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Made in Hollywood. Three words that instantly signify creativity, inspiration, and glamour. 7Hollywood welcomes you to an avant-garde view of the world’s dream of style, art, and culture. Seven covers with seven stars to fully convey the glittering constellation of our unique universe. 7Hollywood’s Fantasy issue examines the beauty, depth, and vision of the world’s dream factory and its unparalleled grasp of glamour and innovation. We celebrate largerthan-life visionaries that opened new artistic and cultural boundaries—including fashion titan Karl Lagerfeld, music innovator Courtney Love, and iconic stylist Carine Roitfeld. There’s also a new generation of cultural personas, including Elle Fanning, Jared Leto, Laetitia Casta, and Irina Shayk. Memorable, bold, and adventurous, they are destined for greatness. Like Jean Cocteau’s 1949 film Orpheus, we invite you to cross over to a surrealist realm by entering a mirror: escape and explore an exceptional world like no other. Welcome to 7Hollywood. Barbara Baumel

Editor in Chief


PUBLISHER Elie Wizman EDITOR IN CHIEF Barbara Baumel CREATIVE DIRECTOR Alix Malka CONTRIBUTING CREATIVE DIRECTOR Teal Thomsen PHOTO EDITOR Susie Im FASHION DIRECTOR Elizabeth Stewart FASHION EDITORS Zanna Roberts Rassi, Catherine Baba, Davina Lubelski, Jenny Brunt, Tanya Gill, Taryn Shumway MENS FASHION EDITORS Rufus Kellman, Sean Knight DEPUTY FASHION EDITORS Jordan Grossman, Tess Callner, Jessica Palardy, Kyle Smith, Nathalie Scicolone CELEBRITIES PROJECTS Rick Ferrari EDITORIAL DIRECTOR AT LARGE Rose Apodaca CULTURE EDITOR Roberta Cruger FEATURES DIRECTOR Craig Stephens CONTRIBUTING EDITORS Godfrey Deeny, Patrick Hourcade, Hiko Mitsuzuka, Kyle Roberts, Sarah Svetlana Levis COPY EDITOR Rick Balian SENIOR GRAPHIC DESIGNER Danielle Fleishman CONTRIBUTING GRAPHIC DESIGNER Andrea Williams VISUAL DESIGNER Chris Sabalburo DEPUTY PHOTO EDITOR Jordan Ritz PRODUCER David Ohayon ASSISTANT TO THE PRODUCER Tiffany Manning, Angelica Aguallo PRODUCER NEW YORK Kranky Produktions, Nathalie Akiya ARTISTIC PRODUCER PARIS Agnes Barbier ADVERTISING USA Kathleen Delaney ADVERTISING EUROPE Veronique Helliot EUROPEAN REPRESENTATIVE Helen Kupfer DISTRIBUTION David Renard DISTRIBUTORS Speedimpex, Comag SYNDICATION H and K Paris SOCIAL MEDIA Arizka Sehoko FINANCIAL CONTROLLER Michael Ullman, Platinum Financial Management, Inc. PRINTING Clear Image Printing Company, Inc. RETOUCHING Ashley Thomas, Christine Chapman, Garret Suhrie, Grace Kathryn, Renato Sampaio at Lunatix

SPECIAL THANKS TO Quixote Studios, Milk Studios LA/NY, Siren Studios ACKNOWLEDGEMENTS: Daniel Rafanan/Diane Suarez/ Shaun Murdock/Steve Erle /Donato Sepulveda /Mikel Elliott /Rebecca Cabage /Amanda Kretzmann/Christine Hunt / George Kirellos /Alberto Tolot /Carlo Dalla Chiesa /Vikas Vats /Giuseppe Rinaldi/Shaun Murdock/Aly Cayer/Anthony Cabero /Gila Christie /Monica Mcdonald / Carlos Clemente /Agnes Barbier/Alek and Steph/Anthony Petrillose at Rizzoli/OUTNEXT/Alexis Page /Bradley at Next Agency/Brent Lee /Geraldine at H&K/ Monique Kouznetzoff/Micha Kouznetzoff/Jean Francois Soler at Station Service /Julie Mattei/Phira at PhotoGenics /Lucien Pages at Lucien Pages Communication/Tamara Dolgieva at Lucien Pages Communication/Mauricio Padilha /Stefano Poli Digitart–Paris /Universal Studios Hollywood/Wendy Chemla at B.C.G. /MAC Cosmetics /Ali at Women Models / Charly and Steve /Opus Beauty/Christophe de la Taillade /Clarins Group /Cindy Carrandi/Evelyne /RVZ/Frederic and Nathalie /Florence Muller/Franceline Prat / New Madison Paris /Greg /Jelka Music /Jerry Kubuk/Photogenics /Shelby/Milk Digital /Sherry Appleby/Shirley Briswalter/Stefano Poli/Digitart Paris /Summer Parker/ Thomas Moore. ERRATUM 7Hollywood Issue 1. Fall /Winter 2012, Our Apologies to Ms. Ruby Stewart whose portrait was miscredited on page 59. COPYRIGHT © 2013 7HOLLY WOOD THE MAGAZINE IS PUBLISHED T WICE A YEAR BY ELIE WIZMAN, LLC. All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publisher. The views expressed in the publication are those of the contributors and are not necessarily shared by the publication. The publication accepts no responsibility for the loss of or damage to photographic works, artwork or manuscripts. TO GET MORE FROM THE WORLD OF 7HOLLY WOOD, GO TO HTTP:// W W W.7HOLLY WOOD.COM

COVER CREDITS: KARL LAGERFELD : Photographer Karl Lagerfeld. CARINE ROITFELD: Saint Laurent gown. Photographer Sebastian Faena. LAETITIA CASTA: Givenchy bracelets Alaia leather belt. Photographer Alix Malka. Fashion Editor Catherine Baba. JARED LETO : Rick Owens t-shirt Stephen Webster necklace. Photographer Alix Malka. Fashion Editor Sean Knight. ELLE FANNING : Chanel Haute Couture 2014 dress and belt. Chanel Fine Jewelry collerette necklace in 18k white gold, diamonds and black diamonds. Photographer Alix Malka. Fashion Editor Zanna Roberts Rassi. IRINA SHAYK: Versace jersey and leather dress. Photographer Alix Malka. Fashion Editor Barbara Baumel. COURTNEY LOVE : Saint Laurent bra and necklace. Photographer Alix Malka. Fashion Editor Jenny Brunt.


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FANTASY ISSUE WINTER 2014 14 Glitz 28 Marilyn Monroe 34 Inez & Vinoodh 40 Mugler Follies 42 LV 44 Kiki Seror 48 Patrick Hourcade 50 Pop Icons 58 Alex Guofeng Cao 59 Gaultier 60 Peter Beard 70 Behati 72 Fleur + Manu 78 Fashion Art Deco 80 Noah 86 Oscar Predictions 88 Carine Roitfeld 94 Technicolor 108 Giancarlo Giammetti 114 David Guetta 116 Michael Schmidt 120 Laetitia Casta 128 Karl Lagerfeld 130 Uncle Karl 132 Zahia 136 Mark Shaw

150 Guy Bourdin 151 Tony Ward 152 Elle Fanning 156 YSL 164 Crystal 172 Arianne Phillips 180 Jarrod 192 Irina Shayk 206 Vincent Darre 218 Neon Fantasy 232 Courtney Love 236 Rob 244 Amanda Lear 256 Elsa 264 Rose Apodaca 268 Jared Leto 270 Laura 278 Raja 290 Tim Biskup 296 Bradley 298 The Ruby 310 Bradley 322 Objects & Desires 326 Giorgio’s 330 Shoplist

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left: Shoe sculpture series starring Robert Radding, NYC, 1977 Antonio Lopez


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Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.





7HOLLYWOOD.COM An Avant-garde View on the Worlds of Fashion, Cinema, Music, and Art Culture. iPad® download available in the App Store.

GLITZ Color you can taste. Bright neons, not neutrals, are the foundation for winter. Brighten up the cold with some smoke and bite.



MAC COSMETICS pigments, palettes, paint pots, and more.


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7HOLLYWOOD Winter 2014


7Hollywood pays tribute in this fantasy issue to visionary genius Guy Peellaert, whose mad, gorgeous, cinematic photo-collages broke all rules and crossed all genres, fusing fashion, music, cinema, and photography into a electrifying, erotically supercharged, and emotionally laden dreamland. Hollywood inspired him, he gave it back and it took him in, forever.


n 1973, Guy Peellaert and British rock writer Nik Cohn created the book Rock Dreams, a mad travelogue through the landscape of rock ’n’ roll. It broke all codes, bent all genres, and has inspired fashion designers, photographers, and filmmakers till today. A Pop phenomenon in its own right, the book sold over a million copies and attained cult status. The 125 multiple-layered portraits were inspired by Hollywood classic glamour as well as film noir, pulp fiction, and newspaper and magazine shots. The often-familiar images were cut and collaged, reworked and retouched, painted and airbrushed, photographed and re-photographed into arresting and eerie scenes retracing the history of rock ’n’ roll from the ’40s to the ’70s. Here, dripping with emotion, soul, sex, darkness, death, and defiance are the gods of rhythm and blues, the Stones, Dylan, the Beatles, and everybody who was ever somebody on vinyl. In 20th-Century Dreams (1999), Peellaert and Cohn collaborated again but this time the images were produced on a computer, drawing on sources spanning the entire century. These dreams show an American universe clashing with world culture in different ambiguities. The images are hard-hitting, brash, bloody, and sexy, but also sardonic and violent: the weight of other realities. Guy Peellaert (born in Belgium in 1934) studied fine art in Brussels. That’s where his journey into the American psyche began, as that city was the U.S. gateway to Europe after the war. He read American magazines such as Life, Look, Colliers,


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and of course, Playboy. He discovered Hollywood star imagery through working in advertising for Max Factor. His first direct encounter with American culture would be at a Marilyn Monroe concert for U.S. troops in Korea, where he had voluntarily joined a Belgian battalion. By the ’60s, he was experimenting in all media, driven by unbridled curiosity and a total disregard for labels and genres. “He didn’t even want to be called an artist,” says his son, Orson, who manages his father’s archive. Hip and sophisticated, Guy was up on everything, from Tom Wesselman to Robert Frank and the European art scene. His embrace of Pop culminated in the creation of a graphic novel for adults, The Adventures of Jodelle (1966), a delirious, sexy thriller starring a red-headed bombshell romping through a “Popified” Roman empire*. It was followed by another book, Pravda (1968), which garnered him stellar recognition; Godard even wanted to turn it into a film. Now a member of the Paris scene, he designed sets for the Crazy Horse Saloon and worked on projects in all media with Yves St. Laurent, Cesar, Gainsbourg, and others. Things didn’t always coalesce. He wanted to make “mini films”— the length of a song—with rock stars to reach out to their fans (think MTV!). Colonel Parker even agreed to one with Elvis. These were not to be. Peellaert’s visual ideas and rock and pop narratives had to morph into another form: the idea of Rock Dreams was born, like stills from the unmade films. (An idea that has since been vastly imitated by contemporary artists and pho-

tographers.) He invited budding writer Nik Cohn to Paris; they became friends and labored on projects for the next three years. Peellaert’s parallel universe of hyper-iconizations is powerfully seductive: His heroes morph into mythical creatures, aggrandized by free flowing combinations of beauty and camp, poetry and sex, dark humor, and fetishism, light and death, equally. Mick Jagger got that power and became a huge fan. He showed the stuff to David Bowie, who commissioned a cover for his Diamond Dogs album. Bowie’s body is merged with the lower half of a crouching mongrel whose genitals are plain to see. The record company had the undesirable parts erased for the general release. Peellaert next designed the cover of It’s Only Rock ’n’ Roll for the Stones. The original images of Rock Dreams were shown in galleries in London, New York, and LA. John Lennon (who had framed the cover of the book for himself) acquired one. Jack Nicholson became a lifelong collector. Hollywood had discovered him, too. Scorsese had him create the Taxi Driver poster. He did Wim Wenders’ Paris, Texas and Wings of Desire, and many more. Rock and Hollywood had embraced him as one of their own, and he entered the myths he had created… forever. The Adventures of Jodelle was translated into English by Richard Seaver and published in the U.S. by Grove Press in 1966. It has been re-edited by Kim Thomson and published with an 80-page archive of its genesis in 2013 by Fantagraphics.

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INEZ & VINOODH Dutch-Duo Iconic Visionaries BY JOHN ANDERSON


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“It is typical of the photographic art of van Lamsweerde and Matadin that they urge their image-making to destabilize the pristine surfaces expected of consumer culture; to this end they make use, in turn, of the Gothic, inscrutability, androgyny, comedy, eroticism, surrealism, fantasy, montage, cinema, replication, image manipulation, Pop art, fetishism, and art historical nuance.” Inez and Vinoodh are regular contributors to Vogue Paris, Purple Fashion, W Magazine, and V Magazine. They’ve created iconic advertising campaigns for Yves Saint Laurent, Christian Dior, Gucci, Chloë, Givenchy, Balenciaga, Chanel, Roberto Cavalli, and Viktor & Rolf Parfum. The new trade edition of Pretty Much Everything is by Taschen Publishing.

Left: Kate Moss – Yves Saint Laurent, 2008. Right: Alexander McQueen, 2004.


nhabiting both high culture and the commercial mainstream, the Dutch-born photography duo Inez van Lamsweerde and Vinoodh Matadin are two artists with one vision. Skirting the boundaries of the art gallery and consumer culture, they are causing an international sensation with their innovative images, whether it’s an ad campaign for a familiar fashion brand or a portrait in a haughty gallery. Inez and Vinoodh have been melding the worlds of art and fashion since the 1990s. The pair met at the Vogue Academy of Fashion Design in their hometown of Amsterdam. After careers in and around fashion, they began working formally together as artists. Esteemed British writer, critic, and novelist Michael Bracewell aptly summarizes their work:



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 ombshell: Lost footage of Marilyn Monroe, shot on 8mm film by a teenage fan, was rediscovered over 55 years later and transformed into an exhibit of stunning stills—“Marilyn Monroe: NYC, 1955.” This rare show, curated by Joshua Greene, son of Marilyn’s renowned portraitist Milton H. Greene, is traveling to galleries around the world, along with an exhibition catalog and limitededition prints. Some say she’s never looked more gorgeous. Always sexy, glamorous, yet playful, when Marilyn Monroe arrived in New York City in 1955, she also looked sophisticated and spirited. Sporting a chic fur-trimmed, black cashmere, form-fitting suit and white gloves, she mixed in perfectly in bustling midtown Manhattan, her platinum hair shimmering in the blustery air. On Fifth Avenue for a shopping spree, she stopped at Elizabeth Arden and I. Miller & Sons, flanked by two men—fashion designer George Nardiello, who dressed her in smart dresses and elegant gowns (including the “Happy Birthday, Mr. President” sparkly number at John F. Kennedy’s party at Madison Square Garden) and the celebrated photographer Milton H. Greene, perhaps best known for his prolific photographs with the actress, collected in 52 sessions such as the famed “Black Sitting.” Completely smitten with Marilyn, a 14-year-old boy from the Bronx, Peter Mangone, would play hooky to hang out by her hotel in Manhattan, hoping to catch sight of his beloved movie star. He summoned the courage to ask for her autograph one day. Then, feeling bolder, he returned, armed with a Revere 8-millimeter movie camera snatched from his big brother, hoping to capture an image of his idol. Was he a paparazzi-in-the-making, budding film director, or just a naive fan? As she stepped out of the Gladstone Hotel on East 52nd Street,

his heart leapt. He scurried from his stakeout spot to get closer. When Marilyn recognized her young admirer, she waved, winked, and beckoned for him to follow. “You were here yesterday,” she said. “You had a red tie on…weren’t you cold?” In an instant, his fantasy came true. “I used to get up every morning, dress up, go on the train, cut school, and wait for hours,” he said. “Some days I’d never see her; some days I’d get a glimpse.” On this fateful day, the teenager aimed the lens toward her and rolled. Not knowing exactly how to work the movie camera, he stared at her through the viewfinder, skipping backwards in front of Marilyn in a dance with his dream. Running the film in spurts, footage was shot incrementally over a few hours, seizing seconds of her exquisite face, expressive eyes, and million-dollar smile. Just divorced from New York Yankees center fielder Joe DiMaggio, Marilyn had recently been dismissed by 20th Century Fox Studios for not accepting another dumb blonde role in How to Be Very, Very Popular. At the age of 29, she left Hollywood for New York to fulfill her prospects of a new life and have her talent taken seriously, delving into classes at Lee Strasberg’s Actor’s Studio. She hung out with Brando, Sinatra, and Capote and went to the Copacabana. It was a pivotal, promising period. Her residential suite at the swanky Gladstone Hotel—previously home to both Marlene Dietrich and Gloria Swanson—was close to Milton Greene’s studio on Lexington for their business meetings. Greene encouraged her to launch Marilyn Monroe Productions in an effort to control her own career and choose more meaty roles. They became business partners and together made Bus Stop and The Prince and the Showgirl. While it’s rare to uncover never-before-seen images decades after an icon’s death, it’s a thrill to watch

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(COPYRIGHT 2013, PIETRO INC.) Special Thanks JOSHUA GREENE, Archive Images, exclusive rep for PETER MANGONE, images available at

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“The cliché about the cam era loving Marilyn is true. Eyes on both sides of the lens are seduced by her allure. This time, Marilyn also loves the camera—and her cameraman.”

them come alive again. Marilyn reveals a new dimension in these candid moments with little makeup, looking beguiling, inquisitive, and happy. She gazes up at skyscrapers, whispers to companions, and blows a kiss to her amateur cinematographer, delighted to be documented naturally—not posed as a sexual siren. Perhaps Marilyn appears more romantic because a besotted boy was shooting his fantasy. Is this how Peter Mangone viewed his favorite actress? “It was like re-finding my high school sweetheart,” he said on re-screening the film he’d played nonstop as a kid. “She was just the way I remembered her.” When Marilyn noticed Peter holding vigil outside her hotel with camera in hand, she indulged him. Today, an actress of her stature would likely call the cops, fearful of an obsessed stalker. He never became a filmmaker, but his brush with fame lived on in his career as a hairstylist to celebrities such as Zsa Zsa Gabor and Sammy Davis, Jr. This historic three-and-a-half minute film was thought lost forever. In 2002, Peter’s older brother, Louis, unexpectedly uncovered the film preserved inside a small, orange cardboard Kodachrome box in their deceased father’s Florida condo. Elated, Peter announced the discovery, landed appearances on television, and garnered a New York Times article. The story caught the attention of Joshua Greene, Milton’s son, who was digitally preserving his father’s vast archives, which, besides Marilyn, include photos of Grace Kelly, Elizabeth Taylor, Audrey Hepburn, and many more. Greene proposed the idea of transforming the footage into still frames, and on seeing how radiant Marilyn appeared, he suggested an exhibition. “What appealed to me was its reportage style,” he explains of his vision. Like photojournalism, the backgrounds were filled with street scenes, old buses, taxis, fedoras, and unaware passersby. This project would answer the quandary of what to do with the film, but selecting individual shots from thousands of frames was overwhelming and turning them into art quality prints an immense task. “It’s taken 10 years of work to come to fruition,” notes Greene about his painstaking process and technical challenges. First he bumped the film up to 16mm to increase the size of the negative. Then

he scanned all 5,040 frames of the film, correcting exposures and color with state-of-the-art equipment before making countless tests of various images. To evoke a sense of the film, which was shot at 24 frames per second, he composed a series of diptychs—arranging two carefully chosen images of Marilyn—and quads as well as composite poster-size prints with 48 frames. The larger concept features freeze-frames that convey an intimacy with the legend—glowing in one shot, distracted in the next, making a frown, a pout, a laugh. “They’re selected for visual presence and the mood of the print. Together, the images tell the story and create a work of art in its own right.” As a professional photographer, who began as his father’s printer as a teen, Greene knows the subject all too well, having also worked on Tom Kelley’s and Whitey Snyder’s photos of Monroe. “I’ve become the Marilyn guy,” he says of the timeless beauty who babysat him when he was 3. He notes how her phenomenon has been revived by Elton John, Madonna, and Christina Aguilera. “Marilyn is forever giving. There’s always interest. It’s amazing.” Finally in November 2012, an exhibition of more than 30 prints was scheduled to run at the prestigious Danziger Gallery in Chelsea. Greene also worked closely with James Danziger on the book. The media offered advance praise with glowing reviews. Then Superstorm Sandy blew into town, devastating Lower Manhattan and flooding the gallery. The show was postponed. Just a week before the new opening date in January, Peter died. Though he lived to see his film resurrected, sadly, he was unable to attend the successful exhibits. Like Marilyn, taken too soon. “This is Peter’s legacy,” said Daniel Pye, his partner of 33 years. The posthumous show was also well-received at Galerie Walter Keller in Zürich. It travels next to Chris Beetles Gallery in London and then across Europe. The cliché about the camera loving Marilyn is true. Eyes on both sides of the lens are seduced by her allure. This time, Marilyn also loves the camera—and her cameraman. Limited prints and the catalog are available through The Archives

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Bordas Studio, “Barbara”, “L’Idole”, “L’Autre”.

atrick Hourcade is the consummate Renaissance man. With the ability to invoke a limitless landscape of the imagination, he has received praise and accolades in global circles for his multifaceted talents. A photographer, sculptor, designer, scenographer, writer, art collector, and consultant, Hourcade was also creative director at the eternally iconic Vogue magazine in the ’80s. As testament to his vision and versatility, Hourcade has been lauded for his abilities as an art collector and consultant for Karl Lagerfeld, cited as comparable to Gerhard Richter and Edward Hopper for his fine art photography, and praised for his second exhibition at the Galerie du Passage of an installation of light sculptures. For that exhibition, Hourcade created a dozen lamps titled “Lux Animalium,” produced in patina metal, ancient glass, and alabaster-effect crystal. With geometric constructivist shapes, the animals conjure stories and evoke poetic forms. Hourcade pushes photography to a kind of hyper reality, where they come to look like paintings of photographs. His exhibition on display at in the gardens of the Hôpital Universitaire la Pitié Salpêtrière pushed the limits and boundaries of the medium. The stark, large-format images harness light and angles to create a kind of hyper reality. Hourcade offers trademarked captioning for his photographs, often quoting historical precedents and reiterating his obsession with the concept that “love is anything but easy—or permanent.” Hourcade insists on using large-format prints at his exhibitions, which create quite an impact. Blunt and overpowering, these oversized photographic images stay with the viewer rather than dissolving into the miasma of yet another white-walled waste of 30 minutes. In May this year, Hourcade lent his scenographic skill to the Jewels of the World fair in Baku, the capital of Azerbaijan. Bridging Europe and Asia, the city uniquely combines the grandeur of the ancient world with contemporary glamour and a futuristic skyline. In the fall of 2014, his next project will be an installation in the Palace of Versailles. A stark minimalist in an aesthetic context, Hourcade is equally sparse with his verbal communication. Asked whether he identifies with a particular classic art movement: existentialism, minimalism, or…? Hourcade answers by saying he aligns

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Patrick Hourcade working with Horst at Vogue Studio.

himself with what he calls “Romanticominimalismexistentialorealistico-utopic.” For his creative mantra or approach, Hourcade offers: “Never do what you did yesterday, be honest with yourself, and never stop laughing. Never think twice, and open your eyes as if you are a child.” Stark and minimalist, Hourcade offers vision and originality. The painterly quality of his images invokes the ethereal, instilling the viewer to ponder, not just observe. Asked if he has any advice for budding artists, Hourcade confides: “Be free, go to school or not, listen to everybody, just do what you feel right now. And if you do the opposite the day after, you shall become better. A mistake today is progress for tomorrow. Don’t be afraid to be. Be ambitious, never pretentious.” He creates in large format, and he thinks that way, too… Craig Stephens: What was the key inspiration for the Galerie du Passage show? Patrick Hourcade: How to sketch animals starting from a hammer. C: You have been cited as being influenced by the likes of Gerhard Richter and Edward Hopper. Who would you say has influenced you; who are your favorite artists? PH: God. CS: What is your favorite medium/art form?


