she was around 10 or 11. When you get used to seeing people for so many years, the frst day is not important anymore.

VIOLETTE D’URSO I, too, can revisit the moments but it’s hard to say exactly.

KL You know, her mother was a Chanel muse when she was a model. Now she does other things, although she still could be a model because she has a timeless attitude. But I think Violette is perfect for a new generation to show what class

and style are without being tacky. It’s the French elegance of tomorrow.

VU But it’s Karl who’s creating this new generation, and I’m so happy to be a part of it. For instance, with The Little Black Jacket shoot, I went right before Elle Fanning and she impressed me so much. She was more or less my age and I came away thinking, I hope I didn’t mess up! And I love when Karl does things like putting Cara and Pharrell together. Who would think of that?

Karl, you have had no shortage of muses over the years.

KL Don’t exaggerate.

VU But this is why I feel so honored.

KL Violette is a French version of a Cara Delevingne in a calmer way. But also, she’s younger. It’s inspiring to have someone who is not yet seen all over the place.

Violette, did it feel natural for you to pose with Karl?

KL Of course.

VU Of course for you! I wasn’t necessarily stressed, but I was aware that this wasn’t something entirely normal and that I was there with Karl Lagerfeld.

KL I hope you don’t see me as Karl Lagerfeld; I hope you just see me as Karl.

VU Yeah, but still…

Violette, how does Chanel register to you and your friends?

VU With the most recent show, the Chanel protest, I think that was totally infuenced by street fashion, but you can still see the workmanship from the Chanel atelier. That’s the magic of it. I mean, of course, for my friends and I, Chanel is something that you initially think is out of reach. But then it’s there on Instagram, being worn by all the people we admire. We might not be wearing it to school yet, though.

That’s a bit much.

KL Today, 15 is not even that young and people this age are so much more interested in fashion because there’s an easier approach. It’s a normal evolution in today’s world of images and selfes and whatever other communication. But it’s important that there are girls who can represent this evolution in a good way; they don’t have to be like that French [reality TV star] Nabilla [Benattia]. A little class is needed. Not middle class, just class.

The two of you have something in common. You both like to draw. [I show Lagerfeld d’Urso’s sketch of an elephant, which de la Fressange posted on her Instagram.]

VU I can’t believe you’re showing him my drawing!

KL But you know her mother makes very funny cartoons, too.

You’re doing cartoons or sketches, Violette? Are you going to go to The Académie des Beaux-Arts?

VU No, no. In fact, I’m really not good at doing drawings that are realist. I am better at…

KL Dreamy abstractions?

VU I’m not sure if you’re familiar with one-line drawings where you start with one line and try to create something—this one, well, I might have cheated a little. [Violette shows Karl the sketch.]

KL But that’s very good–pas mal! I like this. It reminds me a bit of Miró’s wire compositions. It’s actually really good!

It’s certainly better than a nature-imitating sketch. Nothing is worse than bad realism. I hate bad reality. Violette, this is something you must pursue.

VU I still can’t believe you showed it to him! It’s just something simple, in no sense sublime.

Karl, have you considered asking Violette to walk in the shows?

KL Yes, except there are French laws that make it not possible. But she comes often to the studio during collection time. She’s very at ease there because everyone likes her and apparently she likes them, too.

VU Everyone is always so welcoming and kind. Each time, I realize it’s not ideal to have this 15-year-old girl who comes in and looks around at everything.

KL But it’s cool and relaxed, no?

VU It’s awesome!

Karl, how do you imagine Violette when she’s 20?

KL I don’t think she will change much. I think her proportions are perfect like this. Those Eifel Tower girls are a little diffcult. You’re taller than your mother already?

VU I measured myself in the infrmary at school today. I’m 1.75 meters [5 foot 9]; my mother is 1.80 [5 foot 11].

Violette, are you going to tell your friends you were doing a shoot with Karl Lagerfeld instead of doing your homework?

VU No. Maybe. We’ll see.

It will be nice to remember this moment 10 years from now.

VU I hope there are many others between now and then.

