AS IF Magazine Issue 15 Scarlett Johansson X David Salle (Limited-Edition Art Cover 2) by AS IF MAGAZINE

ANDREW BOLTON JOEY KING LILI TAYLOR MARGARET QUALLEY RALPH GIBSON SCARLETT JOHANSSON WILL COT TON AND MORE

2019 / ISSUE NÂ° 15

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TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

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+888.214.6858 | AUDEMARSPIGUET.COM | INFRARED PHOTOGRAPHY

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GOMMINI by TOD’S The Gommino is always a summer focus for Tod’s, traditionally highlighting their “classic” Gommino colors for summer including tans and whites. For 2019 they created a special fluorescent style in 3 colors for women and 2 for men using a special technique to achieve the fluorescent colors. With neon trending, these shoes will brighten up your wardrobe and make you the life of the summer party.

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GUCCI CRYSTAL SUNGLASSES Neoclassical inspiration and modern spirit merge in this dramatic leaf-shaped frame in acetate, enriched with handcrafted decorations mixing glazed touches, shimmering crystals and tiny flowers. The temples are detailed with a gold oversized interlocking G logo and curly end tips borrowed from vintage spectacle styles.

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thesalting Michael Smaldone & Michael Ward Industry veterans embrace simplistic craftsmanship and androynous designs inspired by the sea

Francesca Amfitheatrof The Artistic Director of Louis Vuitton Jewelry challenges the status-quo of jewelry design

PERSON OF INTEREST

Our must-have collaboration items of the season

OBJECTIFY Come together

CONTRIBUTORS

LETTER FROM THE EDITOR

17 14 30

Table of

This American artist creates candy coated luscious lands that once occupied our childhood dreams, but beneath the sugar and cream lies darker secrets.

THE CANDY MAN WILL COTTON

118

The Head Curator of the Costume Institute at the Met to discusses the evolving role of curator in the age of information, the relationship between fashion and celebrity, and his newest blockbuster exhibition, “Camp: Notes on Fashion”.

NOTES ON FASHION ANDREW BOLTON

Fashion takes the color beige to new heights.

BEIGE CENTRIC

A fashion feud is underway in Greenwood cemetery. Who will live to tell the tale?

THE DEATH OF FASHION

contents

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Fashion takes form in the galleries and Lower East Side of NYC.

GALLERY GIRLS

210

A fashion editorial proving Miami is best experienced wet.

BIENVENIDOS A MIAMI

192

Fashion proves that age is just a number.

BEACH BITCH

174

The highest-paid actress in Hollywood collaborates with world-renowned contemporary artist David Salle for our exclusive cover story.

SCARLETT SCARLETT JOHANSSON

154

The new “It Girl” and rising Hollywood star discusses how she got into acting and how she deals with her haters.

LONG LIVE THE KING JOEY KING

140

Table of

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Shopping directory from editorials and where to buy it.

AS IF YOU CAN HAVE IT TOO

290

The legendary art photographer gives us a fascinating and intimate interview discussing his body of work and how photography is still evolving.

IN SIGHT RALPH GIBSON

268

The underground movie icon came to indie-move fame in the 80s and continues to spellbind audiences on the big and small screen.

TAYLOR MADE LILY TAYLOR

254

The youngest daughter of Andie McDowell discusses transitioning from dance to acting and following in her mother’s footsteps.

LADY MARGARET MARGARET QUALEY

Men’s urban streetwear comes to life.

COPY THAT

224 240

contents

david salle ———— Neo-Expressionist artist David Salle helped define the post-modern sensibility by combining figuration with an extremely varied pictorial language. Solo exhibitions of his work have been held at museums and galleries worldwide, including the Whitney Museum of American Art; Museum of Contemporary Art, Los Angeles; Stedelijk Museum, Amsterdam; MoMA Vienna; Menil Collection, Houston; Haus der Kunst, Munich; Tel Aviv Museum of Art and the Guggenheim, Bilbao. His paintings are in the collections of many major museums, both here and abroad. Although known primarily as a painter, Salle’s work grows out of a long-standing involvement with performance. Over the last 25 years he has worked extensively with choreographer Karole Armitage, creating sets and costumes for many of her ballets and operas. Their collaborations have been staged at venues throughout Europe and America, including The Metropolitan Opera House; The Paris Opera; Brooklyn Academy of Music and the Opera Deutsche, Berlin. In 1995, Salle directed the feature film Search and Destroy, starring Griffin Dunne and Christopher Walken. Salle is also a frequent contributor to the New York Review of Books. His collection of essays HOW TO SEE: Looking, Talking, and Thinking about Art, was published by W.W. Norton in 2016.

contri MIKE RUIZ ———— photographer Mike Ruiz is a Canadian-born photographer, director, television personality, former model, spokesperson, creative director, and actor. With an undeniable passion for the art of photography, Mike Ruiz creates vibrant, ultra stylized work that stands out from the crowd. Mike’s work includes shooting for beauty and fashion brands like L’Oreal, Shick, Dark and Lovely and Garnier along with a host of A-list celebrities including Kim Kardashian, Betty White, Katy Perry, and Nicki Minaj to name a few. Using materials and mediums that most photographers would never think of, his work has been featured by editors at Elle, Vanity Fair, L’Officiel, Paper, Flaunt, Interview, Brazilian Vogue, Prestige and many more. In 2007 Mike was inspired by a project he did with RuPaul, and he formally added video production to his repertoire. Since then he’s had the pleasure of working with Vanessa Williams, Kelly Rowland, Jody Watley, Kristine W., Shontelle, The Blonds, etc... on music videos that are both unexpected and riveting

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Maria Svarbova———— photographer Maria Svarbova was born in 1988; she currently lives in Slovakia. Despite studying restoration and archeology, her preferred artistic medium is photography. From 2010 to the present, the immediacy of Maria’s photographic instinct continues to garner international acclaim and is setting new precedents in photographic expression. The recipient of several prestigious awards, her solo and group exhibitions have placed her among the vanguard of her contemporaries, attracting features in Vogue, Forbes, The Guardian, and publications around the world; her work is frequently in the limelight of social media. Maria’s reputation also earned her a commission for a billboard-sized promotion on the massive Taipei 101 tower, in Taiwan. Maria’s distinctive style departs from traditional portraiture and focuses on experimentation with space, colour, and atmosphere. Taking an interest in Socialist era architecture and public spaces, Maria transforms each scene with a modern freshness that highlights the depth and range of her creative palette.

butors JORDaN DONER———— photographer Jordan Doner is a New York City based photographer and visual artist. His conceptual work and photography have been exhibited at P.S. 1 Museum, The Fragmental Museum at the Cutlog NY fair, ROX Gallery, Steven Kasher Gallery, Serge Sorokko Gallery, Miami Art Basel, Milk Gallery, and featured in the Arts section of the New York Times, the Miami Herald, Blouin Art Info, Cultured Magazine, Art News, The Art Newspaper, Purple Diaries, and auctioned at Christies. His cultural criticism has been published by Thadeaus Ropec Gallery in Paris. Doner’s design work has been featured at the Museum of Art and Design in New York, the Whitney Museum Store and is part of the permanent collection of both the Cooper Hewitt Museum, the MET Costume Institute, and the Louvre. His fashion work has appeared on the covers of international editions of Vogue and Bazaar as well as in the pages of Interview, Wallpaper, Surface, Jalouse, GQ, V, Visionaire, and other titles. His clients include Banana Republic, Nautica, Perry Ellis, Kate Spade, Louis Vuitton, Subaru, C&A, Deutsche Grammophon, Saatchi Gallery London, and the Ritz Carlton.

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ON THE COVERS

SCARLETT JOHANSSON

David Salle x Peter Hidalgo: Salle Dress. Sanjay Kasliwal: Aquamarine teardrop earrings with tanzanite buttons.

Sanjay Kasliwal: The Royal Collection Navratna choker with rubies, sapphires, emeralds, diamonds, and South Sea pearls.

Sanjay Kasliwal: Aquamarine teardrop earrings with tanzanite buttons.

Alex Soldier: Diamond Astra ring.

mast Table of Contents Images Photography and art-direction by Maria Svarbova mariasvarbova.com @maria.svarbova

AS IF ——MAGAZINE ISSUE Nº15 President & Publisher Co-Creative Director

Digital Media Manager

GAYANA SARKISOVA

SCOTT FISHKIND fishkind@asifmag.com Editor-In-Chief Co-Creative Director & Photo Director

Digital Associate Editors

ROBYN TURK KRISTOPHER FRASER

TATIJANA SHOAN

International Sales And Marketing

shoan@asifmag.com

ALEXANDRA SCHMITT

Design Director

DIEGO PINILLA AMAYA

Editorial/ Executive Assistants

pinilla@asifmag.com

GEORGIA HARRINGTON

Fashion Director

Copy Editor

STACEY JONES

NAOMI SANDERSON

jones@asifmag.com As If Interns Art Editor

KIM HEIRSTON

SOFIA DELAROSA KORI MARIE CRUSE

heirston@asifmag.com Lifestyle Editor

General Advertising Inquires advertising@asifmag.com

ELISABETH JONES-HENNESSY Beauty Director

VERONICA WEBB

Subscription and Distribution Request subscriptions@asifmag.com

webbdelgatto@asifmag.com All Other Inquires info@asifmag.com

head ISSN 2324-8904 © 2019 Published bi-annually by AS IF Media Group, LLC All rights reserved. Any reproduction in whole or in part without permission of the publisher is strictly prohibited. The publisher and editors are not responsible for any unsolicited material. Opinions contained in the editorial content are those of the contributors and not necessarily those of the publishers of AS IF Magazine.

TATIJANA SHOAN ———— EDITOR IN CHIEF

from editor letter the 18

Every issue is an exciting adventure I embark on with the knowledge that I don’t know what is going to happen and what will make it into the magazine. This issue happens to be the most surprising of them all. When actress Scarlett Johansson accepted our offer to be our issue 15 cover girl, we knew we had to do something extraordinary to elevate the typical cover-girl magazine feature into a work of art worthy of Hollywood’s most valuable player, but how? We turned to our mission of featuring and creating collaborations for guidance and knew we had to pair her with an artist. Johansson had never done a project like this before but was game; however, finding the right artist was key in making it work. With a handful of super-status contemporary artists working today, we needed to find someone whose vision and approach would work hand in hand with Scarlett and what she represents. It was also important for both us and Scarlett that the chosen artist have the same importance in the art world as Scarlett does in the entertainment industry. The artist we unanimously wanted to work with was David Salle. Known as one of the most significant artists in postmodern painting, David Salle’s style of juxtaposing imagery from popular culture with imagery from art history presented delicious possibilities when paired with a popular contemporary actress whose countenance recalls the screen goddesses of yesteryear. And, while Salle takes abstraction and the human figure and combines these unexpected symbols in unpredictable ways, Scarlett is always surprising audiences by choosing diverse projects and contrasting roles that go against type. Both Johansson’s and Salle’s work are unpredictable yet identifiable in their style and impact, and we knew they would create something meaningful together. I was the fortunate photographer for this trifecta project that Salle art directed and Johansson was the muse. You can learn more about this unique collaboration in our cover story on page XX. One of the exciting additions that came out of this project is a limited-edition line of three styles of dresses designed by our design team, fashion designer Peter Hidalgo, and David Salle. Paintings from his recent show at the Skarstedt Gallery in London, “Musicality and Humour,” have been silk-screened and turned into limited-edition dresses. Each dress is numbered and signed by Salle, making each one a wearable asset and future museum piece. Dresses are available for purchase by contacting the magazine. When I began imagining what this issue would look and feel like, I spent time reviewing the spring/summer collections of our favorite fashion designers and the themes that popped up on the runway. I sat down with our fashion director, Stacey Jones, and discussed ideas that inspired me and directions I would like to take with certain themes. One concept that came to mind when I was looking at the drama some designers brought to the runway was the idea of a fashion competition that would be held in a cemetery where the female characters would compete for attention and dominance. The irony of placing the competition in a cemetery is that there could be no audience, no judge, and no referee to direct the game, and the women had only their clothing, will, and ego to cheer them on. The resulting editorial is Death of Fashion on page XX. We also asked photographers Jordan Doner and Mike Ruiz to present their ideas around other themes we saw on the spring/summer ’19 runway shows. Doner brought us the

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fashion editorial Gallery Girls (page XX), inspired by the theme of artistry and artisanal handicraft in clothing that includes knits and crochet. He cleverly placed his models within an art gallery on the Lower East Side of Manhattan, thus representing the artistry and workmanship of the clothing while setting it within a neighborhood that stands for do-it-yourself craftsmanship and chutzpah. Ruiz took men’s lux streetwear designers like Geoffrey Mac and Santa Monroe and collaborated with an illustrator to create the fashion editorial Copy That (page XX), which plays with the idea of bringing to life what we see on the printed page. Our fashion editor, Mane Duplan, and I worked to bring drama to beige in our fashion editorial Beige-centric (page XX), inspired by the originality designers brought to a color erroneously synonymous with ordinary. And Jones and I traveled to Miami for the shoot Beach Bitch (page XX), which captures ’60s underground sex symbol Marlene Neumark in a bold jewelry editorial that challenges viewers to reconsider the definitions of female aging, beauty, and moxie. I am a photographer, but I also interview many of the subjects I photograph because it is not only their work that inspires me, but the thinking that goes into the work. For issue 15 I had the unique pleasure of photographing and interviewing artist Will Cotton, formalist photographer Ralph Gibson, and the head curator of The Costume Institute at The Metropolitan Museum of Art, Andrew Bolton. Along with these patriarchal three, I had the pleasure of photographing and interviewing three women who grace the big and small screens—starlets Joey King and Margaret Qualley, and veteran actress Lili Taylor. I hope issue 15 will satisfy your curiosity for creativity!

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SUN SUN DOLCE & GABBANA Light Blue SUN

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N N

The Dolce & Gabbana Light Blue Sun is a scented matrimony of two

hearts racing together on the enchanted island of Capri to create a rare scent captured by the Italian fashion house. The fragrance captures the

spirit of warm summer rays in a golden aura that will take you away to the tropics. Itâ&#x20AC;&#x2122;s vacation romance in a bottle.

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Nigel O’Reilly DANTE’S ZIRCON Inspired by Alexander McQueen’s final collection, titled “Plato’s Atlantis”, goldsmith and fine jewelry designer Nigel O’Reilly, created “Dante’s Zircon”. The depth of orange color emanating from the rare stone, was enhanced by how it was cut by the late master jeweler Erwin Springbrunn, a mentor and tutor to O’Reilly, who gifted him the stone. From the initial sketches to completion, he spent almost three weeks designing and setting the stones in the ring. Set in 18kt rose gold, “Dante’s Zircon” comprises a central pear shaped 14.56ct burnt orange zircon surrounded by 238 blue sapphire, yellow and green diamonds. 24

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THE SALLE DRESS AS IF Collaboratory, along with celebrated American postmodern artist David Salle, and fashion designer Peter Hidalgo have created three limited-edition dress styles inspired by David Salleâ&#x20AC;&#x2122;s latest body of work making each dress a collectible work of art and future museum piece.

asifmag.com/story/david-salle-dress 26

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[ AS IF COLLABORATORY ]

Cocktail dress AS IF / ISSUE 15

T-shirt dress 28

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Tube dress AS IF / ISSUE 15

Missoni’s loaned their colorful hand to a kaleidoscope aesthetic shoe with Adidas. The collection is an homage to both Adidas founder Adi Dassler and Missoni co-founder Ottavio Missoni, who competed

SMEG’s tagline

as a hurdler in the London

“technology with style”

Olympic Games in 1948.

rings true with their new

2 collaboration with the

kings of kitsch, Dolce &

MISSONI X ADIDAS Ultraboost Prime Knit

Gabbana, for the brightest

Lowtop Sneakers

stove ever seen.

$280 missoni.com

DOLCE & GABBANA X SMEG Divina Cucina, Sicily is

my Love Cart Decorations Range

Price upon request smegusa.com

AS IF curates and covers today’s hottest collaborations, but

you can also shop-the-looks. From the most sought after limited-edition fashion collections to one-of-a-kind art

objects, it’s one-stop shop for your luxury love affair. Here’s just a few of some our favorites.

The Oscar de la Renta x

Jean-Paul Gaultier is

Morgenthal Frederics Audrey

known for not being afraid

Series was inspired legendary

to go there, and he out

actress Audrey Hepburn. Each

right said “Fuck Racism”

piece in the collection is sleek

for his collaboration

and clean from a flat front

with streetwear brand

lines and unique soft faceting

Supreme.

on the interior each shape.

SUPREME X JEAN-PAUL GAULTIER “Fuck Racism” Jeans

OSCAR DE LA RENTA X MORGENTHAL FREDERICS

$178

Buffalo Horn sunglasses

available at supreme

$465 - $2495

stores

morgenthalfrederics.com

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John Varvatos and the critically acclaimed Emmy

Cartoon Network’s

winning HBO drama series Game of Thrones

The Powerpuff Girls continues their 20th year

launched an exclusive

celebration alongside

menswear capsule

designer Christian Cowan

collection in honor of the

with an inspiring all-new

show’s last season.

collection highlighting strong women.

JOHN VARVATOS X GAME OF THRONES

The Casterly Rock Hemp

CHRISTIAN COWAN X POWERPUFF GIRLS

Jacket

Empowerpuff Sequin

$1698

johnvarvatos.com

Dipped Hoodie $750

christiancowan.com

Tommy Jeans has collaborated with

Coca-Cola for a special re-edition of the styles Hifliger designed in

1986 to create the very

first Coca-Cola clothes collection.

How do you get from A to

TOMMY JEANS X COCA COLA

Beach? Vilebrequin and

Tommy Jeans and Coca

Materia Bikes have come

Cola Capsule Collection

up with summer’s most

$49.90 to $139.00

stylish solution: a limited-

tommy.com

edition Beach Cruiser

– perfect for anyone who enjoys taking it slow.

VILEBREQUIN X MATERIA BIKES

Limited-edition Beach Cruiser Amber $4100

vilebrequin.com

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Introducing Angles, the eighteenth woven textile designed by British designer Paul Smith in collaboration with the

Designed in collaboration

Maharam Design Studio.

with contemporary artist Daniel Arsham, the artist

MAHARAM ANGLES X PAUL SMITH

was inspired by cases that

Textile available as

history that were displayed

made-to-order for cushions

in a total of 500 pieces.

have been displayed in film

$31 to $222 a yard

maharam.com

DANIEL ARSHAM X RIMOWA Eroded Attaché $2200

available at rimowa

11 Sunglass aficionado

Thierry Lasry partnered

Luxury accessories brand

with Rhuigi Villaseñor’s

LUTZ MORRIS and

streetwear brand Rhude

Germany’s Royal Porcelain

to create a pair of unisex

Manufactory, KPM

sunglasses.

Berlin, have decided to

collaborate and celebrate the 100th Anniversary of

THIERRY LASRY X RHUDE

Bauhaus together for a

Frames handmade in

gorgeous porcelain hand-

France

painted tea set.

$490 thierrylasry.com

LUTZ MORRIS X KPM

Dejeuner Halle’Sche Form porcelain tea set $5240 matchesfashion.com

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13 For a special collaboration,

Eskayel, a New York-based textile design studio

partnered with The Norton

Simon Museum in Pasadena to create a large scale

wall mural. The result is

reminiscent of the sketches of Austrian symbolist

painter, Gustav Klimt.

ESKAYEL X NORTON SIMON MUSEUM Eskayel and Norton Simon Museum Wallpaper Starting at $145 per yard available at the norton simon museum

Grammy-nominated pop star Sia has taken her love for shoes to new heights with French dance and fashion company Maison Repetto.

SIA X REPETTO Sophia Ballerinas $195 repetto.com

Los Angeles-based artists Simon and Nikolai Haas

worked in close collaboration with L’OBJET to create a family of characterful

creatures with the highest

quality of finish and function.

L’OBJET X HAAS BROTHERS COLLECTION Tableware, home décor, textiles and fragance $40 to $3500 l’objet.com

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Louis Vuitton x Marcel Wanders Marcel Wandersâ&#x20AC;&#x2122; has designed a Diamond Armchair and Venezia Lantern for Louis Vuittonâ&#x20AC;&#x2122;s Objets Nomades. Wanders armchair was innovatively constructed using curved ash-wood slats, which arch to create beautifully rounded cages holding the suspended seat shells. The inviting seats are covered in red Louis Vuitton leather and offer the sensation of comfortably floating as if in a delicate nest. Pair that with the Venezia lamp, which has a heart of beautifully blown glass, enclosed by leather straps and brass studs.