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PH: Except for chewing gum, there are so many I like; it depends on the moment. CS: Are you staunch about conventional photographic techniques over the digital age/medium? PH: Conventional means unconditional. The important thing is to keep freedom and forget the technique. CS: In terms of photography, are you inspired by travel as much as urban scenes? Do you trek to exotic places often? PH: I never stop traveling in my mind. CS: You often use large format for finished pieces; why? PH: Then you see. There you dream. CS: What are your thoughts on Vogue magazine in 2013 and fashion in general? PH: There are no more pictures in Vogue, just illustrations. CS: Who are some notable designers right now? PH: Times change; designers, too. Let’s stop the “design”; let’s find something else. CS: What is the most interesting city in the world right now and why? PH: Atlantis, because it’s already under water. CS: What would you like to change about the world right now? PH: The climate. CS: Has the Internet destroyed the value of writing and writers?

PH: No, it’s just a choice for anyone. The thought from the brain through the fingers drops on the paper or the screen. CS: How about art and photography? PH: It’s an old story. Too many images today, not so many good photographs. The photography is a work on paper; as fragile as watercolor or pastel. CS: You worked with Guy Bourdin at Vogue. How was that experience? Patrick: It was not an “experience,” just an education: never do what you did yesterday, be honest with yourself, and never stop laughing. CS: Who are the top five visual artists in the world right now? Patrick: Viola, Soulages, Morelet, Kapoor, Boltanski, plus my next coup de foudre. CS: In your opinion, what are the top galleries internationally at present? PH: Christie’s, Sotheby’s, Phillips, Art Basel. Craig: Do you have any collaborations with noted artists coming up? PH: I hope with Jean Nouvel, for a scenography at the Chateau de Versailles next year. Architecture is a master art. CS: You are cited for dabbling in obscure photographic processes—can you elaborate on any favorite processes? PH: Shut the light! Life is beyond.

(clockwise from left) “SIMIUS” Le Singe, Lux Animalium. Patrick Hourcade, portrait, Alix Malka. “NOCTUA” Le Hibou, Lux Animalium. Patrick Hourcade Cevennes holiday scrapbooks.

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or the last three decades, Thierry Mugler, French visionaire, designer, photographer, and director has been a world force in the fashion industry. Long synonymous with the avant-garde, his distinct melding of futurism and fantasy reverberates with young designers today. Mugler’s distinct aesthetic has influenced many. Lady Gaga is his No. 1 fan, Madonna is an admirer, Beyoncé commissioned him for her stage costumes, and singer George Michael hired him for the iconic “Too Funky” music video. Mugler created a revolution in the perfume world with Angel, a top seller since 1992. Still, Mugler isn’t content basking in former glories. A huge enthusiast of musicals and cabaret, he is set to produce his very first cabaret musical production, Mugler Follies, at Le Comédia in Paris, with a premiere scheduled for December 10, 2013. A blend of erotic fantasy and comic book heroes, Mugler Follies features three characters—La Mulglerette, Kraffit, and Kress—whose aesthetic is typical of the iconic designer. In the future, Mugler’s extravagant directorial vision might be staged in North America’s cabaret capital, Las Vegas. Mugler Follies directed by Manfred T. Mugler. Le Comedia 4 bd de Strasbourg 75010 Paris. Opening December 10th, 2013. Photography Thierry Mugler. Grand Palais – Paris, June,1980.

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as a rare guide, exploring the natural history of Louis Vuitton City Bags. One of the brand’s identifiable mainstays— namely its City Bag—is thoroughly examined in this weighty literary tome. City Bags represent the most successful line of accessories in the history of modern fashion and were instrumental in making Louis Vuitton, elevating its sales and international profile. These soft-sided bags became Vuitton’s trademark, dating back to turn of the 20th century. With their unique and iconic shapes, they are now known by name: Speedy, Papillon, Alma,

©BERT STERN/Condé Nast Archive/Corbis, with kind permission of TWIGGY LAWSONA. OPPOSITE © LOUIS VUITTON/NICK VEASEY.



ounded in Paris in 1854, Louis Vuitton is renowned for its trunks, luggage, and bags. It’s been revered in rap songs, cherished by celebrities, and valued at more than 100 times its original price decades after purchase. Louis Vuitton luggage is the consummate status symbol, synonymous with luxury, taste, and style. Now a lavish new book documenting the esteemed brand’s expansive range has been released by Rizzoli New York. Louis Vuitton City Bags: A Natural History is bursting with in-depth and educational insight while featuring stunning photographs and art direction. The book serves

Lockit, Noé, Bucket, Neverfull, Sac Plat, and the Pochette. In turn this book offers a long sought-after insight into the design nuances of the City Bag line. It also chronicles the development of the City Bags through a system of scientific referencing such as what’s used to classify plants and animals. Tracing the origins and history of these bag “families” from the four pieces of hand-carried luggage that served as their direct, generative “ancestors”—the Steamer, the Vanity, the Alzer, and the Keepall—the book carefully examines the earliest specimens

of City Bag through today’s most desirable collectibles. Apart from providing a complete genealogy for each of the main handbag lines, the book examines how the artistic collaborations engaged by Louis Vuitton in the last two decades have hastened the evolution of City Bags. Photographer Patrick Gries native of Luxembourg, in the 1980s, Gries contributed to various art and design magazines in New York before publishing his first documentary work on post-Communist Romania in 1990. More notably, he has also worked with many luxury brands, art-

ists, and institutions dedicated to art and design, notably the Fondation Cartier and the Quai Branly Museum in Paris. His photographs capture changing social realities and have been presented in international exhibitions and numerous publications. Another interesting essay, written by journalist Mariko Nishitani, explores the brand’s presence and influence in Japan. The incisive introductory essay by Florence Müller bolsters the book’s timelessness and depth. Müller is a French fashion historian. Louis Vuitton City Bags: A Natural History is published by Rizzoli.

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ex, desire, eroticism, and seduction are just some of the themes explored in the confronting and disarming images, videos, and installations of LA-based digital media artist Kiki Seror. Removed from the manufacture of commoditized art, Seror’s experimental streak sees her dabble in video and installation. Seror observes and agitates, analyzing everything from porn to misogyny and the objectification of women, teasing the viewer with a variety of slickly produced works that embody technical dexterity and vision. An expert in the creation of high-tech and polished confrontational kink, Seror’s show at LA’s CB1 gallery during the summer of 2013 combined a live performance in the gallery with live streaming on social media portal Seror called the performance “Hysteresis – A Social Teleaction,” and defined it is a multimedia event with the intention to “explore the blurring boundaries between public space and private life, the visible and invisible, and the observer and observed.” In light of the recent scandal about government surveillance in the U.S., the show was particularly significant as it delved into issues regarding community and individual privacy.


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7HOLLYWOOD Winter 2014

Other milestones pieces included a show in 2009 at LA’s I-20 gallery, “The Killer in Me Is the Killer in You,” which consisted largely of augmented porn videos. Women in the various classic scenes were rendered out to leave only pumping male genitalia, awkwardly thrusting at black space. Interestingly, the work was created while Seror spent time living in Amsterdam, in close proximity to its red light district. Her show in 2009, “Men Performing Masculinity: Surgeon of His Honor,” consisted of nine videos made with a 3/4-inch surveillance camera and arranged in grid formation. Each video depicts razor blades swiftly carving up the stubble of various men. The seemingly innocent action was given provocative reinterpretation, intentionally sexualized as the blade moves in a not so mechanical manner. After an exhibition in Vienna, Seror spent four years in Amsterdam, where a romance with a sailor, often at sea, afforded her the time to indulge in a comprehensive project that involved interviewing sex workers in the city’s red light district. Transcripts of these salacious exchanges were then frozen in time, transformed into 3D textual arabesques, and framed in her signature light boxes. Seror has a willingness to embrace the socially taboo with open arms. Her penchant for aesthetic surveillance and brazen analysis of human sexuality and the objectification of women is often unsettling but, more frequently, amusing. Seror describes herself simply as a visual artist working with digital media. “By means of photography, video, sculpture, and installations, I aim to translate rapture and imagination, to take the viewer no further than the initial illusion allows.” Her list of exhibitions at esteemed international galleries and museums continues to grow, and in 2014, she’ll continue to tantalize and disturb with shows in LA, Europe, and elsewhere. Phantom Fuck 2003 (video stills), Single video channel, Quicktime Media File with Sound, DVD-R Duration 0:01:17:25 loop3:4 ratio PAL format.

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7HOLLYWOOD Winter 2014

Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.




Transforming iconic stars, artist and illustrator Alexandre Korobov cleverly reinvents the classic glamour shot. His edgy images incorporate unique styling, where DIY meets punk rock and futurism, creating a unique marriage of photorealism and new urban aesthetics.












he understated genius of photographer Mark Shaw lives on posthumously with the release of his epic book Dior Glamour 1952–1962, documenting the lavish and iconic gowns of Christian Dior from the 1950s and ’60s. An eloquent preface by Lee Radziwill and an introduction by Natasha Fraser-Cavassoni serve as a fitting homage to the iconic photographer whose most cherished moments include Life magazine editorials, including candid snaps of JFK’s family at home. He was also among the top fashion photographers of the ’50s and ’60s and was granted unprecedented access to the salons and couture shows of Dior, Chanel, and Balenciaga. Shaw’s Dior images were shot in both color and black and white, capturing everyday life scenarios as well as the glamorous life of Paris’ most legendary couturier. The images are a timeless record of both high style and everyday opulence.

Hyménée Wedding Dress (right). Mark Shaw, Dior Glamour 1952–1962, Rizzoli New York, 2013.


7HOLLYWOOD Winter 2014

7HOLLYWOOD Winter 2014


Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.


7HOLLYWOOD Winter 2014




7HOLLYWOOD Winter 2014


From a wild force of style to the reigning house of French fashion, Jean Paul Gaultier arrives at the Brooklyn Museum with an extraordinary exhibition of his living legacy. This dynamic multimedia exhibit offers access to decades of amazing runway shows, Madonna’s costumes, Catherine Deneuve’s red carpet gowns, and designs donned by Depeche Mode, Marion Cotillard, Kylie Minogue, Kurt Cobain, Carla Bruni-Sarkozy, and Nicole Kidman.


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KRISTEN MCMENAMY, Rue De La Goutte d’or, Paris, 1994 French Cancan.

MILES ALDRIDGE Immaculate No. 3, May 2007 Virgins.


NAOMI CAMPBELL in front of the Michou Cabaret, Rue Des Martyrs, 1994 Gaultier Classics.


KATE MOSS at the Moulin Rouge, W Magazine, 2000 Paris and Its Muses collection.

“You can be chubby, old, or have a big nose to be a Gaultier model. His clothes are meant for everyone, no matter what your skin color, sexuality, religion, or body size. It’s a very generous approach. He sees beauty everywhere.”



one-shaped bras, men in skirts, punk prêtà-porter, bondage couture, lace-up corsets, and mermaid gowns. Immediately, it’s obvious who created these signature fashion statements without even looking at a label. On display in an innovative exhibition, “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk,” the cutting-edge designs tell the story of Gaultier’s untamable artistry and egalitarian attitude. Organized by the Montreal Museum of Fine Arts, this homage is touring the globe, drawing critical praise and gushing crowds with descriptions like “exhilarating,” “brilliant” and “magical.” Gone are the days when his runway shows stirred controversy with headlines calling the collections “ridiculous.” Gaultier states: “I am anti-establishment, but I’m not a huge rebel.” The designer is less of the provocative l’enfant terrible now than a leading force in fashion, making an impact across the arts and pop culture. Andy Warhol saw this in 1984, telling Mondo Uomo, “I think the way people dress is a form of artistic expression … art lies in the way the whole outfit is put together. Take Jean Paul Gaultier. What he does is really art.” Thirty years later, the first exhibition devoted to the French couturier has created a sensation at museums around the world, from San Francisco to Sweden, landing at the Brooklyn Museum from October 2013 to February 2014 before heading to London’s Barbican Centre next spring. More of an installation than a conventional exhibition, the show follows his collections from 1971 to the present, from working for Pierre Cardin to creating Maison Gaultier—from “Barbes” to “Belles des champs.” But this gallery tour is thematic not chronological. “The goal is to show the different inspirations found throughout his collections, from the street to ethnic cultures,” explains Thierry-Maxime Loriot, the exhibits curator. “And how he crossed forms from


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film to stage, from ready-to-wear to haute couture. He goes beyond dresses on a catwalk. He’s unique in his world, renewing himself constantly.” The show is composed of six sections, each highlighting a specific theme in Gaultier’s artistic development. Gaultier himself—his image projected onto the head of a mannequin—introduces the first section, “The Odyssey of Jean Paul Gaultier.” The animated mannequins are key to the unique nature of this dynamic show. Created by the Canadian multimedia theater company UBU Compagnie de Création, the mannequins wink and talk; the Virgins sing. Their faces reflect a variety of real people, ages 17 to 70. “The exhibition shows the strong social message in Gaultier’s work, his humanist values. His use of diverse models shows there is not just one type of beauty,” says Loriot. “You can be chubby, old, or have a big nose to be a Gaultier model. His clothes are meant for everyone, no matter what your skin color, sexuality, religion, or body size. It’s a very generous approach. He sees beauty everywhere.” After a visit through his classic looks, like trench coat dresses, “The Boudoir” offers a peek at Gaultier’s undergarments as clothing, and “Skin Deep” explores sexuality and gender. The “Urban Jungle” section reveals his multicultural inspirations. “Punk Cancan” draws from the street, and “Metropolis” exposes his work in film and music. Each section features clothing from all five decades of his oeuvre, demonstrating the timeless quality of the designs. “What’s fascinating about his work is that it’s impossible to date his clothes, to say it’s Eighties or Nineties,” notes Loriot. Gaultier resisted a retrospective of his work. “He wanted to avoid a ‘cemetery’ exhibition, with a start and an end,” Loriot reveals. “After all, he’s alive and kicking, prolific and still very relevant.” To illustrate the shows vibrancy, new selections will be added to the

Brooklyn Museum from the designer’s recent work, including items from Beyoncé and a tribute to Amy Winehouse. An impressive and comprehensive 420-page book accompanies the exhibition. It’s filled with stunning photography of Gaultier’s designs as well as dozens of insightful interviews and praise from colleagues and clients, including Pierre Cardin, Pedro Almodóvar, Stéphane Sednaoui, Nicole Kidman, Dita Von Teese, and, of course, Madonna. The collaboration with the Material Girl may signal Gaultier’s most fabled celebrity muse. An alignment perfectly timed for both stars. Like Chanel and Cocteau, suggests Loriot, the two complement each other. “Madonna is a style icon because she changes as much as fashion changes. She is touched by everything and makes it hers … she’s open to the whole world,” says Gaultier. He could be speaking of himself. “Our vision was in complete harmony and symbiosis—a love affair was born.” In turn, the pop diva speaks adoringly of the designer: “He always takes risks. He plays with so many ideas and he is the master of the mix—the sexually provocative but lighthearted way he bends genders. I thought we would work well together, since irony can also be found in my work.” She sums him up: “EX-TRA-ORDI-NA-RY!” His blonde brush cut, broad smile and sailor-stripe shirts make this fashion icon as recognizable as his work. It’s the combined effect of Gaultier’s boundless imagination, fearless taboo-busting, playful humor, and elevated style that sets trends and captures hearts and bodies, from Catherine Deneuve to Depeche Mode to Lady Gaga. Designer Tom Ford simply calls him “It.” Exhibition at the Brooklyn Museum: The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, October 25, 2013–February 23, 2014.





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odak’s Kodachrome film saturated the 1940s with an unprecedented explosion of color. Movie audiences, accustomed to seeing photographs of their favorite stars in monochrome, were suddenly offered stunning, realistic images bursting with vivid, saturated color. Now curator and photographic preservationist David Wills documents this era with writer Stephen Schmidt in their book Hollywood in Kodachrome, which taps into one of the world’s largest private collections of original Kodachrome’s and color photographs from the 1940s. “I had been passion-

ate about color Kodachrome since I was a teenager,” confesses Wills. “I had been able to amass quite a considerable collection of originals and wanted to preserve them in a book. I approached HarperCollins with the idea and they loved it.” Some of the book’s highlights include images of “Love Goddesses”—Rita Hayworth, Lana Turner, Gene Tierney, Veronica Lake, and Ava Gardner. It also includes candid shots of Lucille Ball, WWII patriot photography, and advertising images. Rhonda Fleming, known in the 1940s as “The Queen of Technicolor,” writes a wonderful introduction.

Lauren Bacall, 1948 by Eliot Elisofon (Author’s Collection). Hollywood in Kodachrome HarperCollins Publishers.



(left to right) GESAFFELSTEIN pursuit, next three images from: CANYONS, when I see you again, M83 wait ,Canyons when I see you again, , ETIENNE DERECY no brain.


For art direction partnership Fleur & Manu, the worlds of art and artisan perpetually collide. The duo lends their talent and vision to a range of artistic disciplines, working as artistic directors, graphic designers, and film directors. BY ROBERTA CRUGER


leur and Manu devote their multifaceted talents to commercials, music videos, package design, and art direction for magazine, print, and TV commercials. Fleur & Manu also dabble in magazine art direction, fragrance package design, and advertising. The French pair met around four years ago in the small French town of Biarritz. With a mutual background in graphic design, they bonded socially, dated for a time, then opted to transition to a working relationship Their first working assignment began three years ago, with French singer, songwriter, and multi-instrumentalist Sébastien Tellier on one of his music videos. Fleur & Manu have since made music videos for everyone from the French star Sébastien Tellier to EDM band M83 and Australian psych-house duo, Canyons. A music video trilogy was created for M83 for their tunes “Midnight City,” “Reunion,” and “Wait.” Of the latest video, Wait, Fleur & Manu commented: “We felt it was important to reconnect with a meaningful subject that would have an echo in today’s world.” The M83 video trilogy derives inspiration from a range of iconic films, from Children of the Damned to sci-fi classics. Apocalyptic zombies, wolves, geometric shapes, and polar ice caps

form a plethora of imagery helping to construct M83’s very own freeze-frame zeitgeist. Part horror film, part art video, the video for “Pursuit” begs to be watched. Haunting, sinister, and futuristic, the video recounts visions of Stanley Kubrick’s signature films 2001: A Space Odyssey and Clockwork Orange. Blonde toddlers, stunningly assed models, and white-coated doctors feature in the voyeuristic journey that smacks of both sexiness and conspiracy theory. In July 2013, Fleur & Manu had their filmic works featured at the Saatchi & Saatchi New Directors’ Showcase. High-profile directors selected in the past include David LaChappelle, Spike Jonze, and Chris Cunningham. Fleur & Manu kicked off the Saatchi & Saatchi showcase with their epic music video for Étienne de Crécy’s “No Brain.” Incorporating a disconcerting cacophony of sounds, the French duo caused a stir, truly demonstrating their uncanny ability to create unique visuals to truly complement and connect with music. Next up the dynamic duo are set to make the trek from Europe and hit the scene in LA for a range of confidential music and film assignments. It’s all hush-hush for now—but we can’t wait for the deets!

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The perpetual influx of new generational talent in Hollywood is astounding— an always impressive combination of talent, ambition, and beauty. For this issue, 7Hollywood profiles some of the film industry’s most promising new contenders. This fresh talent is set to make their mark in some groundbreaking films and television shows. Not only do they photograph well, but they also offer some incisive views on fashion, creativity, and film. PHOTOGRAPHY SAITOSHI ATOSHI BY CRAIG STEPHENS


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DONNA KARAN silk evening gown. POMELLATO bracelet.

ANGELA SARAFYAN With her exotic looks and indefatigable charisma, Armenian-born Angela Sarafyan is a breath of fresh air on the LA acting front. Angela’s personality and aesthetic are a big departure from the cookie-cutter archetypes flooding West Coast talent agencies. More quirky and comedic than bland sitcom schmaltz, 27-year-old Angela has starred in a string of left-of-field indie films and online hits, including the renowned web series Hot Sluts. Her acting range is as adaptable as they come. Angela’s worked steadily since 2000 on a remarkable number of mainstream hits. Her impressive list of TV

appearances include the shows The Good Guys, Buffy the Vampire Slayer, The Shield, The Division, 24, Cold Case, South of Nowhere, Criminal Minds, CSI: NY, Nikita, and The Mentalist. Her feature film roles include On the Doll, Kabluey, The Informers, A Beautiful Life, A Good Old Fashioned Orgy, Lost & Found in Armenia, and a little film called The Twilight Saga: Breaking Dawn – Part 2. Angela also has six films completed and ready for release in 2013. Two significant features are the romantic drama Nightingale, directed by James Gray, and Paranoia, a thriller starring Gary Oldman, Liam

Hemsworth, and Harrison Ford. Her desire to be an actor began when she was very young. “Ever since I was 4 years old, I loved movies,” she reveals. “I remember watching Arnold Schwarzenegger die and thinking, that’s where I want to be, in a different world, in this other life, even if I must die for it. My father told me it wasn’t real, but I wouldn’t believe him. But the next thing you know, he is playing Danny DeVito’s twin. I tried to convince my father that he must have done the movie before The Terminator; but eventually I believed my dad. And decided that I wanted to be an actor.”

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BLUMARINE cape. EUGENIA KIM hat. GUCCI leather gloves. AMERICAN APPAREL leggings.

LEVEN RAMBIN With her blonde, blue-eyed appeal, 24-year-old Leven Rambin is a beauty destined for big things in Hollywood. Despite her tender years, Levin has already landed roles in several high-profile TV series and feature films. Born in Houston, Texas, Leven is best known for playing the look-alike half-sisters Lily Montgomery and Ava Benton on All My Children between 2004 and 2008—a job she started when she was just 13. She has also had recurring roles on Grey’s Anatomy, Terminator: The Sarah Connor Chronicles, One Tree Hill, Wizards of Waverly Place, and CSI: Miami.


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While best known for her roles on television, Leven has also been active on the feature film front. She was cast as the female lead, Kim Moriarity, in the surf biopic Chasing Mavericks and landed a lead role as Clarisse La Rue in Percy Jackson: Sea of Monsters. Her highest-profile movie role to date was as Glimmer in the 2012 Lionsgate blockbuster The Hunger Games. Based in Los Angeles, Leven is a passionate surfer. She also likes hiking, boxing, and keeping active to stay fit and healthy. Leven says she’s a keen philanthropist, passionate about autism research

and awareness as well as animal rights. She is active with Surf for Life, an organization that creates educational and cultural development projects in coastal communities around the world. A well-connected fashion obsessive, Leven has written several editorials on New York Fashion Week for Paper Magazine and Page Six Magazine. She is sister of fashion handbag designer Mary Rambin, whose Moë brand is popular among celebrities. In her fantasy world, Leven confides: “I’d be a mermaid, just swim all day and revel in the ocean.”

VIKTOR & ROLF silk tuxedo jacket/pants. ADEAM shirt.