KL Me too. Let’s not wait 10 years!

karl lagerfeld and violette d’urso in paris, january 2015 PhotograPhy karl lagerfeld fashion anna trevelyan violette wears clothing, shoes, and accessories chanel karl wears clothing his own

Makeup Lloyd Simmonds (Tim Howard Management) Hair Mehdi R’Guiba Model Violette d’Urso (Viva Paris) Digital technician Ludovic d’Hardiville Photo assistants Xavier Arias, Ben Sollich, Olivier Saillant Stylist assistant Natalie Fadugba Makeup assistant Samuel Rufn Hendrix Retouching Ludovic d’Hardiville Butler to Mr. Lagerfeld Frederic David

Violette d’Urso could be doing her English homework.

Instead, she has a rendezvous at Karl Lagerfeld’s photo studio on Paris’s Left Bank. D’Urso, who is the daughter of veteran muse and Parisienne par excellence Inès de la Fressange, insists her mother has given her no tips on posing in Chanel alongside Lagerfeld himself. But then, the 15-year-old has already appeared in Vogue Paris and Lagerfeld’s 2012 La Petite Veste Noire photo exhibition. For two seasons, she represented the young girls’ label Soeur, and at 10, starred in a shoot for the children’s magazine MilK. (The highlight? Keeping the Marinière T-shirt.) Society photos capturing her with her mother and older sister, Nine, go as far back as 2002. These days, they attend the Chanel shows en famille.

As we wait for Lagerfeld to arrive (he is over at Rue Cambon doing an haute couture ftting), d’Urso is dressed in Look 45 from Chanel’s S/S ’15 collection. She sets aside her book, L’Adversaire by Emmanuel Carrère, to answer some questions with sparkle and others with a shrug. Most notably, she says that visiting the Chanel atelier is an “awesome privilege.” Even when Lagerfeld gifts her the new Girl bag, a fun, adjustable style that resembles a tweed jacket, she thanks him repeatedly while clearly reserving her excitement.

As they begin to pose à deux, an audience that includes her mother and Lady Amanda Harlech observes and approves.

Between takes, Violette difuses her energy by mildly dancing. After the camera fashes cease, Lagerfeld insists we look through photos of his godsons, Hudson and Jameson Kroenig. Hudson, after all, has appeared on the Chanel runway with his model father, Brad, since the age of two (he’s now seven). Karl then shows us the latest photos of his precious cat, Choupette, at which point d’Urso enthusiastically suggests, “Next time, it should be Hudson, Choupette, et moi!”

She just might be onto something. amy verner

ralph & ricky lauren

It’s easy to say that Ricky Lauren, Ralph Lauren’s wife of 50 years and mother of his three children, is the designer’s muse.

And in a sense, she is. “Her natural beauty and personal style have a timeless spirit that continues to inspire me,” Ralph tells V. In his eponymous 2007 Rizzoli tome, which, as it happens, is dedicated to his spouse, Ralph goes even further, explaining that he sees Ricky as the perfect woman. “I’ve always loved the girl in the convertible with her hair blowing in the wind,” he writes. “When I started to design clothes for women they were for that natural girl. I didn’t like the girl with all the makeup and high heels. I liked the girl in jeans and a white shirt with rolled-up sleeves, wearing her boyfriend’s jacket.

That’s the girl I’m attracted to. That’s the girl I married—Ricky.”

Makes you get a little misty-eyed, doesn’t it?

Few women carry Ralph Lauren’s pristine-yet-laid-back Hamptons country club looks, rugged-but-dapper Western wares, and equestrian-inspired ensembles quite like Ricky.

One would imagine that the Lauren family photo albums look much like Ralph Lauren catalogues—a denim and cowboy hat–clad Ralph, his piercing eyes staring at the camera, embracing sons David and Andrew and daughter Dylan at their 17,000-acre Colorado ranch; Ricky garbed in blue jeans and a button-down while sitting on the ground outside the family house in Montauk; husband and wife at a black-tie afair, Ralph wearing a slick RL tux, Ricky in a stunningly simple tux of her own. “I always thought a woman in a tuxedo was sexier than a girl in a gown,” Ralph notes in his book.