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The French casual

clothier company, Maison Kitsuné and the high-

ASICS and Vivienne Westwood have collaborated for a selection of five sneakers that will drop throughout

2019. Vivienne Westwood has literally put her stamp on these.

end Japanese cosmetics

VIVIENNE WESTWOOD X ASICS

line Shu Uemura came

Asics Gel-Mai Knit Vivienne

together to create a

Westwood Sneakers

free-spirited and playful

$180 to $190

makeup collection inspired

luisaviaroma.com

by the camouflage trend.

MAISON KITSUNE X SHU UEMURA Camo eyeshadow palette, 1 palette with 12 colors $96 maisonkitsune.com

South African milliner Albertus Swanepoel has teamed up with menswear desinger Joseph Abboud for a fourth time. Each hat is numbered for the season and signed by

Joseph Abboud himself, making each one truly one-of-a-kind.

JOSEPH ABBOUD X ALBERTUS SWANEPOEL Limited-Edition hat Price upon request

A.P.C. teamed up with Kid

available at joseph

Cudi for “Interaction #1” a

abboud madison avenue

new collaborative project from the former where they will be bringing in different creatives to do their own spin on A.P.C.’s styles.

APC X KID CUDI Hell Jacket $2495

apc-us.com

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EXPLORE A WORLD OF ICONS IN ART, FASHION AND CULTURE.

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AS IF focuses its unique lens on the creative collaborations that define our culture. We document the personalities, brands and creative process behind fashion, art and culture collaborations and deliver innovative content that inspires us. Log on and subscribe today to receive our bi-annual print issues, exclusive web content and weekly updates including shoppable editorials.

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Francesca Amfitheatrof Describe your creative process: My creative process is very much in my head, I obsess over ideas that in some kind of way, call to me. While I’m thinking deeply about creating pieces, they tend to come to me. I don’t believe in coincidences, I believe in creating your own destiny. As I form ideas in my head, I sketch and sketch and sketch, and refine and refine and refine. I then go into 3-D, then into making prototypes. While working on prototypes, I keep on refining, refining, refining. Harmony, balance, volume, sound and weight are all extremely important for something that lives on your skin. What is your mission with the brand: We’re interested in changing traditions. Our mission is to create a house of jewelry that is free to launch ideas, meaning that it is free to create collections or pieces that don’t yet exist on the market. To mix high and low, to do the unexpected, to amuse and delight. After making her mark on Tiffany & Co. as design director and heading the artistic direction of Louis Vuitton Jewelry and Watches, New York-based designer Francesca Amfitheatrof has realized that the most precious materials we have are our experiences. With this in mind, she has launched Thief and Heist, a new jewelry brand set to break traditions. To Amfitheatrof, the concept of luxury is open to interpretation. Her introductory piece for Theif and Heist, the Tag bracelet made from a nylon band with a sterling silver clasp, inverts the notion of luxury. It is a piece whose value stems from what it means to its wearer. Occupation: Founder and Creative Director of Thief and Heist and Artistic Director of Louis Vuitton Jewelry and Watches Place of residence: I live in New York City. Describe your brand: Thief and Heist is a new jewelry brand aimed to create a cultural shift in the world of jewelry. What inspires you: Originality, people, places, art, and very very good design- whether it’s in architecture, objects, fashion, or anything that stands out as original. Nothing that is a repeat of what's already out there. Celebrity clients: We have an amazing fanbase, but as jewelry’s so personal, anonymity is part of our community. We don’t kiss and tell.

Best part of the job: Creating. Constantly having the freedom to create. There is nothing more satisfying than going home at the end of the day having made something. Guilty pleasure: Truffles. What is your idea of luxury: Freedom. Freedom is luxury. To say and to do what you want is luxury. Studying is luxury. Learning is luxury. Not being bored is luxury. To be surrounded by originality is luxury. As if money and creativity were no object, what would you do: I would buy about 3 houses. I would buy a phenomenal art collection. A plane? Definitely a plane. I would start a charitable foundation. I've always wanted to have a radio station and I think I'd quite like to have a cinema as well. What are you reading, listening to and watching now: I’m reading My Name is Red by Orhan Pamuk, I just watched the documentary on Maya Angelou called Maya Angelou: And Still I Rise, and I listen to my iPad on shuffle. How do you get your culture fix: Living between Paris, Rome, New York and London. Being surrounded by interesting creative people. By being curious.

Francesca Amfitheatrof thiefandheist.co

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X K E il li i e an To 38

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20 Beats by Dr. Dre and

Sacai have joined together

to reinvent BeatsX wireless earphones in burned red,

deep white and true black. Stay connected to your music in style.

SACAI X BEATS BY DRE BeatsX Earphones $149.99 beatsbydre.com

Antwerp six member Ann Demeulemeester designed a table in its purest form wrapped in white canvas for Buloâ&#x20AC;&#x2122;s Carte Blanche series. It is an invitation to draw or paint on it.

ANN DEMEULEMEESTER X BULO Ann Demeulemeester Table ISFAHAN is the

Price upon request

textile collaboration of

available at bulo

APPARATUS with the historic French fabric house Pierre Frey.

APPARATUS X PIERRE FREY

Apparatus and Pierre Frey Cushions

German heritage brand

Price upon request

Birkenstock, which boasts

pierrefrey.com

a history since 1774, has

partnered with clothing retailer and multibrand

store Opening Ceremony for a collection of neon bright sandals.

OPENING CEREMONY X BIRKENSTOCK Fluorescent Zurich Sandal $165

available at opening ceremony and

openingceremony.com

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thesalting

Michael Smaldone&Michael Ward Describe your creative process: We both are very attuned to the other’s design aesthetics - it is quite remarkable. In terms of the actual process, we are both fabric lovers and we work with mills that we both grew up alongside within the industry. Inspirations for a season can start with a plaid or a painting that we both fall in love with, and then the color story flows from there. Once we had designed our first season, we set 95% of the items as classic pieces that we have continued to re-color or fabricate. Of course, if one of us has strong feelings for something, we put it on the line. The most important thing we live by is that we both have to want to wear something if it’s going to go on the line. It’s a great, natural way to edit.

Fashion industry veterans Michael Smaldone and Michael Ward are introducing the world to a new kind of luxury—one that stands on craftsmanship, simplicity and a grassroots approach. Inspired by the universal aesthetic of coastal saltings, the New York natives founded unisex fashion and lifestyle label thesalting in 2018. When the tide recedes on a salting, it leaves the land with a soft coating of salt, thus creating the visual upon which Smaldone and Ward have based the identity of their brand. With thesalting, Smaldone and Ward have created a tribe of like-minded souls who lust for travel, for craft and for beauty. Occupations: Co-founders of thesalting. Place of residence: Michael Smaldone lives in Sag Harbor, New York, while Michael Ward splits his time between New York City and Brookhaven Hamlet, New York. What is thesalting: Thesalting was conceived out of a shared bonding experience. We were craving newness, both as customers and creatives. A salting is a coastal piece of land that gets flooded with sea water. When the tide recedes, the land is gently coated in salt, making all appear worn, as though it had been that way for thousands of years and millions of stories. This universal visual helped define the haunting and sensorial ethos of thesalting. What inspires you: We get inspiration from all over for thesalting, but mostly from individuals making an effort to achieve their dreams. Celebrity clients: Julianne Moore, Oprah, Don Cheadle, Maxwell, Sterling K. Brown, Jake Gyllenhaal, Derek Lam, Stephanie Von Watsdorf, Nick Wooster, Fern Mallis, Stacy London and a bountiful mix of friends, both new and familiar.

What is your mission with thesalting: Our mission is to create simple, luxe investment pieces, with a Made in America ethos - and an experience where all are welcome. Best part of the job: We both love having the opportunity to work one-on-one with our incredibly diverse array of customers. For us, that is the ultimate high. Guilty pleasure: Adding loro piana cashmere and silk jersey onesies to our collection. And thesalting signature chocolate chip cookies. What is your idea of luxury: Quiet. As if money and creativity were no object, what would you do: Open a welcoming spot to showcase thesalting, showing our baking efforts, local flowers and collaborations with our tribe. It would need to be seaside, small and sun-filled. And, if we dare to dream— one on each coast. What are you reading, listening to and watching now: I’m reading The Man Who Fell in Love With the Moon by Tom Spanbauer— it’s a beautiful story of misfits, outcasts and eccentricities. My current music obsession are with Soap&Skin, and Japanese composer Jun Miyake. They’re both atmospheric and transportive. And I’m watching Chef’s Table, most notably the Jeong Kwan episode—she is incredibly inspiring in her simplicity and attachment to the earth. - Michael Smaldone I’m reading Good Night Moon to my delicious niece, Eden, listening to Thievery Corporation’s 2002 album The Richest Man in Babylon and watching Samin Nosrat’s Netflix show, Salt Fat Acid Heat. - Michael Ward How do you get your culture fix: By constantly moving and traveling. We’ve found that there are always stories to be seen and heard.

thesalting thesalting.com

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— AS IF curates and covers today’s hottest collaborations, but you can also Shop-the-Looks by going to asifmag.com to purchase the latest in fashion and art. From the most sought after limited-edition fashion collections to one-ofa-kind art pieces, it’s a one-stop shop for your luxury love affair.

Brock Collection

striped twill peplum dress,

— Moncler

transparent sunglasses

— Alexis Bittar

high shine silver crumpled wide cuff bracelet

— Jimmy Choo

Stitch Nappa leather boots in caramel

asifmag.com Brock Collection: striped twill peplum dress, $0000; Moncler: transparent sunglasses, $0000; Alexis Bittar: high shine silver crumpled wide cuff bracelet, $0000; Jimmy Choo: Stitch Nappa leather boots in caramel, $0000;

/ PHOTOGRAPHY BY Tatijana Shoan / STYLED BY Stacey Jones /

/ STYLING ASSISTANT Heidi Grunwald / MAKEUP BY Renee Garnes FOR Next Artists / / HAIR BY Elsa Canedo FROM Utopia, AND Katie Schember FOR Ray Brown Pro /

/ STARRING Kinga AND Ana Cristina FROM New York Models,

Bara Holotova FROM W360Management, AND Julia Cordova FROM Muse Models /

/ ON ANA CRISTINA: MISSONI LAME NET LONG DRESS / / ON BARA: M MISSONI TOP AND

SKIRT

LUTZ MORRIS EVAN BELT BAG IN IVORY / / ON BOTH: NÂ°21

CROSS SANDALS IN SATIN /

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/ ELLERY CANONIZE

RUFFLE FRONT TOP, FAINTEST SOUND DRAPED SKIRT,

JIMMY CHOO

STITCH NAPPA LEATHER IN CHILI, LUTZ MORRIS ELISE

SHOULDER BAG IN HANDPRINTED RED/ BLUE MULTI, JONATHAN SIMKHAI X EYE M BY ILEANA MAKRI EARRINGS IN STERLING SILVER /

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/ COMME DES GARÃ&#x2021;ONS JUNYA WATANABE CREAM DENIM PATCHWORK DRESS AND FITTED PRINTED T-SHIRT /

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/ ON BARA: TOM FORD FERRO CROCO

EMBOSSED LEATHER PEAK LAPEL JACKET, NUDE CHANTILLY LACE SILK CAMISOLE, FERRO SLIP SKIRT WITH CHANTILLY LACE HEM, PERIWINKLE SATIN MARY JANE PUMP /

/ ON ANA CRISTINA: TOM FORD CHALK

LIGHT MIKADO PEAK LAPEL JACKET, BLACK CHANTILLY LACE AND SILK CAMISOLE, ECRU LIGHT MIKADO WITH BLACK CHANTILLY LACE TRIM SLIP, BLACK SATIN MARY JANE PUMP /

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/ MSGM TIE DYE COAT, SHIRT, AND LEGGINGS SANTONI LEATHER SANDALS /

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/ MARC JACOBS PINK FOILED SUEDE PANTS, CHARTREUSE ORGANZA POLKA DOT SLEEVELESS TOP, PLASTIC BELT, PINK MIXED TWEED CROPPED JACKET, AND PVC SHOES /

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/ ADEAM OFF-SHOULDER DRESS IN SEA GREEN/PEPPERMINT, BELTED WIDE LEG PANT IN SEA GREEN/PEPPERMINT MIKIMOTO WHITE SOUTH SEA CULTURED PEARL STRAND WITH AN 18K YELLOW GOLD CLASP, WHITE SOUTH SEA CULTURED PEARL EARRINGS WITH DIAMONDS SET IN 18K WHITE GOLD, WHITE SOUTH SEA CULTURED PEARL RING WITH DIAMONDS SET IN 18K WHITE GOLD, WHITE SOUTH SEA CULTURED PEARL RING WITH DIAMONDS SET IN 18K WHITE GOLD, RENE CAOVILLA SERPIANA SATIN SANDAL /

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/ SACAI POPLIN JACKET, STRIPE ORGANZA VEST, GARBARDINE X POPLIN SHORTS, JIMMY CHOO STITCH NAPPA LEATHER BOOTIES IN BLACK /

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/ ON JULIA: ANDREW GN OFF-THE SHOULDER POLKA DOT GOWN WITH SPIRAL RUFFLE TRIM AND GROSGRAIN BOW / / ON BARA: ANDREW GN GOWN WITH LACE BODICE AND BLOOMSBURY SUNFLOWER GUIPURE-APPLIQUE SKIRT; RENE CAOVILLA THE KRISABRITA SANDAL /

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/ ON JULIA: DELPOZO FLOWER MIDI DRESS, CAROLEE NICKI MULTI ROW PIXEL BRACELET / / ON BARA: DELPOZO ANKLE LENGTH COTTON DRESS, CAROLEE KYLIE TWO TONE EARRINGS / / ON BOTH: DELPOZO ORGANZA LEAVES HEADDRESS, AND LACE-UP MID-HEEL SANDALS, JIMMY CHOO CLOUD SUEDE MIX BAG WITH RUFFLE IN RASPBERRY MIX /

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/ LOUIS VUITTON SLEEVELESS ZIP BLAZER, PRINTED JERSEY DRESS WITH OVERSIZED SLEEVES, LV CIRCLE BELT, AND LV JANET ANKLE BOOT /

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/ ON JULIA: MAX MARA SKIRT WITH RUFFLE DETAILS, ONE SHOULDER JERSEY TOP, LONG GLOVES, CALF LEATHER BELT, CALF LEATHER HEELS WITH RUFFLE DETAIL / / ON BARA: MAX MARA CAPSULA CROPPED WOOL TROUSERS, VIRGUS GLOSSY JERSEY BLOUSE, LONG GLOVES, CALF LEATHER BELT, CALF LEATHER HEELS WITH RUFFLE DETAIL / / ON KINGA: MAX MARA VAIMY RUFFLED COTTONTWILL JACKET, CAPRA LIGHTWEIGHT WOOL-GABARDINE SHORTS, LONG GLOVES, CALF LEATHER HEELS WITH RUFFLE DETAIL, CALF LEATHER BELT / 58

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/ GRETA CONSTANTINE JILIN DRESS, NÂ°21 CROSS SANDALS IN SATIN /

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/ THE ROW DARK NAVY DRESS MADE IN SOFT WOOL AND MOHAIR CANVAS; SLOUCHY BANANA BAG IN DEERSKIN JIMMY CHOO BOWIE SUEDE BOOTS IN VINE /

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/ COMME DES GARÇONS NOIR KEI NINOMIYA WOMEN’S JACKET, SKIRT AND SHOES /

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/ PREEN BY THORNTON BREGAZZI EMILY PRINTED GEORGETTE DRESS IN PEONY /

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/ DUNDAS YELLOW CHIFFON PLUNGING FRONT LONG SLEEVE DRESS WITH FLOWER EMBELLISHMENT JIMMY CHOO BOWIE SUEDE BOOTS IN VINE /

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/ ON JULIA: AGNONA CAPSLEEVE PLEATED KNIT DRESS; JIMMY CHOO BOWIE SUEDE BOOTS IN VINE, CAROLEE GRACE SILVER AND GOLD TONE DRAMA FRINGE BIB WITH GLASS PEARL / / ON KINGA: AGNONA OCHRE CENTURY CASHMERE MIX COAT, OCHRE FLUID JERSEY LONG SKIRT, OCHRE LUXURY SUEDE AND NAPPA CALF DOUBLE WRAP MILITARY BELT /

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/ SIMONE ROCHA IVORY PAPER DOUBLE BELTED DOUBLE BREASTED JACKET, IVORY PAPER PEPLUM SKIRT, RED TULLE FLOWER EMBROIDERED BIB, BLACK JELLY SLIDERS WITH JET BEADING AND BLACK FEATHERS, ALEXIS BITTAR GOLD AND RHODIUM CAPPED HINGE BRACELET, AND SILVER MEDIUM TAPERED BANGLE BRACELET /

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/ MONCLER 5 CRAIG GREEN ORANGE COAT, JIMMY CHOO STITCH NAPPA LEATHER BOOTIES IN BLACK /

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/ ALEXANDRE VAUTHIER BLACK RUFFLE CHIFFON GOWN, SWAROVSKI SUNGLASSES, RENE CAOVILLA THE GALAXIA SANDAL /

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/ HYKE MILITARY SHIRT AND ASYMMETRICAL WRAP SKIRT, WHITE SHEER SKIRT, WHITE LEGGINGS, AND BLACK LAMBSKIN SHOES, JIMMY CHOO SIDNEY VELVET BAG WITH MIXED CRYSTAL LOGO IN CHILI, CAROLEE KYLIE TWO TONE METAL FLAT FRONT BACK EARRING WITH GLASS STONE AND PEARL ACCENT /

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/ NÂ°21 SLEEVELESS TOP, BLACK PENCIL SKIRT, METALLIC CHAIN, CROSS SANDALS IN SATIN /

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/ ON BARA: DUNDAS ONE-SHOULDER TUXEDO DRESS IN BLACK GRAIN DE POURDRE / / ON ANA CRISTINA: DUNDAS GRAIN DE POUDRE HALTER NECK JUMPSUIT IN BLACK / / ON BOTH NÂ°21 CROSS SANDALS IN SATIN /

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/ AKRIS MARKER ST. GALLEN EMBROIDERY SHORT JACKET WITH WAIST ZIP, EMBROIDERY SILK CREPE KNIT HOODED PULLOVER, AND EMBROIDERY LONG SKIRT, JIMMY CHOO STITCH NAPPA LEATHER BOOTS IN BLACK /

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/ BROCK COLLECTION STRIPED TWILL PEPLUM DRESS, MONCLER TRANSPARENT SUNGLASSES, ALEXIS BITTAR HIGH SHINE SILVER CRUMPLED WIDE CUFF BRACELET, JIMMY CHOO STITCH NAPPA LEATHER BOOTS IN CARAMEL /

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/ CAMILLA AND MARC VALO BLAZER IN WOOL BLEND, DRESS, ETTA FLARE SLEEVE COTTON SHIRT TOM FORD BLACK SATIN MARY JANE PUMP /

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/ THOM BROWNE TROMPE Lâ&#x20AC;&#x2122;OEIL LONG SLEEVE SHIRT, SUPERSIZE CLASSIC DOUBLE BREASTED SPORT COAT, MORETTA MASK WITH SUNGLASSES /

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/ THOM BROWNE TROMPE Lâ&#x20AC;&#x2122;OEIL LONG SLEEVE SHIRT, SUPERSIZE CLASSIC DOUBLE BREASTED SPORT COAT, SUPERSIZED BACKWARDS BERMUDA SHORT WITH SUSPENDERS, CRAB ICON INTARSIA TIGHTS, KNEE HIGH ANCHOR LEATHER BUTTON BOOT, CRISSCROSS MARY JANE /

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MAX MARA TAFFETA BELTED TRENCH COAT, TAFFETA SKIRT WITH ASYMMETRICAL RUCHED DETAIL, TAFFETA ONE SHOULDER LONG SLEEVE SHIRT; CALF LEATHER HEEL WITH RUFFLE DETAIL