Bar Paly brandishes the exotic look of a ’60s Bond girl and classic supermodel. It’s no wonder her stunning physicality has her sought after by a host of men’s magazines. Thirty-two-year-old Bar was born in Russia and moved to Tel Aviv, Israel, when she was seven. Modeling was the gateway to her show business career. She started doing assignments for a major Milan agency when she was just 17. Bar originally came to New York to work as a model, but she prefers not to be branded as a model-turned-actress. Instead, she’s keen to assert that

she’s an actress first, using modeling to support herself. Her acting career began on Israeli television in the 2003 made-for-TV movie Big Tuna. After working as a spokes model for Silver Jeans in 2004, she made her first appearance on English-language TV in 2006 alongside Isabella Rossellini in the short-lived comedy Filthy Gorgeous. Bar has since held numerous roles in film and TV, including How I Met Your Mother, The Starter Wife, and the 2008 horror film The Ruins. In 2013, she acted in Roman Coppola’s A Glimpse Inside the

Mind of Charles Swan III with Charlie Sheen and Bill Murray. She also appeared in Michael Bay’s Pain & Gain alongside Mark Wahlberg and Dwayne Johnson. Another huge role will see Bar starring alongside Jon Hamm in Disney’s The Million Dollar Arm, about a sports agent who paves the way for two Indian cricket players to break into major league baseball. This talented beauty is also on her way to becoming a major league star, nurturing a booming career as an actress in a wide range of projects and staying in demand as a model.

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MOSCHINO textured silk dress and necklace.

PHOEBE TONKIN Is it better to be a fish in strange, new waters rather than a fish in a small, familiar pond? Australian-born Phoebe Tonkin thinks so. The 24-year-old has been making a big splash. After cutting her teeth acting in various children’s TV shows—such as H2O: Just Add Water—and succeeding as a model, Phoebe is now doing a lot more than just treading water in her new hometown. Since moving to Los Angeles in January 2011, Phoebe was cast as Faye Chamberlain on The CW supernatural drama series The Secret Circle. A year later, she joined the cast of The Vampire Diaries in the


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recurring role of Hayley, a friend of key character Tyler. Phoebe has also appeared on the high-profile Australian television shows Packed to the Rafters and Home and Away. She made her film debut in 2010, starring in the Australian feature Tomorrow, When the War Began. Like many Australian actresses who have headed for Tinseltown, Phoebe faces tougher competition and a bigger pool of competitors. Refreshingly humble, she says,“I’d love to be working around the corner from my friends and family, but there isn’t the work there; there really aren’t as many opportunities.”

Asked what differentiates actresses from her generation to those preceding her, Phoebe says, “You can do it all nowadays—be both sexy and quirky.” She adds slyly, “I hope we are smarter and wiser, too.” In keeping with 7Hollywood’s Fantasy theme, Phoebe reveals her fantasy world would be: “One where there are endless amounts of food, wine, and lovely people. One where there is also world peace and no more poverty.” Phoebe was also featured on Variety’s list of “New Faces to Watch” and named one of 2011’s breakout TV stars by E! Online.

GIULIETTA embellished silk dress. FASHION Editor SEAN KNIGHT. Assisted By Kacie Carter, Neal St Onge. Hair PETER SAVIC. Makeup JOANN GAIR. Manicurist EMI KUDO. MILK STUDIOS.

PORTIA DOUBLEDAY With her all-American looks and edgy style, Portia Doubleday is destined for greatness. She impressed many with her riveting supporting role as Chris Hargensen in the 2013 remake of Carrie, undergoing a major physical transformation for the role. Yet 25-year-old Portia is hardly a newcomer, having racked up many roles since her career’s humble start—first appearing in a commercial for Goldfish crackers at the age of eight. Milestone roles have included Sheeni Saunders in the 2009 film Youth in Revolt, Jasmine Lee in 2011’s

Big Mommas: Like Father Like Son, and Heather in the short-lived TV series Mr. Sunshine with Matthew Perry. Born and raised in Los Angeles, Portia has showbiz racing through her veins. Her parents are former professional actors. Her mom is now a writer/producer, and her older sister, Kaitlin, is also an actress. Her star is bright—and so is her mind. Portia attended the Los Angeles Center for Enriched Studies, in Los Angeles. Juggling work and school, she studied psychology at an undergrad level while

shooting Youth in Revolt. Recalling how filming Youth in Revolt affected her studies, Portia reveals: “My drama teacher, for this Theater 100 basic-basic-basic course, said that I couldn’t miss the group project. So my teacher gave me a D. The first ever in my life—and it’s in theater! Stupid theater. Yeah, there’s a little pent-up animosity.” But she’s definitely at the head of the class for her most recent project. Portia appears in the new Spike Jonze film, Her, which also stars Scarlett Johansson, Amy Adams, and Joaquin Phoenix.

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7HOLLYWOOD Winter 2014

Meanwhile, Behati has revealed that contrary to her all-natural beauty, she does, in fact, work extremely hard to maintain her sensational body. Whether its kick boxing, yoga, or Pilates, she says exercise not only makes her feel good but it also gives her real sense of achievement. Yet it’s not all work for Behati, who says she’s also a huge fan of photography. On fellow model and close pal Coco Rocha’s blog she revealed in an interview, “I only shoot film, mostly black and white, and I use a Nikon F10 and also the Contax G2. I love film. Helmut Newton’s pictures are amazing, and that’s what I want! I think digital in some ways took away a photographer’s freeness. Not knowing what you have and seeing the pictures when you develop them is really nice. Every one comes out different, and I love the feel of film, the way it looks.” Like so many models choosing to broaden their career prospects, Behati is also destined for the big (and small) screen. She has already guest-starred on cop drama Hawaii Five-0 and played a starring role as a “rich girl,” on a rock video for the band The Virgins. No doubt future hubby Mr. Adam Levine will open some additional doors for his gal, who is undoubtedly destined for greatness.





ife is good for the South African–born model Behati Prinsloo. The 24 year old, whose net worth is estimated to be $3 million, not only has a high-paying career as a Victoria’s Secret model, but she also books high-profile gigs regularly for the likes of Marc Jacobs, Chanel, and Tommy Hilfiger. Prinsloo was discovered while on a family holiday in Cape Town, South Africa, at the age of 16. Since then, she’s graced the covers of Vogue globally as well as Italy’s Muse, Elle, and American Velvet. Prinsloo’s history with Victoria’s Secret is epic. She’s made regular appearances in the Victoria’s Secret Fashion Show since 2007. She was selected to be a Victoria’s Secret Angel while also doing print work for the company as the face for their subbrand “Pink.” Despite this loyal service to an underwear brand, Prinsloo has an apparent disdain for the brassiere. In an interview with the New York Daily News, she confessed that she prefers not to wear a bra, except when she’s working. She even encourages other women to take them off. Of the all-natural look, she says, “I don’t see the huge hoo-ha around it. Everybody has the same [body parts]. It’s a body; it’s beautiful. Don’t go naked, but if you’re not wearing a bra and it’s appropriate, totally.”

PAPER DENIM shorts. CHRISTIAN LACROIX vintage jacket. KISMET jewels.

GUESS denim bustier and pants. KISMET jewels.

GUESS denim shirt and jeans.



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7HOLLYWOOD Winter 2014



As awards season nears, predictions abound. This fall, movie theaters are packed with an embarrassment of riches, many potential winners that offer stellar performances and tantalizing stories by brilliant directors. While it may be a fool’s errand to forecast the nominees, film festival panels from Cannes to Toronto, critics’ choices, and audiences’ thumbs-up weigh in as the following Hollywood releases rise toward the ultimate statuette: the Oscar.



ow that the action blockbusters and kids’ animated movies of summer are over, the end-of-year film schedule arrives with an overabundance of acclaimed fare featuring the biggest stars and directed by hot directors, including Martin Scorsese, George Clooney, the Coen Brothers, and David O. Russell. Anticipation has been building, with the many contenders vying for Oscar® nods. Trailers tease us with tantalizing images and memorable lines from these must-see movies hitting cinemas through December 25, and superlative quotes from early reviews declare: “Dazzling,” “Spectacular,” and “Epic!”


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The buzz over worthy candidates for the upcoming Academy Awards on March 2, 2014, is dominated by stories ripped from news headlines—from scoundrels and pirates to self-styled whistle blowers and unlikely soldiers. The following crop of key candidates may be shoo-ins for Best Motion Picture and could gather multiple nominations, including directing, acting, writing, and more: The Wolf of Wall Street, directed by Oscar-winner Martin Scorsese, delivers the true escapades of a filthy rich stockbroker living la vida loca until the government catches up with his crimes and corruption and tosses him in prison for not coop-

erating. This splashy romp features Scorsese’s favorite muse, Leonardo DiCaprio, in the lead, who is the fan favorite for Best Actor, with many believing it’s long overdue (The Great Gatsby aside). The strong supporting cast includes Jonah Hill, Matthew McConaughey, and Jean Dujardin as well as fellow directors Spike Jonze (Where the Wild Things Are), Rob Reiner (The Bucket List), and Jon Favreau (Iron Man) on the other side of the camera. The Monuments Men, directed by George Clooney, who gave us the Oscar-nominated The Descendants a couple years ago, follows a real trea-

Cate Blanchett in Blue Jasmine (Sony Classics).

sure hunt in World War II with museum curators and art historians enlisted into a U.S. platoon to rescue European masterpieces from Nazi thieves and return the renowned artworks to their owners before 1,000 years of culture is destroyed. Matt Damon, Bill Murray, Jean Dujardin, and Cate Blanchett co-star in this thriller with all the classic markings of an award winner, plus Clooney’s trademark wit and wisdom. Clooney also co-stars with Sandra Bullock in the remarkably chilling Gravity in 3D by Alfonso Cuarón about two astronauts floating untethered in space. American Hustle, directed by David O. Russell—who came close to Oscar last year with Silver

Linings Playbook—tells the story of a con artist played by Christian Bale, his seductive British business partner, and out-of-control wife. Russell reassembles his Oscar-winning acting team, Amy Adams and Bale of The Fighter, and Jennifer Lawrence and Bradley Cooper of Silver Linings Playbook, as well as Jeremy Renner, who won an Oscar for The Hurt Locker. Set in the 1970s with all its polyester, plaid, wide ties, and comb-overs, the outstanding performances may bring this fictional story (based on an actual FBI operation), to life, uncovering a scandal involving mobsters and politicians.

August: Osage County, the 2008 Pulitzer Prize winner for Drama, a Tony® winner and international theatrical hit play, is a dark comedy about a family saga brought together by crisis. This smart, old-fashioned narrative features a knockout cast lead by yet another magical performance by Meryl Streep as the crazy matriarch and Julia Roberts as her strong-willed daughter, which could find them also battling off-screen for the Oscar. Other stars include Ewan McGregor, Chris Cooper, Sam Shepard, and Benedict Cumberbatch, who could land among the nominees for another film, The Fifth Estate, in the role of WikiLeaks’ Julian Assange.

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“Buzz-worthy film releases from directors George Clooney, Martin Scorsese, the Coen Brothers, Woody Allen, and David O. Russell are likely contenders at the next Academy Awards—plus some surprise nods.”

Sandra Bullock and George Clooney in Gravity (Warner). Jared Leto and Matthew McConaughey in Dallas Buyers Club (Focus). Oprah Winfrey and Forrest Whittaker in Lee Daniels’ The Butler (Weinstein). Matt Damon and George Clooney in The Monuments Men (Sony/Columbia).


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Justin Timberlake in Inside Llewyn Davis (CBS).

Inside Llewyn Davis is directed by Joel and Ethan Coen, who could add another Oscar to their collection, from their iconic film Fargo to the neo-Western No Country for Old Men. This period piece spins a story of a 1960s folk singer-songwriter in Greenwich Village, adapted from the memoir of Dave Van Ronk and with a soundtrack produced by Oscar-winning T-Bone Burnett (Crazy Heart, Walk the Line). The brothers capture the era with their signature timeless artistry and a sparkling cast: Justin Timberlake, Carey Mulligan, John Goodman, and Oscar Isaac (Drive, The Bourne Legacy) who’s rumored as a possible breakout for Best Actor nominee. Dallas Buyers Club, directed by Jean-Marc Vallée, a Québécois, who made The Young Victoria (Emily Blunt), stars Matthew McConaughey, Jared Leto, and Jennifer Garner. Another true story, this meaty film portrays Texas electrician Ron Woodroof and his battle with pharmaceutical companies on being diagnosed as HIV-positive in the ’80s and his search for alternative treatments. After gaining a reputation from a run of powerful performances in respected indie films (The Lincoln Lawyer, Bernie, Magic Mike) McConaughey should snag a nod. But Leto, who juggles his band 30 Seconds to Mars with acting (Fight Club, American Psycho), is favored as Best Supporting Actor for his impressive role as the transvestite Rayon—and not just for his striking weight loss.

12 Years a Slave could earn a nomination for director Steve McQueen, who teams up again with Michael Fassbender after last year’s stirring Shame. Adapted from the book, the film follows a true account of a free black man in New York who is kidnapped and sold into slavery in America’s South during the 1800s. This indie director may break out into the mainstream with this year’s version of Django Unchained. It also stars Brad Pitt and Chiwetal Ejiofor in the lead roles. It joins other historical films about different aspects of the black struggle, including Lee Daniels’ The Butler, starring Forrest Whittaker and Oprah Winfrey (centered on the Civil Rights movement), Fruitvale Station (about police profiling), and Mandela: The Long Walk to Freedom, starring Idris Elba. Blue Jasmine marks director Woody Allen’s return to drama and makes Cate Blanchett the frontrunner for Best Actress. Her tour-de-force portrayal of a complex character shows a New York socialite brought to her knees when her Bernie Madoff–like husband is hauled off to prison. Her compelling performance stands out even among a terrific ensemble that includes Alec Baldwin, comedian Louis C.K., Bobby Cannavale, Sally Hawkins, and Peter Sarsgaard. Labor Day, a drama directed by Jason Reitman (Up in the Air, Juno), delivers another worthy candidate for Best Actress, Kate Winslet, as

a troubled woman who picks up a suspicious hitchhiker, played by Josh Brolin. Other women candidates include Emma Thompson as the author of Mary Poppins in creative clashes with Walt Disney in Saving Mr. Banks and a surprising performance by Cameron Diaz in Ridley Scott’s thriller The Counselor, overshadowing Brad Pitt and Javier Bardem to probably garner Supporting Actress recognition. All Is Lost stars Robert Redford in a survival epic, like Ang Lee’s Life of Pi meets Cast Away, with virtually no dialogue. Redford could join the Best Actor category along with Tom Hanks, who’s in another seafaring story, Captain Phillips, about the hijacking of an American cargo ship by Somali pirates. Hanks also depicts Walt Disney in Saving Mr. Banks, directed by John Lee Hancock, whose film The Blind Side swept the 2009 Oscars. The plethora of male candidates also includes Ben Stiller in the fantastical The Secret Life of Walter Mitty; Steve Carell and Mark Ruffalo in Foxcatcher, directed by Bennett Miller (Capote, Moneyball), about the strange murder of an Olympic champion; and this year’s Best Actor winner at Cannes, Bruce Dern, starring in Nebraska. Speculation over Oscars may shift with whims and box-office fortunes, but for film goers, all these choices are a win-win.

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On the sky-high heels of a documentary, the third issue of her eponymous magazine, raising millions for AIDS research, advertising campaigns, the implausible state of grandmotherhood, and now nose-deep in the creation of a signature scent, Carine Roitfeld proves that giving up the world of Vogue Paris gained her the keys to rule the fashion universe.


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Photo Assistant BRENT LEE. Lighting Design CHRIS BISAGNI. Hair AKKI. Assistant hair NAOMI ENDO. Makeup CAROLE COLOMBANI. Producer Helena Martel Seward.



arine Roitfeld is everywhere these days, and that is a good thing. The culture needs individuals determined to rattle the status quo, and while Roitfeld has enjoyed a career of it, she has redefined her status and influence in the last three years through a breakneck catalog of projects and exponential exposure validating her standing as a creative force and bona fide iconoclast in a landscape crammed with hopefuls and pretenders. Not so much a whisper but a roar of Roitfeld’s declaration of independence is on film now in Mademoiselle C, a documentary by director Fabien Constant that hit theaters this fall. It loosely trails Roitfeld launching one of her greatest triumphs since announcing her departure from Vogue Paris in December 2010, her to-the-hilt chic eponymous glossy, CR Fashion Book. Despite a 25 percent cover price surge to $20USD, circulation is thriving: at 65,000 print issues, it is half the peak circulation of her previous gig at Condé Nast, and it immediately sells out. The pair already collaborated on a 12-minute short as part of a 2011 W magazine editorial casting Roitfeld as couture client. “When Fabien proposed the documentary, I thought it would be good buzz for this new magazine,” she told 7Hollywood, during a heady summer that had her finalizing the third edi-

tion of CR, styling ad campaigns for Chanel, and editorials for Harper’s Bazaar as its global fashion director. “But I did not realize the film would be so personal! Fabien followed me during four months, and you never forget totally the camera is there. I am more fun without it! But it’s his film and I did not change his editing. What I hope is that young kids in love with fashion will see it, understand this world, discover the team spirit—and that fashion could still be a dream! I am a dreamer and a hard worker.” Even through the sheer glamour of it all, that work ethic is irrefutable. After all, this is a woman who could have wrapped up her powerfully influential and always provocative decade-long Vogue Paris post for an extended respite. Instead, she marched head on in her signature stilettos with an open embrace to all that interested her. It is no short list: the oversized retrospective as scrapbook, Irreverent; Barneys New York window displays; a MAC. Cosmetics capsule; a book-video-exhibition collab with Karl Lagerfeld on The Little Black Jacket; and now a perfume in the works to bottle everything she represents. She’s already underway on a 2014 follow-up to the gold strike she hit last spring at the Cannes Film Festival’s grandest gala, when she mined the blin-

dingly gilded splendor of Elizabeth Taylor’s Cleopatra with a glimmering parade of custom-made looks by every significant fashion house. The event took in $25 million for the AIDS research charity amfAR. It also further secured the reign of Roitfeld. “I’m very happy to continue [Elizabeth Taylor’s] work at amfAR,” she says, adding the late legend ranks among her icons because she always did as she saw fit, despite popular opinion—including her early advocacy for AIDS awareness and research. “It’s an amazing charity, and they brought me back into the film world through a special gate! My father and grandfather were film producers. The best souvenir with my dad was going with him to Cannes. What a privileged re-introduction to Cannes through my work for amfAR!” Mother Theresa notwithstanding, influence is not secured by altruism alone. Most certainly not in an industry demanding grit to survive and endure, especially as arrestingly as Roitfeld has in the four decades since being scouted as a model on a Paris street at age 18. The film is visual proof of the endless hours in service of a field she thrives on, along with fellow workaholics such as Lagerfeld, Tom Ford, Kanye West, and Donatella Versace. “I am lucky to have friends who accepted to be filmed,” she gushes.

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MARIO TESTINO Vogue Paris, 2005.

“What I hope is that a lot of young kids in love with fashion will see it, understand this world, discover the team spirit—and that fashion could still be a dream! I am a dreamer and a hard worker.”



MARIO SORRENTI, Vogue Paris, 2010.

Mario Testino, Vogue Paris, 1999.

For Roitfeld, too, it’s another opportunity to reveal this rarified realm. This is, after all, a fashion superstar with a habit of grabbing an onlooker on her way into a runway show. Interviewers are apt to note her ingratiating way of drawing them in. What appears to be an earnest drive to share her world has become among Roitfeld’s most intoxicating qualities as she navigates a rising public profile. That includes a growing legion of fans, many only catching up to an influential archive through a mushrooming number of online disciple channels, the most amusingly one named and devoted to “fashion’s first family.” This isn’t so much hyperbole. Consider New York Fashion Week in September: at her side during a nightly celebration for one or another of her latest projects steadfastly stood Christian Restoin, her other half for three-plus decades. They never legally married, she has said, so they would never have to divorce. Also in tow during the fashion week circus were their two children. The entire clan took an evening off from feting mother to celebrate a Peter Lindbergh showcase by son Vladimir Restoin Roitfeld, an art dealer and curator since graduating from the School of Cinematic Arts at the University of Southern California in 2007. Four years older at 33 is sister Julia Restoin Roitfeld, an equally beautiful creature who


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capped her studies at New York’s Parsons School of Design in 2006 by becoming the face of Tom Ford’s Black Orchid. (As friend and muse to Ford, Carine played a key function during his phenomenally successful stints at Gucci and Yves Saint Laurent). Like her mother, Julia has a penchant for a smoky eye and career hyphenation, having worked as model, brand consultant, lingerie designer, and now graphic designer. Julia gave birth in May 2012 to daughter Romy Nicole, and not longer after, an online outlet reveling motherhood in sensual style, “Romy and The Bunnies.” Baby also brought a rejuvenated outlook for grandmamma. “For the first issue of CR, I was obsessed with my daughter having a baby,” she says, having zeroed in on the theme of “rebirth” for the inaugural issue. The birth also became an unintended central plot for the documentary. She wasn’t alone in being captivated by all a baby represents. One of the documentary’s most ballyhooed moments is Lagerfeld pushing the pram. Roitfeld has always, at times controversially, channeled her preoccupations in her work. With CR, that is by decree. Fortunately, she has an editorial soul mate in Stephen Gan, a confidant of 18 years and her business partner and design director in the title. (Gan established Fashion Media Group LLC in

early 2012 as the umbrella publisher of Visionaire, V, V Man, and CR.) “Last issue, I was obsessed with ballet. This time, it’s Caravaggio’s life, one of the romantic expressions of this issue. His was not the perfect life,” she notes. Hope and redemption steer issue number three, just out last month. But why a painter who died four centuries ago? “I was talking about paintings with Klaus Biesenbach, the director of MoMA PS1. I thought about Caravaggio, the first painter to show the reality—like a photographer using no retouching and the idea of street casting, so new at his time. I became obsessed with his paintings, his searching of redemption. For me, he was in the lignée with my icons such as Rimbaud, Mapplethorpe, Pasolini, Alexander McQueen, or Jim Morrison… or even Marilyn Monroe! Free spirits, creatives. Because they died young, they will stay ‘young’ forever. But it’s not just a question of age! Coco Chanel at 70 kept changing the rules of fashion. A free mind is really what I love!” Optimistic desires of hope and fantasy underscore everything Roitfeld articulates these days. These are considerations in, she says, “A timeless and endless conversation. Some designers are artists and they can be, sometimes, very relevant... and sometimes they break the rules and they change the aesthetic.”


RAQUEL ZIMMERMANN, Vogue Paris, 2006. Special Thanks BENJAMIN GALLOPIN, ANTHONY PETRILLOSE (Rizzoli USA)Alina GROSSMAN at Art Partner. STEPHANE GERBIER at Society Management.




CHANEL earring and necklace brooch. EDWARDS-LOWELL FURS tunic. Hair, total repair 5 multi-restorative dry oil by L’ORÉAL. Makeup, on eyes, hip high intensity pigments™ animated matte shadow duosby L’ORÉAL.



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Above: Giacarlo Giammetti and Valentino. Left: Lynn Wyatt.

Fashion Pygmalion BY CRAIG STEPHENS


iancarlo Giammetti was (and still is) an undisputable force in the fashion industry. He was the partner of designer Valentino Garavani for more than 60 years and is often attributed as having helped the iconic Valentino label attain the profile and success it did. Now a new book, Private: Giancarlo Giammetti, published by Assouline, sees Giammetti recount his over 50-year fashion career and intimate details of his partnership with Valentino. Of the book, Giammetti told WWD, “I am not an artist or a great photographer. My idea is to amuse and entertain.” The book’s first section, “Early Days,” cites Giammetti’s recollections of his childhood in Rome under Nazi occupation. It later retraces his chance meeting with Valentino in a café in 1960 and subsequent decision to leave his studies in architecture to preside over the business side of Valentino’s label. Giammetti’s detail his professional achievements in helping the Valentino brand evolve. Prior to his appointment as business manager, the label was failing financially. Giammetti turned things around and was instrumental in elevating the label’s profile and financial success.