Photographer Bruce Weber, who helped mold the Ralph Lauren image while shooting many of the brand’s ads, has captured quite a few intimate Lauren family moments. “We just went out and shot as a family,” Weber, speaking of his early experiences lensing the Lauren clan, told V back in 2007. “It was a family organization. It wasn’t like The Sopranos. It was more like Falcon Crest, and [Ralph] was the father.”

Of course, Ralph campaign stars like Linda Evangelista, Gisele Bündchen, and Naomi Campbell looked striking in the label’s designs, but Ricky gives them life—she wears them with an authenticity and pared-down elegance that makes her husband’s garments seem more fantastically real than any seasoned supermodel could.

So sure, Ricky is a muse (she does have a Ralph handbag named for her, after all). But it seems clear that the couple’s life together has infuenced Ralph just as much, if not more, than Ricky alone.

Ralph Lauren (née Lifshitz) met Ricky Anne Loew-Beer in an unlikely setting—an eye doctor’s ofce where Ricky was working as a receptionist—in 1964. Their frst date involved sipping cofee and Ricky reciting Chaucer, and they tied the knot six months later. In the beginning of their marriage, Polo Ralph Lauren was but a necktie business.

It was because of Ricky that Ralph decided to venture into womenswear. “Not long after we met, we went to an old riding apparel store and I bought her a boy’s tweed hacking jacket,” Ralph recalls in his book. “It ft her beautifully, and everyone asked about it. That’s when I decided to do women’s clothes. I liked her style.” Oh, and that lucrative Ralph Lauren Home line? That came to be because when Ralph and Ricky were furnishing their frst house, they were disappointed with what the market had to ofer. RL’s home range is comprised of their dream furniture, sheets, accoutrements, and beyond.

Then there’s the children’s collection. Want to take a stab at why that was realized? The pair wanted to dress their sons and daughter in the same style of clothing they wore themselves (think patched jeans, vintage fannel shirts, and cowboy boots), but Ralph and Ricky felt these types of duds weren’t as readily available for tykes as they should be. Thus, the children’s division was born. With all that in mind, it’s plain to see that it’s not just Ricky who inspires Ralph’s designs and projects—it’s their lifetime of shared experiences.

Ricky has said that Ralph is her anchor. That may be so.

But she is the wind in his sails. And together, they’ve built an American dream all their own. Katharine K. Zarrella

PhotograPhy Bruce WeBer

tom ford & carine roitfeld

“Once you start to be a muse, you cannot stop being a muse,” says Carine Roitfeld. She would know. Throughout her career, the CR Fashion Book editor-in-chief has famously worked with heavy hitters including Karl Lagerfeld and Riccardo Tisci.

But early on, before she became widely known as one of the industry’s most prolifc stylists and consultants, it was Tom Ford with whom Roitfeld was most closely linked. Their singular, enduring collaboration is one that continues to intrigue industry insiders and fashion obsessives alike.

After the pair met in Mario Testino’s Paris photo studio in the early ’90s, they became inseparable. The look Roitfeld wore during that frst encounter—black Helmut Lang leggings, a slinky top, and slingback heels, the straps of which she stepped on—is still burned into Ford’s brain. He even had models wear their shoes just as Roitfeld did that day during one of his runway shows. The ’90s Gucci girl was very much about the Roitfeld look—simultaneously strict, efortless, and seductive—and together, Ford and Roitfeld redefned sex appeal (think porno-chic and that Gucci ad— the one in which the model has a “G” shaved into her youknow-what). “In life, and especially in fashion, there are but a few people with great talent, and you feel blessed when you meet them,” Roitfeld says. “To work in this world, you need to be surrounded by people who trust you, believe in you, and follow you. Tom and I are both Virgos, and I really believe in the zodiac. I believe in him. I always did. I am thankful for the day we met and for our Virgo collaboration for all those years—10 at Gucci and 5 at Yves Saint Laurent.” The editor and stylist adds that Ford isn’t just a great creative partner.

“He’s my best English teacher, too!”

“The most amazing thing about Carine—and there are many amazing things about Carine—is her ability to bring out the best in everyone that she works with,” says Ford, who, more than 20 years after their initial meeting, still names Roitfeld as his muse. “If you look at a photographer’s work, for example, his best pictures will be the ones that he has taken with Carine. If you look at a designer’s work, their best shows will be the ones that Carine consulted on. Carine helps everyone that she works with become the best versions of themselves.