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PHOTOGRAPHY BY TATIJANA SHOAN | STYLED BY MANE DUPLAN | HAIR BY LUIS GUILLERMO DUQUE FROM FACTORY DOWNTOWN USING ORIBE MAKEUP BY CLAIRE BAYLEY FOR Lâ&#x20AC;&#x2122;ATELIER NYC | STARRING ALLA FROM NEW YORK MODELS

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HOUSE OF LAFAYETTE SAFARI HAT IN RAMISISOL GOLD AKRIS FINE NET MOCK NECK BLOUSE

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PRABAL GURUNG NYLON TWILL UTILITY TUNIC WITH JULIET SLEEVE AND SILK CHARMEUSE COMBO, KHAKI JODHPUR PANT WITH HAND EMBROIDERED OSTRICH FEATHER DETAIL, AND PORCELAIN LEATHER GEMMA SANDAL WITH OSTRICH FEATHER SHOES

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AKRIS FINE NET DRAWSTRING PARKA WITH STAND COLLAR, FINE NET MOCK NECK BLOUSE, LONG SKIRT, AND SHOES

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ANNA-KARIN KARLSSON BANG BANG BABY SUNGLASSES AMAIÃ&#x2019; FRANZ MAILLOT BODYSUIT

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MAX MARA DOUBLE CALVARY LONG SLEEVE COAT WITH POCKETS, VISCOSE ONE SHOULDER TOP, SKIRT, AND CALF LEATHER HEEL WITH RUFFLE DETAIL

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MAX MARA DOUBLE CALVARY LONG SLEEVE COAT WITH POCKETS, VISCOSE ONE SHOULDER TOP, SKIRT, AND CALF LEATHER HEEL WITH RUFFLE DETAIL

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THE SALTING SANDED JERSEY SWEATSHIRT AND SANDED JERSEY DRAWSTRING WALKING SHORTS

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BOTTEGA VENETA LEATHER SHORT PANTS IN SOFT MAT, CREW NECK SWEATER, BIANCO SNEAKER

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ANNA-KARIN KARLSSON YOU TIGER SUNGLASSES BOTTEGA VENETA CREW NECK SWEATER

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BELSTAFF HEATHBROOK JACKET IN DARK CAMEL

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MAX MARA TAFFETA BELTED TRENCH COAT, TAFFETA SKIRT WITH ASYMMETRICAL RUCHED DETAIL, TAFFETA ONE SHOULDER LONG SLEEVE SHIRT; CALF LEATHER HEEL WITH RUFFLE DETAIL

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ZADIG & VOLTAIRE KENNEDY CONY SHOW SWEATER, SCOUT LEATHER SHORT, SASHA LEATHER AND CANVAS BOOTS

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ALBERTUS SWANEPOEL MILAN STRAW HAT ZADIG & VOLTAIRE KENNEDY CONY SHOW SWEATER

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—

*—

PO RT R A IT A N D IN T ERV IE W

by Tatijana Shoan —

Notes on fashion andrew bolton

—

*—

IM AG ES PROV ID ED

by The Costume Institute at The MET —

I arrived at the Metropolitan Museum of Art early to set up camera and lights for my shoot with Andrew Bolton, the Costume Institute’s Head Curator. I knew his time was very valuable as he was preparing for his newest exhibition-- Camp: Notes on Fashion. When he arrived to my pop-up set he looked the definition of chic in a perfectly fitted, three-piece, Thom Browne suit. Bolton has a natural regality, an absence of airs, and a beauty of spirit and graciousness that let him to say to me, “Take as long as you need, I’m not in hurry” which of course I knew not to be true. I completed his portrait in under 15 minutes; it was all the time I needed. He was fully camera ready in both appearance, mood, and mind. This remarkable curator has been charming and cultivating New York audiences with spellbinding exhibitions since 2002 when he left London’s prestigious Victoria and Albert Museum and joined the MET. His notable exhibitions include the wildly successful Alexander McQueen: Savage Beauty; China: Through the Looking Glass; Manus x Machina: Fashion in the Age of Technology; Rei Kawakubo / Comme des Garçons: The Art of the In-Between; and Heavenly Bodies: Fashion and the Catholic Imagination. Bolton’s next endeavor, Camp: Notes on Fashion, promises to hold the many surprises and discoveries we expect from him. Indeed, there is mysteriously remarkable meaning housed in this simple, one syllable word, camp, and Bolton’s exhibit will both define and honor it. The secret behind Bolton’s amazing success may be his ability to break down fashion to its core purpose, which is to help us define ourselves and our culture, while yet allowing us to see the mastery of those fashion designers who’ve perfected their craft. He shows us there is much more to fashion than meets the eye, and in so doing helps us navigate through the fashion maze that is too often eclipsed by commercialism and superficial artifice. It is true that we are what we eat, but we also are what we wear. In the animal kingdom, it is humans who have the ability to express their inner longings and desires through dress. Paying extra thought to this view may allow us to understand not only ourselves, but others better. This point of view may sound overly romantic and philosophical, but isn’t that part of our overall love of fashion? Indeed, Bolton’s shows are informative and extremely entertaining, though he never allows spectacle to overshadow purpose, instead he presents ideas that allow us to dream a bit and always be amazed. After our shoot, we retreated to his office to talk about camp, about what it means to curate fashion exhibits in the age of information, his relationship with his subjects vs. his audience, fashion as art, and what his new exhibition will reveal about him.

Viktor + Rolf on display at The Metâ&#x20AC;&#x2122;s Camp: Notes on Fashion advance press event.Viktor + Rolf (Dutch, founded 1993), Evening Dress, spring/summer 2019 haute couture. Courtesy of Viktor + Rolf. Image: Vittorio Zunino Celotto / Getty Images for The Metropolitan Museum of Art.

(Below) Susan Sontag, Peter Hujar (American, Trenton, New Jersey 1934-1987 New York), 1975; Purchase, Alfred Stieglitz Society Gifts, 2006 (2006.183). Image courtesy of © The Metropolitan Museum of Art.

Rei Kawakubo/Comme des Garçons: Art of the In-Between. Gallery Views, (right) Object/ Subject. (right below, from left) Bound/Unbound, Order/Chaos. Images courtesy of © The Metropolitan Museum of Art.

AS IF: What inspired a show on camp? Andrew Bolton: The idea was inspired initially when I was working on the Rei Kawakubo exhibition. I was rereading Susan Sontag’s Against Interpretation essay because Rei was very against any curatorial narrative for the exhibition. She wanted her clothes and designs to stand alone, and for people to appreciate and interpret them on their own without an overarching curatorial narrative. I was toying with the idea of using Sontag’s Against Interpretation where her voice would, in sorts, act as a ghost narrator of the exhibition, because part of her criticism of cultural critics and curators is that they imbue too much content into a work of art, and as a result there is little room for subjectivity. I think that can be true, but I feel you can be objective and subjective at the same time, and so, I eventually didn’t go down that path. At that same time, I was rereading Sontag’s, Notes On ‘Camp,’ which is so prescient, even though it now reads like a historical document and is outdated. As the word camp becomes more mainstream people have forgotten its impact, forgotten the subversive elements of camp; and with the mainstreaming of gay culture and homosexuality there’s been a coincident mainstreaming of camp. It was once very much a private code among marginal groups and many in the gay community. Sontag spoke about camp in association with an aesthetic or sensibility as a political tool, and as a language for a disempowered group. And, with our current political and social climate and gender-fluidity dialogues, I thought it was an interesting concept to think about. So, during the time I was preparing for the Kawakubo exhibition I decided

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to save Sontag for later on and go down the path I did for Rei Kawakubo. Oddly enough, a season ago, Rei did a whole show based on Susan Sontag’s camp essay. AS IF: Your exhibition sets out to define camp, and in the process of creating this exhibition what did you learn about camp that wasn’t obvious when you first set out to explore it? AB: We went through so many dead ends, more than any other show I’ve worked on before. Camp is so all-inclusive, and what continues to surprise me is when you begin looking at the world through a camp lens, everything is camp. The largeness of the topic was overwhelming, and I was struggling with how to curate the exhibition in such a short timeframe. Very early on I read the work of an amazing writer named Fabio Cleto, who is actually writing the introduction to the exhibition

catalogue. His book, Camp: Queer Aesthetics and the Performing Subject: a Reader became my bible. He is a beautiful writer and complex thinker, and what his book does is include all the major writings on camp. It illustrates how everybody has a different opinion about camp, and that’s something I embraced early on. Trying to define it is what I found difficult, because it was easy enough to identify the elements of camp—artifice, irony, parody, generosity, nativity—but to actually define it in a sentence was quite difficult. I remember this one sentence that I really liked. Cleto spoke about how the confusion around camp doesn’t help the fact that it has so many lexical complications: it’s a noun, an adjective, an adverb, and a verb, and I found that really interesting. So, after four months of really chasing my tail I decided to focus on the grammatical and lexical origins of camp. I kept asking myself, what is camp? I thought it was important to try to define it, or at least look at

“Camp is so allinclusive, and what continues to surprise me is when you begin looking at the world through a camp lens, everything is camp.” this grammatical aspect around it and when it entered the language. I think one of the issues around Susan Sontag’s essay was that she downplayed the origins of camp and depoliticized it. She spoke of camp’s style without a substance, without politics, and something that is void of tragedy, which I think is incorrect; there is an immense tragedy in camp, think of someone like Judy Garland. At the same time, however, Sontag provided grammar for us to talk about camp when no one else did. I’m a huge fan of Susan Sontag, and I think that she was an incredible cultural critic. She was so perceptive and wrote about camp at the right time, and provided the language and the vocabulary for us to talk about it. Therefore, I did want to fetishize Sontag’s essay in the exhibition. When she talks about camp I think it’s retroactive,

people at Versailles didn’t think they were camp. When you think about the wonderful panier dresses, and what was fashionable at the time, it wasn’t about being camp, but to our eyes today it’s totally camp! Time has a great deal to do with camp. Therefore, I thought by focusing on its origins and when it entered the language was a nice way to define it for audiences that weren’t as familiar with the term. It also traces the historical origins because that was the connection between the etymological origins and the phenomenological origins. AS IF: The Wikipedia definition of camp says, camp is an aesthetic style and sensibility that regards something as appealing because of its bad taste and ironic value, and the definition continues from there. What are your thoughts? AB: I find those terms very reductive, they reduce an extraordinary, difficult, and complex concept. That definition is an element of camp, but cannot summarize it. The first known mention of the word camp was by Moliere, King Louis XIV’s great playwright, when he wrote about camping on one foot. In the exhibition we have a wonderful figurine where a guy is camping on one foot. I began to understand camp around the idea of theatricality, exaggeration and artifice. It was very much associated with theater actually, and there is that painting of Louis XIV show cased in that typical narrative tea pot stance, with one hand on the hip and one leg out. The idea of standing contrapposto with arms akimbo was borrowed from classical statuary, and we see that with a sculpture of Antoninus, perhaps the first camp icon. He was Roman Emperor Hadrian’s lover, was very beautiful, died young, and was lionized and

fetishized. There are wonderful sculptures of him in that typical camp pose which aristocrats later adopted. The painting of Louis XIV with his leg outstretched and his arm up was really mirroring classical statuary, but it was adopted by the gay community and became known as the archetypal stand of this sort. The next mention of the word was as an adjective, and it was very much located within the gay community. It was between two cross-dressing men named Fanny and Stella in Victorian England, and there was a letter from Fanny to his/her benefactor where he writes, my campish undertakings are not being met with the success they deserve. So, the exhibition starts off with camp as se camper, camp as a verb, where we take you to Versailles; then you go into camp as an adjective, which we begin with my campish undertakings and Fanny and Stella. I’ve chosen heroes for each gallery. In Versailles, it’s Monsieur, the Duke of Orléans, and Chevalier d’Éon, who was a well-known for crossdressing and lived his later years as a woman. Then we have camp as a noun where it entered the dictionary of Victorian Slang in 1909, where it was referring to “people of wanton character.” And this was post-Oscar Wilde, who is very much seen in camp history as figure of great tragedy, but also somebody who used epigrams and plays as a tool of camp. We then have the writer Christopher Isherwood who talked about camp as more of a style, which then is taken on by Sontag in 1964, when she writes less about the origins of camp and more about artifice and exaggeration, and camp as an aesthetic phenomenon and sensibility. This is the trajectory and origin of the story we share in the show.

(Left) Gucci and Palomo Spain on display at The Met’s Camp: Notes on Fashion advance press event. Alessandro Michele (Italian, born 1972) for Gucci (Italian, founded 1921). Ensemble, autumn/winter 2018-19. Courtesy Gucci Historical Archive. Palomo Spain (Spanish, founded 2015). Ensemble, spring/summer 2018 menswear. Courtesy Palomo Spain. Image: Vittorio Zunino Celotto / Getty Images for The Metropolitan Museum of Art.

(Above, from left) Gucci and Palomo Spain on display at The Met’s Camp: Notes on Fashion advance press event. Alessandro Michele (Italian, born 1972) for Gucci (Italian, founded 1921). Ensemble, autumn/winter 2018-19. Courtesy Gucci Historical Archive. Palomo Spain (Spanish, founded 2015). Ensemble, spring/summer 2018 menswear. Courtesy Palomo Spain.  Image: Vittorio Zunino Celotto / Getty Images for The Metropolitan Museum of Art.

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Camp: Notes on Fashion. Ensemble, Bertrand Guyon (French, born 1965) for House of Schiaparelli (French, founded 1927), fall/winter 2018â&#x20AC;&#x201C;19 haute couture; Courtesy of Schiaparelli. Image courtesy of The Metropolitan Museum of Art, Photo ÂŠ Johnny Dufort, 2018

Camp: Notes on Fashion. Dress, Marjan Pejoski (British, born Macedonia, 1968), fall/winter 2000â&#x20AC;&#x201C; 2001; Courtesy of Marjan Pejoski. Image courtesy of The Metropolitan Museum of Art, Photo ÂŠ Johnny Dufort, 2018

Camp: Notes on Fashion. Ensembles, Marc Jacobs (American, 1963), spring/ summer 2016; Courtesy of Marc Jacobs. Image courtesy of The Metropolitan Museum of Art, Photo Â© Johnny Dufort, 2018

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Camp: Notes on Fashion. Ensemble, Jun Takahashi (Japanese, born 1969) for Undercover (Japanese, founded 1990), fall/winter 2017–18; The Metropolitan Museum of Art, Purchase, Friends of The Costume Institute Gifts, 2017 (2017.399a–d). Image courtesy of The Metropolitan Museum of Art, Photo © Johnny Dufort, 2018

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AS IF: I like how you mention the tea pot stance, and the socio-political importance of it. Today we can see this stance in many of Kehinde Wiley’s paintings where he portrays black men in their own street dress while taking on in these classic camp statuary poses, many of them in tea pot stance. AB: I’m glad you made that connection because it’s very true. It was very much about masculinity when we look back at its origins from Classical Greece and in portraits of the aristocracy. That pose wasn’t just about power, it was about masculinity. It’s interesting how it’s been subverted in the gay community as something effeminate. What’s also interesting about camp is that it’s so contradictory, even in the gay community where people either embrace it as a way of creating visibility, particularly pre-Sontag when it was used by marginal groups as a way of having a language of visibility, and at the same time it’s dismissed as something derogatory, frivolous, and silly. It’s a deeply contradictory and complex term.

“Celebrity and fashion have always co-existed, but what I’m struggling with is trying to encourage people to think about fashion beyond this relationship.”

Heavenly Bodies: Fashion and the Catholic Imagination. Gallery Views, (above) Medieval Sculpture Hall, (right) Romanesque Hall. Images courtesy of © The Metropolitan Museum of Art

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AS IF: How much of camp is a reflection of the times, and how much of it is influenced by the times? AB: I think camp responds to and reacts to the times. Sontag made a distinction between naïve camp and deliberate camp. Naïve camp relates to failed seriousness—the intention was to be serious, but it failed miserably. A pannier is failed seriousness. Balenciaga’s baby doll dress—a dress designed for a baby doll to be worn by grown women— is failed seriousness. Deliberate camp is more conscious and intentional. When Sontag outed camp in 1964, camp became much more deliberate. You still got many instances of naïve camp, but there was an awareness, an association in people’s minds and vocabulary about camp. After the Stonewall riots, camp became much more politicized. Prior to that it was—as Sontag calls it—a secret code, a badge of identity, and I think that’s true on the whole. The 80s were an apotheosis of camp, and I wonder if that was a reaction to Thatcher and Reagan -- they were two very camp figures. Now we have Trump who is a very camp figure. When you have a society that’s so polarized with a strong conservative right wing, and a strong liberal left wing, camp has something to feed off of. It does react and respond very much to politics and the times. AS IF: AS IF: What are the fundamental differences between kitsch and camp? AB: This is such a great question, and I struggle with this. I think that all of kitsch is camp, but not all of camp is kitsch. Kitsch is more related to objects than to people. To me kitsch is more of an art historical term used to describe objects,

not behavior, while camp is very much about behavior and performance. One of my favorite definitions of kitsch is that it’s a camp fad and fancy; it’s related to camp, but it’s not camp. Camp is much more magnanimous as a term. AS IF: AS IF: I would like to steer the conversation towards your work as curator in charge with a question about fashion as art. The general public and institutions have been reluctant to consider fashion an art form, but these views have evolved over the years. Your first blockbuster exhibition here, Alexander McQueen: Savage Beauty provided a specific fashion perspective and helped steer the conversation towards fashion being considered a fine art and not just an applied art. Since you started here as curator in charge what challenges do you still face in removing people’s stagnant perspectives? AB: I think it’s a different challenge now. People who are open-minded see fashion as an art form, but not all of fashion is art. It’s really about quality and originality, and it depends on your definition of art, but I do think that more people, even those in the art world, are beginning to embrace fashion within the art historical canon. Today, I think my biggest struggle is association with celebrity. Whenever people talk about fashion they refer to a dress that Rihanna or Nicki Minaj wore, people’s association with fashion has become so connected to celebrity, consumption, and commercialism, and that’s my biggest struggle. Celebrity and fashion have always co-existed, but what I’m struggling with is trying to encourage people to think about

Schiaparelli and Prada: Impossible Conversations. Gallery Views, (right) Surreal Body, (below) Naif Chic. Images courtesy of © The Metropolitan Museum of Art.

Alexander McQueen: Savage Beauty. Gallery View, (Above image) Romantic Gothic. Image courtesy of © The Metropolitan Museum of Art.

fashion beyond this relationship. Today, most celebrities are dressed by stylists, while in the 1950s you had celebrities like socialite Nan Kempner and Jacqueline de Ribes who dressed themselves, they were creating a style for themselves, it was about their identity, they were making a statement. Dressing has somehow become empty, we just put a pretty dress on a pretty woman and I don’t see the value in that, I don’t see the interest in it beyond the glamour. Celebrity fashion has become so overwhelmingly part of the life of fashion today, and that is my biggest challenge. AS IF: What is your responsibility to the public and to your theme when you present an exhibition?