As a testament to his initiative, Giammetti was the first to develop the concept of magazine advertising spreads, which helped the brand build a following amongst the fashion magazine fraternity. Vogue’s Diana Vreeland and her Rome editor, Countess Consuelo Crespi, filled the pages with Valentino’s talent, which caused a domino effect with their peers. As the brand became an international name in the late ’70s, Giammetti molded it into a ready-to-wear line. He was also an early pioneer in international licensing. By the 1980s, Valentino’s brand was aggressively licensed to products from sunglasses to cars. Of his management of the brand’s business affairs, Giammetti says, “In a nutshell, my life’s work has been allowing Valentino the freedom to be Valentino.” The text also touches upon Giammetti’s most recent creation, the Valentino Garavani Virtual Museum. After his financial success and world accolade came art and philanthropy. Giammetti created the Accademia Valentino in 1989, a cultural space in Rome that has become a pivotal charity venue for AIDS fundraising.

Though Giammetti has previously said he and Valentino were lovers for only 12 years, they have remained constant companions, sharing a fraternal love, living, and traveling together as illustrated in the 2008 documentary about the designer, Valentino: The Last Emperor. Directed by Matt Tyrnauer, special correspondent for Vanity Fair magazine, The Last Emperor offers a rare glimpse into the tumultuous Valentino/Giammetti relationship, which was the true heart of the Valentino empire. Capturing the mood and opulence surrounding the label, the book’s closing section, “Society,” offers an intimate glimpse into the often decadent lifestyles of Valentino and Giammetti, from walking barefoot with Jackie O in Capri, midnight dinners with Andy Warhol in New York, and teaching Madonna how to ski in Gstaad. “We spent lots of time with our clients, and they became our friends,” Giammetti says of the jet set Valentino clientele that more often than not included royals, movie stars, and society elite. Private: Giancarlo Giammetti, by Giancarlo Giammetti, Publisher Assouline. Released: October 2013.ori p

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rom the ’50s to the ’70s, print advertising was a time of huge production budgets, edgy art direction, and politically incorrect imagery. Predating the dominance of the Internet and concerns over carbon footprints, the era was synonymous with the “big idea,” when anything was possible. Amidst the chaos and catharsis of the Cold War, sex and drugs, revolution, and the arms race, Taschen’s book Mid-Century Ads documents the period’s zeitgeist with amazing ad images of the time. Mid-Century Ads, by Jim Heimann and Steven Heller available now through Taschen publishing. Photos from: Performance, Mick Jagger, Warner Bros Records. Right: Metrecal, 1969.

left: Cleopatra 1934 CLAUDETTE COLBERT Director: CECIL B DEMILLE Paramount Pictures Right: “Iggy Pop”, 1977 STEPHEN SPROUSE.




LANVIN dress, necklace, brooch, and garter. JOSÉPHINE necklace, rings, dandywatch. CHAUMET bangles. SEVILLANA cuff. TIFFANY & CO. cuff.

CHRISTIAN DIOR bustier, skirt, and ring. JUNKO SHIMADA leather jacket. BLK DNM leather jacket. HERMÈS belt and bracelet. CARTIER necklace and bracelet.

CHANEL JOAILLERIE necklace and ring. YVES SAINT LAURENT hat. DRIES VAN NOTEN feather jacket.

SAINT LAURENT jacket, top, and skirt. GERBE stockings. CADOLLE garter belt, and panties. NEW OLYMPIA collar. HERMÈS necklace. BOUCHERON rings and bangles.

CHANEL jackets, bracelets, and earrings. GIVENCHY belt. MAISON MICHEL hat. CHRISTIAN LOUBOUTIN pumps.

ALAÏA coat, leather belt and boots. GERBE stockings. JOSÉPHINE necklace. CHAUMET necklace. Hair, studio line volume spritz by L’ORÉAL. Makeup eyeshadow, STUDIO SECRETS PROFESSIONAL eyeshadow in lush raven.

CHANEL JOAILLERIE necklace and ring. YVES SAINT LAURENT hat. DRIES VAN NOTEN feather jacket.

GIVENCHY shirt, jacket, boots, and collar. NINA RICCI belt. (next page)

GIVENCHY bracelets. CADOLLE panties. ALAĂ?A belt. GERBE stockings.



n irresistible hybrid of natural beauty and graceful confidence, a conversation with Laetitia Casta is direct and often emotional. Defying the clinical veneer that often accompanies interviews with “stars,” Laetitia is refreshing and incisive. She offers a warm glimpse into her world—one of quirkiness and individuality, one that embraces everything from grueling hours on film sets around the world to caring for her three children at her Paris home. Charming, candid, and brazen, Laetitia’s reflections on life defy the immediacy and pretense her career path suggests. Motherhood and a set of virtuous ideals place her in a unique place where she enjoys a multidimensional life—one of creativity, profundity, and beauty—and above all, throughout the journey, a determination to stay real. Laetitia has moved effortlessly from modeling to acting, with roles in multiple French films and TV series. In her first movie, Asterix and Obelix vs. Caesar, a live-action version of the comic book heroes created by René Goscinny and Albert Underzo, Laetitia played alongside Gérard Depardieu. The feature film Face and the TV mini-series The Blue Bicycle were two projects that also won her praise and accolade. Her acting career gained momentum with Tied (Une histoire d’amour), inspired by the true story of the 2005 murder of French multimillionaire Edouard Stern (played by Belgian actor Benoît Poelvoorde) by his mistress Cécile Brossard (Laetitia). Her most critically acclaimed role to date was her portrayal of the young Brigitte Bardot in the 2010 French film Gainsbourg: A Heroic Life. Her interpretation of Bardot saw her receive her first nomination for a César Award. Laetitia’s first American movie saw her playing another mistress, this time opposite Richard Gere in the tense thriller Arbitrage (2012). Her character unwittingly sets off the series of events that leads to the downfall of Gere’s character. This mother of three who has portrayed both Brigitte Bardot and Rhianna’s lesbian love interest


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in the video for the song “Te Amo” (“I Love You”) revealed to 7Hollywood how she balances multiple demands, desires, and careers. Craig Stephens: What is your latest film project with writer/director Audrey Dana? Laetitia Casta: Homosapiennes is a comedy about a group of different women; it observes their quest to find love. My character in the film is really emotional and suffers chronic flatulence whenever she falls in love. I play a young lawyer always dating losers. Finally, I find Mr. Right and I don’t know what to do. CS: How do American audiences differ to European? LC: With U.S. comedy, they really go for it, they don’t hold back and aren’t scared. French are very reserved and don’t want to overdo it or go too far. French actresses sometimes won’t really immerse themselves in a role, whereas Americans really get involved and don’t care how they look. CS: What are some future projects? LC: I am doing an Italian movie. I’m happy because I was looking to do an Italian film for a long time— these are my roots; my grandmother was Italian. The film, titled A Woman Who Has a Friend, looks at the idea of whether a man and woman can simply have a platonic friendship. Today in relationships, people have ideas about friendship and about sex, though they don’t look at the concept of real love, which is really kind of complicated. CS: Who are some favorite Hollywood directors? LC: Sofia Coppola, Wim Wenders, John Cassavetes, Woody Allen—I really like his films, particularly—and anything starring Mia Farrow. CS: How about favorite Hollywood actresses? LC: Michelle Williams, Cate Blanchett. I also love Italian actresses. In terms of Old Hollywood, I adore Marilyn Monroe. She was such a tragic yet emotional and sensual woman. She was also smart, though just a victim in the end. She had a lot of freedom and used it well. CS: What was it like working with YSL? LC: It was funny, but when I posed for him he told me he doesn’t like models and that I have to be

more of an actress than a model. He told me how to move and how to dance; he was pushing me in a way. The relationship was like two people being awkward and shy. He was unpretentious and very easy to work with. He was asking me what I wanted to wear. It’s like a man asking you how do you want to make love. He believed in me and respected me. I was just 16 years old and I told him to make me a dress that looks like a flower. I think he understood I needed to play his lover. He would draw pictures of us kissing, and he would say, I need you to be my lover, and I’m like, fine, let’s play lovers. He was very creative, and he loved strong women. He somehow helped me gain my femininity. I remember shooting in his home and seeing many women in white kimonos and it was wonderful. I remember he would let me wear what I wanted despite what everyone else was told to wear. It was like we were both revisiting our childhood and playing together. I have nothing but good memories. CS: What was the biggest challenge to playing Brigitte Bardot? LC: I think the fact that she is still alive. I was working hard to be myself, and I was scared that she would hate me, she’s such an icon and it was difficult. I called her in the end and she was very helpful, she said she was very happy I was doing it. She was so cool and so open, and then she gave me a bunch of advice for playing the role. It was then a pleasure to do it, and I knew it was going to be okay. We have similar energy, and Brigitte is very determined, like me. CS: How was it working with the Australian-born/ Paris-based stylist Catherine Baba? LC: She is very free and has a lot of personality. She has a vision about things and is very sensitive. She is also such a character and coming from another world. She is very special and sensitive. She summons the glamor from you and really brings simple but great ideas out. She is great with mixing color, and she is very eccentric. I love people who have character and charm; I need that and I love that.



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he work of artist Alex Guofeng Cao is resonating on a global scale. A specialist of digitally enhanced photography, Guofeng Cao deconstructs iconic photographs and reassembles them with his trademark pixilated images. Cao’s detailed, awe-inspiring work experiments with a variety of photographic techniques. His highly innovative photo-mosaic style melds old world and new, with digital innovation

deriving inspiration from such masters as Irving Penn, Richard Avedon, Edward Weston, and Robert Mapplethorpe. Having been lauded internationally for his work, the New York–based artist is constantly exhibiting, with recent shows at Art Basel Miami Beach, The LA Art Show, Guy Hepner Gallery in West Hollywood, and a variety of international art fairs. Asked about his choice of imagery for

his work, Cao reveals his preferences have spanned a spectrum of subject matter. His earlier “Legend” series saw a fascination with icons and celebrity. “I have worked with many, from Lindsay Lohan to Tommy Lee Jones. They share a common musicality that translates internationally.” Yes his current series, “Masters Redefined,” is rather an observation of classical icons over Pop, with reinterpreted and recontextualized

In keeping with this historic homage, on images of works by Roy Lichtenstein, Henri Matisse, Pablo Picasso, and Edward Weston. Of a technical level, Cao says that despite his this series he reveals: “It’s more an exploration fascination with the digital medium, tradiof antiquity and classicism, an expression of my tion is something he retains. “The subtle gradations of tone between deep black and affection for Renaissance art.” Another great source of inspiration are the stark white are the key for all I need to create mosaic floors and walls of Naples and Pompeii, my world.” which he saw on a trip a decade ago. “It’s the combination of these two base strategies that Alex Guofeng Cao is showing at Los Angeles’s allows my work to take shape.” Guy Hepner Gallery in January, 2014.

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VERSACE vintage jeans from Decades. MICHAEL KORS necklace. RICK OWENS sunglasses. Hair, golden cacao silky restoration oil by SOL DE JANEIRO. On body, golden cacao body butter by SOL DE JANEIRO.


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nce upon a time in 2009, a Frenchman by the name of David Guetta collaborated with a couple of Top 40 artists to produce a pair of dance anthems that perked up everyone’s ears in America. “Gettin’ Over You,” which featured vocals from Chris Willis, Fergie, and LMFAO, and “When Love Takes Over,” which turned Kelly Rowland into a dance floor diva, quickly became club staples throughout the country, energizing sweaty crowds with their celebratory choruses and hard-pounding bass lines. Of course, anyone who’s followed Guetta’s expansive discography knows that the world-renowned DJ-producer has been leaving his impression on the dance music scene for well over a decade. But since that burst of crossover success four years ago, he has been able to establish himself as one of the most successful and influential artists in the industry, bringing EDM to the forefront of mainstream music. Turn on any Top 40 radio station, and you’re likely to hear one of his euphoric productions. For him, the comparisons are crazy to think about. “When they gave me a Billboard Music Award,” he recalls, “I remembered being a teenager, and I was reading the magazine [Billboard], seeing who produced what. It’s how I knew who Quincy Jones was. Never in my life would I have imagined I would be at the top of those charts. It was impossible to imagine that any DJ, not just a French DJ , would experience that. It’s amazing now because my musical culture is 90% American. I love this country, and I’m always living the American dream, even while in Paris. To be a part of this is a dream.” And the dream continues. Having recently purchased a home in Los Angeles, Guetta plans on spending more time in California and surrounding himself with the large amount of talent that’s based in Hollywood. “When I was working on my previous album [Nothing But the Beat], I found there is a concentration of talent that’s absolutely unique; every songwriter, every producer, every musician is here. It’s crazy. When it comes to production, I love to come for like 10 months and just work, work, work like crazy because everyone is here. Also, I love the


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lifestyle. Even though everyone works very hard, it’s way more laid back because of the sun and spirit of the city.” Living Stateside is definitely a far cry from his European childhood. After training himself as a DJ in his bedroom at the age of 14, he started playing clubs at 17. “The musical culture was more like funk and New Wave because I started to DJ before house music existed,” he remembers. Guetta names Prince as one of the artists who inspired him while growing up as a young artist in the '80s. He was always drawn to a combination of soulful songs and grooves with electronic elements. It’s a sound and style he thinks will live on, especially when he discusses the future of dance music. “There’s still a very underground scene happening,” he starts. “And not every EDM record is pop. But where is it going? What I see is the sound in the clubs going back to house. Right now, in the big clubs and festivals, what is very popular is a very aggressive sound. I think, in about a year, there’s going to be a big reaction to that. People will want something more melodic. So even though I’m playing those kinds of records, and I know how to make them, I think it’ll move toward something more organic. You can tell, with the success of the new Daft Punk album, that some people want to go back to the roots of dance. Music is always cyclical like that.” Taking the music from the past and using it to create the sounds of the future through new technology is something he loves and believes in. “That’s what everyone’s been doing since day one,” he says. As for David’s own future, he’s earning himself the title “King of Vegas” now that he’s set up a residency at the Encore Beach Club at the Wynn. He’s just one of many DJ headliners taking over Sin City in the nightclub circuit. “It’s crazy,” he laughs. “At first, I didn’t like Vegas so much because I had a feeling that there was no culture…I think the biggest business was gambling. And I think the clubs are the huge business now. For sure, it’s going to get bigger.” But for now, he’ll just keep himself focused on his touring, more collaborations with artists (“I like put-

ting singers a little bit out of their comfort zone and having them break out the habit of using formulas”), and learning how to adjust to the SoCal life: “I’m never out. I’m either in a club, on stage, or in a concert. In LA people don’t know me so much. I can eat my breakfast out every day, which has changed my mood for the good. I realized how important that is to me.” GUETTA ON … Nicki Minaj: “She’s the only example of someone I was kind of chasing. I always call people or they call me. I was a huge fan before she went pop. I was listening to her hip-hop records, and I didn’t even know her look. I just fell in love with her voice, with what she was saying, her flow. And then one day, I saw her video and I was like, ‘Oh my God, she looks so amazing.’ I was shocked. And then I started to chase her. Finally, we met.” Rihanna: “What she has is a unique tone of voice. She has a special color in her voice you can recognize right away. She is an amazing singer. She is also a really amazing entertainer. She is always surprising people with new sounds.” Madonna: “We talked a few times about working together. She likes to call me Scorpio. But right now, I’m not sure. She hasn’t called me since. His wife Cathy: “We met when we were extremely young. I was an unknown DJ, and she was a bartender. We always pushed each other. She was like a magnet. Everybody wanted to speak to her because she had such a positive energy, always laughing and making everybody feel comfortable. Whereas I was shy and reserved and a little nerdy about music. She helped me become somebody that could step on a stage, which I couldn’t do before. It’s incredible. She’s always supportive. Maybe I’m a little more spiritual and she’s more hands-on, telling me who and what to be careful of. It’s a great partnership.” His new album: “I need a year to finish it.” The state of EDM: “It raised the bar for the whole world, and I think it’s the biggest music movement on the planet. It’s been crazy to witness it.”



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High Style Hummingbird BY ADAM TSCHORN

Photography ALIX MALKA Hair SEAN JAMES. Makeup BILLY B. Manicurist ASHLEY VAN.


serial multitasker in perpetual flurry, Rose Apodaca is Los Angeles’ ruby-lipped, turban-wearing force of nature with a thick black book and an unerring ability to connect the myriad dots of scattered fabulousity. Even if you’ve never met her, chances are you’ve read something she’s written; sampled something by a designer, artist, or brand she’s advised; or entered a party she’s recently left, a trail of cult eau de toilette Eccentric 01 in her wake. She is a walking encyclopedia of California culture, holding forth on everything from the mores of 1980s skateboarders to Hollywood’s red carpet machine. And she is a co-parent, with husband Andy Griffith, to the modern design retail lab A+R and, most importantly, she noted, their toddler, Nina. Most every fashion world career can be traced to playing dress-up with dolls. For the Madrid-born, Southern California–raised Apodaca, she preferred conspiring with her accommodating mother, an accomplished embroiderer and craft enthusiast, on looks that defied logic for a child growing up in suburbia, as was the case with her First Communion dress. “It was 1976, and I was not quite 8,” she recalled. “I researched the fashion of 1776 during this American bicentennial year. According to my specs, my mom made a gown with a fitted organza bodice and voluminous skirts with a giant embroidered cross on the front. It looked like something out of Billy Idol’s ‘White Wedding’!” The mother-daughter collaboration continued into Apodaca’s teens when she attended nightly rockabilly shows and mom made her full skirts the same day from seven yards of gingham to be worn over a trio of colored crinolines. “My mother was always in high heels and pencil skirts when I was growing up—but she never cared for fashion,” Apodaca reminisces. “She’s more concerned with trying a new technique in engraving ostrich eggs than a new season’s collection.” It wasn’t a career in fashion but news that grabbed Apodaca. At 5, she wanted to be Walter Cronkite. But while pursuing a journalism degree, she paid the rent writing and styling music and street-style stories.

In her junior year, between editing the school magazine and a heady social nightlife (she co-owned four nightclubs later in her 30s), she became a fulltime reporter at The Los Angeles Times, covering everything from city politics to local gangs. “A senior editor cornered me in the hallway, inquired about my outfit—which I’d bought during a trip to London—and invited me to write for the fashion section. It paid double, so I jumped.” In 2000, she landed a dream job, that of West Coast bureau chief of fashion-industry bible, Women’s Wear Daily. During the next five years, she exercised her editorial eye and curatorial skill to the fullest, shaping coverage, showcasing fledgling designers, launching special sections, and organizing hotly anticipated Oscar parties. Along the way, she made a name for herself as a sort of style savant, the go-to-gal to help the uninitiated navigate the nebulous and insular world where creativity meets commerce. “Before I even moved here from Paris, I knew Rose was the glue which was keeping all of LA together!” recalls Jeremy Scott, who reached out to Apodaca when he decamped here in 2001. “Rose has the ability to move in and out of the different social, economic, and cultural scenes that crisscross the city, bringing people together in unexpected combinations along the way.” She surprised everyone by switching gears in 2005. She and her future husband just met, and itchy for new challenges (Griffith is a former film editor), the pair parlayed their craving to curate to retail, opening A+R in a tiny space near their Silver Lake home. They have since opened the store online, relocated to Abbot Kinney Boulevard in Venice, and opened another, larger location on La Brea Avenue near Hollywood. Full time as A+R is, Apodaca cannot ease her frenetic pace. In recent years, she served as fashion curator for the California Biennial at the Pasadena Museum of California Art, penned anchor features for Harper’s Bazaar and other glossies (including this one), and consulted on brands and media properties (she returned to The Los Angeles Times to

advise on a new style section). She played herself in a cameo on an ABC Family sitcom, hosted talks with fashion leaders at the Los Angeles County Museum of Art, and even hosted a charity auction of Greta Garbo’s personal possessions. She wrote and art directed a lifestyle bestseller with celebrity stylist Rachel Zoe (2007), then a seven-pound biography of Rodeo Drive godfather Fred Hayman (2011). At press time, she’s in layout on a beauty history and how-to book with Dita Von Teese. “Rose understands what I’m about on a very deep level,” says the neo-burlesque star and fashion icon, “which is one of the reasons I chose to work with her on my most ambitious book project. I’ve known Rose since I was as a go-go dancer in the early 1990s electronic dance scene. I admire her on many different levels, and I’m sure she’ll be a lifelong friend and collaborator.” She’ll have to get in line. In upcoming months, Apodaca is organizing a program of A+R talks with established product designers; possibly, a fourth fashion book; and delivering the keynote speech and mentoring young industrial designers during a Mexico City design fair. Though her focus has shifted from fashion to product design, young designers still drop by her stores seeking advice. “I try not to do that as much. But I find myself helping with a little insight and direction. Thankfully, my very patient husband, Andy, knows I take great joy in it.” Apodaca likens herself as the juggler in the circus of life. “I’m happiest when I’m doing many things at once. The only difference now is that I’m a bit more tired and I go out at night less.” Anyone who knows Apodaca would laugh at this notion. They would also tell you to observe carefully when you see her in the thrum of a Hollywood party: You can watch an engine of commotion and connectivity transform into a creature of rare beauty and quiet grace. “Portrait of Rose” by Kimberly Brooks; books include bio on Rodeo Drive “godfather” Fred Hayman and another on celebrity stylist Rachel Zoe; Ruben Toledo illustration of Apodaca.

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Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.




He’s the greatest talker in Western Europe since Oscar Wilde, a polyglot wit in the four languages he speaks fluently, an instantly recognizable icon, a highly accomplished photographer, and the greatest living fashion illustrator. Oh, and he also designs for three fully-fledged fashion houses, principally Chanel, the classiest brand on the planet. Meet Karl Lagerfeld, on fashion, fantasy in Hollywood, loving America, and what icons excite him the most.



here is never a dull day, or make that instant, in the life of Karl Lagerfeld, whose fall schedule makes President Obama’s look like a cakewalk. Besides creating three collections—from Fendi in Milan to Chanel in Paris, and orchestrating these two massive catwalk shows in Milan and Paris—Karl will be shooting ad campaigns and editorials for the likes of German Vogue, and premiere a new four-hour documentary on Lagerfeld’s view of today’s most important new religion: fashion. Plus, in December, he will honor the United States with an extended tour—in that most consumerist American capital, Dallas—when the house stages its next Métiers d’Art collection. We caught up with Herr Lagerfeld at his personal headquarters in Paris—the 7L art and architecture bookstore meets photo studio on the Right Bank. He had just finished directing the latest Chanel movie, to be unveiled in Dallas. This July, Karl staged Chanel couture in a set of epic Hollywood proportions, where the backdrop was a composite photo of tomorrow’s Metropolis, as the Chanel couturier sent out a modernist statement of high-risk couture technique, haute gamme glamor, and edgy élan. Six months earlier, Chanel outdid its own exceptional staging standards, with a stunning collection and a remarkable mise en scene, a soaring wooden amphitheater in an enchanted forest where 20-meter pines soared into the cupola of the Grand Palais. So, couture seemed like the right place to start our conversation. GD: So much effort goes into couture today. The big shows are often huge productions, but sometimes


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there are barely 300 people in the audience. Why all the huge effort? KL: You know you have to do that today. Because the girl coming out on our catwalk is for the fashion industry and insiders. A model going online, however, is a global phenomenon. Our Chanel resort show in Singapore this spring and our couture show in a forest in January, with the wedding in the clearing, were seen by nearly one billion people around the world. I don’t count them personally, but I believe what people tell me! GD: Really? Rumor has it the whole Singapore operation, where you staged a movie premiere—with Kiera Knightly as a young Coco Chanel opening her first store in Deauville, and created a virtual Chanel plantation in a former Gurkha barracks—cost about 15 million Euros. That’s a huge sum for a fashion house show, where a million dollars is a mega budget, no? KL: I don´t know, I don’t count it. The thing with Singapore: It did cost a fortune. But in free advertising, they get back get 10 times what it cost. So it makes sense. GD: Did you ever meet Coco? KL: No, and I prefer not to have. She would not have liked me. GD: Chanel herself came to Hollywood in 1931 after Samuel Goldwyn guaranteed her a contract of $1 million, an unheard of sum for a designer back then, no? KL: Yes, and she hated it. She had fun with Mr. Goldwyn, but had only really one actress friend, Ina Claire, who was not a big star anymore. Plus, she fought with Gloria Swanson because the stars there

resented the fact that Chanel thought she was a bigger star than them! GD: Do you think she was? KL: Difficult to know. But, I don’t do anymore plays and custom design for the same reason, because they think they are much more important, much more known. With the men—not women—which is ridiculous. Actors, especially opera singers, and people like this… and I used to do a lot of operas… They have complexes. They may be vaguely known but not in the street like me. Huh? GD: But you have dressed many great films, like Babette’s Feast. I recall you were very proud of that. Right? KL: Yes, but this was something else, as the actress was a friend. I did many movies, Buñuel’s The Discreet Charm of the Bourgeoisie, or Boom! Elizabeth Taylor. But I don’t really have time. GD: But you find that it is different to be a custom designer than a designer? KL: Yes, because you need to work with the personality of the girl. I made the next Woody Allen movie with Cate Blanchett. She wears a Chanel suit we had made for her specially, throughout the movie. I don’t have problems with people I know personally. GD: So you prefer to like to work with interesting and famous actresses? KL: Yes, because if you don’t really care it is difficult. Because they want to feel that they are admired! Which is easy for me in the case of say Nicole Kidman. GD: Because you admire her? KL: Yes, and I know her very well. Cate Blanchett I know her, too. And Keira, I know her very well, too. Or Diane Kruger; I’ve known her since she was 15.