She often will look at something that I have done and say, ‘Tom, but this is not you,’ or, ‘Tom, now this is you,’ and usually she is absolutely right.”

Ford and Roitfeld’s working relationship still fourishes, provokes, and inspires—it’s worth noting that the duo gave model-of-the-moment Gigi Hadid, whom Roitfeld helped skyrocket to stardom, her frst major campaign when they tapped her to be the face of Ford’s S/S ’14 eyewear. But Ford and Roitfeld also share a sincere personal bond that goes beyond ad campaigns, editorials, and fashion shows. “People don’t realize that in the fashion world it’s possible to make true friendships,” Ford said when presenting Roitfeld with a Daily Front Row Fashion Media Award in 2014. “She is also one of the most loyal people that I have ever known, and that, for me, is incredibly important, especially in an industry that is not always known for loyalty,” he tells V. According to Roitfeld, the feeling is mutual. “Tom is talented at everything he touches, and our relationship has always been proof of our strong, loyal, and timeless friendship,” she insists. “It’s a proof of love. Friendship in fashion is rare, you know? And even when we work hard, we laugh a lot. We have something unique when we are together.

We sometimes don’t even need to talk…he knows me so well. Nothing has changed over the years, except now I am grandma of my beautiful Romy, he is dad of his little Jack.

One day, I’m sure they will meet.” Wouldn’t that be a match made in fashion heaven? Katharine K. Zarrella

illustration donald robertson

FRANCISCO COStA & CAmIllA NICkeRSON Many are familiar with Francisco Costa’s garments at Calvin Klein Collection. Anyone lucky enough to possess them in her wardrobe is aware of the creative director’s strengths: edgy minimalism, deconstructed fabrication, and a disarming elegance that betrays the garments’ inherent brutalism.

Fewer are acquainted with Camilla Nickerson, the discerning Vogue contributing editor who styles each show and helps guide each collection from its creative inception to completion, her relentless sense of modernity a constant fountain of inspiration for the designer. To see Costa and Nickerson at work is to bear witness to two friends having a laugh. On set with Mario Sorrenti, there is a calm sense of ease, a no-nonsense approach to getting the shot, and an unencumbered physicality between the two. It’s clear that no creative boundaries seem to exist between them, as they explain casually over a smoke or two in SoHo one brisk Friday morning. PAtrik sAndberg

because I think if something’s timeless, it’s not so good at times. She’s so modern and so current and so alive, being a mother, being a friend, having a full life. That’s the customer I want to have, somebody who has all her qualities.

CN I’m told the customers smoke. [laughs] Once the collections are of the runway, how do the clothes ft into your life? Do you have a favorite piece from over the years that you still wear?

CN I continue to wear all the pieces and they totally ft in and they morph, and they return. They’re treasures in my cupboard. They come back, but they’re always there. It’s very easy and I feel very lucky that I can walk out wearing them!

That’s a huge bonus.

FC I wish everybody had what I think we have because it’s beyond special. She’s very observant but she’s not an observer. You know? There’s a tremendous amount of respect for the months of creation…the process. She goes in and pins the clothes. She’s really a part of what I do.

CN But also, with Calvin, a piece might look simple in the end, but to get that piece to say what you want for that season is incredibly hard. It comes from the way in which the clothes are put together, how they’re constructed, or how they’re deconstructed or painted, or frayed. I think if I said to Francisco, “I think we should shoot every piece with bullets,” he’d do it. [laughs] I feel privileged to get that chance to defne that moment every season. What is it to be today? Why is this coat oiled, soft, fraying? Do I wear it like a sweater? Why do I want that comfort? Why do I want that protection? Francisco is so brilliant at evoking that, it’s amazing.

FC It’s very fun and I’m very lucky to have found this space for communicating visions and executing them. I get to do it in the best way and in a great setup.

Supposing that you ever stop working, do you get to spend time together outside of the studio?

CN We’d like to!

FC Should we go to lunch?