AB: It’s huge! I think the overriding aspect of a curator is to first come up with an idea that is relevant and may resonate with an audience, plus ideas that will make people think differently about fashion and challenge their expectations. Also, the particular theme has to be accessible, it has to be beautiful, and it has to be entertaining. Often curators think that entertainment is a dirty word within an exhibition, but I don’t think so at all. If you don’t seduce somebody visually you’ve lost them, you could have the most promising exhibition with amazing objects, incredible texts, but if it’s not beautifully installed, people aren’t going to engage with it. Devising an installation that compliments the objects and the theme is important, and juxtaposing objects that work together and tell stories while teasing out the

stories of the objects is important. Fundamentally, I care about what critics think, but I’m much more concerned about what the public thinks because at the end of the day the success is dependent on whether people enjoy it and leave thinking differently about a subject. Your first and foremost responsibility is to your audience. You’ve once said that every show you do is personal. What will the camp exhibition reveal about you? AB: I need to connect with the objects and fall in love with the subject. Growing up gay in a small village with small minds has never left me. Speaking differently and wearing different clothes makes you a target for comments. One of my favorite quotes for camp is, camp

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Camp: Notes on Fashion. Ensemble, Jeremy Scott (American, born 1975), spring/summer 2012 menswear; Courtesy of Jeremy Scott. Image courtesy of The Metropolitan Museum of Art, Photo Â© Johnny Dufort, 2018

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Camp: Notes on Fashion. Dress, Jeremy Scott (American, born 1975) for House of Moschino (Italian, founded 1983), spring/ summer 2017; Courtesy of Moschino. Image courtesy of The Metropolitan Museum of Art, Photo ÂŠ Johnny Dufort, 2019

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Camp: Notes on Fashion. Ensembles, (left) Walter Van Beirendonck (Belgian, born 1957), spring/ summer 2009; (right) Vivienne Westwood (British, born 1941), fall/ winter 1989â&#x20AC;&#x201C;90; Courtesy of Walter Van Beirendonck; Courtesy of Vivienne Westwood Archive. Image courtesy of The Metropolitan Museum of Art, Photo ÂŠ Johnny Dufort, 2018

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Camp: Notes on Fashion. Shirt, Franco Moschino (Italian, 1950–1994) for House of Moschino (Italian, founded 1983), spring/ summer 1991; Courtesy of Moschino. Image courtesy of The Metropolitan Museum of Art, Photo © Johnny Dufort, 2019

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Manus X Machina: Fashion in an Age of Technology. (below) Upper Level Gallery View, Case Study, (right) Lower Level Gallery View, Pleating. Images courtesy of © The Metropolitan Museum of Art.

is people who weren’t intended to be heroes, which is so poetic and I love that idea. I do think that there’s an immense bravery around people who have embraced camp and their differences and use camp as a way of being proud of their difference. I was too scared as a kid of being different, I wanted to fit in and not seem different from others, but there was this one kid at school who was very camp and I always admired him. Part of my work in this exhibition is a thank you to him for his bravery, and all people who’ve been bullied, who’ve been subjected to criticism for being different. AS IF: How do you strike a balance between history, the present, and the future in your exhibitions? AB: I learned from my predecessor, Harold Koda, that it’s much more powerful to juxtapose a Jean Paul Gaultier corset with an 1890’s corset because they feed off each other, there’s something that happens when you have something contemporary next to something older: they inform and enliven each other. For contemporary audiences, a Gaultier corset will give you access to historical corsets, so I try to play around with that. I like the idea of time, and time changes things; what gave something importance in 1926 means something different

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now, but it’s just as valid. The original meaning is important, the intentionality is important, but also how it has morphed over a period of time, and how our reactions to it have changed is equally as important. Time keeps objects alive. I had a conversation once with a donor who was afraid to donate her wardrobe to The Met because she felt it would be hidden in the cupboards and die, and I feel the opposite. Once an object comes into the museum it has more leases on life. I’ve included Dior’s “May” dress in six exhibitions, and prior to that was it was included in about 12 exhibitions, all with different narratives. I most recently used it in Manus x Machina in 2016 and it might be in this show because it’s camp. AS IF: Collaborations seem to be an increasingly popular trend. What are your thoughts on collaborations, specifically collaborations with artists and fashion brands. AB: I find those less interesting, to be honest, because often artist and fashion designer come from the same approach and as a result they cancel each other out. The collaborations I find interesting are the ones between a designer and a scientist, or mathematician, or psychologist, because they come to the table with different

approaches to create something new. Fashion designer Iris van Herpen collaborates with a lot of scientists and mathematicians, and the result is something remarkable. AS IF: What have been some of your favorite collaborations. AB: My god, that’s a good question. The collaborations I love the most happen to be from people within the industry, such as milliner Stephen Jones and John Galliano for Dior. When you have two like-minded people in different areas of the same field they can create something extraordinary. Alexander McQueen and jeweler Sean Leane created beautiful work together. I liked what Cindy Sherman did with Chanel. It was less using fashion as identity, and instead using different objects from the archive to create a narrative in her work, but I found that interesting. AS IF: Tell me about the relationship between fashion curator and designer. AB: I think the role of a fashion curator is to represent the best of the designer; we’re basically here to illuminate the designer’s work. In exhibitions where curators are heavy-handed with text, it becomes more about them and less about the designer, which is problematic -- the show has

to fundamentally be about the designer. When we began working on the McQueen show for example, some wanted it to be a chronological show, which, for me, didn’t work. I’m not a great fan of curating chronological shows as I don’t find them interesting. After a week of being immersed in the archive I found great moments of weakness in his work, like any great artist, but there were many, many, examples of absolute brilliance among the mundane pieces. I felt it wouldn’t show his true genius if we were to show some of the works that perhaps were more quotidian, so I decided to focus on the masterpieces and pieces that I knew he was proud of. People left that show saying McQueen was a great artist, yet if we were to have shown the whole length of his work I think people would say he was a great designer. It is important for a curator to be a great editor, it’s about looking at the body of somebody’s work and editing it down to the purest examples of their genius. AS IF: Tell me about the relationship between fashion curator and today’s audience.

AB: I think it goes back to celebrity. I read your interview with Harold Koda where he talked about how it’s getting harder to find a unique link with the audience, because of the internet and social media, people are more informed about fashion than they used to be. It makes it more difficult to come-up with a theme that is compelling and an idea that is slightly ahead of what people are thinking. I am interested in changing people’s opinions and helping them articulate an idea that they’ve never really thought about—that is a great challenge. I find it interesting to read fashion blogs for the passion that goes into them. It shows how important fashion is to our culture, the zeitgeist, and our lives. The psychological underpinnings of fashion fascinate me. It only makes our job better because it increases awareness of what we do, and it challenges us to do better work. We have bloggers come to the museum, and you never know what they’re going to write about, or what’s going to fascinate them, and they all have very different opinions. There’s one blogger who uses Facebook Live as her platform and it immediately goes global. I don’t use social

media, I don’t have Instagram or Facebook, but I love this democratic tool for its access and it speaks to the heart of fashion. AS IF: What is your favorite part if the job? AB: Collaborating with creative consultants and leaders in other fields -- people who I grew up idolizing. Working with these geniuses is unbelievable, and they’ve always been the most amazing collaborators. They listen to me, I listen to them, and something better always arises. Filmmaker Wong Kar Wai, who I worked with on China: Through the Looking Glass is so poetic. He came on board when the curation was almost finished, but the changes he suggested made a difference -- it was just extraordinary. I recently did a Vogue Forces of Fashion talk about camp with the amazing screenwriter and director Ryan Murphy, who showed me a new way to explore camp through his experience and vision. I get to work with these incredible geniuses in their own fields, and they are working in a field that they are not accustomed to, so they bring their magic to what I am trying do.

China: Through the Looking Glass. Views Chinese Galleries, (left), Gallery 208, Guo Pei, (below), Gallery 980, Manchu Robe. Images courtesy of © The Metropolitan Museum of Art.

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Camp: Notes on Fashion. Ensemble, Jeremy Scott (American, born 1975) for House of Moschino (Italian, founded 1983), spring/ summer 2018; Courtesy of Moschino. Image courtesy of The Metropolitan Museum of Art, Photo ÂŠ Johnny Dufort, 2018

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Camp: Notes on Fashion. Ensemble, Alessandro Michele (Italian, born 1972) for Gucci (Italian, founded 1921), fall/winter 2016–17; Courtesy of Gucci Historical Archive. Image courtesy of The Metropolitan Museum of Art, Photo © Johnny Dufort, 2018

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creates candy coated luscious lands that once occupied our childhood dreams. Worlds of color, confectionary, cakes, and creams, tantalize, hypnotize and seduce like Ulysses’ Sirens. And, like the fabled Sirens whose beauty and seductive voices lured wayward sailors to the rocks to meet their untimely death, Cotton’s creations too hold darker secrets. There is far more than meets the eye in his sweet settings where melting chocolate bathes female flesh, and candy canes stand as pillars in a world of gingerbread houses and cotton candy skies. Cotton’s paintings and sculptures explore metaphors of excess, hedonism, addiction, escapism, decay, and our own human fallibilities. Having always been fascinated with Cotton’s work and the subject matter he chooses to deliver his message, I recently spoke to him about his early childhood inspirations, themes of indulgence and excess, using celebrity in his work, the importance of creating a utopian world to mask our follies, and what happens when these worlds fall into decay.

< Luilukkerland, 2002, oil on linen, 48 x 60 inches > Earrings, 2015, oil on linen, 37 x 28 inches

“ I paint because I’ve had an idea that I feel so excited about and so strongly about, that it’s worth the effort to bring it into existence.”

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AS IF: I want to talk about the two influences that impacted you when you were younger. You spoke about growing up near the estate of Hudson River painter, Frederic Edwin Church, and the impact it had on you. Also, the 1567 painting by Pieter the Elder Bruegel, The Land of Cockayne, which depicts people in a food and drink stupor, which was a comment on famine at the time. I wanted to know how these two references influenced you. Will Cotton: Frederic Church was the first example I had of what an artist is, and how an artist lives. I grew up in New Paltz, New York, which is across the river from the Frederic Church estate. I was maybe 12 when my mom took me to visit the estate, and it was there where I got to see his paintings. He lived a very interesting bourgeois-bohemian life. The Olana—Frederic Church’s estate—is fantastic. It’s a kind of a big confection built in the 19th century with Moorish architecture ideas. This place was very impactful, and I was excited by the idea that someone could actually have a life like that. I discovered the Bruegel painting years later. I had started my studies at The Cooper Union in 1983 and they had a nice library. I was looking through the art books to familiarize myself with their material

and to find stuff I loved. This painting called The Land of Cockayne caught my eye because it seemed like a dream. The painter imagined paradise on earth during a time of unthinkable famine. I started to read about some of the utopian communities and thought about the relationship between how we imagine the best possible world with an underpinning of darkness and the seeds of its own undoing. I will also say, the landscapes Frederic Church painted, along with some of his contemporaries, weren’t impressionist, they weren’t realistic, they were fantasies. They painted in a certain light, and in the case of Church and his friend Bierstadt, that light was grand, and beautiful, and elevating. In other words, it was a particular kind of landscape fantasy he was painting, the way Pieter the Elder Bruegel did, and I’m really interested in fantasy. I grew up with Pop Art which says, here’s the glossy advertising version of life, and here’s the celebrity. I do like the artificiality of that, but that has never been what drives me. There are a lot of realists working now and back then who are very interested in reality, warts and all, but that’s never been my thing. The world is dark and awful enough, and I would rather paint a fantasy version of it.

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Ice Cream, 2009, oil on linen, 24 x 34 inches

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Ice Cream Cavern, 2003, oil on linen, 70 x 80 inches

AS IF: You sourced themes from your early work from contemporary advertisements like the Nestle Quick bunny and you used these pop advertisement icons to evoke desire, specifically food-based desire. Your work evolved into creating imagery of imaginary landscapes made entirely of sweets. You also started introducing nude and semi-nude models into these landscapes as visual references of indulgence and languor, while they were also referencing poses from the Old Masters. With this in mind. I want you to finish these sentences for me: I paint because… WC: I paint because I’ve had an idea that I feel so excited about and so strongly about, that it’s worth the effort to bring it into existence. AS IF: I bake because… WC: I bake because I like sweets and I got so deep into it as a corollary to making the paintings. A lot of the work I have done, including performance and video, is about the desire to show you the experience that I’ve had with the thing. So, if I were to just buy my cakes and sweets I wouldn’t have the intimacy with the subject that I do have when I bake the cakes and decorate them myself. I create my quintessential cake, which is probably inspired from the cakes I had in my childhood and so on, but it’s really the first stage in controlling the imagery I’m making. AS IF: Did you learn how to bake specifically because you needed to have more control of your work and connection to your subject, it or was this a passion that you had prior to painting? WC: I always liked sweets and I could bake a little bit, but it’s something I really developed. I taught myself how to bake what I needed in order to make what I paint. AS IF: I also want to talk about your themes of indulgence and excess. Obesity would be an obvious theme, yet your models are always thin. Is there a reason why you never wanted to use a heavy person to represent these themes? WC: Yes, there are a few. The first of which, I didn’t want the paintings to read like cautionary tales or parables. I would happily paint people of other body types, but not in that context. It just seems too fraught. In the case of the models I use that wound-up populating the paintings, it began with pin-up imagery back when I was deciding that I needed to put people in the paintings. This was after I’d done a bunch of architectural edifices, gingerbread houses, and so on. I asked myself, Who’s living in these places? So, I just wanted to find a pop culture equivalent of something which is over-the-top sweet. I looked at mid-century pin-up painting by guys like Gil Elvgren, Alberto Vargas and thought it was a perfect match because the figures are not real, they’re archetypes. That kind of saccharine sweetness just fit.

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AS IF: One critic wrote, All of his art comes with a harrowing aftertaste, it speaks of addiction and temptation, and an adult hedonism that no amount of sugar coating can mask. In looking and experiencing your work for myself, I can feel that point of view, as well as the idea that anything is possible. It encourages a future of my own creating, while it does ask me to ponder ideas associated with why you use sweets. The beauty of art is there’s no final answer and artists encourage us to draw our own impressions, but with that said, is there something that you hope viewers will inevitably understand and take away when they experience one of your paintings? WC: I hope they’ll look at it long enough and think about something they might not have thought about before, and go away having seen some complexity in the image making. There may be a quick first read which is inevitably fun due to the subject matter, but so much more is implied. AS IF: You have two paintings that make me cry, Ghost, and, Monument. They conjure feelings of nostalgia, despair, hopelessness. Where did those pieces come from? WC: I grew-up playing the board game called Candyland, so I know very well what the board looks like and what the game requires, but what else is there to discover? I wanted to go beyond

the boundaries of what I knew. I grew up, as I said, in New Paltz, New York, and it’s right near the Catskills, which is now full of defunct old hotels, resorts, and various other things that are falling into ruin. It was a place that was built for pleasure as part of a utopian idea. Then, somehow, its usefulness ran its course and is now it’s falling into decay. I really wanted to paint something like that, so for Ghost I made a very fancy gingerbread house, and then I put it out on my fire escape. I let it get rained on, eaten by bugs and birds, and I lightly took a hammer to it to get that kind of decay. It was once a dream of wonderful things that is now falling into disrepair, but it still has its own kind of haunting beauty. AS IF: I want to change gears here a little bit and ask what role the current social issues in America have on your work, if any? We are dealing with gun violence, terrorism, the current presidency. Do these effects your artist practice in any way? WC: I suppose it’s inevitable, and it’s easier for me to see in hindsight because I don’t want to make a didactic painting, I don’t want to make specifically political art that will only exist in a particular moment in time. I think the politics and the paintings are much broader and have more to do with the possibility of human fallibility than any specific occurrence. People have told me that some of my paintings have been getting a lot darker recently and maybe it’s a sign of the times, but generally, I keep that separate.

< Nut House, 2012, oil on linen, 82 x 96 inches > Crown, 2012, oil on linen, 80 x 68 inches

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<< Joyous, 2017, oil on linen, 80 x 50 inches < Departure, 2017, oil on linen, 75 x 50 inches > Domino, 2015, oil on linen, 58 x 38 inches

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AS IF: There tends to be two things that play in hyperrealist painting involving a critical dilemma. We have imagery that is literal, and then we could view it allegorically with symbolism. Where are you on that scale? WC: I have a foot firmly in both camps. I want to tell a story and that requires symbols of all kinds. You can look at this dress I made and notice the candy buttons, and you’ll have points of reference with that, a symbolic language. Before I start work on a painting I create sketches and build maquettes, and that is where the realism or hyperrealism becomes important as a storytelling device. In a tabletop maquette there can be some spumoni icecream melting and I’ll see it has a particular shine on it when it melts a certain way. It’s not just the symbol of melting ice-cream, but what it really looks like when its melting, and I find that extremely important for the paintings. If you look back at my work you can see I’ve moved more and more toward realism because I felt the paintings needed to in order to tell the story better. The gingerbread trailer house has to be two things at the same time: it has to really look like a trailer house, and it has to really look like gingerbread. I found that in order to make that painting come across I had to get really specific and really pay attention to surfaces. I had to look at the difference between coconut shavings and marshmallow propane tanks, these surface details.

AS IF: You once said, a few words that bother me in the context of my work are fantasy and escapist. Explain? WC: Ah ha, I think I’ve already used them myself today! But, it has to do with the easy reading of the work. If you look at it and all you see is fun, happy and whimsy, you are missing the depth. Whimsical is a word that I cannot stand. I think it suggests something that doesn’t have another layer of depth to it, and it’s very important to me that my work does. In fantasy—because it’s not real—there’s a perfection to it. So, if my fantasy is to make ice-cream floats float in a seltzer kind of sea, I need to create it in reality and then paint a picture of what it really looks like, so it’s not fantasy anymore, it’s becomes real; I brought it into existence, and now I’m painting a picture of a real thing. AS IF: There are themes in your work about escapism and creating a utopian world, and then there are themes of excess, indulgence, and gluttony. Are they interchangeable, and are we correct in saying these are your themes? WC: That’s absolutely correct. My playing with those themes is not about actual judgment. If I’m talking about gluttony, indulgence and temptation I’m not saying if its good or bad, I’m just presenting it. I have talked about the fact that I was a drug addict when I was beginning to make all these paintings. All that started as a metaphor for drug addiction, and for living a life

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Nut House, 2012, oil on linen, 82 x 96 inches < Cotton Candy Clouds, 2004, oil on linen, 75 x 100 inches

“ People have told me that some of my paintings have been getting a lot darker recently and maybe it’s a sign of the times, but generally, I keep that separate.”

of total hedonism and living just for pleasure. I felt like sweets—because they’re something that only exists for pleasure—were a good stand-in and more people could relate to sweets than a pile of cocaine. AS IF: You create environments in your studio while you’re working, where the atmosphere itself becomes almost part of the art, which nobody else can see. So, you have, the smell of your baked goods that are filling the air, your models are eating cotton candy, and you eat macaroons while you’re painting. How important is that part of the process to the final result? WC: It is super important. It’s an extension of the work and a tool to bring the work to life. I have to bring the work into reality before I paint a picture of it I have to really live in it, live in the smells and the textures. I didn’t really learn to paint cotton candy until I’d had it in my hands and saw it on people’s skin. There are lovely complexities that go so far beyond the fantasy of what cotton candy or ice-cream is.

AS IF: You mentioned that your paintings become a record of something which existed temporarily but has since melted or decayed into oblivion. This plays, obviously, to the darker side of your work. Can we talk about the darker side of your work? WC: Oh yeah! There was an American photographer in the 19th century named Carleton Watkins. One of the things he took on was to go west and photograph landscapes that most people had never seen before. Then come back and show people pictures of it, almost in a governmental propaganda kind of way, he might as well have been showing people Candyland. It was so foreign and distant, it existed as a fantasy and Watkins was the person bringing that experience back and showing it to other people. I wanted to feel like that. I didn’t want to build the maquettes and then show those, I wanted to say, I built this giant pile of cakes in my studio and painted a picture of it, and now it’s gone, but this picture’s a record of something that once was. I like that kind of element.

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The Coming Storm, 2014, oil on linen, 72 x 96 inches

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> Ghost, 2008, oil on linen, 72 x 48 inches < Monument, 2009, oil on linen, 72 x 84 inches

AS IF: You’ve worked with celebrities Elle Fanning and Katy Perry. Does introducing the element of celebrity become a tantalizing disruption to your work? Or, do you regard it as an extension to the work, since the idea of celebrity has a lot in common with the themes you work with? WC: It does. When I was first approached to work with celebrity I wouldn’t do it because I thought it will overshadow whatever I’m trying to say. When Katy Perry contacted me, I had just become familiar with her. My girlfriend Rose had shown me a magazine article of Katy because she felt she was up my alley in a lot of ways. Katy wasn’t doing candy stuff yet, but she had this kind of outrageous, burlesque personality. So, I thought I’d bring in this Pantheon of pop culture symbols. Katy Perry is this premade symbol of pop culture that I think fits with all the other symbols I work with and makes total sense. I hope when people look at those paintings they won’t just see Katy Perry, but the whole of what I’m painting about. In fact, the whole candy idea wound-up becoming a big part of her persona, which feels like this wonderful back-and-forth dialogue with pop culture. I’m always referencing it, but now I’m actually contributing to it, and then I’m letting that bounce back on itself. I worked on Katy’s California Gurls video and painted stills from it.