She is my neighbor, next door here. She is like my daughter. GD: With Chanel, you tend not to use American movie stars as brand ambassadors. Keira, Kate, Diana, or Vanessa Paradis. Is that a preference for a different type of glamour? KL: No, no. I like movies on an American scale. No, no, no! European movies, I don’t even know what they do today. But I would only do a movie if I like the actress, or if I am friendly with the director. But I am not so friendly with many directors. If you are not 100 percent convinced by a director, I could not care less, because I am used to directing everything myself. So I can only work with people I really respect. GD: Which Hollywood designers do you admire? KL: Adrian was really an influence on fashion, not with his own label but through cinema. He did one dress for Joan Crawford, with ruffles on the shoulders, which was the most copied dress in America. Ever! Adrian was great. Adrian did divine things for Garbo. Travis Banton wasn’t too bad, either. Marlene Dietrich told me that most of the Travis Banton dresses were never finished, just pinned! I love that. GD: Do you think that Hollywood has lost the glamour it had during its Golden Age? KL: Hollywood has to follow the evolution of time as everybody else. The studio story doesn’t work anymore. People did not have TVs back then. The audience was different. The only thing to do during the Depression was to go to the movies. You cannot compare to our times. GD: Do you think the red carpet scene has devalued fashion?


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KL: In a way, the red carpet sometimes gives a bad image to the fashion, because look at what the average movie is like. It is about poor people, the girls who have had an abortion, and other sordid things in the world. Then, you have the red carpet, and most of these ladies do not even have any really famous roles. Heh? I think there is something not very honest in between. When you see the old images from Cannes with Sophia Loren there was something real. Now, it is always about borrowed clothing, borrowed jewelry, borrowed I do not know what. It is a hanger for fashion and haute couture, so it´s okay for me, but it is not something that reflects the real fashion because it is all artificial. Maybe some actresses do actually buy the dresses. But very few. And, you know, darling, who in daily life wants to wear a fishtail dress to go where? GD: Who are the American actresses, the icons who excite you? KL: I think my favorite actress is still Rita Hayworth. She had beauty, the world’s most beautiful smile, a fantastic figure, she could act very well and she could dance. Sadly we only discovered later how difficult her life was. She had Alzheimer’s much earlier than we realized so things much have been very tough. But when you see her movies she was pure beauty. GD: What is fantasy in the modern world for you? KL: Fantasy is the opposite of a sleepy brain. GD: How has it manifested itself in your own fashion? KL: It’s a question of mentality. Some people are not born for fantasy. Maybe it sleeps somewhere in their

mind, but they never went far enough to find it. GD: Do you think that there is less fantasy in fashion today? KL: There is a huge proposition of quite confusing things who don’t give a uniform look of the period. I don’t know what the second decade of the 21st century will be remembered for, but it is typical to think that when you are in the middle of it. But there are too many different fashions today, too many vague ideas. Look what Hedi did at Yves Saint Laurent. It’s the revival of something recent, no? One starts to be tired of rock ’n’ roll, but the new stars are not much better. The big stars of the beginning are still the best. So the new groups take inspiration. But some of them behave like they have invented it. It’s ironic that rock ’n’ rollers have had very long careers. I don’t think there is a singer from the ’20s who had a career like Mick Jagger. He can still do it at 70. I think that is great. GD: What are you going to do in Dallas? KL: A nice party! I love Texas, I love Texan people, and Lynn Wyatt is one of my favorite persons in the world. I just like the atmosphere there. GD: Tell me about the book Phillips Morris is to publish about your sayings. KL: It will be published in English, Italian, Chinese, and whatever. Okay, I don’t make a cent with it, and for the moment, there is no German translation. Because the kind of stuff I say in English and French cannot be translated. Huh!? I don’t want to sound like an idiot. Huh! GD: I don’t think there is much chance of that.

Self-portrait, KARL LAGERFELD.



UNCLE KARL Featuring



CHANEL dress, calfskin gaiters and metal brooch. ERES customed cotton panties.

CHANEL dress, calfskin gaiters.

KARL LAGERFELD cap, studded collar, and tie.


CHANEL patent calfskin jacket, tweed chain necklace.

CHANEL dress, calfskin gaiters.

KARL LAGERFELD coat with studded collar, hat, gloves, and pins.



ZAHIA COLLECTION ruffle and lace brief and bra.




estined for the clear skies and steamy spotlights of Hollywood, Zahia is revered for having an all-natural body of exceptional proportions. Curvaceous and nubile, she is an object of fantasy, an icon, an unattainable nymphet. Profiled in glossies such as V, W, and Vanity Fair, she has been photographed by the likes of Ellen Von Unwerth, David LaChapelle, Alix Malka, and Terry Richardson. She has also starred in films by Greg Williams playing a bionic superwoman, while her perfect torso has been cast by French sculptor Pierre Passebon. First hated, now adored, Zahia is far more than style over substance. Born in Algeria in 1992, she moved to Champigny-sur-Marne, a poor suburb of France, when she was 10 with her mother and younger brother. Her single mother led a transient life, which caused the family much suffering. Not yet a prolific French speaker, she became embroiled in controversy just a few years later when it was alleged that she was paid to have sex with players from the French national soccer team while she was only 16. This incident saw the French press brand her with the nickname la scandaleuse (“the scandalous”), a barrier to her maintaining focus on her blossoming career as a designer and artist. Chanel’s head creative Karl Lagerfeld, who photographed her for her look book is now a close protégé, and was central to her fulfilling her lifelong dream of creating a lingerie line. When criticized for his endorsement of Zahia on national French TV, Lagerfeld publicly celebrated her checkered past. In addition to comparing her to Coco Chanel, he said she is fascinating as she is a reminder of France’s 18th century courtesans, the mistresses of the rich and powerful. “She is a very French courtesan, like Liane de Pougy or “La Belle” Otéro. This is a purely French tradition that the whole world admired and copied,” he declared, adding: “How do you think Coco Chanel started her career? As a designer, Zahia’s goal is to produce two lingerie collections a year, crafted by the same plumassières (feather-makers) and petites mains (seamstresses) hired by fashion big shots Thierry Mugler and Sonia Rykiel. Set for release in the U.S. through Decades stores, this “couture lingerie” line was initially presented by a team of models during


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Paris Couture week in 2012. A flamboyant collection of bridal G-strings with mini trains, red satin knickers trimmed with bows and decorative pasties, the line won over many fashion pundits. Yet Zahia isn’t just about underwear—she’s an artist, too. In addition to teaming with the likes of Pierre and Gilles and Nick and Chloe, just weeks after her fashion show at the Palais de Chaillot, she made an impression on the Paris art world with an exhibition of her own works and several high-profile collaborations. The exhibition displayed a carefully

curated selection of her drawing books; framed, large-format photographs; and sculptures, including eight metal moldings of her torso that she had commissioned. Aesthetically Zahia says she was also heavily inspired by the musicals from Egypt in the ’40s and ’50s. She also believes this was a more modern time for the country, when women in Arab world were free and liberated. She cites specifically Egyptian cinema and stars such as belly dancers and film actresses like Samia Gamal and Nagua Fouad, who she says she’d love to meet. With a forthcoming reality TV show and several photo shoots in LA under her belt, Zahia has fond

memories of the U.S.” I liked Hollywood a lot when I went there. Everything went smoothly, and I also loved taking pictures. It felt great; it was very funny. I liked it a lot. Yes, I’d love to become an actress if there is a good project.” During her recent LA visit, she packed a lot into her schedule. In addition to shooting a short film at Universal studios with director and photographer Alix Malka, she did various photo shoots and even found time to embark on a lunch excursion to the Beverly Hills Hotel, where she managed to command the attention of many in attendance, including Hollywood lotharios Warren Beatty and Robert De Niro. Citing Johnny Depp as one of her favorite American celebrities, Zahia says her all-time favorite actress is Marilyn Monroe. “I love the movie Gentlemen Prefer Blondes. I quite like Madonna and her character; I also like Pamela Anderson. When I was just 9, I was watching Baywatch all the time. And every time I would go to the beach with my cousin, I would put on a red swimsuit, and I would tell my cousin ‘Let’s go, we need to behave like we are in Baywatch.’” Zahia says that she also respects Kim Kardashian for her beauty and business sense, adding that she, too, wants to start her own empire. While in LA, she also met with Playboy Magazine mogul Hugh Hefner. “It went really well, he was very nice and I was very happy to discover the mansion. Hugh Hefner is a character I like a lot because he created a real world around him in his manor, with all his playmates, even the character he created for himself with that costume. He created everything from A to Z. I found it to be in very good taste, and it’s really incredible to create a world like that.” Now on a path of logical progression, Zahia and her marketing team are set to expand globally in a huge way. She reportedly turned down an offer of one million Euros to be part of a German reality TV show. Now her focus seems to be the U.S. An upcoming campaign marketing her upscale lingerie is set for the U.S. market in 2013/14. There are also several film opportunities and a rumored reality TV series in the works.

(left) ruffle bathing suit (next page) ruffle and lace brief and bra and lace negligee.

ZAHIA COLLECTION cotton brief.

“She is a very french courtesan, like Liane de Pougy or La Belle Otéro. This is a purely french tradition that the whole world admired and copied…how do you think Coco Chanel started her career?” –Karl Lagerfeld


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GUY BOURDIN IN THE  EYE OF  THE SON Mafia, September, 1972. ©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

An Exclusive Portfolio and Interview with Samuel Bourdin by Patrick Hourcade


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©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

Photographer and visionaire Guy Bourdin (1928–1991), secretive and uncompromising, became a legend of fashion photography in his day as his gorgeous, surreal and sometimes dark imagery revolutionized fashion editorials and still influences them today. 7Hollywood exclusively premieres never-before-seen Bourdin Polaroids and paintings —an advance look at the exhibition to be held in Hamburg in November 2013. Also exclusively, his son Samuel (manager of Bourdin’s estate), Patrick Hourcade (colleague and art director at Vogue) and Barbara Baumel (Bourdin’s stylist and Vogue fashion editor) discuss his work and monumental career.


amuel Bourdin was 24 years old when his father died. He had never known his mother and was raised by Sybille, Guy Bourdin’s partner. After her passing, Samuel stood alone to face his father. But Bourdin, an extraordinary genius, was so fragile he chose to send his son away to the U.S., and from then on, they saw each other only on holidays. On March 29, 1991, Samuel’s life took an unexpected turn: He was put in charge of handling his father’s entire estate. So, for the past 20 years, Samuel has been working away at the enormous task of rediscovering and organizing his father’s huge body of work. With the help of Shelly Verthime, a passionate expert of Guy’s oeuvre and its longtime devoted curator, Samuel is ceaselessly organizing exhibitions and creating editions to make Bourdin known to the world at large, an artist celebrated in the fashion world and who today is respected as an

exceptional creator whose unparalleled originality remains fresh and contemporary. P: Close your eyes. What picture of Guy’s first comes to your mind? S: A photo in Exhibit A. There’s a woman, with a sort of golden volume, at an angle and she is facing the volume, her legs are spread apart and she is framed, more or less this way. Then there is another one with an enormous ball. P: Why these two shots? S: I don’t know. I like the abstract aspect and the symmetry…maybe even a little anti-fashion aspect as well. P: What do you think about your father’s evolution from black and white photography to color? S: I think about the perfection and mastery of his compositions, especially in the ’50s. After that, he had to overlap with fashion, the “shocking hat with

the calves” kind of thing. …Then he had to learn a new mastery of photography in the context of fashion. B: Your father was engaged in painting and photography? Do you see a relationship between them? S: Yes there is. In his painting there already was a great compositional effort. And the framing, the mise-en-scène, the personages in the image, etc. I think it influenced him. He began drawing with India ink, making thousands of little marks, very textured works, so I think there is a relationship in the treatment of textures, the colors, the densities, the verticalness, or sometimes even the solid patches. Then, there is the so-called “ephemeral” aspect of photographs: he did not treat them as ephemeral works as he labored so very hard on his images. Even though there were restrictions, of course, like deadlines, etc. B: In the photographic work, not in the painting? S: Photography, for him, was actually a field of ex-

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S: No. I found people like Shelley [Verthime] and put my trust in them. P: It seems that a real construction has taken place, a most interesting accomplishment by Shelly, from a curatorial point of view. What is your perspective on the evolution of this work, such as exhibitions in development, publishing projects, and the like? S: For a very long time, we were in the construction phase, with problems surrounding the settlement of the estate, the first book, a first exhibition, a second exhibition, the second book, etc. Then Shelly arrived…It was really tough for Shelly. She was the one to approach the Victoria and Albert Museum in 2003. There were just 35 photographs. And now there are what I call “modern prints.” They are all posthumous, printed in New York, superb, of sublime quality. Of those we may choose around 110, and an additional selection of vintage Polaroids, black and whites. It’s coming together at a museum level. P: This is even more interesting for those who knew Guy Bourdin. You are producing prints of his images that Guy would never have imagined. In his time the technology was not available. Can you tell us more about the printing process? S: I work with the Box laboratory in New York, with Pascal Dangin who is a sort of image clock work-

er. The images are fantastically scanned and you can then “enter” into them. There is the one of a guy sitting with beer cans in front of a TV featuring a clock. And the one of a guy in a bathroom … You can see the shadows and, when you get closer, you can see what’s in the shadow of the door, which you couldn’t see at first, and can’t see when you back away… B: Yes, it’s really stunning! S: When you back away, it just turns into penumbra. When you get closer you can begin to see what’s going on behind, but not too much, it’s incredible. Since these are Kodachromes, there isn’t really any mutation of colors. At the time, even chemical products used to develop film would slightly damage them, so the images were less clear, less sharp. My father was fascinated with matters of detail, texture, density, and there were a lot of very dense planes, like with the blades of grass. With Dangin, I wanted to go glossy, really super glossy, so that when the image is put under glass or Plexiglas, while the brightness is somewhat neutralized, it still retains all of its density, sharpness, precision, and that crispness that my father so loved. It’s true that these new prints are just magnificent, and perfect according to my father’s standards. P: Another rediscovery has been Guy’s films; well, his short films. What do you find most meaningful in them?

(opposite page) VOGUE, Paris, December, 1969. ©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

perimentation. But he kept painting. And it was difficult for him to finish his paintings because there were no external restrictions to challenge him and push him to engage himself, you see… P: Did he paint only in Normandy? S: He painted in the countryside, in Greece, in Austria, at home in Paris, here and there, in Normandy, and he painted at the Rue Pache. P: Which would be his most accomplished work? S: There is the “Rabbit.” There is also a painting of two women on a landing at the top of a staircase. They may be quarreling in front of an open window through which you can see the other side of the street. There’s a Balthus-like painting, with a young woman with the legs somewhat… B: Spread apart? S: No, not spread apart, but the legs resting on the armrest of an armchair. Plenty of images like that… B: Do you think painting helped your father in his photographic art or vice versa? S: I think painting came first…because he began with drawing. And when you look at the black and white photos, you see how super polished they are. P: You have labored a great deal on behalf of your father’s legacy. And today the results are here for all to see. A really structured job. Did you work alone?


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them an understanding of his oeuvre.” The curator moved on from his initial preconception about Guy’s work. There’s a new generation, a new gaze on my father’s work. B: What are the preconceptions about his work? There’s a hyper Pop side to Guy’s photos which, from my point of view, defines a period, no? P: That’s an interesting point. Let’s try to distance ourselves a little: What do you think younger generations are going to see in Guy’s oeuvre today? The mark of a period as Barbara suggested, i.e., Pop, or are they going to look a bit further? S: No, because there is a mix, it goes from black and white, drawings, some painting, and finally it’s the work of a very passionate artist…it’s all part of his life, it’s his creation, it’s his soul. P: Because ultimately we only saw the tip of the iceberg, i.e. the photos that were published, in Vogue. But behind that was a huge amount of work that never appeared and that today reveals itself to be very contemporary. Artists today can work in many ways, take pictures, work in 3D, do what they want; no one demands that they be limited to a single technique. S: We often place people in categories. There is a

“fashion” category, and that “fashion” category includes the worst to the best, and he is categorized in that “fashion” category. But he was different, a bit like a UFO. In fact, he wasn’t really a fashion photographer. We didn’t even go to fashion shows, and we didn’t buy clothes in the stores: Sybille made our clothes. I didn’t even know that there was such a thing as fashion. B: And him, his relationship to fashion wasn’t at all… S: He had no relationship to fashion. B: That means he could have photographed any clothes as long as he was allowed to create his own atmosphere. S: It’s like Hitchcock who was engaged in making genre films. It was, in fact, a tool to express himself, and that is why, surprisingly, he remains pertinent because he had a singular approach to the composition of images. Guy was lucky that Roland Jourdan gave him carte blanche and those two were really a match made in heaven. Guy took great advantage of it. B: At Vogue, too, Francine Crescent, the chief editor, adored him and protected him until 1988 when she left and he no longer wanted to work for Vogue from that point on.

©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

S: Shorts may not be the right term; studies, rather. P: Was there a storyline? Did he follow a script? S: No, I don’t think so. They were work sessions of sorts. He read books on cinema. In one on Eric Von Stroheim, there were image strips allowing a close look at the films. Guy was interested in capturing movement, something going on, so he took reels and reels. “Genius is 1 percent talent and 99 percent work,” he said. P : There was that photo session for LUI magazine with Dominique Sanda where he filmed her instead and then selected shots from the film … Let’s get back to the exhibitions. This summer, Guy Bourdin Untouched was featured during the month of photography in Arles. Now there’s an upcoming exhibition on his painting in Hamburg, right? S: An exhibition on my father’s work: paintings and photographs. The exhibition curator, Ingo Taubhorn, came to Normandy where I keep the paintings, he looked at everything and in the end he took almost everything. He chose many drawings. I said to him: “Take them. You don’t know what’s going to happen, maybe somebody is going to write about it, maybe somebody is going to be looking. It will give

P: So in the art of Guy Bourdin, there is a double axis: on the one end you have sensuality as a ground, and that’s quite normal because he always chose fairly pretty women, but then there is a very playful axis, with touches of humor, and then there’s a very existential axis as well. In the Jourdan campaign, certain images were very strong and were indeed referring to the existential aspect … and seeing Guy at a distance today, we can indeed see that double edge, the playful aspect and then a very fundamental aspect about life itself. S: Ah, it’s difficult to explain it…He was always joking around. B: He was a little impish, but more a deadpan type. And he had a sense of burlesque… S: It’s like Italian comedies, where it is hyper-tragic and at the same time there is a funny side. P: So for example, in the now famous shot, which was featured on the catalogue cover of the Victoria and Albert Museum show, you see the face of a woman and a red puddle next to it. S: It’s nail polish and you can tell! There were also many references to comic strips. P: It reminds one of Roy Lichtenstein. But how do

you see this derision in Guy Bourdin’s work? Where does his art of derision come from? S: I don’t know. There is irony, his devil-may-care side, a little anarchistic, anti-conventional, to the point of provocation. Also to startle people, in relation to seduction, sex. It’s never vulgar. It’s more conceptual. But there are also themes: seduction, women, fashion, etc. … It’s meant to titillate people, then to jar them a bit. He had the same attitude towards his assistants and models. B: A little to push them to react … that’s exactly it. S: Voilà: that’s exactly it. A desire to create certain emotions and depart from ordinariness. B: He also had a light side, and he used to go against the conventional and heavy side of things: Guy was like a sprite. S: He had a great sense of humor, all the time. B: A great deal of humor and lightness of being while remaining hyper concentrated on his work. I have this particular memory of him: he would have his assistants take off their shoes so they would be lighter. An extraordinary idea. P: One thing struck me about Guy, in addition to his provocation, which indeed never was vulgar, was his

reserve. You probably were accustomed to it. What do you think about Guy’s reserve? S: I think he really was reserved but there also was a kind of restraint, maybe also in regards to his familial environment, not a discomfort, but he was sort of off-kilter with people. He was not very sociable, he didn’t want to hang around celebrities, he had a side that was a little bohemian and unconventional. So yes, reserve…there was a kind of demureness or distance in his mode of relating to others, though when he was out on the town, he could also let go a bit. P: Samuel, what was Guy after? Do you think that your father had an all-encompassing vision of all that he had accomplished, i.e., the drawings, the paintings, the films, and the photos, and so many diverse and greatly varied pictures, or was he only focused on photography and only secondarily on painting? S: No, not secondarily at all. He was painting till the very end, and he was always reading books on painting. …You can be involved in different things without one being more important than the other … they are all part of one’s endeavor. In the ’60s and ’70s, he was at his peak, and he devoted more time

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©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

Unpublished Guy Bourdin Polaroids from Samuel Bourdin’s private collection.


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to see the breadth of his work, because I want that show to be really huge, a giant show, with everything, not that we would go for quantity, but to show something edifying where you can really feel the scope of the work. P: An acknowledgment? S: Yes, an acknowledgment. P: We were talking about Polaroids. Were they just part of the process, work instruments for him? S: There are two aspects: they could be called “studies”, studies of the gaze, of composition, and then they can be just Polaroids: of a fence, an elephant skeleton, or also taken in the context of a shoot. (Since there was no digital, if you wanted to see what was going on right away, you’d take a “pola” to see what the image and light would look like.) P: What’s interesting in Polaroids is their imposed format, which is a square format, or almost square, even though Guy Bourdin, for one, liked to take larger pictures. S: That is very interesting…but I don’t know if it is the format, there is also the framing… B: But Guy reframed his pictures, he cut them, too… S: He would cut them so that his framing would be respected. So he would cut the negative to prevent the people in editorial at Vogue, among others, from poorly reframing his selection. P: Guy had to reframe all the time, as he had to adapt his images, which had their own formatting,

to the magazine’s format. So there was framing within the framing… S: Sometimes there were also horizontal shots placed on a vertical page. Not necessarily across a double page, “full bleed,” because of the magazine’s norms, and depending on the period. In the ’50s, images were much smaller. There were collages of sorts with many images on double pages, or horizontal images on vertical pages. Then in the ’70s, the layout is more often “full bleed” with fewer images. P: So Guy went from a small to a very, very large format since his paintings are very large format. S: No, not that large…They’re about two and a half meters… P: They call that XXL today, two and a half meters. So ultimately, there is an enormous production that we still don’t know much about today, right? S: Once when I was cleaning, gathering up all of his paintings together, I thought I had organized everything, then, behind a curtain, I discovered another trove of things… Guy Bourdin Retrospective at the House of Photography, Hamburg, Germany. November 1, 2013–January 26, 2014/Guy Bourdin is the artist inspiring the new NARS cosmetics line, to be released in October/Special thanks to Shelly Verthime, Patrick Hourcade, Barbara Baumel & Alisson Gingeras/Interview adapted from the French by Stephanie du Tan.