CN No, we’re going to the studio.

camilla nickerson anD francisco costa in new york city, january 2015 PhotogrAPhy mArio sorrenti camilla wears sweater CAlvin klein ColleCtion Pre-fall ’15 leGGinGs anD sHoes Her own francisco wears clotHinG CAlvin klein ColleCtion

Hair (Camilla Nickerson) Shingo Shibata (The Wall Group) Photo assistants Lars Beaulieu, Johnny Vicari, Felix Kim Printing Arc Lab Ltd.

The two of you work together every season. I’m curious to know when you frst met and what your impressions of each other were.

FRANCISCO COSTA Camilla came to the showroom to look at a collection and I took her through. Of course, I was totally taken by her and she was totally taken by the collection. It was the [F/W ’07] collection that was very structured, all navy, all black. She was talking about the layers of these colors, what have you. She was very appreciative of all the work. I almost wanted to ask, “Okay, wanna work together?” But I didn’t! [laughs] I was intimidated. Do you remember that?

CAMILLA NICKERSON I do.

Camilla, what was your impression of Francisco?

CN Immediately that he was incredibly warm, very sensitive, and open. He’s really remarkable and he allows for you to say anything. So instead of ever feeling judged, you can just throw anything out there and you never feel intimidated in any way. It makes for the most incredible sharing, and exciting collaboration. It’s really, really special.

What is the craziest experience you two have had?

FC Many! What isn’t crazy?

CN It’s all crazy! But it’s an incredibly close relationship and there’s a lot of trust. We see one another at our roughest and most ecstatic and the most amazing thing about Francisco is that he’s always the gentleman.

FC I think it has to do with the person you work with. It goes beyond relationships, because obviously there’s trust, but it’s

her incredible eye and incredible intellect. How could you not rely, how could you not believe, how could you not trust when there is so much passion, so much love, and also so much intelligence? It’s beyond her being just so beautiful, you know, and when she walks in, you know it’s right. I don’t know if it’s the beginning of the end or the end of the beginning. It’s just one very amazing fow and she is my extension.

I trust her judgment 100 percent.

CN I read something yesterday, it was like, this book I’d been given about health and things. It said, “Be careful. Don’t eat gluten. Make sure you spend 10 minutes every day doing something you love.” And I was like, but I do something I love all day every day! And then it said, “Make sure that you spend time with the people you love.” And I’m like…I spend all day with people I love!

You must be really healthy!

CN [holds up her cigarette] Incredibly healthy! [laughs] But it’s true. We’re so lucky. To understand the design process…As an editor, you judge too quickly. Like, Oh well, I don’t like that jacket or, Would I wear those jeans? So, to see the workings of a studio and to see the studio that Francisco has built is extraordinary. He has an amazing team but it has grown and grown and grown and to have that here in New York is exceptional. It means that the clothes can be touched and brought to life in a way that if they were ever to be made in another country and then arrive, you have to just deal with what you get. But instead, with his passion, Francisco has built this extraordinary design room, which you don’t fnd anywhere in the world. It’s great, it really pushes the boundaries.

How much time do you spend there? Are you involved with the designing of the collection from its conception?

CN Yeah, we see each other throughout the season and it grows and changes and grows.

FC That’s the greatest thing. We have the capacity to be able to make changes and to keep improving on the project. It’s very organic. I think we feed of of each other. You know, it’s really a conversation, it’s totally collaborative, and there’s a sense of vulnerability too, which is great. It makes you just express and not be judged. I give credit to her forwardness. I can’t know how a woman feels in the clothes, and just having her there is fundamental. She can understand what a woman would like. It’s very important to connect.

How does Camilla embody the Calvin woman, apart from her integral part in shaping the collection?

FC Her sense of modernity. I hate to say timelessness

DONATELLA vErsAcE & JENNifEr LOpEz

Donatella Versace has many muses, her S/S ’15 campaign star Madonna among them. But her creative and personal relationship with Jennifer Lopez is particularly close to her heart. Who could forget when J.Lo donned that daring, skin-baring tropical-print Versace gown to the Grammys in 2000 and the pair made pop history? And you’d be hard-pressed to attend a Versace show without seeing Lopez in the front row. “Donatella is fabulous,” says Lopez. “She honors what makes a woman feminine and sexy.