AS IF: I found it interesting when one critic compared your work to vanitas painting. How accurate is that? WC: That’s definitely an accurate reference. That style is something I became aware of when I got very enamored of 17th century Dutch art. The vanitas is a big subject, and it has to do with the ephemerality of life, transience. There’s something about that that I love. Just personally—it’s maybe unusual—but I’m someone when I’m reminded of death, it makes me feel happy, because it’s really no big deal. In fact, we may as well just have fun because life is finite, and that takes the pressure off for me. AS IF: What makes you angry? WC: The feeling of powerless when I see horrible situations that I cannot help. AS IF: What makes you happy? WC: Being in the zone. Being in that place where it’s beyond words and I don’t see time going by. That makes me happy. AS IF: Describe your perfect day WC: It’s a nice balance. I suppose it would involve some time outdoors, some physical activity, definitely some painting, looking at art, a little bit of reading, and maybe a funny movie to take me out of my own thoughts.

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Modern Times, 2015, oil on linen, 60 x 96 inches

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Artwork, Art Direction and interview by

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photography and introduction by tatijana shoan / Graphic Design treatment by Diego Pinilla Styiling by STACEY JONES / Styiling assistance by Heidi Grunwald Makeup by Ana Marie for The Wall Group / Hair by Moiz Alladina for The Wall Group NAILS by DIDA for Ray Brown Pro AS IF / ISSUE 15

david Salle x peter hidalgo Salle Dress Cocktail

Audemars Piguet Code 11.59 watch glareproofed sapphire crystal 18k pink gold case with black lacquered dial and hand stitched black alligator strap

Sanjay Kasliwal Morganite ring with pink sapphire halo with aquamarine, diamond, and orange sapphire petals; aquamarine teardrop earrings with tanzanite buttons

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As the 4th-highest-grossing worldwide box-office actor of all time,

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Akris Silk crêpe column gown with georgette bow top

Sanjay Kasliwal Multi-colored floating sapphire tennis bracelet with diamond encrusted link detail, multi-colored sapphire trapeze earrings

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is one of the most valuable performers of the modern age. Her rich, husky voice sounds laced with whiskey and smoke and seems to teasingly belie her peaches-and-cream complexion, hourglass figure, and heart-shaped face. It’s easy to fall head over heels for this blue-eyed creature who is the embodiment of sensual guile and whose likeness to Marilyn Monroe is undeniable. Despite her screen-goddess superpowers, Scarlett Johansson is an actor’s actor who continues to challenge herself in unexpected roles. She can seamlessly shift from drama to comedy, a feat not many actors successfully master. Her extensive acting range covers all genres from drama to comedy, and includes a comic-book hero blockbuster franchise, sci-fi indies, animation voiceovers, and the thespian also happens to be a three-time Woody Allen muse and Tony Award winner (Best Featured Actress, A View from the Bridge), the pinnacle for actors who honor their craft above fame and fortune (which the actress happens to have in abundance anyway). Scarlett embodies a calm confidence on screen, an almost hypnotic allure. She is in a league of her own, and therefore we were tasked with the responsibility of creating a feature that goes beyond the typical magazine editorial—we wanted to turn her into a collectible work of art, but how? We decided to pair her with a contemporary artist, but who would the artist be, and what would be the result of this collaboration? Scarlett is an actor who does her homework, so it was not surprising to learn that she knows art and the important artists working today. This multi-award-winning actress with a star on the Hollywood Walk of Fame tasked us with finding an artist whose style is unmistakable, whose name commands respect, and whose work is collected by the biggest museums and esteemed galleries around the world—in other words, we needed to find an artist as important in the art world as Scarlett is in the entertainment industry. Many names came to mind, but the name that resonated the most was a contemporary American artist recognized as one of the guiding lights of postmodern painting, David Salle. Salle�s work uses poetical juxtapositions, the exact meanings of which are hard to pin down. He combines original and appropriated visuals signs and symbols, such

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as imagery from popular culture like a Kleenex box, with imagery from art history, such as elements from a Caravaggio painting. The artist takes abstraction and the human figure and manipulates images by combining a variety of different styles and textures. He continually brings unexpected symbols together in unpredictable ways. Salle’s work is always intriguing, invariably laced with a sense of humor, and continually confounds assumptions. His style is identifiable, while each and every work conjures something new for the viewer. These notions resonate with the work Johansson challenges herself with. Her movie choices are varied and her characters are always complex. Both Johansson’s and Salle’s work are unpredictable yet identifiable in their style and impact. We were inspired just by thinking of what these two forces could do together. For AS IF magazine, Salle imagined a world Johansson would inhabit inspired by his current show at the Skarstedt gallery in London, Musicality and Humour. Ideas were shared with Scarlett, and on the day of our shoot Salle directed Johansson to play with the idea of living within a tree as I photographed her. From sitting on gnarled roots, leaning against a tree trunk, to hanging upside down from a branch, Johansson committed herself to the role one hundred percent. Salle then intertwined the images of Scarlett with the recurring elements in his current series, which includes black-and-white illustrations from the ’40s and ’50s commonly seen in popular publications of the day, like The New Yorker. The subjects in his new series are from another era; notes of Americana nostalgia make a kind of history painting. Scarlett Johansson, an actress so fresh and modern and yet with a style and elegance that recalls the great actresses from the ’40s and ’50s, inhabits Salle’s world with a dominance, as if the world materialized as the result of her own imaginings. The following editorial is the aforementioned collaboration. The following text is a conversation between Scarlett Johansson and David Salle in which the artist and the actress discuss her industry, her craft, politics in art, people’s perceptions of her work, and her experience during our shoot.

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David Salle: First off, I must say it was great fun working on this shoot together. Scarlett Johansson: Yes, I had a lot of fun doing it too! DS: You were very game and really got into the spirit of it. You even hung upside down for us! SJ: Ha, yes! It turned into a day of acrobatics. It was a full day of work. I should have gotten paid scale (laughs)! DS: (Laughs) Yes. I’ll make sure to tell the team. We’re also excited about the dresses we made, that were inspired by the shoot. SJ: Yes, you should be! DS: Speaking of dresses, I wanted to ask you how important the costume is for you for a role? SJ: The costume is very important for me, and also for the audience, because it gives the actor and the audience clues into who the character is. It provides an actor clues into how a character feels about themselves and how they want to be presented, which I think are important. It helps me as an actor because it’s part of the process of getting ready to go, it’s just another layer. I’m already in the mindset, and then I put on these particular clothes that have meaning to me as an actor because I make active choices in choosing the costume, whether I’m choosing personal pieces of jewelry, a pair of shoes, or something sentimental to my character.

DS: So, you invest the costume with a specific character logic, which helps you get into your role. SJ: Exactly, it also helps with how the character is, and how they are in their body. Are they comfortable with what they’re wearing? Are they comfortable in their own skin? DS: Has a director ever given you something to wear as a deliberate provocation, to get a certain quality? I’m thinking of a short story by the writer Harold Brodkey. Harold wrote a story about a director who was working with an actress and wanted a certain quality from her in a scene where she has to walk up a flight of stairs. So, he put a pebble in her shoe to affect her walk. He wanted to see some tiny nag of discomfort on her face. I don’t know if this is an actual showbiz trick or just something he just dreamed up. Has anyone ever done that to you? SJ: I remember when we were shooting Under the Skin in Scotland and it was about 7 degrees outside—it was so cold. At that point my character was wet all the time because I spent a big portion of the film outside and it was raining and snowing. My hair and clothes were always wet from the rain machines and actual rain. I was completely drenched and cold. In between takes the costume director would give me a warming jacket because I’m sure she saw I was turning blue, and the director Jonathan Glazer pulled her aside and asked her to stop giving me the jacket. DS: Oh no. Keep her cold and wet! SJ: Exactly! I remember looking at Jonathan and shooting him daggers with my eyes while thinking, I’m going to kill you, (laughs)! I mean, I know how to pretend that I’m cold. I can pretend that I can’t feel my feet or toes. Plus, I was already wet and cold I didn’t need to be tortured.

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DS: Right. You’re the actor - you’ll take care of the acting part. SJ: Exactly, I’ll take care of the kind of discomfort I want and need for the scene. DS: Acting, for the most part, is a collaborative endeavor. Do you ever get tired of that aspect of it? Do you ever just want to play all the parts yourself, do a one woman show for example? SJ: I don't think so. I like actors and I thrive off the energy I get from my fellow actors; and I get ideas from them too. Also, I can put all my anguish, and all my desire, loathing, lust, love, and despair onto them with no consequences; no real consequences. And then, at the end of the day, I say, okay, see you tomorrow! DS: I imagine that’s a nice aspect of the job. We all gain energy and also get ideas from other people; you don’t have to generate everything yourself. SJ: Exactly, it’s really nice. I did a job with Adam Driver recently which is coming out later this year. We spent two entire days screaming at each other, brutally screaming and fighting for two full days. It was exhausting, but if I didn’t have as strong an actor as Adam to take all stuff I was giving him I would have been lost. For me, working with other actors is a really important part of what I do… it’s everything. DS: Interesting. SJ: To have someone else there to help hold it all, to help drive it all… DS: Are there actors whom you look to as particular models for how you consider the job, consider the profession,

DS: You don’t need method acting for that. SJ: If I wanted to decide to be wet and cold in order to feel wet and cold I’ll make that choice myself, you know? But, sometimes directors imagine that they can do something like that.

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SJ: Yes, it was a different style of acting that I think expressed what was going on in the Zeitgeist. With actors like James Dean, Natalie Wood and Marlon Brando they exhibited a kind of liberation, a kind of unapologetic showcase of emotions. You even see it in the writing of the time with playwrights like Tennessee Williams and Arthur Miller. They would write these wonderfully dirty, complicated and ugly scenes for actors and audiences to experience. It was a time of real guts. DS: Do you think that mode or that generation is still important today? SJ: You know, acting goes through trends.

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or possibly approach your work? Any actors you’ve worked with, or from any other time? We have the whole history of filmed performances available to us now. SJ: There were actors during the later Golden Age of Hollywood era that had a certain confidence, which I think was due to the force of this new, naturalistic style of performance. I’m thinking of actors like James Dean, Natalie Wood, and Marlon Brando. These actors were starting a revolution in Hollywood with screen acting. They had a very messy, unpredictable, and thrilling aspect to their performances, and watching them is thrilling because of it. DS: Yes, naturalism is the word that comes to mind. The emotions audiences were seeing on the screen were meant to feel authentic, which was very different from the earlier, diction-based style of acting. Previously, actors concentrated on being able to say a lot of dialogue with a beautiful accent, a beautiful voice, with a beautiful rhythm.

DS: Are we seeing an acting trend today? SJ: Hmm… We live in such a weird time that is sort of identity-less in a lot of ways. I don’t know if there’s a trend in performance, but there’s certainly trends in casting right now. Today there’s a lot of emphasis and conversation about what acting is and who we want to see represent ourselves on screen. The question now is, what is acting anyway? DS: Right. Who gets to play what roles… SJ: You know, as an actor I should be allowed to play any person, or any tree, or any animal because that is my job and the requirements of my job. DS: Yes. Must you only represent yourself, your gender, your ethnicity, or can you, in fact, play beyond these categories? SJ: There are a lot of social lines being drawn now, and a lot of political correctness is being reflected in art. DS: Does that bore you? Annoy you? Buck you up? Cheer you on? I know it’s complicated, there’s probably not one answer. SJ: You know, I feel like it’s a trend in my business and it needs to happen for various social reasons, yet there are times it does get uncomfortable when it affects the art because I feel art should be free of restrictions. What do you think about it David? You’re literally creating art all the time.

DS: We’re seeing a pendulum swing. The pendulum had gone way too far in one direction, and now it’s swinging the other way. We all agree it had to swing; the question now is how far it has to go in the other direction, and how long it will it take to reach a point of equilibrium. I have no idea. Personally, I feel that reactions to certain things in the arts have almost reached a level of mass hysteria, and the criteria by which certain works are being judged are pretty whacky, and yet those reactions seem justified to people of a certain generation. In the visual arts there’s an almost oedipal drive to get rid of the people above you, to elbow them out of your way. And that’s ongoing. I’m not a sociologist, but I think one aspect of the present mood is just the desire to get rid of people who are perceived as having been around too long. SJ: Hmm, that’s interesting. DS: Do you know what I mean? It’s partly just biological. SJ: I think that’s true. It’s important to keep focused on the work that is meaningful to you and to keep going. DS: Personally, I don’t feel that artists, writers, actors have to be superior, or even especially good citizens, but some people feel very differently about it. I mean, we would all like to be good people, good citizens. But the conflict between the two is the stuff of drama. Besides, mores change. There was an article recently in the New York Review of Books about Oscar Wilde that illustrated this dilemma. Viewed through the lens of our current morality, Wilde was a pedophile, which was the way many people of his class behaved in that time. That is no longer acceptable today for obvious reasons, but does that mean we must strip him of his status as a great writer and gay icon? Do we need to reject him altogether? I don’t know the answer to that, but it’s possible for me to separate personal behavior from the art. It’s not so easy for others.

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“We live in such a weird time that is sort of identity-less in a lot of ways. I don’t know if there’s a trend in performance, but there’s certainly trends in casting right now. The question now is, what is acting anyway?” 156

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SJ: I think that’s fair. I understand how it’s harder for some, and we all have our own experiences. I think society would be more connected if we just allowed others to have their own feelings and not expect everyone to feel the way we do. DS: I agree completely. However, the problem is that some people’s feelings manifest in censorship and therefore affect the lives of others. Censorship in the arts results in paintings being taken out of museums, books being removed from libraries, and films being banned because people had certain feelings about what they saw or read. Is this the point at which the left makes common cause with the right? This is the precipice that we are all standing on, for better or worse. Let’s change the subject a little bit. I wanted to ask you if there has ever been any written criticism or broadcast criticism of your work that was helpful, interesting, on the nose, or revealed something that you hadn’t thought of? Or, do you just do your work and leave it for people to see and react to it in a variety of ways and that’s a separate conversation? SJ: It’s a good question that I don’t have the answer too. It’s funny because people project so much onto the performances they see. For instance, with the film Lost in Translation so many people approached me because they needed to tell me they’ve been to Tokyo! DS: (Laughs). SJ: They’ll say to me, that movie means everything to me, I was living that experience. You see, I was 17 when I made that movie, I was having my own experience that was very different to what the character I was playing was experiencing. The way audiences perceived my character was feeling and experiencing was, in actuality, very different from what I, the actor, was feeling and experiencing making the movie. I never assumed that my experience was something others could relate to because it was so specific to me and to where I was in my life. I can’t begin to tell you how many people thought that film was about travel and being a stranger in a strange land. I’m always so amazed when I get those comments. To me, Lost in Translation was so specific to a young woman experiencing her loss of innocence, and her profound relationship with a stranger made the experience transformative. To me, the film was so much more about the relationship the between my character and Bill Murray’s character than being in a foreign land. The fact that she was in a place alien to her made it possible for her to get a perspective

on her life that she wouldn’t have had in her own familiar surroundings and being suffocated by the expectations of those around her. DS: Movies are still, by a large measure, a kind of lingua franca of the modern world. Does that ever feel like a lot of responsibility for you? Or is it fun to know that everyone is going to be projecting something onto the characters you play and the work you do—rightly or wrongly, relevant of irrelevant? SJ: I honestly try to not think about that aspect of it too much. I of course want people to feel something and connect to what I am doing, and I if audiences don’t connect or understand what I did then I feel that I failed in some way. If my work doesn’t translate onto film it is disappointing. But, in general I assume that audiences will come to their own conclusions either way. DS: Do you go to your film dailies? SJ: No, I’m not a dailies person. DS: Are you ever surprised by the finished film? Is it ever different from the movie you thought you were making? SJ: It’s usually different from the movie I thought I was making. It’s very rare that it’s what I thought I was making. DS: Interesting. SJ: Sometimes it’s devastating, and sometimes it’s a pleasant surprise. DS: Does one have to be smart to be a good actor, or is it an impediment? SJ: I think there are different kinds of intelligence. One of them is a requirement, but I don’t know which one it is. (Both laugh) DS: Can a not-so-bright actor perform as someone with superior intelligence with believability? SJ: I think that’s what we all do without realizing it. That’s basically how I try to get by (laughs)!

DS: That’s the biggest perk? SJ: In New York City it is for sure! DS: Do you have a trick for memorizing dialogue? SJ: I have always had a pretty decent memory, I wouldn’t say it’s a photographic exactly, but I can look at a page and I get certain letters from the page and I’ll remember letters that will be in certain words and the dialogue starts to come together for me. I don’t know what kind of memorization that is, there must be a name for it. DS: Do you think it’s partly due to becoming an actor at a very young age? Do you think it trained your brain in that way? SJ: I’m sure that has a lot to do with it. It’s one of my skill sets, I don’t have many but there it is (laughs)! DS: I have always been fascinated by people who could memorize pages of dialogue, long speeches, especially for the stage, where the actor doesn’t have the option of doing another take. SJ: When I was performing in Cat On A Hot Tin Roof, I played Maggie which is such a dream role, but this character really does not shut up. DS: (Laughs)! SJ: She is really on a terror! I find that on stage the words go with the movement, and vice versa. Words help me get to where I am going, which in turn helps me remember what I am going to say. This is why good staging is so important, with good staging the words come to you. With bad staging you can find yourself sitting somewhere on stage thinking, what the fuck am I doing sitting here, and what was I saying…? DS: Christopher Walken once told me that he would put his script under his pillow at night and by the morning it was all in his head. SJ: I’ve done that… and I’ve prayed! DS: Praying does help!

DS: If the public didn’t care about acting and watching performances, and if acting paid as much as working in a cafeteria would you still like to do it? SJ: Yes, I would. I’m happy to be an actor for hire. It’s definitely a wonderful job to have and being satisfied with my job puts my lifestyle second on my priority list. But, the actual reality is that acting is very lucrative, and most of the time I can go to a restaurant without a reservation. That is the biggest perk.

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L ONG E H T E V LI K IN G JOEY KING

Photography by TATIJANA SHOAN × Styled by STACEY JONES Hair by CHRISTOPHER NASELLI for THE WALL GROUP × Makeup by VINCENT OQUENDO for THE WALL GROUP

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Actress

cameJOEY KING into my studio like a fireball. Armed with confidence and possessing

a blithe spirit, the 5’4” sprightly teen commanded the room. Her aplomb was less infectious, but rather admirable. She certainly did not remind me of my 19-year-old self, but filled me with the hope that one day my toddler will be this self-assured. She immediately took over the sound system and blasted rhythms that made her body move and her thoughts turn inward. With twirling feet, closed eyes, a mischievous grin and arm gestures that were rhythmic and punching, I quickly recognized that the secret to her success lies in her ability to embody any given mood or emotion at the drop of a dime. I was witnessing an actress whose craft is due to pure instinct. King’s acting career sprouted 15 years ago and boasts a long resume that belies her age. Credits include the widely popular tween comedy Ramona and Beezus, starring opposite Selena Gomez; the breakout Netflix teen comedy mega-hit The Kissing Booth, which catapulted King from relative obscurity to near icon status amongst the teen set; the bone chilling horror flick The Conjuring, starring opposite indie film legend Lili Taylor; and the recent heart wrenching biopic, The Act, starring opposite Academy Award winner Patricia Arquette. In The Act, King portrays Gypsy Rose Blanchard, who murdered her mother Dee Dee Blanchard (played by Arquette), after subjecting her daughter to torturous mind and body abuses and fabricated illnesses, as a consequence of Munchausen syndrome by proxy. King let go of her ego to embrace this role which required her to shave her head, wear false rotting teeth and stay in a wheelchair. With roles this rich and diverse, and a successful trajectory that includes a future project that she will both produce and star in called The InBetween, the recent announcement of The Kissing Booth sequel, and the television show, Life In Pieces, King is the voice of young Hollywood. 162

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AS IF: Let’s talk about your character Gypsy in The Act. Playing Gypsy was the first time you transformed yourself for a role. Tell me about the process of that transformation, and the responsibilities you have of telling the story of a person who’s still alive? Joey King: People have been asking me if I am a method actor who stayed in character on and off set, and the answer to that is no. I’m not the type of person that can do that mentally, it would take too much of a toll on me. But, there were times when I took Gypsy home and it was really hard to shake her off. I had to decompress by watching cartoons. I started the process of becoming her by getting to know her through information available online, like news articles and videos. I was really lucky that we had Michelle Dean working on the project with us. Michelle was the writer who wrote the Buzzfeed article that made the story go viral, and she was one of our producers. Michelle was on Gypsy’s side because she had a personal relationship with her, so I could turn to Michelle whenever I had any questions. AS IF: You are not a Method actor, but let’s talk about the scene in the court room. It was very emotional. How did you get to that place? JK: I definitely give myself about five minutes to get into a certain headspace before the camera rolls. It’s interesting because I’m playing a character I don’t have a lot in common with, so getting in that headspace takes more focus because I’m trying to relate to something that I can’t possibly begin to imagine. I was really fortunate to have such great directors, and the entire crew was so supportive that it made the process that much easier. Once I started getting into the headspace of the heavier scenes the character that I came to know took over for me—once I started going to that place my character knew what to do. AS IF: Do you prefer acting in one genre more than the any other? JK: My heart lies with drama. I love all genres, like comedy, but my heart lies in drama and when working in drama I feel most productive. AS IF: This is not the first time that you've shaved your head for a part. JK: Right. AS IF: The first time you did was when you were 11-years-old? JK: Yes.