©The GUY BOURDIN estate, 2013. ©GUY BOURDIN, 2013.

and energy to photography as there was a certain momentum. And there is the notion of practicing one’s craft, some kind of perpetual quest for expression even if towards the end he was unwell and quieted down. But I don’t think he was constructing an “oeuvre.” P: Is there a precise iconographical direction towards the end of his life? S: At the end of his life, I don’t think he was on a career path. You can’t talk about a career, but more of a creative journey, it happened more as he went along. Everything was a bit disorderly. He always showed pictures of Bacon’s studio where there are two and half meters of trash…and in our place, in the apartment, there were pathways where there were no books or objects lying around… P: And what about the pictures, where did he put them then? S: He put them almost all over the place. There were always pictures lying around everywhere. And photos stored at the magazines, the selected ones. I had to recuperate them all, actually Barbara witnessed it. He kept everything, all of the rejects, he had everything… P: We have talked about the exhibitions, the painting and the drawings. What do you think you can still bring forward from Guy’s total production? Polaroids maybe? S: I don’t know because things develop as we go: one day there will be a real coherence in the conception of a retrospective where you will be able

left: Shoe sculpture series starring Robert Radding, NYC, 1977 Antonio Lopez


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Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.




GIVENCHY BY RICCARDO TISCI scarf, vest, shorts, and parka. PATRICK MOULIN necklace. PHYLEA bracelet.

GIVENCHY BY RICCARDO TISCI vest, shorts, parka, shoes. PHYLEA bracelet. PATRICK MOULIN necklace. FALKE socks. THURSTON LONDON porte chaussettes.

GIVENCHY BY RICCARDO TISCI sweater, short, and parka. RAFIKA BIRD FOR PHYLEA mohican crete hat. PATRICK MOULIN ring.

GIVENCHY BY RICCARDO TISCI scarf and shoes. PHYLEA bracelet. THURSTON LONDON porte chaussettes. FALKE socks.



GIVENCHY BY RICCARDO TISCI jacket and pants. TARA BYAKKO FOR PHYLEA mask cage christ. (right)

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GIVENCHY BY RICCARDO TISCI sweatshirt, shorts, parka, and shoes. GIVENCHY BY RICCARDO TISCI vintage silver crown of thorns.

GIVENCHY BY RICCARDO TISCI shorts, parka, and shoes. RAFIKA BIRD FOR PHYLEA mohican crete hat. PHYLEA rosary necklaces. THURSTON LONDON at lagonda paris porte chaussettes. FALKE socks.

GIVENCHY BY RICCARDO TISCI sweatshirt, shorts, parka, and shoes. Fashion Editor BARBARA




GAULTIER PARIS dress and bracelets. NEIL LANE rings. CHANEL fine jewelry ring.

GIAMBATTISTA VALLI dress and crown. CHANEL bracelet. Hair, everstyle alcohol-free™ strong hold styling spray by L’ORÉAL. Makeup, on eyes, hip high intensity pigments™ animated matte shadow duos by L’ORÉAL. Makeup, mascara, diorshow new look in black by DIOR. Foundation, nude bb creme in light.

ELIE SAAB dress.

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CHANEL fine jewelry ring.

ARMANI DRESS and bracelet. CHANEL fine jewelry rings.




lle Fanning offers insight and eloquence that defy her years. With her quirky red carpet fashion statements and signature alabaster skin, she is making Hollywood’s gatekeepers stand up and take notice. She’s just 15, but a of photography and fashion already sees Elle calling Karl Lagerfeld a friend. She’s also a regular fixture at international fashion events, including Paris Fashion Week in 2013. In addition to her obvious fashion connections, Elle is something of an acting prodigy, having already amassed a weighty portfolio of TV shows and films. No doubt she is destined for big things in either industry. Elle reflects on her early experiences as an actress while playing a younger version of her sister Dakota’s character in the emotional drama I Am Sam (2001) at the tender age of 3. “I didn’t understand the concept at that point. I was just so young, I didn’t realize the process. I just played on a swing with Sean Penn, and I can remember having a lot of fun rolling around on the grass.” She adds: “When I was about 4 and I did The Door in the Floor, I realized we were making movies. It was then that I understood it was make-believe and that I was just playing a character. It’s always been fun, and it’s nice to play different characters and use your imagination to explore them. I’ve made a choice that acting is what I want to do for ever and ever, if I can.” Bright, bubbly, and full of zest, she wields youthful resilience and candor fans have grown fond of. On a steamy summer’s day in LA, she offers some fresh perceptions, bouncing over the phone like a bubbly schoolgirl. “Hi, I’m just hanging at the beach, it’s summer and I’m out of school. Just seeing friends and going to ballet class, it’s the best.” Hollywood born and bred (she grew up in Studio City), Elle has no less than four films scheduled for release in late 2013 and early 2014, namely Maleficent, with Angelina Jolie; the animated kidflick The Boxtrolls; Low Down, a biopic about a junkie musician; and the apocalyptic drama Young Ones, by Jake Paltrow (Gwyneth’s brother). Asked how she juggles work and education, she says she prefers attending a normal school rather than being home-tutored. Elle says it’s nice to attend


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a regular school. “I have close friends there. When I’m going to do movies, it’s just a couple of months, so I just return and live a regular life.” Inspiring, honest, and removed from the innate cynicism that accompanies a lengthy LA stay, Elle is in many ways just another 15-year-old. She says she leads an average kid’s life. “The films I do are kind of like an after-school activity. Some people go to soccer practice; I go and make a movie instead. I just come back and clean my room afterwards.” With such a huge volume of work coming her way, it seems Elle’s key challenge as an actress seems to be maintaining normalcy as a teenage girl growing up in LA. Meanwhile, she’s adamant that she’s not overwhelmed by stardom, which largely is a result of entering the business as such an early age. Without a hint of malice or annoyance, she eagerly recounts how a group of people recently recognized her. “I went to Six Flags recently. I was on a roller coaster with a group of my friends, and as I was hanging upside down, there was someone who recognized me. They yelled out ‘You were in Super 8’ and waved. It was a good experience.” At 19, Elle’s sister, Dakota, is an obvious influence, though Elle says the two don’t critique each other’s work. She says they simply talk about regular sister stuff and tend to things around the house. “It’s nice to just surprise each other, as we don’t read one another’s scripts,” she explains. “When we’re off filming, we get to see what’s been filmed. We generally get the complete picture of what we’ve both been working on at screenings and premieres.” Having worked with everyone from Sean Penn to Scarlett Johansson, Matt Damon, and Angelina Jolie, Elle has already seen her fair share of A-lister interaction. She says her main idols are Reese Witherspoon and Jodie Foster. “She started off young and she’s a real role model. I liked her in Taxi Driver. I also like Cate Blanchett.” “I have worked with a lot of the people, a lot of amazing actors and actresses. Obviously my sister is one and just seen her I always look up to her. Last summer I did Maleficent with Angelina Jolie, and she’s just incredible. Just seeing how she became an evil character was just amazing. I loved working with her.”

Maleficent is the classic Sleeping Beauty tale told from the perspective of the princess’ evil nemesis, namely Maleficent, who was the main antagonist in the 1959 Walt Disney film Sleeping Beauty. Played by Jolie in this new live-action version, this self-proclaimed “Mistress of All Evil” is often viewed as the most powerful and sinister of the Disney villains. Elle offers some additional insights into her forthcoming projects. “Young Ones was filmed in South Africa, where it was very hot. My character in it was a little crazy, which I loved playing. Jake Paltrow directed and wrote it. It’s set in the future, where there’s no food or water. My character has to behave like a grownup—she’s a heroine.” Boxtrolls is an animated film in which Elle plays a character named Winnie, a cute redheaded 11-year-old. “I had to do a British accent and she’s very snooty. Low Down is based on the true story of a jazz pianist named Joe Albany. He was a heroin addict, so he never quite made it. Before the film, I didn’t know much about how deadly heroin was. On set, we had fake syringes and fake powder—it freaked everyone out. It was very scary.” In terms of her all-time favorite movies, Elle confesses to being something of an obsessive when it comes to Marilyn Monroe. “I love her. I like Seven Year Itch—it was one of the first movies that wasn’t like a Disney movie I saw that I can remember. I also remember I used to watch Grease and dress up in the outfits and sing all of Sandy’s lines. I can remember doing that at a very young age.” Elle says she habitually watches movies with sister. “We get lots of screeners, and I see lots of movies with friends. We like to see more funny movies. I also like to watch a lot of films on a plane; it heightens your emotions.” With her wealth of talent, Elle has the luxury of many options at this stage in her life. Asked where wants to be when she is 25, she says she’s still mindful about retaining options and is keen on maintaining a life outside acting. “It’s such a long way off, I hope I’m still working. I will probably be living in LA. I’m going to keep studying. I’d like to study dance, though I also love science—that’s my favorite subject. I love biology, and I’m going into chemistry next year.”


Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.


7HOLLYWOOD Winter 2014



he name Yves Saint Laurent needs no explanation—a French fashion designer, regarded as one of the greatest names in fashion history, whose namesake brand has long been synonymous with luxury, style, and sophistication. Now a feature-film biopic about the legendary fashion star is scheduled for a 2014 release. The brainchild of French actor-turned-director Jalil Lespert—and starring Pierre Niney as Saint Laurent and Guillaume Gallienne as Pierre Bergé, YSL’s lover and business partner—the French-language feature offers a dramatic obser-


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vation of Yves Saint Laurent from the beginning of his career in 1958. The film also examines the tumultuous relationship YSL had with Pierre Bergé and the chaotic backstory to the iconic fashion house. Bergé remained the protector of Saint Laurent throughout their life together. They were a force in the fashion industry, creators of a legacy and undeniable change in the very nature of fashion. With a penchant for adapting European-made success stories, Hollywood heavyweight Harvey Weinstein is putting his efforts into molding the

film for the American market. The film offers a raw and candid examination of the fashion industry, with glimpses into the seedy side of the business—from sex and drugs to scandal. Flush from the box-office success of Django Unchained, Silver Linings Playbook, and Escape From Planet Earth, The Weinstein Company has a reputation for making successful movies. French actor-turned-director Jalil Lespert has entered into a deal with Weinstein to transform the project for the U.S. market. Weinstein is in good stead to attain local success with the proj-

©Thibault Grabherr & Anouchka de Williencourt Special Thanks Myriam Bruguiere, Wendy Chemla at B.C.G.

ect, having previously reworked the French film The War of the Buttons (La guerre des boutons), with his adaptation competing against the original in France. With a budget of around $20 million, the film started production in Paris in May 2013. Its synopsis reads: “Opening in Paris in January 1958, the day Yves Saint Laurent presents his first haute couture collection for Dior and meets Pierre Bergé, the picture charts the couple’s creation of the Yves Saint Laurent fashion house.” Weinstein’s little-known interest in fashion sees

him produce Project Runway on TWC , which he believes is the “natural home” for this biopic. He also bought fashion house Halston in 2007, in an attempt to revive the label, and is married to the designer Georgia Chapman. Speaking to The Hollywood Reporter earlier this year about the film, Weinstein said, “Yves Saint Laurent’s unmatched vision, ambition, and business savvy continue to spark intrigue in the eyes of the world. The personal and business relationship shared between him and Pierre Bergé only added further depth to his story. We feel that

Jalil Lespert’s film will perfectly capture these combined elements.” Meanwhile, Speaking to French newspaper Le Figaro in 2012, Bergé said of the forthcoming film, “YSL ’s story is a ‘bigger-than-life’ type of story. It is also one of the few subjects which is ‘so French’ and, at the same time, internationally appealing.” He added, “I have often been asked to make a fiction film about Yves and myself, but I’ve never been convinced of the various projects. When Lespert came to me with his sensitivity, his en-

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thusiasm, his creative vision, I realized that I had before me the director able to tell this story. I told him yes.” Bergé also commented on the strong resemblance Niney has to his former companion, revealing that he almost greeted him: “Welcome Yves.” As a valued source of information for the film, Bergé is the head of the Pierre Bergé-Saint Laurent Foundation, which was created to prolong the history of the House of Saint Laurent while conserving a collection of 20,000 haute couture designs, accessories, and sketches that bear witness to 40 years of YSL’s creativity. Part of the production will be shot at the foun-


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dation that houses the late designer’s atelier as well as 5,000 garments, 15,000 accessories, and 35,000 sketches. Meanwhile, PPR, the luxury group who now owns and exploits the Saint Laurent brand around the world, is lending its support to Jalil Lespert’s film. Lionel Uzan, sales chief of the film’s distribution and sales company, SND Groupe M6, said, “We are the only ones allowed to use Yves Saint Laurent’s dresses, sketches, designs, and all his creations, which will look amazing on the big screen.” Referring to the picture as the “official YSL film,” Uzan added, “Making a movie about the greatest fashion designer of all time without the

ability to show the dresses would be like making La Vie en Rose without having Piaf songs.” The life of YSL is one of rags to riches, passion, and pain. The professional life of the artist and icon blossomed by the age of 18, when he gained the attention of French Vogue and began working with Christian Dior. His first year at Dior was comprised of mundane tasks, but season after season, his sketches were chosen by Dior. By the age of 20, Yves became the head designer for the House of Dior, after Dior’s death at age 57. Still, the genius of Saint Laurent did not surpass life’s obstacles. He was drafted by the French

military into the Algerian War of Independence and subsequently fired by Dior. After suffering bullying and misery in the army, he subsequently checked himself into a military hospital where he received shock treatments, psychedelic drugs, and sedatives. In later life, Yves said he traced his mental illness and drug addictions back to that hospital stay. It wasn’t until he met partner Pierre Bergé that his life evolved into something productive and beautiful. Throughout his career, and as fitting testament to his genius, Yves was the recipient of many awards. In 1983, Saint Laurent became the first living fashion designer to be honored by the Met-

ropolitan Museum of Art with his own exhibition. In 2001, he was awarded the rank of Commander of the Légion d’Honneur. In 2002, he made a graceful exit from the fashion industry with a memorable farewell show. The doors slid shut on his active career with a final couture collection. Over 2,000 people attended the show at the Pompidou Centre (and several thousand more watched outside on a giant screen). These lucky ones witnessed an incomparable summation of an astounding career. Back in 2011, a documentary about YSL, Pierre Thoretton’s L’amour fou caused a stir. An official selection of the Toronto and Tribeca film festivals,

the documentary shows Pierre Bergé reflecting on the extravagant history of his personal relationship with YSL. Framed around the 2009 auction of the priceless, elaborate art collection amassed by Yves and Pierre over several decades, the documentary provides an unprecedented look at the life of the mythic personality, whose personal life matched his public for elegance, extravagance, and passion. In 2002, YSL made a graceful exit from the fashion industry with a memorable farewell show. The doors slid shut on his active career with a final couture collection. The show was attended by 2,000.

7HOLLYWOOD Winter 2014



CRYSTAL FENDI mink coat and shoes. COURREGES sunglasses. DIOR necklace. DIOR JOAILLERIE rings. KMO JEWELS PARIS rings. CIRO FOR BURMA rings. APPARTEMENT A LOUER ring. (left)

ERMANO SCERVINO mink coat. DE GRISOGONO earrings. DIOR necklace. LANVIN ring love. BURMA rings.

SAINT LAURENT ocelot fur coat and plumetis chiffon dress. CHANEL JOAILLERIE earrings and rings.

SPRUNG FRERES black fox fur boa. CARVEN gloves. FENDI zebra boots CIRO FOR BURMA necklace and earrings.

SPRUNG FRERES pink fox furs. DE GRISOGONO earrings, necklace, and bracelet. LYDIA COURTEILLE ring.

LANVIN necklace love CIRO FOR BURMA earrings. DE GRISOGONO necklace and bracelet. KMO JEWELS PARIS bangle. LYDIA COURTELLE bracelet and ring.

UNGARO fox fur coat, silk shirt, skirt, and necklace. LANVIN love rings CIRO FOR BURMA bracelets. BERNARD WILLHELM FOR MYKITA sunglasses mask.

ERMANNO SCERVINO fur coat. CADOLLE black silk pantie. BALMAIN belt. DE GRISOGONO earrings. DIOR necklace. LANVIN love ring. BURMA rings.

SPRUNG FRERES black fox fur boa. LANVIN love necklace. CIRO FOR BURMA necklace and earrings.

FENDI mink fur coat. COURREGES sunglasses. DIOR necklace. DIOR JOAILLERIE rings. KMO JEWELS PARIS rings. CIRO FOR BURMA rings. APPARTEMENT A LOUER ring.

Fashion Editor BARBARA BAUMEL. Assisted By LOU TARDY JOYE AND OLIVIA ARNAUD. Hair LEILA-A. Makeup GRESHKA. Manicurist YANA. Model CRYSTAL RENN. Studio Producer AGNES BARBIER. Special thanks Fine Jewelry Fashion Editor FRANCELINE PRAT



BY ROSE APODACA “Thank God for social media, so I can stay connected!” Arianne Phillips bellows, competing with a diabolically loud blender she’s operating in the kitchen of her 1919 house on a magnolia-lined street near Los Angeles’ grand Griffith Park. For someone who doesn’t court followers, she can claim a legion checking in on her exploits. “I’m visual and use my phone like a notepad. So everything starts with Instagram.” She’s not promoting a reality show or personal blog. There are no signature wares bound for a cable-shopping network. Nor a style book in the works, advising everyday women how to dress like a red carpet regular. It’s not that Phillips sniffs at peers with such very public enterprises. To her, social media enables connections, however ephemeral, with family and friends. “Everybody’s time is so precious. It’s important to nurture relationships. That is the sustenance allowing me this frenetic lifestyle.” Phillips’ social posts seem less like brand-building strategy than an ebullient pal-next-door sharing her days and nights on the town—albeit days spent at a garden party with L’Wrenn Scott and Naomi Campbell or nights celebrating Madonna’s birthday.


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Besides, she can push the boundaries of time giving her famously devoted commitment to Tom Ford, Steven Meisel, or James Mangold (who directed five of the 20 feature films to her credit, including Walk the Line, which garnered Phillips her first Academy Award nod). An ongoing oeuvre with Madonna dating back to 1997 knows no limits: several album covers, 20-plus music videos, magazine editorials, and costumes for movies and the last five world tours. Whether Phillips likes to admit it or not (and she doesn’t), in spite of the many contemporary profession-building distractions like reality shows and style bibles, she has still managed to shift pop cultural notions, careers, and the zeitgeist. Phillips prefers to liken her role as a collaboration, one of “illusionist, fantasy spinner.” Yet, in the name of friendship and championing bona fide talent, she makes an exception, as she did this summer before 400 friends of the Los Angeles County Museum of Art’s Costume Council, chatting with Theyskens about his trek from Oscar stage to artistic director of Theory. “Arianne never likes to put herself in the spotlight,” he says. “She is as humble as she’s talented.”

So while Philips has spent recent years learning every aspect of ushering a celebrity fashion line to market—co-designing with Gwen Stefani the Harajuku Mini line for Target; ditto with Madonna on her Truth or Dare license for Macy’s—she insists there are, to date, no plans for a signature brand to call her own. On this clement Friday at home, the only thing Phillips is pushing is a crisp elixir of lemon juice and basil leaves she pulverized in her Vitamix blender. “I’m obsessed with this machine,” she professes, as she shifts to placing gold and purple slices of kabocha squash and Japanese sweet potatoes on a baking sheet. “If I were not costume designing, I probably would’ve been a nutritionist. I’m obsessed with food as medicine. I try to bolster myself a week in advance of any travels with really good food.” She might consider a second helping at dinner. There are scarcely 72 hours until a London-bound plane takes off with Phillips and several cases crammed with personal items and research materials for an eight-month relocation there. It will mean leaving her boyfriend, two rambunctious dogs, and a cat to oversee every sartorial detail in and associated with the Matthew Vaughn-directed spy thriller The Secret Service. The two met through Guy Richie. Vaughn has been a co-producer on Richie’s films, including Swept Away, which Phillips costume


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Fashion Editor JORDAN GROSSMAN, TESS CALLNER. Hair SEAN JAMES. Makeup BILLY B. Manicurist ASHLEY VAN. OLIVER THEYSKENS, dress. Gloves and glasses. ARIANNE’s own. (right) Photographer: EMMA SUMMERTON.

“I’ve learned it’s really not about being nostalgic, but moving forward and challenging yourself. It’s also not attaching yourself to the outcome or what people think.”


designed. He’s since gone on to direct. Among his credits are Kick-Ass and X-Men: First Class. What distinguishes The Secret Service is how it will be driven by Phillips’ other livelihood—that of editorial stylist—in a way that her more fashion-driven movies haven’t been. Among them, those with Madonna, as actress and director, including 2011’s W.E., for which Phillips received her second Oscar nod. She was nominated for an award from the British Academy of Film and Television Arts for Tom Ford’s directorial debut, 2009’s hyper-stylish A Single Man. This latest project, slated for a late 2014 release, expands on the notion that clothes make the man: in this case, clothes make the movie. “It’s a secret society of spies based in the back of a Savile Row tailor shop. It’s very elite, very bespoke, and very British,” she underscores. Every detail—down to the branding of the suits and shirts—are under her aesthetic consideration. True to any Savile Row house, there are signature plaids and pinstripes to be exactingly cut and stitched into suits. “Any film is a big time commitment,” she offers. “But because I like to continue my editorial work, my projects with Madonna and other artists, I look for a challenge to take me to a new place creatively. I never want to repeat myself.” She does concede there is something gained by having another chance to

work with select directors, actors, and crew. Besides Vaughn, this film reunites her with Colin Firth, fellow Academy nominee for A Single Man. This time, Phillips is channeling the many dangerous dandy leads of Michael Caine during his 1960s films. “I love working with Colin, and he was among the reasons I wanted to work on this film.” Being also able to bring together off-camera talent from other projects facilitated her temporary move to London. “I don’t do my job by myself. I have a team of people. These are highly skilled professionals who help me realize my vision.” This refreshing sense of “we” over “me” is rooted in her upbringing. She and a sister, five years her junior, were raised in 1970s Northern California among nonconformists, minus the drug culture. Her parents, who celebrated their 50th wedding anniversary last fall, continue to be a welcome presence at Phillip’s intimate barbecues, regaling her friends with perceptive, quick-witted conversation on art and politics. Add to that support system the gentle, unflappable man who has stood quietly next to Phillips these last eight years. “I’m living my life in a proactive way because I’m finally taking better care of myself. It had nothing to do with losing the weight—but what I learned about myself, about the quality of life I wanted, the health and the energy,” she says. “What makes my life happy is

the foundation of love and support. From [my boyfriend] and Madonna and others I’ve learned it’s not about being nostalgic, but moving forward and challenging yourself. It’s also not attaching yourself to the outcome or what people think.” A revitalized Philips is taking on the future, she says, not so much motivated by financial or fame gains. In addition to everything else, she’s been researching the viability of a luxury fashion brand for the estate of the venerable illustrator, set and fashion designer, Erté. A long-term book project, which she calls “a labor of love above all else,” is underway with Thierry-Maxime Loriot, the curator at the Montreal Museum of Fine Arts who originated the Jean-Paul Gautier retrospective, and creative director Giovanni Bianco. “If I do eventually create anything with my own name on it, my own label,” she observes, “it’s going to have to have a philosophy and be about lifestyle, fashion, and entertainment. And it’s got to be digitally accessible!” Photos on the left: Madonna, Sticky and Sweet Tour, 2008/A Single Man, Colin Firth and Julianne Moore, directed by Tom Ford/Hedwig and the Angry Inch, directed John Cameron Mitchell Fine Line Cinemas/ W.E., Abbie Cornish and James D’Arcy Director: Madonna, Optimum Releasing.