We have been friends and collaborators since my frst red carpet fashion moment in 2000. Donatella’s designs and creations defne the best of classic Hollywood glamour and iconic rock-and-roll style, and she has upheld and modernized the House of Versace tradition in a way that no one else ever could.” As the designer explains to V, their bond is one for the ages. KATHARINE K. ZARRELLA

How did you and Jennifer frst meet?

DONATELLA VERSACE Jennifer and I have been friends for such a long time. We frst met around the time she appeared in the movie Selena. She wasn’t so well-known at the time, but I was immediately captivated by her beauty and personality. I invited her to Paris for couture, and she has been part of the Versace family ever since.

What makes Jennifer the ideal Versace woman?

DV Versace is about strength, individuality, and power. It’s also about loving life, making the best of every moment, and being true to who you are. This is how I defne Versace, and it’s also how I defne Jennifer. She has so much passion, energy, and charisma. She’s also so much fun to be around.

What is the most memorable moment from your and Jennifer’s long friendship?

DV It’s always fun with Jennifer, whatever we’re doing. I remember one time she came to Milan with the twins. It was so lovely to spend family time with her and to see her as such an adorable, sweet mother. She was here for a ftting, and as soon as she went to the other room and put on the gown, she became the glamorous diva. It was two diferent sides of her character, and she could be both and yet completely true to herself.

What role have muses like Jennifer played throughout the course of your career?

DV Muses have always been a part of the legend of Versace, in many senses. Greek and Roman mythology is part of our DNA, and the impossible beauty and presence of the classical muses is always in the codes of the house. Celebrities are the modern-day muses, and they have been part of Versace from the very beginning. To me, a muse is an ideal—a perfection of beauty, allure, and glamour.

I have to ask about the plunging emerald Versace gown that Jennifer wore to the Grammys in 2000. Did you know when you were creating that gown that it would become such a massive pop culture moment?

DV That was such a special moment, for Jennifer and also for myself. I knew we had created an incredible dress, something that had never been seen before. I wanted to use the Versace print in a new way, revealing so much of her incredible body, yet also draping her like a gown. Jennifer had just had her frst smash hits as a pop diva, and she had such an incredible new confdence.

She looked so radiant in the dress, like she ruled the world.

What was Jennifer’s reaction to the gown?

DV We both had exactly the same reaction. Neither of us could believe what we’d started, or the mania that it caused. We both laughed so much, because it was so completely unexpected.

I was so proud of her, and excited for the success that she deserved so much.

How has your and Jennifer’s relationship evolved over the years?

DV We have been friends from the beginning. She will always be there for me and I’ll always be there for her. It’s simple.

You have featured some of your muses, like Lady Gaga and Madonna, in your campaigns. Would you ever consider putting Jennifer in a campaign?

DV Campaigns are something that happen very naturally—there are no big plans or schemes. If the moment is right, both for Versace and for Jennifer, then of course!

jennifer lopez and donatella versace in paris, july 2014 pHoTogRApHy RAHI REZvANI jennifer and donatella Wear clotHinG vERSACE

joseph altuzarra & vanessa traina

“Vanessa was there from the very beginning,” says Joseph Altuzarra of his muse, Vanessa Traina. “She’s part of the Altuzarra DNA.” The friends and collaborators (along with Melanie Huynh, Traina styles and consults on Altuzarra’s collections) have been joined at the hip since meeting in Paris nearly a decade ago, and together, they’ve evolved from two ambitious kids into two industry infuencers. When out on the New York events circuit, the pair is rarely apart.

They’re constantly texting each other with fresh ideas (sometimes in the middle of the night), and in the weeks leading up to any of Altuzarra’s shows, one can bet that the pals are agonizing over the lineup, casting, music, makeup, and beyond ensemble. “We go through the whole creative process together,” Traina says. While sitting in Altuzarra’s New York studio, the duo divulges why working side by side feels so right. Katharine K. Zarrella

How did you two frst meet?

JOSEPH ALTUZARRA We met through a mutual friend. God, how long ago? Maybe…

VANESSA TRAINA Eight years ago. It was just before I started working at Vogue Paris.