AS IF: You had a lot of controversy aimed at you for doing so, and one would think in today’s day and age, where many stigmas and stereotypes are dissolving, that women could shave their head without an onslaught of negative comments. JK: Shaving my head again, this time for The Act, and playing a character so different than anything I’ve ever done before, helped me learn so much about myself. I have never felt happier than working on this project. Shaving my head was something I was a nervous about even though I had done it before. I don’t know what has happened to me over the years, but the negative comments people say don’t really register anymore, which I’m so thankful for because I feel beautiful, and I feel proud of myself. I feel proud of myself for being allowed to play this character and to work with actors I admire so much. I am proud that I got to tell someone’s life story to the best of my ability. This was such a great opportunity for me as an actor that it didn’t even cross my mind that people would judge me for the cosmetic aspects of the role. The reality is I’m proud of myself and happy with the way I look. It was a bizarrely enjoyable experience to be able to completely strip away all vanity and become Gypsy, so fuck what other people say, I’m proud of myself! (laughs)

when it came time to register to vote. People on Instagram and Twitter would write, everyone needs to register to vote, everyone needs to call their senator, etc., you know what I mean? But I didn’t know how to do it, and I didn’t know where to do it, and I didn’t know where to ask these questions. It was so confusing, and I think people are afraid to ask questions because they don’t want to look uninformed. And voting is hard too, you have to research your candidates and not just rely on the opinions of others.

AS IF: What do you think we still need to learn about respecting others, especially when there is really no privacy anymore? JK: It’s crazy to me how much people thrive off of bullying others. If you look at the comments on my Instagram one person says something mean and another person agrees with them, and they’ll have a field day hyping each other up on how much they dislike me. It’s so crazy that people feel comfortable doing that, and they can hide behind a photo on Instagram. We have a lot to learn about kindness. I think it’s getting better as a whole, but it is not getting better on the social media front at all. I’m very fortunate that I’m a confident and happy person, because if I wasn’t these cruelties would shatter me, you know what I mean?

AS IF: Are there times when you just want to be anonymous? JK: I’ve been working really hard for 15 years, I’m 19 now, and my career has taken on a nice, steady build. So, I’ve been able to remain sane because I can go outside my door without cameras being shoved in my face.

AS IF: You have essentially grown up in the spotlight, which helped thicken your skin. JK: That definitely helped, and in the past year and a half my confidence kind of blossomed. I also genuinely think there was something magical about working on The Act that I can’t describe. From my fellow actors, the crew, and everyone involved, we all became a big family, and I learned a lot about what it means to be happy with who you are. AS IF: You’ve recently gotten interested in politics. What do you think a young person’s responsibilities are in America? JK: I think our responsibility as American citizens is very simple: vote! I also think it’s important to ask questions. As a young lady who is just now getting into politics I was so confused and lost

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AS IF: If you were to run for political office what would your campaign slogan be? JK: That’s a fun question! My political slogan would be AS IF! (laughs). Or maybe, vote for me, I’ll put a Six Flags in every state! AS IF: That’s hilarious. You’d probably win. JK: If I didn’t I’d be shocked. AS IF: You are considered a young voice of Hollywood, what are the responsibilities that come with that? JK: I don’t really know? I just think I have a responsibility to myself and to the people that look up to me and follow me [on social media], to be myself. The one message I hope I can share with others is to be true to themselves.

AS IF: That’s most likely going to change. JK: It already has since The Kissing Booth came out, but since the change has been gradual I know what the quieter moments feel like, what the crazier moments feel like, and I’m just taking them as they come. AS IF: Describe your perfect day. JK: Okay, I have two kinds of perfect days. I like summer and I like winter. When it’s cold out I like waking-up in my cozies and drinking hot coffee on my couch watching The Great British Baking Show and Rick and Morty with my dog. Then I would make homemade pasta for dinner. That would be my perfect winter day. My perfect summer day would start on the beach. I love the feeling of being sun exhausted after a long day on the beach, going home, getting into my cozies and watching my favorite shows with a black licorice popsicle. That’s the best summer day!

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“IT WAS A BIZARRELY ENJOYABLE EXPERIENCE TO BE ABLE TO COMPLETELY STRIP AWAY ALL VANIT Y AND BECOME GYPSY, SO FUCK WHAT OTHER PEOPLE SAY,

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NANUSHKA SWIA wrap front dress in rosebud AUDEMARS PIGUET Millenary Hand-Wound 18k pink gold case, diamond-set bezel and lugs, crown set with a pink cabochon sapphire; white mother-of-pearl off-centered disc, pink gold hands on alligator strap. 116 brilliant-cut diamonds

MARC JACOBS pale pink organza multi layers ruffle mini dress, pink Lurex tights, pink silk rosette sling back pump with plexiglass heel de GRISOGONO Allegra ring in pink gold

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MSGM pink and orange shirt de GRISOGONO gocce emerald and black quartz ring in white gold, tourmaline ring in pink gold with amethyst, brown diamonds and fuchsia sapphires

AS IF / ISSUE 15

169 AKRIS chiffon asymmetric gown with tulle inset sleeve and front plisse WEMPE Sundance BY KIM rings, 4 in rose gold, 2 in white gold

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SALLY LAPOINTE fuchsia airy cashmere silk boxy sweater with feathers SANJAY KASLIWAL semi-precious drop earrings, lemon topaz amethyst and blue topaz

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ANDREW GN fitted coat in Villa Medici jacquard de GRISOGONO Cascata amethyst watch MARC JACOBS pink silk Rosette slingback pump with plexiglass heel

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BORGO DE NOR The Isabeau dress SANJAY KASLIWAL Indorussian drop earrings made with aquamarine, tanzanite and diamonds

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173 PRABAL GURUNG Atelier Prabal Gurung rhododendron silk faille gown with hand draped sculptural skirt de GRISOGONO pink sapphire and amber boule honeycomb earring

Photography & Art Direction by

Tatijana Shoan Styled by

Stacey Jones Hair and Makeup by

Clae Ana

starring

Marlene Neumark

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Jennifer Fisher Ruba hoops, small chain link cuff, Globe ring, large emerald cut ring

Emilio Pucci Boutiques sunglasses

Apparis Goldie coat in fuchsia

Marysia Suffolk maillot swimsuit

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H.Stern Iris earrings with 88 diamonds, Cobblestones ring with 14 diamonds and 1 quartz, Sunrise ring with 22 diamonds and 2 quartz, Moonlight ring with 6 diamonds and 1 citrine

Rianna + Nina printed dress

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Vhernier Verso earrings with kogolong, Calla necklace with kogolong, Vague chain with kogolong, Re Sole bracelet and turquoise, Fibula ring with turquoise

Gucci sunglasses

Marysia French Gramercy maillot swimsuit

AS IF / ISSUE 15

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Roberto Coin Symphony Golden Gate hoops, Classica Parisienne oval necklace with diamonds, (left hand) Princess Flower bracelet with diamonds, Princess Flower diamond ring, Double Symphony Princess ring, (right hand) Gourmette bangle

Trina Turk Theodora dress

Iris Noble bag in yucca python leather with pearl grey suede lining

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John Hardy diamond pavĂŠ long drop earrings, Asli Classic chain link link necklace, Legends Naga diamond pavĂŠ dragon head pendant, diamond pavĂŠ chain y-shaped necklace, dot hammered round ring, Asli Classic chain link ring, Asli Classic chain link bracelet, Asli Classic chain link bracelet with pusher clasp

Rianna + Nina x Andy Wolf acetate sunglasses MarysiA Wainscott tie top and bottom

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Cartier PanthĂ¨re de Cartier ring with black lacquer, tsavorite garnets, and onyx, Love bracelet, PanthĂ¨re de Cartier bracelet with tsavorite garnets and onyx, Love small bracelet (Right page)

Begum Khan for Gemfields x Muse Begum Khan Caretta party earring with Gemfields emeralds

Rianna + Nina printed dress

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Van Cleef & Arpels Bouton dâ&#x20AC;&#x2122;or earrings necklace, pendant, bracelet and ring with chrysoprase, onyx and diamonds

Boucheron sunglasses

Rosa Cha Karol one-piece discs swimsuit

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Vhrenier Freccia earrings with jade and diamonds

Alexander McQueen sunglasses

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Ralph Masri Phoenician Script Lightning earrings, Arabesque deco ring

Marlo Laz Vertical Iris ring, Micro Eyecon necklace, Enamel Porte Bonheur Coin necklace, Porte Bonheur Coin bracelet

Johnny Was Bay top and high waisted bottom

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H.Stern Moonlight necklace with 59 diamonds and 24 quartz, Moonlight earrings with 12 diamonds and 12 quartz, Moonlight bracelet with 50 diamonds and 10 quartz, MOONLIGHT 18K YELLOW GOLD AND CITRINE RING, MOONLIGHT 18K NOBLE GOLD AND ROCK CRYSTAL RING, Cobblestones charm with 3 diamonds and 1 quartz

Emilio Pucci Boutiques sunglasses

Missoni Mare swimsuit

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Roberto Coin Symphony Barocco hoops, Designer Gold link necklace with diamonds, (left hand) Portofino 4 row bangle with diamonds, (right hand) Roman Barocco 5 row diamond ring, Double Symphony Pois Moi cuff with diamonds

Karla Colletto Lanai swimsuit

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Coomi white gold chandelier earrings and pendant necklace (right hand) cuff with diamonds, (left hand) Vitality Tendril diamond bracelet

Marysia Giga visor

Trina Turk deco stripe maillot

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Jennifer Fisher Ruba hoops, small chain link cuff, Globe ring, large emerald cut ring

Emilio Pucci Boutiques sunglasses

Apparis Goldie coat in fuchsia

Marysia Suffolk maillot swimsuit

AS IF / ISSUE 15

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Judy Geib Swoosh ruby necklace, Mod ruby earrings

Alexander McQueen sunglasses

Apparis Sophia coat in lavender

Rosa Cha Guta top and Audrey bottom in green heart

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David Yurman Crossover hoop earrings with diamonds, Tides necklace with diamonds, Chatelaine pavĂŠ statement pendant, Crossover pendant necklace with diamonds, Tides pendant necklace with diamonds, (left hand) Cable buckle bracelet with diamonds, Cable bracelet with pavĂŠ diamonds, Cable Collectibles buckle bracelet, Novella ring with blue topaz, (right hand) Cable buckle crossover cuff, Novella ring

Roberto Cavalli sunglasses

Missoni Mare bikini

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photography and art direction by photo assistance by styled by

makeup by starring

NATE GEREMIA

STACEY JONES

styling assistance by hair by

JORDAN DONER

KAREN MACIAS

BEN MARTIN DINA BARATTA

EMMA LOUGHRAN and ADELE SINAK from THE INDUSTRY shot on location at

OLSEN GRUIN GALLERY

MISSONI knit dress and knit pant KOORELOO petite lollipops multi bag CHARLOTTE OLYMPIA shoes

ROBERTO CAVALLI knit top in multi stretch metallic sequin embroidery, and cycling shorts CHARLOTTE OLYMPIA shoes

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ISSEY MIYAKE brush jersey top and pants CHARLOTTE OLYMPIA raffia shoe

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ULLA JOHNSON freida dress , naz tote CHARLOTTE OLYMPIA printed fabric sandal

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ISSEY MIYAKE paccheri dress in dark green

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ETRO dress CHARLOTTE OLYMPIA raffia shoes ALEXIS BITTAR (right arm) medium tapered lucite bangles , crystal encrusted lizard hinge bracelet, handcrafted lucite bangle , (left arm) crumpled rhodium hinge bracelets

SACAI jacquard knit top, gabardine and poplin shorts CHARLOTTE OLYMPIA shoes KOORELOO hollywood babe bag

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ULLA JOHNSON berna pullover CHARLOTTE OLYMPIA printed fabric sandal , tights stylist 's own

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PREEN BY THORNTON BREGAZZI holly hat, adrianna poncho, and jay shorts CHARLOTTE OLYMPIA printed fabric sandal KOORELOO petite juliet aquamarine bag

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PRABAL GURUNG navy cashmere crewneck with hand embroidered coin fringe , violet silk cargo jodhpur pant with top stitching CHARLOTTE OLYMPIA printed fabric sandal artwork by BO DROGA

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SACAI stripe organza blouse , gabardine neck piece , gabardine and poplin pants , and mesh leather booties

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PREEN BY THORNTON BREGAZZI holly hat, and lilly shorts pajama set PREEN HOME eiderdown duvet CHARLOTTE OLYMPIA shoes

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Lady Margaret

MARGARET QUALLEY Photography by Tatijana Shoan Styled by Stacey Jones Hair by Katie Schember for Ray Brown Reps Makeup by Claire Bayley for Lâ&#x20AC;&#x2122;Atelier NY

No.21 shiny sleeveless top, multiprene skirt, black feather basque SOPHIA WEBSTER Rizzo snake print ankle boot ELLA GAFTER NY dragon bracelet with diamonds MIU MIU socks

Actress

Margaret Qualley

is the talented, statuesque youngest daughter of actress Andie

MacDowell, who is rightfully making her own name in Hollywood. This classically trained ballet dancer transitioned into acting in 2013 with the Gia Coppola directed, critically acclaimed, independent film, Palo Alto, which led to the successful HBO series, The Leftovers. Her extraordinary work in the current FX miniseries hit Fosse/Verdon, and the hot Netflix film written by Suzan-Lori Parks, Native Son, is making Margaret a household name.

Fosse/Verdon is an eight-part miniseries that traces the infamous and explosive relationship between legendary

choreographer and director Bob Fosse (Sam Rockwell), and actress and dancer Gwen Verdon (Michelle Williams). Qualley plays dancer Ann Reinking, Fosse’s collaborator and lover. In Native Son, the retelling of Richard Wrights’s 1950’s novel adapted for the small screen by Pulitzer Prize winning playwright Suzan-Lori Parks, Margaret plays Mary Dalton, the wild privileged daughter from a wealthy white Chicago family. In both shows Qualley commands the screen in compelling performances that showcase the young actress’ depth and versatility.

I recently had the opportunity to photography Margaret in New York City where she was residing as she filmed

Fosse/Verdon. When she walked into the studio I was immediately taken by her elegance and natural regality. It was no surprise that this accomplished young dancer turned actress also had a successful, yet short lived, modelling career in between. Qualley walked the runway in shows for Alberta Ferretti, Valentino, and Chanel, as well as being the face of Kenzo World fragrance where the video campaign directed by Spike Jonze shows Qualley dancing dramatically in and around Lincoln Center. She also appeared in the fall/winter 2016 ad campaign for Ralph Lauren, shot by Steven Meisel. Therefore, when Qualley stood in front of my camera her calm confidence captivated my lens, though in our interview she proclaims to be anything but confident. I suspect this is due to a combination of modesty and innate shyness. Qualley also spoke candidly about her experiences filming Native Son and Fosse/Verdon, the challenges she faced as a dancer striving for perfection, why she fell in love with acting, and the lessons the late fashion designer Karl Lagerfeld taught her in looking cool!

AS IF: Tell me about your role playing dancer Ann Reinking in the FX miniseries Fosse/ Verdon? I understand that as a dancer you grew-up idolizing Anne Reinking. What was it like playing such a revered person who is still alive, and playing her during such a notorious period in dance history? Margaret Qualley: Oh my goodness, it was so surreal because I’m playing someone I grew up idolizing since I was 14, and now I’m working with two of the actors I very much admire today, Michelle Williams and Sam Rockwell. It was really wild for me because I’ve looked up to Ann for so long and I really wanted to do right by her; I was really fortunate to have had the opportunity. To prepare for the role I talked to her on the phone roughly every weekend and filled her in on what my week was like, the scenes I had worked on, and I asked for her perspective. She was really giving. They say never meet your heroes because you will be disappointed, but that is not true for me and Ann; she’s such a beautiful, generous human being. And, I am insecure and self-doubting so to get my weekly pep-talks from Ann helped fuel me! AS IF: It’s hard for me to believe you’re insecure and self-doubting, but it’s very

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generous of you to reveal that because I think that most people are. MQ: Well, thank you. I don’t keep it a secret! AS IF: Let’s talk about your role in the film Native Sun on Netflix. It has a disturbing twist that I was not expecting. You play the character of Mary Dalton, and you captured qualities that were endearing, loving, rebellious, spoiled, selfish, decadent, privileged, fun-loving, lovable, lost—In summary, you brought a lot of depth to this character. MQ: If you could get all of that from her that means a lot; thank you. AS IF: You delivered a seemingly effortless performance. What it was like getting into that character, and what are your thoughts on the project as a whole? MQ: I think Mary is someone who is well intentioned and progressive, but crippled by her privilege and openly blind to certain realities despite her painful efforts to be a person of the people; she’s basically really out of touch with the deeper social issues in our country. But, as an actress, it’s my job to love her and to understand her, even though she can be very annoying. I’m someone who is very aware of my privilege and

the jobs I get, and it’s so very exciting for me to have the opportunity to learn new things about the world and about myself through my work, and working on Native Son gave me another opportunity where I can see the ways my privilege inevitably has affected my perspective and the way that I walk through the world. I was able to recognize common ground with Mary. I really loved making this movie, especially because we had the incredible Suzan-Lori Parks write the contemporary screenplay adaptation of the 1951 book by Richard Wright. She provided a complicated landscape that didn’t pigeonhole characters into being good or bad, but offers a more robust character exploration, invites questioning, and promotes conversation. Richard wrote this book in the 50s and it’s unfortunate that these topics are still extremely present today, but Suzan-Lori’s screenplay propels and dissects these issues a bit more, and the film is complicated and nuanced in the unfolding these issues. AS IF: You’ve been directed by Sofia Coppola, Shane Black, and Quentin Tarantino to name a few. Out of all the directors you worked with what has been the most important or useful lesson you’ve learned from them?

DOLCE & GABBANA appliquĂŠ dress; satin bra and briefs; and gold pendant earrings AUDEMARS PIGUET Royal Oak Frosted gold quartz 18k pink gold case and bracelet with pink gold-toned dial

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KENZO Flying Phoenix dress RENE CAOVILLA The Serpiana sandal BEGUM KHAN FOR GEMFIELDS X MUSE Rooster Party yellow gold earrings with Gemfields rubies

OFF-WHITE snakeskin print dress ELLA GAFTER NY dragonfly brooch with South Sea pearl, diamonds, lavender sapphire and abalone shell; and Capricorn ring with blue sapphire and diamonds DOLCE & GABBANA satin bra and briefs SOPHIA WEBSTER Rizzo leopard ankle boot

MQ: I learn so much on every job, and I still have no clue what I’m doing. I love walking into something knowing that I have so much to learn, and I hope that I have that feeling forever; I just want to learn, and learn, and learn… So, it’s hard to say what’s been the most impactful lesson, but I think a good one between all the people that I really loved working with is that they have fun, and I think that’s important. I think having fun translates, and if you approach your work with this mentality, even with dark and upsetting material, you can be having conversations that are thought provoking and challenging, because at the end of the day you’re enjoying what you do. AS IF: Speaking of lessons, when Karl Lagerfeld passed away you posted on Instagram something I loved: Dear Mr. Lagerfeld, thank you for teaching me how to pretend-put my hands in my pockets, and for showing me how to stand cool so people think I’m really cooler than I am. I love this! How did he tell you to stand cool? MQ: (laughs) Oh gee! You know I didn’t model for long, but when I did model I was really fortunate to walk in a couple Chanel shows. I had never walked in a show before, but I came from the ballet world so I had very good posture, and a lot of the time models do this thing where they intentionally slouch their shoulders which is not my nature. So, Karl taught me how to stand and walk with hunch my shoulders, which was really wild coming from Karl Lagerfeld.

there because you wanted to be perfect. This is such an important and poignant epiphany, especially in an age of rising suicides amongst young people where notable causes have been the pressures of being perfect. So, what can you tell us about perfection, the need to be perfect, and how to combat those anxieties and recognize them in loved ones? MQ: I think that the desire to be perfect is not something that is limited to the ballet world, the ballet world is just a really heightened example of it because in ballet the harder you train, and the harder you work, the better you get. For me, what was attractive and exciting about acting was that those particular pressures really don’t exist, that’s not the way you train in acting. Working really hard and pushing yourself doesn’t always equate to having the best performance; there is no direct correlation between how hard you work and how well a scene goes; sometimes being relaxed produces the best results. In terms of pressures other young people face and recognizing those stresses—it can be difficult and I would not know how to speak to that because we all perceive life in our own personal way. It’s always important to understand that the idea of being perfect won’t bring happiness, because perfection is not attainable.