7HOLLYWOOD Winter 2014



7HOLLYWOOD Winter 2014

7HOLLYWOOD Winter 2014




7HOLLYWOOD Winter 2014

LOUIS VUITTON mink coat, jacket and hat.

LOUIS VUITTON silk tuxedo jacket and wool plaid.

LOUIS VUITTON print jacket, tuxedo shirt, velvet bowtie and scarf.

LOUIS VUITTON parka and shoes. FALKE socks. Hair golden cacao silky restoration oil by SOL DE JANEIRO. On body, golden cacao body butter by SOL DE JANEIRO.

LOUIS VUITTON jacket and sunglasses.

LOUIS VUITTON sweater, jacket, and mink scarf. (right)

LOUIS VUITTON shearling parka, print sweater, mountain shoes, bag, and FALKE socks.




CHANEL necklace, mittens and bangles. PHYLEA suspenders. STELLA MCCARTNEY cap.

CÉLINE coat and pullover. WANDA NYLON vinyl short. ALAÏA belt. CHANEL mittens, gaiters, and boots. (left)

CÉLINE coat. PHYLEA suspenders. WANDA NYLON vinyl short. MAISON MARTIN MARGIELA mask.

CHANEL mittens and gaiters. PHYLEA suspenders. WANDA NYLON vinyl short and hat. CARVEN necklace. Hair, smooth and shine crème by L’ORÉAL. Makeup, foundation, diorblush in beige nude by DIOR. on eyes, diorshow fusion mono millennium eyeshadow by DIOR.

CARVEN coat and turtleneck. CHANEL belt, gaiters and boots. PHYLEA pantie. MASION FABRE gloves. (left)


BALMAIN coat. MAISON MARTIN MARGIELA archives mask. ALEXANDRE VAUTHEIR belt. CHANEL mittens, gaiters,and boots. (right)

DIOR coat and skirt. CHANEL mittens, gaiters,and boots. Fashion Editor BARBARA BAUMEL. Assisted By Lou Tardy Joye and Olivia Arnaud. Hair LEILA-A. Makeup GRESHKA. Manicurist YANA. Producer AGNES BARBIER.


7HOLLYWOOD Winter 2014

Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.



MAC COSMETICS Reflects Pearl Glitter Rose and Magenta Madness Pigment. LANVIN Love necklace.


MAC COSMETICS Reflects Bronze Glitter Old Gold Pigment. LANVIN Love necklace

MAC COSMETICS Reflects Pearl Glitter Acid Orange Pigment. LANVIN Love necklace

MAC COSMETICS Reflects Bronze Glitter Old Gold Pigment. LANVIN Love necklace ARTWORK by FLEUR AND MANU. Fashion Editor BARBARA BAUMEL. Hair SEAN JAMES. Makeup JOANNE GAIR. Manicurist EMI KUDO. Model AMANDA AT PHOTOGENICS. QUIXOTE STUDIOS. Digital Capture ADC DIGITAL. Special Thanks LISA at CALL MY AGENT.



7HOLLYWOOD Winter 2014

Grooming LEILA-A. Makeup GRESHKA. Producer AGNES BARBIER. Special Thanks Lucien Pages and Tamara Dolgieva at Lucien Pages Communication. Photography Alix Malka




arre spent his younger years as an underage regular at Le Palace, a nightclub that can be described as Paris’ Studio 54, where he met personalities like Andy Warhol, Karl Lagerfeld, Mick Jagger, Eva Ionesco, Christian Louboutin, and Farida Khelfa. This is where he discovered his love for design. While he began his career in fashion, he ultimately found freedom in creating furniture— sculptural objects devoid of the constraints of designed clothing. After leaving Emanuel Ungaro, he wanted to throw himself into this new venture, something he had never done before. He hasn’t left the fashion world completely. The fashion magazine L’Officiel has asked him to curate four issues starting in October 2013. 7Hollywood asked the charming and witty Vincent Darre a few questions. Sarah Svetlana Levis: How would you define your career path? Vincent Darre: My path was subconsciously defined by my childhood dreams. My purpose in life is to realize all my fantasies, everything fueled by my imagination. Whether it is fashion, costume design, interior design, furniture design, photography, or becoming the editor of a magazine—to me all these mediums provide me with the perfect platform for staging my obsessions. SSL: Can you tell us about your current projects, especially for late 2013 early 2014? VD: I am working on several projects simultaneously. I am in the process of decorating a showroom for a luxury brand. We are also in the middle of a hotel construction, which is located above the club Montana. There will also be a restaurant at the top and six eccentric Parisian suites. I am also working on another hotel in collaboration with André, which will be less luxurious, more bohemian in style. In September, I will be repeating the adventure of the AD Intérieurs project with Marie Kalt, this time in a boutique hotel. Finally, in October,


7HOLLYWOOD Winter 2014

Arielle Dombasle’s film Opium, about the thwarted loves of Jean Cocteau, is scheduled for release. I was appointed artistic director for the production. There are also the special issues of L’Officiel magazine. I was named curator to design four limited-edition issues. I have complete creative control. I’m sure I’m forgetting other projects! SSL: Why the love of surrealism? VD This love of surrealism was triggered by a cultural shock I experienced when I was a teenager. My mother, a socialist, took me to an exhibition where I discovered the art of the absurd and delirious, the joyful freedom of a fascinating era where artists, musicians, and writers collaborated together to build a movement that could simply not be classified. I fully see myself as a part of this tradition. Surrealism and Dadaism are the essence of my inspiration and remain the driving force of my imagination. SSL: Does the Internet influence your creation? VD The Internet has not changed my work. It’s a mediocre library! But in an emergency—alas! SSL: Can you tell me about your experience working with Karl Lagerfeld? VD Working with Karl was the most fun I have had in my life. He is a quirky and unique character who destroys everything with his smashing humor. Every moment with him is a happening. He is the Andy Warhol of fashion, with the gift of a quick comeback and slogan. If you submit a failed prototype, he will immediately transform it into an idea of pure genius and make it great. He is full of anecdotes and stories about the personalities of the past, stories that inevitably drift into genealogies of their sexuality. He avoids making moral judgments; he is a free spirit and his friendship is an invaluable and irreplaceable luxury! SSL: Tell us about your experience with Prada, Moschino, Fendi, and Yves Saint Laurent. VD: When Miuccia realized his first collections, I

loved seeing the stubbornness to create a style based on the disproportion and the anti-fashion, while retaining a Milanese style of elegance. With Yves Saint Laurent—I landed there right out of school at Studio Berçot—I was quite arrogant, dressed as Charles Trenet, dreaming of this legendary house but unable to understand the need to pay your dues. Moschino is the house I identify with the most. It’s anarchist and humorous style is everything that I am about. The derision of fashion made with a touch of surrealism was exactly my universe. I really had fun making those collections with Rossela Jardini. SSL: Would you go back to fashion? VD: I have no desire to go back to fashion. I am so happy designing furniture and creating interior designs. I venture into new projects with enthusiasm! SSL: What is Hollywood for you? Past? Present? VD: Hollywood, with its surrealism, is a source of inspiration for me. Raised by my cinephile brother, I spent entire days at the Cinémathèque, and this is where I always drew my references. For example, the colors of the baroque Vincente Minnelli, and Orson Welles is inexhaustible! Hollywood doesn’t make me dream the same way anymore. The same goes for Italian cinema with the disappearance of Fellini, Visconti, Pasolini, Antonini. Similarly, in France with the New Wave. The time is different, there are surprises, people of talent, but I’m nostalgic. SSL: Are you an art collector? VD: I collect art by chance and encounters, the same way I manage my life and friendships. SSL: What does the word “fantasy” mean to you? And “fetish”? VD: Fantasy is the touch of madness that’s lacking in most people. Fetish is Buñuel, Carlo Mollino, and Molinier.

(left ) “L’Officiel”, “Opium” directed by ARIELLE DOMBASLE, (Right, clockwise,) Schiaparelli fashion house, Parisian apartment , “L’oeil eclipse la lune” directed by VINCENT DARRE, Schiaparelli fashion house, “Vincent passage”

7HOLLYWOOD Winter 2014




SAINT LAURENT shoes and tights. NEVER THE BRIDE top and bottoms.

SAINT LAURENT bra and silver skull necklace.

SAINT LAURENT coat, heels, and tights. DECADES lingerie and embroidered dress.

DECADES lingerie and lace dress.

SAINT LAURENT wool sweater. Tiara Courtney’s own.



BY ROSE APODACA n bed, Courtney Love is raw. She is at turns tender and savage, spontaneous, and coy. She can be intensely funny, intensely smart, and equally reckless. A round ceramic ashtray between us is filling as she sparks another cigarette, with just enough time to allow for a dramatic pause in our latest story exchange. Too many tales to count, let alone recount here given Love’s penchant to dizzyingly annotate—1980s hardcore bands in Los Angeles; collecting Art Deco glassware; this year’s Tony winners; her first crush Michael Beck as Swan in The Warriors. A plot line on a nearby plasma set seems tailored for this disparate pop culture medley: Cherie Curie, The Runaways legend-turned-chainsaw carving artist is teaching the Kardashian clan to hack a wood stump into a bear. “They have no idea who she is!” Love bellows out, engrossed by her one-time idol on TV. After straying into a memory of enlisting the closet organizing services of the pre-reality show Kardashians, she launches into a sultry, modified “Cherry Bomb,” Curie’s biggest hit: “Hello Daddy! Hello Mom! I’m your cha-, cha-, cha-, cha-chainsaw bomb!” Her powers of recall in even the finest of points are something to behold, even if not every fact checks out. She is always too close to call her on it, her storytelling too entertaining to matter. The latenight rendezvous inside her Beverly Hills hotel suite conjures Six Degrees of Courtney Love. “I’m thinking ‘The Girl With The Most Cake’ as the title,” she offers of the pending memoir for Harper Collins. The book is only one of the reasons Love is putting herself back out into the spotlight again. Nights before, she was hurling a dozen floppy roses into every direction like nails from a homemade bomb. The overture was welcomed with deafening affection among the mutual Love society packing the Troubadour in West Hollywood that included old friends Roddy Bottum of Faith No More and Jennifer Precious Finch of L7, and new kid Lana Del Rey. “I’m not trying to fill the Staples Center…I’m playing a

300-person venue. It’s obviously going to sell out,” she self-effacingly notes. “There was no album to promote, no T-shirts to buy. It’s fine to see me at a small venue—once in a very blue moon. The worst thing you can do to a band is put them on the road and barely break even.” That happened with the 2010 album release tour for Nobody’s Daughter, with a Hole comprising of non-original members. She regretfully calls it “the worst flop,” due to failed marketing and sponsorships from business decision missteps. This time, she is embracing her solo status with a strong band that has her back, and two upcoming singles, “California” and “Wedding Day.” With a new manager in her corner, she’s reapplying herself to acting. “I’ve told him all the worst shit, and he doesn’t care. He is not afraid of wielding his power or being rejected.” Her disclosure that she had been close to being considered for the theatrical adaption of Venus in Fur, thanks to the urging of friend and director Brett Ratner, is provocative given her Golden Globe nod for the 1996 film The People vs. Larry Flynt. “I interrupted that part of my career— for a decade,” she said, laughing. “But I’m committed to it now.” She’s also devoted to Never the Bride, a clothing collaboration with Philippa “Pippa” Greenbank. The pair met through Gareth Pugh and is shopping a business plan to secure funding. It includes an up-cycle capsule of expertly reworked vintage and a ready-to-wear collection scaled for wider distribution. “I’m really passionate about this—just not about the industry. Fashion is evil. But Pippa’s really good with those people. She’s a person no one wants to harm. She’s a good girl who’s come through the ranks the right way.” At the sight of their one-off designs in a recent editorial, Love gushes. “What a rush seeing a 16-yearold in my dress and no mention of my name!” This is not the same as designers co-opting her style, even if they are friends. Riccardo Tisci considers

Love a long-time muse, and Hedi Slimane appeared to have raided her closet for his Saint Laurent Fall 2013 collection. “Except,” Love was quick to note at the shoot, I never wore Doc Martens.” Slimane confirmed his inspiration by photographing Love inside her New York home for the ad campaign. The images are a stark contrast from the goddess Avedon conjured for Versace’s 1998 campaign. “There’s a lot of movement in his work with Marilyn Monroe and he had me do the same thing. I thought it was a little naff at the time. Now I think it’s genius. I didn’t even know who Avedon was. I had to be reminded of what moment I was in. ‘You’re in front of Avedon. Shut up and be a good girl. Enjoy your moment. It’s not about you! It’s about the moment!’” Some 15 years later, Love is following that advice. Her yoga practice might be dragging. And there’s the smoking. But healthy is relative. Her relationship with daughter Francis Bean Cobain is better than ever. “I went to my daughter’s new house in West Hollywood the other day, near her godmother, Drew [Barrymore]. Frannie’s 21 now! The house is beautiful.” Love is as ready to put any messy past behind her, metaphorically and literally. “I have to deal with 14,000 square feet of storage here in LA . We’re getting three dumpsters—one for selling, another for keeping, and another for tossing. There’s going to be clothes. Really grand Norma Desmond pieces like giant armoires. I had a big Art Nouveau phase. It’s going to be like Christmas. There’s a documentary in there!” She teases. Has she considered an auction? “I’ve talked to Butterfield’s. But so much of it isn’t in good condition. The upholstery is stained. There are silk Art Deco rugs with giant moth holes. I took the best pieces to New York. But I’m entering a new phase. I’m really into modern…like Vladimir Kagan. I want modern in my life. When you move into a new place in your life, you want new everything.”

SAINT LAURENT dress, heels and tights. Accessories Courtney’s own. Fashion Editor JENNY BRUNT Assisted by JORDAN GROSSMAN, TESS CALLNER Hair CHARLIE TAYLOR Makeup MAI QUYNH Manicurist EMI KUDO Studio MILK LOS ANGELES Digital Capture ADC DIGITAL Special Thanks Lilian Bard at SAINT LAURENT NY.

GIVENCHY BY RICCARDO TISCI cotton felpa jacket, cotton velvet pants, and silver metal buckle shoes.



Pondering the average boxer-turnedactor scenario usually conjures visions of cauliflower ears, faded tats, and a flattened nose—generally not a pretty site. Enter British-born Roy Evans, a refreshing exception to the stereotype and quite possibly the personification of the upside to a brief boxing career. Rob now prefers modeling to pugilism and is on the brink of stardom as an actionmovie star.



ob Evans is a walking anomaly. His exotic beauty and successful modeling career are a stark contrast to his working-class Brit heritage and background as a competitive boxer. Like Mickey Rourke, Jason Statham, and many before him gifted with looks and talent, Rob’s hoping for an action-star career, though this time around he hopes to add a new era’s flavor and sophistication. Surprisingly down-to-earth, Rob is known for defying the veneer of pretense in which the modeling game so often accouters itself. Described as “a genetic gift from the gods,” Evans is often compared to Tyson Beckford. At just 24, he is now considered a hot property. In addition to shows for the likes of Givenchy and Trussardi, he’s also been featured in numerous topshelf international fashion glossies such as Numero Tokyo, i-D Magazine, and Self Service Magazine. Often called “beautiful,” for his face, body, and size, Rob’s boxing background and associated physique do sometimes cause him problems. Rob says he refuses to adhere to the cookie-cutter skinny look that has been deemed acceptable in the industry and that he has difficulty losing weight. “I’m quite muscular, meaning I can’t fit clothing that well, which works against me in Europe, though in America I book a lot of jobs. The fashion game is odd, one minute it’s all about skinny then the next they are into muscles.” In terms of his acting ambitions, Rob has several film and TV roles in the works. He’s auditioned for: Fast and Furious film franchise and the next Trans-

Fashion Editor RUFUS KELLMAN. Hair LEILA-A. Makeup GRESHKA. Manicurist SARAH ATTALAH. Hair, golden cacao silky

restoration oil by SOL DE JANEIRO. On body, golden cacao body butter by SOL DE JANEIRO.

formers sequel. “Los Angeles is where it’s at if you want to get into acting,” he says. In terms of the transition from modeling to acting, Rob acknowledges it’s a difficult transition. “It’s hard to be taken seriously for people who have made the transition from sports to acting. I want to be taken seriously, and I have to overcome the stereotype of being seen as just a pretty boy. I really look up to actors like The Rock (Duane Johnson). It’s not like he’s going to win an Oscar anytime soon, but I like his back-story. When it comes to the physical stuff I’m good, though when it comes to the emotional stuff I need to get an acting coach.” Of the entertainment business, Rob has learned the hard way that nepotism is as significant as talent. “The industry is very much about not what you know but who you know. America’s Top Model judging opened a lot of doors for me, though I don’t want to get typecast as a judge; it’s more a stepping-stone. I might be asked to come back, anything could happen, if they want me back I guess I will do it.” Asked whether he prefers the East or the West coast, Rob says both work, though it’s all about energy. “I’m very into the energy of New York, everyone’s just so go, go, go. It really motivates you. I lived in NYC for two years before I ended up in LA.” For now, he’s strategizing his future. In addition to his forthcoming film roles, Rob is also in negotiation to be the face of Nike and Monster Headphones in huge ad campaigns. He’s also keenly scouring Malibu for a new seaside home—the future looks bright.

GIVENCHY BY RICCARDO TISCI sweater and jacket.



ady Gaga, Cher, Dolly Parton, Katy Perry, and Janet Jackson are among the supernovas owing a flash of their sparkle to Michael Schmidt. The Los Angeles designer’s imaginative costumes and accessories are innovations in craftsmanship and materials—as disparate as Legos, metal scales, and sterling silver links. He’s forged costumes for Madonna’s last four world tours, invented a way to laser-print metal mesh for Rihanna, and realized haute couture-level pieces for Chrome Hearts. He’s also behind a number of large-scale interior installations, from studding the leather floor of the Palladium’s VIP room with Iggy Pop’s “Nightclubbing” lyrics in Braille, to the chandelier welcoming visitors to downtown LA’s newest Ace Hotel. This spring, Schmidt made history with the world’s first fully articulated 3D-printed work of fash-

ion. The sensuous piece of haute technology was custom-made for burlesque icon Dita Von Teese and hand-finished with thousands of jet Swarovski crystals. It’s on view through next summer in the landmark “Out of Hand: Materializing the Postdigital” exhibition at the Museum of Arts and Design in New York. The muse sat down with the artisan for 7Hollywood to ask him about how it all began. Dita Von Teese: This is so weird because we know each other so well, but you don’t often talk about your upbringing. Michael Schmidt: I grew up in Kansas City, Missouri. In school, I did well in art classes—but poorly in most everything else. I was bullied quite a lot, so I tended to take refuge indoors, making things with my hands. I asked my mother and grandmother to

teach me to sew. The first real thing I ever made was my prom date’s dress. DVT: No way! MS: I know, it’s silly. But she was a beautiful girl and I had a vision of her in this gown. Eventually, I wanted to combine my interest in fashion with my love of musical entertainers, so I moved to New York City in 1983. I started making jewelry out of found objects, then developed an interest in chainmaille. Fabrics created through the repetition of discrete components are a nerdy obsession of mine. DVT: What was your first big break? MS: I made a chainmaille dress that ended up in a store window. Cher went into the store and asked for my number. They said “No!” Fortunately, a friend who worked there slipped her my number. DVT: Wait. Somebody slipped Cher your number?


“The 3D-printed gown has received over a billion print and online press views. People have seen you in that dress on every continent.”

This is your idol… and your first big client? MS: Yep! She called and I went to her house. I was like 22 and it was pretty daunting! But we bonded right away. She’s a very warm person and there’s no bullshit with her. We’re still close to this day. I received an Emmy nomination for the costumes I made for her 1990 special. Eventually, she started giving my things as gifts to friends like Bon Jovi and Aerosmith. That’s how I started working in the music business. One of my favorite projects was the crystal mesh dress worn by Tina Turner in those iconic Herb Ritts photos. I’ve always gravitated toward making my own “fabrics” out of metal, guitar picks, plastics, wood, razor blades… DVT: Razor blades? MS: For Deborah Harry, I made a floor-length gown sheathed in over 3,500 razor blades. We’ve also known each other for ages. We even lived together for a while in New York. I dulled each razor blade on sand paper and carefully hand sewed them to the fabric. It was included in a show at the Metropolitan Museum of Art. DVT: A lot of people see a dress and it’s easy for them to forget the handiwork, the massive effort that goes into it. MS: You have an acute appreciation for that. I love to get my hands into all forms of craftsmanship. That’s why I’d been so interested in 3D printing. But creating the gown I made for you was challenging because so much of the process was outside of my control. I never told you this, but I was pretty anxious during that experience. I couldn’t assist in writing the code, which [architect] Francis Bitonti did in New York. Then the printing was done at Shapeways in Queens, which also took weeks. Even then

I had no idea if the dress was going to fit. I designed it to your measurements. But what if something had gone wrong? When they started sending me these puzzle-like sections of the dress, I initially had no idea how to even piece them together! DVT: When you asked me if I would do it, I was trying to wrap my head around the very notion of 3D printing. We were having drinks, and I remember saying, “Whatever, sure I’ll do it.” I had no idea what I was in for with the fittings and so on. I especially had no idea about how the press was going to get so crazy. MS: It’s astonishing. The gown has received over a billion print and online press views. People have seen you in that dress on every continent. DVT: I respect you and admire your work so much that I was mostly just thinking, “Whatever it is that you wanted to do, I trust you…” Now, about your jewelry line… do you do mostly costume or fine jewelry, too? MS: Both. The collection emphasizes various metal meshes with Swarovski Elements. I’m also working in silver, gold, and platinum. The new designs are diamond pavéd and quite intricate. My fantasy is to 3D print aspects of the collection. DVT: How is fantasy important to you? MS: So much of my work is about allowing an entertainer to express his or her fantasies onstage. This, by extension, allows an audience to dream as well. That’s fulfilling for me. I don’t believe that one’s fantasies should remain elusive; it’s important to strive to make them a reality. When I reflect on my life since I was a young boy, I realize that I’ve been able to do just that, to live out my fantasies. I’m very fortunate.