JA And I was still working at Givenchy. We met over drinks in Paris at Bar Matisse, and it was just one of those meetings. We really liked each other immediately. I felt like she was this kindred spirit.

What were your frst impressions of each other?

JA Nessy was wearing the most amazing outft. She probably remembers it better than I do because she remembers all of her outfts.

VT I was wearing that gold-studded Givenchy jacket.

JA Yes! Actually I will tell you her most memorable outft. We both moved to New York at the same time.

VT We were on the same plane.

JA And obviously I’m wearing sweatpants or some awful thing.

And Vanessa is literally wearing those 15-inch Balenciaga platforms. I remember those shoes so vividly because they were the most uncomfortable-looking plane shoes. I was like, “I cannot believe you wore this on a plane.”

VT That was when I was young and agile! Now I wear, like, car shoes or something.

How did you get from meeting at a bar in Paris to working so closely together?

VT Well, in the beginning, Joseph’s operation was really small.

He was already working with our other great friend and collaborator Melanie Huynh. I think Joseph had just gotten his frst samples and they were doing a ftting, and they asked if I would come and be the ft model.

JA And from the beginning, I really wanted Vanessa’s feedback, as a friend and as a collaborator. It was very organic.

Obviously now it’s much more organized and systematic, but I think the whole spirit of the way Vanessa and I work together is very collaborative. We listen to each other.

VT It’s a very constant stream of creativity as well. We don’t only talk and work on a scheduled basis. There are text messages at 11 PM with, you know, some epiphany.

JA She’s more than family. Her identity is part of Altuzarra.

And I think that makes it such an easy conversation to have, because when we talk about clothes and we talk about what we want to do, there’s never a moment we doubt if something does or doesn’t feel right.

How would you describe your creative process?

JA We really like to play. We try diferent things even if we’re sure they’ll look weird. Because sometimes, something happens and it’s a mistake but it looks cool. And one thing that comes from us being so close is that we’re very respectful of each other’s ideas. There’s no judgment. It’s a very easy, open dialogue.

Vanessa, as a stylist, how do you relate to Joseph’s clothes and aesthetic?

VT Not even as a stylist, but just as a woman I really relate to Joseph’s clothes because he designs for a woman. There’s something dangerous about his designs, but they’re also very empowering and feminine. I think every woman can fnd something of herself in his clothes. They feel natural when you’re wearing them and there are so many pieces every season that can work in anyone’s life seamlessly.

Joseph, what about Vanessa do you fnd so inspiring?

JA One of the things that’s really special about Vanessa is that she’s more than a stylist. She’s really like a creator who has a very strong vision and she has very strong ideas about aesthetics and what’s going on in the world. And you know, it’s been amazing to be a part of each other’s growth, and to see how far we’ve come. Being a part of this process together is really special.

What do you crazy kids get up to when you’re not working?

JA We eat a lot of sushi together.

VT We eat a lot of sushi, drink a lot of tea. We’re both very similar in that we’d rather be cozy at home on a couch chatting for hours than out at a bar.

Will there be a Nessy bag in the future, or something of that nature?

VT I think there’s a Vanessa shoe.

JA There is. It’s the pointy slide with a high heel. And there are pants.

Is there anything inherently Vanessa about them?

JA They are very Vanessa. I think that they remind me of Vanessa. But they’re…

VT You just need a lot of names for all the pieces!

JA No! They are very Vanessa! And I will tell you, they’re our best sellers.

joseph altuzarra and vanessa traina in new york city, january 2015 PhotograPhy matthew sProut joseph and vanessa wear clothinG their own

Makeup Kara Yoshimoto Bua (Starworks) Hair Robert Vetica (The Magnet Agency) Digital technician Chad Meyer Photo assistants So Yoshimura and Richard Higashi Stylist assistant Brittny Chapman Production HMS Production Location Smashbox Studios, Los Angeles

jason wu & diane kruger When Jason Wu has a secret, like, say, he’s thinking about taking a major job at German house Hugo Boss, he tells actress Diane Kruger. “She’s such a good friend, and I trust her and respect her opinion,” Wu says. And that’s not just some PR drivel. Wu and Kruger literally fnish each other’s sentences. Both are driven individuals with rather serious public personas, but when they’re together, it’s all jokes, laughter, and, as this interview will soon prove, champagne.