AS IF: Tell me a little about your childhood. What became your influences, your likes and your dislikes? MQ: I was born in Montana and moved to North Carolina when I was four. Much of my childhood was spent dancing, which was what I wanted to do for the rest of my life; well, it was what I hoped for as a kid because dancing was my world.

AS IF: I want to talk a bit about your years modeling. I know they were brief, but it was a bridge from dancing to acting, and that in and of itself is important because it served a purpose in your life’s evolution. As we all know modeling has physical requirements, but a good model has real talent and must have an understanding and interpret of the mood of the clothing, the theme of the shoot, and they must have a relationship with their bodies in order to convey the specific requirements the clothing and the art direction is demanding. Do you see a through-line from modeling to acting? MQ: Honestly, the main reason I modeled after deciding to leave dance was to have a job. I am used to always working because even at 13 or 14 years old I was taking ballet really seriously. When I look back at the short time I spent modeling is wasn’t fulfilling for me, so I don’t feel there was much of a crossover for me.

AS IF: You’re a trained ballerina and you apprenticed at The School of American Ballet here in New York City, but you decided to quit dance, stay in New York, and become a model, which eventually led to acting. So, I have questions about this trajectory in your life. I read recently where you said that when you were on the verge of a professional dancing career, you had an epiphany that you were there for the wrong reasons; you realized you were

AS IF: Would you discount that there is a creative thread between the three? MQ: In my case I think I would. For me, dancing and acting are opposites in the sense that with dancing you have a specific goal in mind, where in acting it’s not so direct, it’s much greyer, where ballet is black and white. I’m intrigued by the grayness of acting, storytelling, and character explorations. And with modeling, I was never creatively inspired like I was with ballet and acting.

AS IF: Do you have a favorite fashion designer? MQ: Not particularly. Honestly, I think I dress super boring. I’m one of those people that alternates the same jeans and t-shirts, and I’ve honestly been wearing orthotics because I’ve developed fasciitis, so I’m not too concerned about dressing fashionably these days! (laughs)

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AS IF: How much of your desire to act was influenced by your mom? MQ: My mom is obviously a very talented actress, and she had such a great career, but a lot of times kids don’t want to do what their parents do because it can add a lot of extra pressures. And, for me, growing up I didn’t have an interest in acting because it was what my mom did; it wasn’t until I did an acting class in New York in 11th grade when I fell in love with it. AS IF: What is your favorite part of your job? MQ: That’s hard to answer because there are so many. But, if I had to pick one it would be having the opportunity to step into other people’s shoes and to try to see the world through someone else’s eyes. AS IF: What do you look for when choosing your projects? MQ: I like to do things that make me feel uncomfortable and challenged. For example, Native Son was hard for me because I had to love the person I’m playing, be on her side, and understand her perspectives. Mary is someone who’s not always the easiest person to love, but I really like playing roles that challenge me and being in projects that inspire me. AS IF: Give me four adjectives to describe yourself? MQ: NO, no, no, no! I can’t! I’ll pass, please. AS IF: No free passes. MQ: I can’t. No way. AS IF: Shall I start with shy and modest? MQ: OK, I’ll let you choose. AS IF: I’ll come up with four based on my experiences spending the day photographing you and our time during this interview. Tell me if you agree: unassuming, graceful… MQ: I am definitely not graceful! I fall more than anyone I know. I’m always covered in bruises. AS IF: Klutzy? MQ: (laughs) Yes! AS IF: Poised… MQ: I like your understanding of me better than my own understanding of myself! AS IF: Creative, loyal… MQ: Yes, I think I am loyal. AS IF: Describe your perfect day. MQ: It would start with me making breakfast; I’m not a cook, but I love to prepare big breakfasts with different kinds of eggs, toast, avocado, croissants, the works. The rest of the day would be spent hanging out with my sister, friends, and dog. I find happiness in simple pleasures!

ROBERTO CAVALLI Tyger Twiga woven shirt with black corset AUDEMARS PIGUET Royal Oak Frosted white gold quartz 18k white gold case and bracelet with black dial VAN CLEEF & ARPELS Lucky Animals Hummingbird clip

AS IF / ISSUE 15

213

LONGCHAMP calf hair vest, and silk dress CARTIER PanthĂ¨re de Cartier ring in yellow gold, tsavorite garnets and onyx, and earrings in white gold, diamond and onyx

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DUNDAS BY PETER DUNDAS black jacquard jacket, and black/white flocked lace ELLA GAFTER NY spider brooch with golden pearl and diamonds; bird brooch with coral and yellow sapphire; bird brooch with coral ruby, South Sea pearl and diamonds LONGCHAMP shoes DE GRISOGONO Crazymals Collection monkey ring in white gold, yellow gold, and pink gold with black and white diamonds; and seal ring in white gold with white and black diamonds

AS IF / ISSUE 15

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MIU MIU jacket, skirt, top, bra, belt, socks, and sandals

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DOLCE & GABBANA appliquĂŠ dress; satin bra and briefs; shoes; gold pendant earrings AUDEMARS PIGUET Royal Oak Frosted gold quartz 18k pink gold case and bracelet with pink gold-toned dial

AS IF / ISSUE 15

217

No.21 shiny sleeveless top, multiprene skirt, black feather basque ELLA GAFTER NY dragon bracelet with diamonds BEGUM KHAN FOR GEMFIELDS X MUSE Rooster Party yellow gold earrings with Gemfields emeralds

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TOM FORD sleeveless evening dress with panther printed calf hair waist cincher VAN CLEEF & ARPELS butterfly clip

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Bienvenidos a Miami Photography by Jordan Doner Starring Anastasia Grik and Sophia Deluze from Next Models Fabiola Quintana and Alia from Wilhelmina Models

HUNZA G Bandeau Set

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HEIDI KLEIN Snake print bikini set

AS IF / ISSUE 15

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-LEFTHUNZA G Bandeau Set -RIGHTHEIDI KLEIN Snake print bikini set

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MISSONI MARE Bikini set

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MISSONI MARE Bikini set

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MISSONI MARE Bikini set

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MISSONI MARE Bikini set

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229

ROSA CHA Bikini set

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ROSA CHA Bikini set

AS IF / ISSUE 15

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ROSA CHA One-Piece

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ROSA CHA One-Piece

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VILEBREQUIN Faux Graphic Halter One-Piece

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VILEBREQUIN Faux Graphic Halter One-Piece

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Photography and

Art Direction by

Mike Ruiz -

Art Collaboration by

TamÂ´as Haizer at IG

Styled by

Alsion Hernon at Agency Gerard Artists Makeup by

Marc Cornwall-Wyckoff Hair by

T. Cooper at crowdMGMT using Ercu New York Starring

Milos Drago with Q Model Management

Laurence & Chico

Run hoodie

Santa Monroe

Open Fields patch jacket

Swonne

Streatham indigo tee

Sho Konishi Metal belt

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Santa Monroe

The Golden Puffer Jacket, Bob Timbs

hand embellished shoes with crystals

Geoffrey Mac

shear Cube tank

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Victoria Hayes

cat print novelty coat

Swonne

Streatham indigo tee, Putney black jeans

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Lucio Castro

mesh holographic zip jacket

Santa Monroe Kaleidoscope shorts

AS IF / ISSUE 15

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Geoffrey Mac

black mesh top and pants

Asos

sneakers

Geoffrey Mac

scarf and nude mesh top

Santa Monroe

Heavy Metal silver sequined joggers, Bob Timbs hand embellished shoes with crystals

DSQUARED2

neon-trimmed camouflage hooded-parka and mesh t-shirt

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Private Policy

Checkerboard shirt and shorts

DSQUARED2

The Giant sandals

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Issey Miyake Men

shrink leather black and blue bomber jacket

Hommee Plisse Issey Miyake Pleats Bottom 3 ivory jumpsuit

Gola

menâ&#x20AC;&#x2122;s suede trainer

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Landlord

nylon denim jacket and pants

250

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Landlord

Cybernetic tee 2, and Space Colony track shorts

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The Blonds

silver crystal mesh tank, heather gray gladiator basketball shorts with crystal and bead embroidery detail

Circle3.nyc

Hip Star High Cut shoe in silver

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Dope Tavio

Dope biker jacket

Allsaints

Mode Merino crew

Swonne

Putney white jean

Geoffrey Mac

pant leg

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ESENSHEL wide oval brim hat • CÉLINE white button-up shirt, stylists own • DSQUARED2 wool 80s-fit jacket

L I L I

TAY L O R

photography by TATIJANA SHOAN styled by JÃ&#x2030;SS MONTERDE for BERNSTEIN & ANDRIULLI hair by RHEANNE WHITE for TRACEY MATTINGLY REPS makeup by VICTOR HANAO for BERNSTEIN & ANDRIULLI

ISSEY MIYAKE MEN sakiori jacket, tc shirt in black , cotton jersey ² shorts in black • WOLFORD cotton socks • GEOX black loafers

’S PERFORMANCE IN THE 1996 FILM, I SHOT ANDY WARHOL , LEFT ME SPELL-BOUND. I DIDN’T MOVE TO NYC UNTIL 1992, SO I WAS TOO YOUNG TO HAVE MET WARHOL, BUT MY MUCH OLDER BOYFRIEND AT THE TIME, ARTIST RONNIE CUTRONE, (ARE YOU SURE YOU WANT TO NAME RONNIE BY NAME? UP TO YOU) KNEW AND WORKED WITH WARHOL FOR OVER A DECADE. HE PHOTOGRAPHED THE FAMOUS SKULL 158 AND ELECTRIC CHAIR THAT WARHOL TURNED INTO TWO OF HIS MOST ICONIC PAINTINGS. RONNIE KNEW VALERIE SOLANAS, THE DEMENTED AND ANGRY WOMAN WHO SHOT ANDY IN HIS STUDIO WITH A .32 BERETTA AUTOMATIC. WHEN I MOVED TO NEW YORK, PRIOR TO MEETING RONNIE, I WAS COUCH SURFING ON MY MOTHER’S FRIEND’S SOFA WHO HAPPENED TO BE FRIENDS WITH VALERIE SOLANAS’S SISTER. SO, WHEN I SHOT ANDY WARHOL CAME OUT, RONNIE AND I WENT TO SEE IT. RONNIE WAS BLOWN AWAY BY TAYLOR’S ACCURATE PORTRAYAL OF VALERIE, AND I COULD NOT TAKE MY EYE OFF THIS LEADING ACTRESS. FROM THAT MOMENT ON, LILI TAYLOR BECAME ONE OF THOSE ACTRESSES I GO TO THE MOVIES FOR. TAYLOR, QUITE SIMPLY, IS A BRILLIANT STORYTELLER. SHE EMBODIES ROLES WITH FERVENT ENERGY, HONESTY, AND HAS A SINGULAR CHARM THAT SIMULTANEOUSLY EMITS A SWEET GENTLENESS WITH RUGGED STRENGTH. SHE IS LEATHER AND LACE. TAYLOR’S RESUMÉ INCLUDES A SLEW OF HOT INDEPENDENT MOVIES DURING THE APEX OF AMERICAN INDIE FILMMAKING, SUCH AS MYSTIC PIZZA , DOGFIGHT, SAY ANYTHING, SHORT CUTS, MRS. PARKER AND THE VICIOUS CIRCLE, AND HIGH FIDELITY. TAYLOR HAS BEEN WORKING ON STAGE, FILM, AND TELEVISION FOR OVER THREE DECADES. HER RECENT SCREEN ROLES INCLUDE BIG BUDGET HORROR FLICKS, SUCH AS THE NUN, LEATHERFACE, THE CONJURING, AND THE SCI-FI THRILLER, MAZE RUNNER: THE SCORCH TRAILS. SHE’S ALSO RECEIVED A SLEW OF AWARDS AND NOMINATIONS FOR HER TELEVISION ROLE AS ANNE BLAINE IN AMERICAN CRIME. ALL IN ALL, SHE’S GARNERED 39 AWARDS AND NOMINATIONS FOR HER ONSCREEN WORK, NOT TO MENTION HER NUMEROUS STAGE CREDITS, PROVING TAYLOR’S STILL AN ACTRESS WORTH GOING TO THE MOVIES AND MORE FOR.

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“WHEN I ACT, I’M WORKING, AND I LOVE MY WORK. FOR ME, ACTING COMES BEFORE EVERYTHING THAT GOES WITH IT.”

AS IF: Early in your film career you became the New York indie film darling with roles in, I Shot Andy Warhol, The Addiction, and Dogfight—three of my top 20 films, and mostly to do with your performance. Can you tell me what it was like working in indie films in New York when independent cinema was at its peak? Lili Taylor: Of course. When did you get to New York?

area. It’s the theory of emergence; we’re moving into something that we don’t have the language for yet. Overall, it’s seeming that context isn’t as important, there’s a fluidity to where the content goes now and anything is possible in a way. I’m seeing a hybridization of things where anything goes. People are watching stuff on their iPhones, and tuning into YouTube channels. Will long format disappear? One thing I do know is that stories are always going to be around.

AS IF: ‘92 LT: So, you got here when it was still pretty great. It was changing, but the city was great because it had what they referred to as an independent spirit, especially in film, think of the Independent Spirit Awards. The term got silly and eventually lost its meaning, but films back then had spirit to them, you know? Director Abel Ferrara personifies that perfectly. He was very flexible when he worked, never worried about a permit, he would grab the shot because that was what he felt he needed to do, and the person giving him the money wasn’t questioning his creativity. It was like being Robert Evans in the 70s, which you can see in the documentary The Kid Stays In The Picture; we had that sort of freedom in New York filmmaking. When a creative person has that kind of freedom great things happen. I’m so grateful to have been a part of that era of filmmaking.

AS IF: What does your 11-year-old daughter like to watch? LT: Netflix, it’s a verb.

AS IF: You’ve lived through the time when the big Hollywood studios had all the power, to streaming media providers dominating the space that the large studios once did. Can you share your thoughts on this and what you think the next step in this evolution is going to be? LT: One thing you can say about the times we’re in is that they’re not boring, they’re really intense. The old systems are no longer working and now we’re really at juncture. In some ways it’s exciting because we’re pushing into an unknown

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AS IF: Ok! What does she like to Netflix? LT: A bunch of different things. She’s excited because I just shot something for Netflix called Chambers. AS IF: Tell me about it. LT: It’s about a girl who had a heart transplant and what happens to her because of the young girl’s heart in her body. My character plays someone who knows the mother of the girl who donated the heart, and my character helps the girl with the transplant navigate her new life. AS IF: AS IF: How does your daughter feel seeing her mom on Netflix or the big screen? LT: When I act, I’m working, and I love my work. For me, acting comes before everything that goes with it. Sometimes my daughter won’t even realize I’d done a movie until a friend mentions they’d seen me in something. It happened with Maze Runner: The Scorch Trials, and she still hasn’t seen it. It’s easy for me because I’m not a celebrity. If I was, I’d have a harder task. AS IF: It’s nice to not have the hurdle of being a celebrity, but I’m sure there are other hurdles with your work. What has been your most challenging role and why?

LT: I like that question, I prefer it to asking what my favorite role is, because determining the “favorite” can get difficult. It would definitely be from a play. Plays challenge me on a different level because they are like marathons in a way. They require a lot out of you, both physically and emotionally. I would probably say the most challenging play I’ve done was Aunt Dan and Lemon by Wallace Shawn in 2004. My character, Lemon, was very complicated. She started out very inviting to the audience, so much so that the director actually had me sit on the stage while the audience came in. Lemon wanted to tell the audience her story, which seems quite sweet and innocent in the beginning, but at the end she turns on the audience and the audience discovers that her beliefs are quite toxic. Lemon wants to revisit the Nazis and look at that part of history from another angle because she believes that what they did might not have been so bad. That was an intense role. AS IF: I saw an interview you did for the SAG AFTRA Foundation, where you spoke about playing Valerie Solanas in I Shot Andy Warhol. You said it was hard to portray Solanas because you couldn’t picture this person having breakfast and you have to see her human in order to play her. LT: It’s hard developing character for films because you prepare alone, then you hope your interpretation of the character is right when you show up the first day filming because once the camera rolls, that’s it. I had the director, Mary Harron, come into my rehearsal space beforehand to make sure I was on the right track. And I’m so glad she did because I had a few things that were masking the character too much, like the voice I had found for her. The problem with playing a real person is that there are things that can mask the impulse of the actor. You might have a perfect representation, but if the audience isn’t

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“THE PROBLEM WITH PLAYING A REAL PERSON IS THAT THERE ARE THINGS THAT CAN MASK THE IMPULSE OF THE ACTOR. YOU MIGHT HAVE A PERFECT REPRESENTATION, BUT IF THE AUDIENCE ISN’T FEELING IT THEN WHO CARES?” feeling it then who cares? So, Mary put me back on track, thank god. So to answer your question; if I can’t picture the character I am playing having breakfast then there’s a problem. And, I couldn’t picture Valerie Solanas doing such an ordinary thing because she was not human to me in some ways. Something finally came to me the night before we started shooting—clear vision with a crippled psyche—and it umbrellaed all of her different despaired aspects, but it was actually her sense of humor that did it. I’d heard someone say in an interview that Valerie Solanas had a sense of humor, and that’s what finally made her human to me. Someone had asked her if she was serious about her SCUM Manifesto, and she replied, “No, it’s a fucking joke, you gotta have fucking fun.” But it was this manifesto that led to her shooting Andy Warhol. AS IF: Has there been a character you formed a particular bond with? LT: Characters treat me in a certain way, and we have a dialogue because we’re living together for a while. Rose from Dogfight was really sweet. She was so gentle, and any idea I came up with she liked. Whereas Valerie Solanas was a nut. She didn’t like me and didn’t want me playing her. AS IF: Where do the characters come from? Would you call it your alter ego? LT: The character’s energy comes through, and then I step into it. Even though I typically experience my own reactions to the things the character goes through, I’ll try to get to her place first and see through her eyes from reading the script and thinking about what it’s been like living under the character’s circumstances. The character always tells me how she feels. AS IF: How would you describe your artist practice?