manda Lear is a pop art phenomenon as scandalous as she is innovative. Part Marlene Dietrich and part Edie Sedgwick, Lear is a diva, a vamp, an icon, and an overall bon vivant—an androgynous visionary whose music and style predates the likes of Madonna, Grace Jones, and Lady Gaga. Lear’s talents and proficiency are unparalleled, she’s a queen of the ’70s scene who has more to offer than most Disney-fueled Muppet’s charting today. An internationally recognized talent, Amanda is a singer, lyricist, painter, television presenter, actress, and model who was once the muse of Salvador Dali and the lovers of David Bowie, Bryan Ferry, and Brian Jones. Lear’s multifaceted career and rise to fame took root while she was working as a fashion model during the late ’60s in swinging London and later the catwalks of Paris modeling for Paco Rabanne and Yves St. Laurent. At that time, she met Salvador Dali and was subsequently recruited as his key muse and lover. Until his death in 1989, she often traveled and socialized with him, later revealing details of her life with Dali in her 1985 book My Life with Dalí. Lear is also renowned as the cover model for Roxy Music’s 1973 album, For Your Pleasure, resplendent in bondage-style attire. From the mid-’70s

to the early ’80s, her disco-inspired albums sold millions internationally while she was signed to Ariola Records. The Roxy music album became an artistic milestone, with the cover as famous as the recording. David Bowie dated her for over a year. He wanted her to sing, and she actually participated in his episode of the NBC show Midnight Special in 1974. De Fries, Bowie’s producer, signed her, which gave her career yet more momentum. Lear’s first four albums attained mainstream popularity, charting in the Top 10 on European charts, including the best-selling Sweet Revenge (1978). Her biggest hits include “Blood and Honey,” “Tomorrow,” “Queen of Chinatown,” “Follow Me,” “Enigma (Give a Bit of Mmh to Me),” and “Fashion Pack.” As the 1980s approached, Lear gained momentum as one of the leading media personalities in mainland Europe, especially in Italy and France where she hosted many popular TV shows. Her art career also blossomed, which produced gallery exhibitions worldwide. She also continued to make music, earning minor hits such as “Incredibilmente donna” and “Love Your Body.” Lear’s career as a model and muse to top-tier designers has spanned an amazing five decades. In the ’60s, she worked with Mary Quant; the ’70s saw




her collaborate with Paco Rabanne; the ’80s with Thierry Mugler; and the ’90s with Jean-Paul Gaultier and Ricardo Tisci. In September 2012, Lear appeared as a catwalk model in Jean Paul Gaultier’s fashion show in Paris. In late 2013, Amanda will grace the stage in Paris for her play, Divina. The indefatigable Lear is also working on her next studio album. AL: What are your thoughts on fashion today? CS: When I started being a fashion model, the creators were intriguing, more so than today. They were in the business of fantasy to transform the look of a woman. There was so much creativity and energy; it was a different world. I have since worked with designers from four different generations, including Mary Quant Thierry Mugler, Jean Paul Gaultier, and more recently, Riccardo Tisci as a key muse and model. It’s been a great ride. I recall I was invited by Mary Quant, inventor of the mini skirt, to come to the U.S. to launch it. I was under contract to tour. I went to Memphis, Atlanta, Florida, and everywhere. It was a big scandal at the time; lots of vodka and fun. I stayed in New York as I ended up with no money. I met Andy Warhol and Nico, so it was a happy accident, a very exciting time. AL: Recount your music career and its beginnings. CS: Music arrived via Bryan Ferry and David Bowie, who signed me to a contract for two years—he produced my first record. I wanted to bring the world of fashion to music because during that era performers weren’t very glamorous, just people like Olivia Newton John and the like. I wanted to create a glamorous image to complement the voice—a lot of my audience was gays. Diana Ross and Cher were people that were conveying that image of glamor,

and that’s similar to what I wanted to carry off. All the girls were doing that disco trip at that point AL: You’re now doing a new play? CS: Theater is my new career direction. I’m ready for a change and have been waiting for years to have the opportunity to go on stage and perform live. I will pursue the theater for the next 10 years. It’s very stressful, but I love it. I can’t wait to go on tour with another play. AL: Jean Paul Gaultier recently made you some costumes for your forthcoming theater production. How was it working with him? CS: He went crazy and made me wild costumes. I had to stop him because he’s so crazy. He’s making six different dresses for the play. He’s a great creator, and it was so surprising that he accepts criticism with open arms, which is nice and unexpected. AL: You are very active and have several artistic pursuits. CS: I have a lot of energy, and I prefer to do something rather than sit on my ass. I have a painting show in Hamburg and another in Milan this year. Painting is my therapy. It keeps me sane. Some people take drugs to cope; I paint, instead. AL: What are your thoughts on Hollywood? CS: I have great memories of being there with Salvador Dali. He knew everyone there and helped me get a test for 20th Century Fox. Somewhere around that time, I met the high-profile producer Darryl Zanuck, which opened doors, though a very angry Salvador Dali called him up in a rage scolding him for stealing me away, which made things complicated. Another memorable experience was getting married in Las Vegas to my boyfriend at the time. Twiggy and the singer Sacha Distel were both witnesses

at the ceremony. AL: Are there any stars you have memories of during your career? CS: Marlene Dietrich, as we both had a great discipline towards our work. She was a warrior, apart from the fact she was a lousy actress and couldn’t sing for shit. When I went to Germany, I got compared to Lily Marlene because of my low voice. At one point, Marlene Dietrich heard about me through the composer of the song “Blue Angel,” and she became very intrigued due to my voice and character. AL: What are your opinions of today’s music and people such as Lady Gaga? CS: I think Madonna was doing her [Lady Gaga’s] shtick 20 years ago. And I preceded Madonna. I was the first to pose naked and the first to wear leather bondage gear. She’s still doing the same thing. She’s a good showgirl, but it gets tiring. What else can she do? How many wigs and dresses can she wear? She will end up having to change her image. AL: How have the auteurs of the world changed? CS: I have met many music visionaries, though today none have balls. It’s different nowadays; people don’t communicate, they are more concerned with competing. There aren’t movements. I would like to meet the visionaries, those with great ideas, but I don’t meet them—whether that’s writers, painters, or musicians. AL: What are your thoughts on the cult of celebrity? CS: It’s a different world now—people who attain celebrity for no reason. Reality TV isn’t very creative. It’s changed. Those girls are talentless and do nothing other than sit there with lots of makeup on. Its not a good sign for the future.

Fashion Editor YOSHIKO TANGE. Assisted By MICKAEL CARPIN. Grooming LEILA-A. Makeup GRESHKA. Producer AGNES BARBIER.

Roxy Music’s For your Pleasure, features Amanda Lear photographed by Karl Stoecker.

7 HOLLYWOOD Winter/Spring 2014




MARC JACOBS fishnet dress. JACOB AND CO. diamond bracelet and black diamond necklace.

MARC JACOBS beaver fur. JACOB AND CO. serpent diamond cuff. Hair, everstyle alcohol-free volume boosting mousse by L’ORÉAL. Makeup foundation, invisible fluid makeup, mascara, double wear zerosmudge lengthening mascara by ESTÉE LAUDER.

ASSAEL gold mesh and pearl necklace.

MARC JACOBS sequin and fur jacket and snakeskin heels. ASSAEL emerald, diamond, and pearl choker. (left)

MARC JACOBS hot pants and blouse. ASSAEL gold mesh and pearl necklace.

MARC JACOBS sequin and fur jacket and snakeskin heels. ASSAEL emerald, diamond, and pearl choker. (left)




SALVATORE FERRAGAMO cape. HANRO long johns. DOC MARTENS boots (left)


BESS shirt. HANRO long johns. DOC MARTENS boots.

RICK OWENS T-shirt. BESS ring. STEPHEN WEBSTER necklace..

“I was just doing my best to bring a real person to life. Rayon is a very special character, and playing her was one of those few times when you immediately connect to a situation, which is as much about being a drag queen as it is about being a drug addict. It was about connecting with a human being.�

BESS shirt. STEPHEN WEBSTER necklace and rings. BESS ring. (next page)




he global media pontificate that he’s retired from acting, preferring instead to rock out as front man with his band 30 Seconds to Mars. Yet a seemingly unlikely role as a drug- addled transsexual streetwalker named Rayon in the epic film Dallas Buyers Club is set to again propel multi-talented Jared Leto into the realm of greatness. As an actor, musician, producer, director, visual artist, and owner of his band’s merchandise business, Leto is the consummate Renaissance man. With his youthful visage defying his 41 years, he’s also a living contradiction regarding the commonly held belief about acting and limited career longevity. Dallas Buyers Club presents some big challenges for Leto. The first is that he had not had a major film role in five years; the second is that he dons heels and fishnets as a transgender character. Set in 1986, Dallas Buyers Club explores the story of Texas electrician Ron Woodroof (Matthew McConaughey) and his battle with the medical establishment and pharmaceutical corporations after being diagnosed as HIV-positive. Woodroof subsequently seeks alternative treatments, shopping for drugs outside the U.S. and paving the way with a promising alternative for fellow HIV-sufferers. Collaborating with others, he devises a plan to allow them access to his drug supply. Despite the fact that it’s set in 1986, Dallas Buyers Club is hardly dated, highlighting a myriad of volatile issues facing society and those with AIDS today. The problems of the cost of government-regulated drugs, cumbersome healthcare infrastructure, societal prejudice, and simple survival remain unresolved. Looking back, the first cases of what would later become known as AIDS were reported in the United States in June 1981. Since then, more than 1.8 million people in the U.S. are estimated to have been infected with HIV, including over 650,000 who have already died. Today, more than 1.1 million people in the U.S. are living with HIV, with an additional 56,000 new infections every year. Leto elaborates: “The subject of AIDS is still a volatile and controversial issue in 2013. The film is incredibly relevant to the political conversation about healthcare and about how we take care of

people with that condition. It also examines the pharmaceutical companies and what governs them in the process of taking care of those suffering from HIV/AIDS and how their lives are being held at bay by policy. I think this makes the film especially relevant.” Politically, Dallas Buyers Club is compelling, yet on an emotional level, too. The complex and layered film is exceptionally moving. From the interpersonal relationships and exchanges between characters to the gut-wrenching struggle confronting the terminally ill, the film is an absolute tearjerker. “When I first read the script for Dallas Buyers Club, I fell in love with the character and fell in love with the story,” says Leto. “I also became full of admiration for people that were intent on making something special.” An extension of the film’s emotional and humanist quality comes through interaction between the two lead characters, namely Matthew McConaughey’s Ron Woodroof and Leto’s Rayon. “Despite the veneer of how Rayon dresses, she has qualities that defy the stereotype. There are touching scenes that reveal a true bonding between the characters. She sees a father figure, a supporter, a comrade, and a peer. The struggle and fight with AIDS is their mutual battle.” Leto says he was also affected on a personal level, with the project unearthing many emotional wounds. “When I was a kid and we started hearing about people being sick and dying from this disease, it was an epic and devastating event. Later, I was living in New York, Washington, and Philadelphia, and these cities were heavily affected. The illness was very much a death sentence at that time.” Jared reveals he has experienced the wrath of AIDS firsthand, around the time the film is set. “Back in 1991, when I first moved to Los Angeles, I rented a room in a house, and one of the other people who lived there was a man dying of AIDS. Hence, I did have a very up close and personal look at that predicament and point of life.” Solemn words from a man renowned for his eccentricity and precociousness. Still, while the playful aesthetics of heels and street tranny attire of Rayon presented a fun element, bound to strike references to classic drag characters. Leto says he focused on

the plight of a fellow human rather than isolate one aspect of the character. “I was just doing my best to bring a real person to life. Rayon is a very special character, and playing her was one of those few times when you immediately connect to a situation, which is as much about being a drag queen as it is about being a drug addict. It was about connecting with a human being. The character was really well written, and I never even thought about the fact I was playing a tranny, cross-dresser, or whatever term you want to throw at it. I was just playing a human being who had to endure under extenuating circumstances.” He adds, “I did not reference any prior films for the role. I wanted to stay away from the flamboyant drag queen stereotype, or someone who is very over the top, loud, and overstated. In this day and age, the character of Rayon would be considered someone who wanted to live life as a woman, not just a person who wanted to dress like one.” Leto says the hardest thing about playing the role were the emotional challenges. “It was a really harrowing and difficult role—a once-in-a-lifetime opportunity. I feel really grateful to have had the chance to fall in love with this character and be part of the wonderful project. It was a group of people intent on making something special and creating something true and right; telling a story that needed to be told.” Despite the taboo subject matter, Leto feels confident about the film’s success. “This is one of those circumstances where I would hope people and the media would get behind it. It commands greater understanding. The writers did a wonderful job in creating a real sense of empathy. The audience won’t see a stereotype, but they will see a daughter, a mother, a brother. The negative thing disconnects.” And finally: Addressing the obligatory curiosity as to whether he’s opted out of acting and chosen instead to be a musician, Leto says he hasn’t. “I haven’t made a film in over five years, haven’t had a film out in over six years. I love making movies and haven’t relinquished acting over being a musician. I was originally studying photography at art school, and I’ve always loved film. Whether it’s acting, directing, or producing, it’s all about creativity for me, and I’m really happy that I get to do that for a living.”




ALEXANDRE VAUTHIER dress and necklace. LANVIN bracelets. T.U.K. creepers.

ANTHONY VACCARELLO jacket and pants. T.U.K. creepers.

EMANUEL UNGARO dress. BALMAIN leather pants. LANVIN necklaces. CHANEL bracelet. JIMMY CHOO shoes.

ZAC POSEN dress. ERIC HALLEY headband. DOC MARTENS creepers.

GIORGIO ARMANI beaded jacket and skirt. BRIAN LICHTENBERG fur coat. EUGENIA KIM hat. AZZEDINE ALAÏA gloves. JEAN PAUL GAULTIER bracelet and rings.



Photography ALIX MALKA. Fashion RAJA’S own

7HOLLYWOOD Winter 2014



ith a love of performance and costuming, Raja’s bombasticism is her signature trait. Her creativity is a key influence on her costumes, which are in themselves art pieces—conceptual extensions of his vibrant persona that embody tangible themes and narratives. Her love of high fashion combined with her natural beauty sees a new approach to drag. Raja admits to having grown up voraciously consuming Italian Vogue, which is evident in her personal styling, grace and poise. “I experiment with a range along with clothing design and sculpture, it’s a multimedia experience for my audiences. I’ve got a bunch of skills and may as well use them,” she reveals. An active painter, Raja says she is inspired by many classic painters, from Freda Kahlo to Cindy Sherman and Andy Warhol. After attending art school in California, she made the transition to performing, seeking inspiration from the likes of the iconic Leigh Bowery—still a posthumous force in the universal drag scene. While she’s largely known for the RuPaul TV show, RuPaul’s Drag Race, Raja says that was simply one chapter in her life. “I’m primarily an artist and drag is just one of the things I do. I spent most of my time as a makeup artist.” Now on the right side of 40, Raja offers some enlightening views about gay subcultures and generational contrasts: “I came out in early ’90s. My first experiences were being a club kid, which was all about grabbing attention and dressing up.” Confessing to a love of the gypsy life, skipping around the country to compete in drag performance events and just generally having fun, Raja is an LA home girl at heart.” I’m a gypsy, travel is really what fuels me in everything I do.” “I remember NYC in the ’90s and clubs like the Limelight—Times Square was seedy, the West side was a scary place. Now it’s evolved and lost a lot of character, which is a little sad; still, I go to New York to visit my friends. There’s so much culture there.” After releasing a single back in 2011, Raja says her forthcoming projects see her following her dream of writing a children’s book. Now with a publisher connection making the project a reality, she is applying her skills as an illustrator to a book that reflects themes such as empowerment, self-realization, and hope. “I hope it will encourage people to enjoy life and experiment,” she says. “Kids are far more sophisticated nowadays, and they can embrace more complex dialogue and observe themes such as acceptance and tolerance. I really hope that the book helps someone and makes some sort of difference in this world.”

Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet.


7HOLLYWOOD Winter 2014

7HOLLYWOOD Winter 2014



VERSACE ring. RUDI GERNREICH scarf from Decades. NEIL LANE bracelet and necklace. VALENTINO spiked rubber bracelet.


7HOLLYWOOD Winter 2014

TOMMY HILFIGER leather and pony hair sweater, VERSACE ring from Decades. (left)

VERSACE jacket and leather pants.

VERSACE ring. RUDI GERNREICH scarf from Decades. NEIL LANE bracelet and necklace. VALENTINO spiked rubber bracelet. Hair, brilliant universal styling creme by AVEDA. On body, skin supplies for men m lotion by CLINIQUE. On hands, make a difference hand cream by ORIGINS.

DIESEL jacket and rings. VALENTINO spiked rubber bracelet. (right)

ALEXIS MABILLE silk embroidered kimono. TOMMY HILFIGER COLLECTION shirt and sweater. NEIL LANE rings.


“Dunnhead.” Right: “Doom Loop”


Priding himself on his commitment to punk rock and pragmatism, LA artist Tim Biskup embarked on a career as a fine artist after a trip in 1984 to the Pompidou Center. He’s come a long way since.


7HOLLYWOOD Winter 2014


en years ago, intrinsically Californian, illustrative-based, lowbrow art was deemed “outsider,” unfit for esteemed galleries. Fast forward and the genre has come full circle. Championed by the likes of Robbie Conal, Ron English, Shepard Fairey, and a host of others, lowbrow’s pundits hit the mainstream. Like an overpriced, collectible high-top sneaker, the movement jumped from the ghetto to the gallery with lots of commercial pit stops in between. While many mainstays of the movement flounder in formulaic and repetitious mire, some sustain and evolve. LA artist Tim Biskup is one of lowbrow’s success stories. Biskup’s work has been described as everything from “1950s storybook” to “vibrantly psychedelic” and “cutesy Pop-design”—although he says he’d like to avoid being chained to particular genres or styles. “I’d love it if I never had to do that. Someone called my work ‘Baroque Modernism,’ which I really like, but that doesn’t really encompass what I do. I figure I’ll get shoved into some category that will fit at some point. I hope it’s not too painful.” Biskup says his key influences are far removed from the worlds of museums and galleries. “I look at a lot of mid-century design for inspiration. Japanese monsters are always good to get me into a

weird place. I’m influenced by new people every day, though. I try to stay aware of what other artists are doing.” A Santa Monica native, Biskup keenly embraces the renegade DIY punk ethos, something he sustains today even as a parent in his 40s. Still, his preoccupation with such ideology wasn’t so much about mosh pits at Henry Rollins concerts and tattoos but more about existentialist self-expression. “I went to art school in the ’80s and was totally bummed out by it. It was way more of a theoretical training experience than I wanted. I left after two years and ended up educating myself by working as an illustrator and eventually making my way into animation. My art theory education came from endless reading.” Like many of the LA art scene’s auto didactic success stories, removal from institutional structure wasn’t a setback for Biskup, whose career milestones have included international shows at galleries in Barcelona, France, Berlin, and Milan. He recently showed with fellow lowbrow débutante Gary Baseman at the Laguna Art Museum, and in late 2013, he’s celebrating a huge solo show at the esteemed Martha Otero Gallery in West Hollywood.


Maya Krispin and Peter Max-Muller


n operation since March 2013, The Ruby has created a unique niche, answering the prayers of many with an array of designer options, from H&M and YSL to rare Dior from the ’60s and vintage selections. Whether you’re a stylist tired of kitting out models on your own dime or a savvy fashionista craving a unique, albeit temporary, look, The Ruby has an answer. The Ruby was conceived by partners Maya Krispin and Peter Max-Muller, both stylists who pull from their network of stylists’ stock to create a mountain of options for both men and women. Targeting stylists and costume designers, The Ruby puts a new spin on the rental house concept. It’s the first consignment-based house where people (generally stylists) can get paid to rent their


7HOLLYWOOD Winter 2014

clothes. “We’re now working with stylists all over the world—not just in LA—shipping to London and New York,” says Maya. “We also love our personal clients who pull for red carpet events and such.” Asked what inspired the concept, Maya reveals, “There is nothing worse than stressing out about not being able to get good clothes for a job. We wanted to create a place where stylists could come and get their entire job prepped in one place—a onestop-shop with a curated assortment of vintage and modern designer clothing and shoes. We’re also not season-specific, so we differ from retail stores in that way.” Stylists can pull amazing designer pieces even if they’re working with a tight budget. Maya says The Ruby has already achieved huge success. “Stylists

prefer to keep their work on the DL, but let’s just say we have gotten some amazing placements thus far. Lots of celebs, musicians, film, and TV. Also, some really big advertising campaigns.” Maya lists Givenchy, Tom Ford, Balenciaga, Miu Miu, Alaïa, and Balmain as some of her personal favorites. 7Hollywood was keen to get her take on the eternal East/West Coast divide when it comes to the fashion world. “LA style is pretty low-key, casual. It goes with the pace of the city, the weather; it’s almost acceptable to go to a job interview in flip-flops. I think people take more time in NYC and definitely make more of an effort. It will and always will be more about fashion than LA. Luckily, now that The Ruby is here, we can help with that.”




7HOLLYWOOD Winter 2014

LOUIS VUITTON patent leather fuchsia clutch. CHRISTIAN LOUBOUTIN leather gold pump. LANVIN bracelet. MICHAEL KORS leather clutch. GIUSEPPE ZANOTTI flame sandal.

GIORGIO ARMANI clutch. DIRK BIKKEMBERGS black and white patent leather boots.


7HOLLYWOOD Winter 2014

GIORGIO ARMANI clutch. DIRK BIKKEMBERGS black and white patent leather boots. MARTIN MARGIELA metal box. MOSCHINO heart love box. CHRISTIAN LOUBOUTIN black and metal patent leather pumps.

EMANUEL UNGARO leopard leather mini-bag. LANVIN leopard moccasin. HELENE ZUBELDIA cross pendant with crystals. Fashion Editor DAVINA LUBELSKI. Assisted By CECILIA RANVAL. Producer AGNES BARBIER.

La Vie en Rose




ever mind that Mick Jagger has spent the last hour dancing in front of the deejay booth. Or that a silver-spangled Daphne Guinness is channeling a “Solid Gold” dancer, legs and arms flailing about as she’s swirled high in the air by photographer David LaChapelle. Or that Olivier They skins and Haider Ackerman swung by after dinner; that Kylie Minogue and models Amber Valetta and Erin Wesson took leather banquettes; while P. Diddy and entourage test the promoter’s patience yet again. The Kravitz—Lenny and Zoe—are by the mirrored wall. And as intriguing as is the sight of pop music icon Jody Watley showing a flock of guests younger than her daughter, who is standing nearby, how to vogue, this is also not capping the barometer for Bryan Rabin, host of this late-night Saturday phenomenon called Giorgio’s: A Modern Discoteque at Mmhmmm Bar, inside the Standard Hollywood. To him, the standout is the quiet man who entered the club from the hotel lobby through a lively kitchen, as everyone else must at this weekly romp. He is namesake and inspiration, the one and only Giorgio Moroder. “When we saw him walk in, we gasped,” Bryan recalled at how he and club partner, DJ Adam XII, reacted at the legendary music producer’s appearance. It’s got to be on par with a UFO to rattle these two. Before producing unforgettable affairs in LA and New York for Dior, Hermès, Paul Smith, William Morris and Madonna, Rabin held another storied weekly bash in Hollywood called Cherry. Adam’s actual surname is Brevin and he’s also producer and musician with She Wants Revenge;


7HOLLYWOOD Winter 2014

he tends to spin for the likes of President Obama at the White House. In contrast to the grander venues they’ve both filled, with Giorgio’s, the two sought an intimate space where friends and friends of friends could keep grooving long after the bar closed. The party doesn’t begin until near midnight, and everyone arrives clad to the nines and ready to hit the floor, hard. Discouraged is photography, texting and entourages. When Lady Gaga insisted on a security detail, Rabin declined. She missed out. As Jason Wu, Prabal Gurung, China Chow, Shakespeare Sisters’ Siobahn Fahey, Sex Pistol Paul Cook, Billy Idol, Ellen Von Unwerth and members of Massive Attack have so far discovered, it’s so much more fun to check your baggage at the door. To wit, what I adore about Giorgio’s—besides the music—is how everyone comes together, regardless of class, culture or generation, from Warhol Superstar Cherry Vanilla to 21-something Orange bassist Joe Dexter, there with his colorful parents Kim and Paul Denman, long-time bassist for Sade. I never cease to be amazed, too, how all who enter beeline for the dance floor, even before the bar. How utterly refreshing for this nightlife vet. Left: Catherine Baba; André Balazs & Daphne Guinness; Giorgio Moroder, Bryan Rabin & Adam XII; Jody Watley & Jackie Collins; Lisa Edelstein, Robert Russell, Constance & Prince Poppycock; Kembra Pfahler, Kenny Scharf & Stefan Haves. All by Tyler Curtis except Baba and Lisa Edelstein, et al. by Rose Apodaca; Watley Collins and Pfahler Scharf by Chris Weeks.


7Hollywood- Fantasy Issue 2  
7Hollywood- Fantasy Issue 2