Having championed and inspired Wu since the early days of his eponymous line, Kruger has gone on to support Wu in his relatively new role as the creative director of BOSS. (She turned out in full force to cheer him on at his debut show last year.) And when Wu designs, it’s with Kruger—or women like her—in mind. Just before rushing of to a party in L.A., the friends take a moment to reminisce about their frst encounter and one thoroughly hilarious hangover. KATHARINE K. ZARRELLA

Tell me, how did this relationship develop?

JASON WU We were very close in the beginning of my career.

Diane had requested a dress for the Cannes flm festival, and then I… DIANE KRUGER You just showed up!

JW Yeah, I just showed up with it.

I’m sorry, you just showed up at Cannes to deliver the dress in person?

JW Yeah! I was always a fan, and I just felt like, Okay, if she’s pulling something then I need to go and ft it myself.

DK It was so sweet of him. And now, years later, he’s my best friend.

JW Diane was actually the frst person I asked when I was approached to be the creative director at BOSS. Really?

DK Yeah, it’s true! At frst, I didn’t see the connection because Jason’s stuf is so feminine. I mean, I’m German, and I was like, “Are you sure? Are you going to make suits?” But after I went to the frst show, it seemed like such an obvious collaboration. It’s been interesting for me to see his work at BOSS evolve, and I’m really proud of him because I think he’s managed to shake up the house and maintain its core values, which is really hard to do.

Jason, what’s the best advice Diane has ever given you?

JW Don’t get drunk the night before the Met Ball.

What? Please explain.

JW Well, one year, the night before the Met, we and our other halves were going to have a quiet dinner, because I was dressing Diane for the gala. But it turned into…

DK A 10 bottle…

JW Extravaganza!

DK And then the Met Gala came around, and we were so hungover.

So other than throwing accidental champagne parties, what do you two like to do together?

JW We have this annual thing with our other halves. We all go to Coachella. It’s really fun because it’s not about fashion.

It’s not about anything we do. It’s just like…

DK Silly.

JW I had never been before and one year Diane was like, “Come!” and I was like, “Uh, I don’t know…it’s not very me.”

DK To be fair, if you knew me well, you would never think I would go to Coachella. But it’s one of those things where once you go, you’re hooked.

How would you describe your creative relationship?

JW Well now everything is by e-mail. We’re really quick. She understands me and I understand her. And she’s her own stylist, so it’s very direct and simple. A really good example is the SAG Awards dress, the yellow one, that I made for her.

We did it through two or three sketches and a phone call.

And then I sent it to you and that was it.

Diane, what draws you to Jason and his clothes?

DK Jason really loves classy, confdent women who can dress and I love his old-world approach. It’s refreshing to see that in a young designer. All of his designs scream luxury, but in a very wearable manner. They all have exquisite fabrics and attention to detail. I love the way they make me feel! To me, his clothes are timeless and they’re go-to pieces in my closet. Jason is a wonderful designer and a truly good and fun person. He’s generous to a fault, and if I could, I’d fold him up and put him in my suitcase wherever I go!

What do you admire about the way he works?

DK It’s easy for him. Or at least he makes it look easy. He loves women, he loves women who are ladies. Or at least women who are dressed like ladies. Belle de Jour, anyone?

And Jason, what about Diane do you fnd inspiring?

JW She’s a woman who’s multifaceted, has a lot of talent, great taste, and a great sense of herself. I think that’s not a quality you always fnd. She’s obviously beautiful, but her sense of herself is what’s really inspiring. She knows exactly what she wants. There’s no gray area with her.

So what, for you, makes Diane a muse, rather than just a friend who wears your clothes?

JW We’ve worked together for many, many years. She supported me with my own brand and now she supports what I do at BOSS. She’s always been kind of a muse because she has great feedback when it comes to wearing clothes. And if I’m making something for her, she is the most involved person.

It’s almost like working with another designer, and I love that creative energy. And you know, dressing people today has become very commercial, so having authentic relationships is really important—it’s important that a designer and a muse have a relationship beyond the red carpet.

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