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LT: When the beautiful, lovely actor, Frank Langella and I first met, we were preparing to play father and daughter in the film, Starting Out in the Evening. Director Andrew Wagner had us meet for the first time at his home, and instructed us to improv. It’s strange to improv with someone you don’t know, it almost feels like an arranged marriage. Frank offered me his hand before we started and said, Dear, let’s hold hands and we'll leap empty-handed into the void. I liked that because starting a new role is a leap, it is empty-handed in that you want to go in cleared out, because you’re a vessel, and it’s an unknown void. Getting into a new role is really hard, there’s a lot of shit that needs to happen before I can even start. I get ritualistic. I search for the right notebook, I get defensive with avoidance tactics, running from myself, wrestling myself back into it, and then I just read the script over and over like a detective investigating the script and characters for the first time. AS IF: Frank Langella is a seasoned pro, what’s it like entering into a demanding project with a new actor who hasn’t developed a craft yet? LT: One of the nice things about getting older is that I’m playing moms more often, and I’m loving the kids I get to work with who have all had a great work ethic. I’m encouraged by the youth. I love sharing with them and imparting any wisdom I can. If they were lacking, I’d have no problem working with them to help them out. AS IF: What do you look for when choosing your project? What makes a good film? Is there an answer to that? LT: No, there isn’t an answer because films that I thought had all the right ingredients actually didn’t, and vice versa. I’ve seen great directors have great visions and a wonderful feeling on set, but it just didn’t work in the end. It feels like a mystery because it’s not kismet, it’s more than

that. It’s a collaboration on so many different levels involving so many different people. I can’t believe films get made sometimes, they’re all miracles in a way! AS IF: You once spoke about the need to protect yourself from the characters you're playing. You once said that the reason the Greeks have acting masks was to protect the actors from character. And there is a saying in the theater to clean your feet at the stage door before you go home, which in essence advises actors to leave the character in the theater when they go home at night. Do you have any rituals to protect yourself from character at the end of the day? LT: I’ve been using wigs a lot recently, I see it as a way of putting the character on and removing her when I take it off. In the television series, American Crime, my character went through such painful events with her son, so being able to take off her wig allowed me to take her off me. Wigs also allow me more freedom in the role since hair is so important. I can give the character any kind of hairstyle and not limit her to what my own hair can or cannot do. Another ritual I have is bird watching. Rituals are a form of play because one definition of “play” is that there is no goal. If I can make my rituals feel playful it helps me get over what I had done that day. AS IF: You were bit by the acting bug at an early age. Why acting? LT: I always said I wanted to be an actor, even from the age when most kids want to be a fireman or a nurse. It has always been my calling, and I keep going even when I feel bogged down by comparisons or desperations. I just keep going because I don’t have a choice, this is what I do. AS IF: You talked about the legendary Hollywood film producer Robert Evans

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“I ENJOY GOING TO THE THEATER BECAUSE IT TAKES ME BACK TO THE ART OF ACTING, REMINDS ME WHY I DO WHAT I DO. IT CONNECTS ME TO A DEEPER PLACE, BACK TO THE BEGINNING OF IT ALL.”

earlier, and he once said to me, I’ve never met a happy actress; she’s either at the top of her game and fears she’s going to lose it, or she’s still struggling and fears she’ll never make it. Does that make sense to you? LT: It’s unfortunate that it’s set up like that. It’s such a game - the whole construct is winners or losers, good or bad, A-list or no list. It’s a shame because acting is so important. It’s how we as a society get our stories. We all need stories and that’s not going to change, because we’re still learning how to be human. It’s a shame that acting gets reduced to this superficial game. AS IF: How do you protect yourself from that game? LT: I go to the art of it. I go to the theater because it reminds me that we need stories, we need to know what our experiences are and have them reflected back to us. The truth of finding that experience and telling that story with the human emotion and authenticity that goes with it is what keeps me going. I enjoy going to the theater because it takes me back to the art of acting, reminds me why I do what I do. It connects me to a deeper place, back to the beginning of it all. AS IF: Have the pressures gotten worse or better since you started out? LT: Harder for sure, much harder! And that’s a part of what has changed for me with the independent film scene. I loved how much simpler it used to be to get roles. With I Shot Andy Warhol, Mary Harron came to me and said, “I want you to play Valerie Solanas.” Eventually the independent film scene started implementing the old Hollywood game where producers would give directors a list of approved actors who would bring in money. That turned it into a numbers game and getting the work obviously became harder.

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AS IF: Have you ever considered directing? LT: I have, but with directing you’re basically the general of an army, the set-up is very militaristic. I don’t feel like I have the gusto needed at the moment, but one day I’d like to get there. AS IF: You’ve been in quite a few horror films, what is it about that genre that attracts you? LT: One of the things I learned from James Wan, the director of The Conjuring, is that it’s a genre where you can break the rules. There are expectations that you can play with, you can go through a back door and surprise an audience, and I find that exciting. I also feel it’s healthy for an audience to collectively experience scary things together in a safe environment. AS IF: Do the directors ever try to create an atmosphere on set that is scary for the actors? LT: When director Billy Friedkin was filming The Exorcist, he made the rooms extremely cold to the point of freezing. He put those actors through hell, and I’m sure it was very scary. Now, James Wan doesn’t do that, and I don’t really believe you have to do that to make a horror movie. However, if that’s how a director works I can handle it, but I prefer not to because I can use my imagination. I don’t want to be mind-fucked while I’m working, you know? AS IF: Do you have a favorite actor or actress? LT: I love Olivia Colman, who recently won the Best Actress Academy Award for The Favourite. She is an actor who doesn’t act, she in total service to the character. That’s a gift. AS IF: With your countless awards and nominations, is there a role you're most proud of?

LT: Probably I Shot Andy Warhol, because of my work with Mary on my role. Nothing had been written about Valerie Solanas at that time, so Mary researched her and we had to figure her out together. It was during the peak of independent film in New York at the time which allowed me to be very involved in the work. I was really proud of that. AS IF: Rumor has it you trapeze. LT: Yes! My husband teaches writing at the Omega Institute in Rhinebeck, New York, which gave him a faculty discount on trapeze classes. Luckily for me I was on his discount, I tried it, loved it, and now I do trapeze! AS IF: Has trapeze enhanced your artist practice? LT: I can’t see how it couldn’t. Physical activity opens the doors to interesting problem solving abilities. And, trapeze is fascinating because your in the air for 12 seconds—you only have 12 seconds to work out shit. My first few years doing trapeze, I was unconscious for those 12 seconds in the air, I had no idea what I was doing, and couldn’t remember what I saw or what I was thinking afterwards. So, the first thing I had to learn was how to be conscious. Now I’ve built that consciousness, a stronger awareness. Now, I can work on things, figure out what tricks work, what I might be missing, and I can ask myself if I need to shake things up or try harder; which is what I do when I’m acting. I need to be conscious, I need to figure things out, I need to know when to take a break and when to push myself. It’s infinitely fascinating. You should come with me sometime. AS IF: You’re on! Now, finish this sentence: I act because… LT: I act because I love navigating through the world of feelings and emotions and imparting that orientation to an audience.

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by RALPH GIBSON

Photography

n Sigh

by TATIJANA SHOAN

Portrait and interview

A good photographer understands light, but a great photographer masters light. is a great photographer. His images are composed of cleverly captured contrasts, shapes, and forms that reveal subtle nuances about his subject matter that goes beyond what our eye can see. Indeed, a Gibson photograph takes us on a unique journey by allowing us to experience a moment of reality discovered through his surrealist lens. His images are an enchanting combination of sensual and enigmatic notes that offer both familiar and unfamiliar themes that fully capture our imagination. Gibson’s photography career started when he enlisted in the United States Navy in 1956; there he worked as a Photographers Mate until 1960. He then continued his photography studies at the San Francisco Art Institute. His professional career began when he became an assistant to the late, great photojournalist, Dorothea Lange, from 1961 to 1962. In 1967, he went to work for the documentary filmmaker and photographer, Robert Frank, for one year before focusing his talent on his own career. That decision proved to be auspicious. He published his first book in 1970, The Somnambulist. It solidified his position as an esteemed art photographer. Gibson has garnered nearly all the awards and recognitions a photographer and artist can have bestowed on one, including being appointed the Commandeur de L’Ordre des Arts et des Lettres de France; a Decorated Chevalier of the Legion of Honor; and receiving a Guild Hall Academy of the Arts Lifetime Award; and a Lucie Award for Lifetime Achievement in Fine Art. My loyal readers know that I am a photographer, but I always interview my subjects for AS IF magazine and present these interviews in their native Q & A format. However, for this particular interview, I have removed my questions and share only Gibson’s answers. The flow he uses wherein he thinks and speaks present ideas that do not need any questions. The following text (in his own words) discusses Gibson’s early roots as a photographer, the importance of finding one’s visual signature as a photographer, how recognition aids creativity, why he avoids commercial work, and why he abandoned film to go digital.

Ralph Gibson

Ralph Gibson,

San Francisco, 1961

Déjà vu, 1972

Ralph Gibson,

―On What Makes A Great Photograph

Ralph Gibson,

First Digital, 2012

A great photograph fulfills a photographers’ individual set of needs or requirements, and quite often exceeds them. A great photograph is always better than the photographer who took it because the medium always intervenes, that’s why it’s called a medium. The medium is something through which you could do something that you couldn’t otherwise do.

―

An iconic photograph, by definition, is an image that has entered into the history of the medium and is frequently reproduced. Well, I have a few of those, however, at the time I made them I didn’t necessarily think that was going to be the case. The so called, collective unconscious, out there determines, the photographer doesn’t.

―On Point of Departure I was working for photographer Dorothea Lange when I was just 21 because I was so technically advanced with the camera and in the darkroom due to my years as a photographer in the navy. Dorothea had an incredible eye as history has documented, but wasn’t technical at all; it was the force of her will that compelled the medium to obey her intention however underexposed the image might have been. After a year of working for her she said, Ralph, you can show me your work now. I showed her one of my pictures and she said, I see your problem here Ralph, you have no point of departure. Then she told the anecdote, if you’re going to the drug store to buy toothpaste you have a fixed destination, you’re motivated. Then, you might intersect a great event because your life is directed. Whereas, if you just drift around the street like so many photographers do—you see them in Soho all weekend—you’ll never get anything good.

“In western civilization all narrative came to us by way of a horizontal frame—cinema, television, laptops—and now the smart phone took us vertically. 99% of my pictures are vertical because I was not interested in conventional narrative concerns.”

―On Inspiration Don’t get too inspired by other photographers’ work because it is not good to emulate; you don’t want to copy the people that you admire. A lot of great photographers are curious to know about what I am doing, but also how I do it. Let’s take a great photographer like Sebastião Salgado. Salgado’s formula is to find a location and wait. He’ll wait for days at a location for a shot. If you look at the photographers you admire, they all have invented his or her own way of working. Their successes are all predicated on a unique and individual set of moods. I knew Diane Arbus pretty well, and I knew what she was doing. She would say to me, I hate being a member of the Jewish upper-class of New York. She was from a prominent and important family, yet she said freaks were the natural aristocrats! Now that’s a hell of a point of departure! You can copy her all you want, but you are not going to feel the same way she does about the subject. I am measuring my perceptions based on my life’s experiences, so how could somebody else use that? Experiences can’t be appropriated because they are predicated on a specific set of ingredients. Mine have taken 80 years to compile.

―On Visual Signature The eye has so many nerve endings, it has more nerve endings than your fingertips or your sex organ. However, the optic nerve behind the eyeball cannot process everything the eye can see. My eye was seeing what my mind was not noticing. It wasn’t until 10 years after taking that fateful photo in San Francisco in ‘61 did I see my visual signature being repeated. A decade after the San Francisco photo was taken I took the image of the man walking down the street with a stick that was positioned parallel to the white lines on the pavement. When I took that picture, I knew I had taken this image before. I published it in my second book entitled, Déjà vu. When I was working on my first book, The Somnambulist, I started spending a lot of time looking at my pictures. By the time I got to Déjà vu, I was an established photographer, I had recognition and a lot of energy. The book making process forced me to look at my pictures far more than I would have otherwise, and I was learning things about them. That’s when I realized these parallel lines were a continued theme throughout the work.

―

In western civilization all narrative came to us by way of a horizontal frame—cinema, television, laptops—and now the smart phone took us vertically. 99% of my pictures are vertical because I was not interested in conventional narrative concerns.

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Ralph Gibson,

Untitled, 2010

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―On Being a Photographer

“My relationship to the objects I am photographing is purely phenomenological. To be is to see, to see is to be. Somewhere between the two I find myself positioned. I triangulate between the object, my eye, and my perception of the two.”

A photographer exists between presence and the absence—it’s the presence of this, as opposed to the absence of that. What is it that you actually see in a photograph? Are you seeing the presence or the absence of everything else? Are you seeing the presence of what’s in the photograph, or the absence of all the things the photographer didn’t include? The photograph is basically existing between the two. If I tell you to go out and take a photograph of pure silence you’d have to think about what you are going to shoot. You would have immediately developed another relationship to your medium, to your camera, and to your way of looking at something. You’re not going to wait for your subject to do something because that’s not the absence of silence. You’re going to use the medium in a more sophisticated way.

―

My relationship to the objects I am photographing is purely phenomenological. To be is to see, to see is to be. Somewhere between the two I find myself positioned. I triangulate between the object, my eye, and my perception of the two. I do a lot of visual exercises to maintain my skill. I’ll sit in a familiar place and scan it for anything new, like dust or tiny scratches on the wall. When I’m driving I’ll look out the window to I catch a leaf on a tree, and I try to remember the tiniest leaf 200 yards away. I’ll look out my studio window and I’ll see little details blocks away. I try to process everything I’m looking at.

― right page

Ralph Gibson,

The Somnambulist, 1970

You become recognized for your early work, and then you become compared to it. Quite often the same critics that recognized your earlier work claim you’ve disappointed them with your later work. Samuel Goldwyn once said, Don’t pay any attention to the critics. Don’t even ignore them.

―

I haven’t had a drink in nearly 30 years. I don’t do things that are bad for my work, I only do things that are good for my work. If I’m not putting new pictures on the wall I stop liking myself.

―

If you go to Paris and visit the Lourve you’ll see people with their easels copying great paintings like the Mona Lisa. That’s how the great cultures keep themselves alive: they reproduce themselves. They have an academy, they have the patrimony, they continue to speak the language, they continue to examine their art. Culture is the defining motion that takes thousands of years to create. However, as an American, we do not have those cultural roots, but what we have that the Europeans don’t is an incredible velocity of originality. In American art you’re not trying to make quintessential American art, what you’re trying to do is make something that nobody’s ever seen before. Our society encourages us to be original. During the early work of an artist, he or she, is full of enthusiasm and hasn’t done much yet. Everything that lies in front of a young artist is undone. I have a tremendous vocabulary of things I have done; however, it doesn’t make up my inventory; my inventory always was, and will always remain, the pictures I have not yet taken.

―

There’s always an aleatory component to making art, to making a photograph. There’s always something that’s beyond your expectation and aligning yourself in such a manner as to enable that to transpire is part of the creative process. It’s a skill that someone acquires with time. The early work of an artist has nothing but hope and romanticism, and it’s very easily accessed by a broader audience, because audiences are yearning for the same thing for themselves.

―

As somebody who wants to fulfill his potential, I realized that essentially you can’t get there from here, but that might form the real reason why we do what we do. If we were immortal there would be no beauty and there would be no poetry in life. It’s our mortality that gives life all its beauty.

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San Francisco, 1961

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Ralph Gibson,

Days at Sea, 1975

―On Success When you are an unrecognized artist you’re a sub-member of society. However, the minute you’re recognized as an artist you become a priest, people come to you for advice. These are social notions that bare a bit of hypocrisy. I watched my life change the moment I was recognized when my first book, The Somnambulist, came out. Society started treating me differently. The one thing I will say about recognition which is undeniable, is it releases tremendous amounts of creative energy: you go further faster.

“I avoided shooting commercial work for nearly 50 years because I didn’t want someone telling me what to shoot, and then subsequently determining whether or not it was a good picture.”

―

I am not concerned with the opinions of others when it comes to photography or my work. I have lived off the sale of my photographs since 1970 you see, so there is that component. Marcel Duchamp writes very succinctly, and with great clarity, that an artist has a responsibility to his or her work to get it seen. You don’t have a child and lock it in the closet. You don’t make a work of art and put in the drawer, you make an effort to get it out. I publish books of my work, I have thousands of prints in museums around the world, I have a lot of work out there but it was never by design, it was only as a way of facilitating and financing my next project. I’m here to fulfill my potential, and that’s a full-time job. I live in a very rich society that has afforded me the infrastructure to be able to do so, and as a result of it I have been honored by various societies for my humble efforts in self-knowledge, and that’s all I really care about.

―On Commercial Work I do a commercial job about once a year, but that only started about 10 years ago. I shot the Bottega Veneta fall 2013 campaign because the former Creative Director, Tomas Maier, is a friend and he collects my work so he knows me as an artist. What I really wanted to do was get some very powerful graphic pictures for him. I wasn’t trying to say something, I was trying to conquer the page. I avoided shooting commercial work for nearly 50 years because I didn’t want someone telling me what to shoot, and then subsequently determining whether or not it was a good picture.

―On Abandoning Film and Going Digital I started working with digital only after Leica approached me to endorse their new monochrome model, the Leica Mono. I have used the Leica Rangefinder camera with the 50mm lens exclusively since ’61, and a few years ago they approached me to endorse this black and white monochrome digital camera. I had just been to Australia where I was giving a lecture at Sydney’s largest museum, and a guy asked me about digital. I had prepared an answer for this and replied, the history of photography has been etched in the emotion of black and white film, and digital will resist the epic pursuit. Two days later I returned to my studio in New York and was contacted by someone at Leica who said they want to put my name on a monochrome camera. I was very skeptical, but he insisted on sending me the camera. It arrived a few weeks later, I took it out of the box, put it on automatic, went to a meeting at my shrink and said to her, I don’t know what I’m going to do with this camera? When I walked out of her office I snapped one of my most important photographs, which appears on the cover of my 2013 book, MONO. I instantly realized that digital will reflect my visual signature. Now, when people accuse me of being a hypocrite I say, yes, I know, I’m eating my words, but they taste very good. I haven’t loaded film since that fateful morning. Ralph Gibson, Mary

right page

Ellen Mark from The

Ralph Gibson,

Somnambulist, 1968

The Somnambulist, 1970

284

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―

I had always been looking for the organic component. When I would develop film, I would imagine the motion softening from the developer. When I’d expose film, I’d imagine the light rays coming through the lens, warming the surface of the film. As I shot I could feel it

AS IF / ISSUE 15

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penetrating the emotion. But when I shot that fateful picture of the shadow from the bicycle wheels falling across the yellow lines of the street, the camera’s sensor turned the shadowed yellow paint to red, and that’s the anomaly of digital. In film, the yellow would just be darkened out by the shadow. I am interested in the fact that I am addressing my subject with a slightly different language, and I like the semiotics of the new language.

―

To say digital means compression. With my mono digital camera and my 50mm lens I realized that a slight telephoto event was occuring, a compression as if it were functioning like a 58mm or 59mm lens. This is when I started realizing that digital compresses. In general, we’re using digital as a compressing form—banking is compressed, video is compressed, Netflix is compressed, your telephone compresses information. You can put your whole life story onto a little chip. That’s a compression.

―

I don’t miss shooting film. I printed and developed all my own work for 55 years. In those 55 years I calculated that at least 20 of them had to be in actual darkness. Hour after hour, week after week, year after year. I certainly don’t miss the chemicals. I was about to turn 75 when I embraced digital, and I was slowing down, but digital made me reinvent myself. I shoot everyday and I print like mad. I would need a team of 10 assistants to function with film the way I do with digital.

―Seeing is Believing Photography has a relationship to reality, it’s a chief characteristic of the medium. Theodor Adorno, the philosopher says that, to think is to identify. We think in words and therefore we identify. I could make a photograph where you wouldn’t be able identify what it is, and one of the chief characteristics of the medium is its relationship to reality. The viewer can always tell what my pictures are of, however, I want to photograph the abstract in reality, I don’t want to make abstract photographs which become non-objective, so I am always right on the cusp. My philosophy to photography is what melody is to music. I want to make a melody that places abstract on the cusp. I asked Philip Glass

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Ralph Gibson,

San Francisco, 1960

Mary Jane, Sardinia, 1980

right page

Ralph Gibson,

“I don’t miss shooting film. I printed and developed all my own work for 55 years. In those 55 years I calculated that at least 20 of them had to be in actual darkness. Hour after hour, week after week, year after year. I certainly don’t miss the chemicals.”

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288

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Ralph Gibson,

Days at Sea, 1974

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290

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Christine, 1974

Ralph Gibson,

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Ralph Gibson,

Untitled, 2010

about this, what do you think of the idea, Philip? He said well, I can make a piece of music without melody, but I’d always have to have harmony. It’s a very good answer; who would understand better than him!

―

“When you look at one of my photographs, what you’re seeing is not necessarily in the photograph. I believe that what you’re seeing when you look at one of my photographs is the experience I had of seeing something.”

When you look at one of my photographs, what you’re seeing is not necessarily in the photograph. I believe that what you’re seeing when you look at one of my photographs is the experience I had of seeing something. Therefore, the perceptual act is the subject of the photograph, which is why I take pictures of nothing. As I’ve proceeded through the years I move closer and closer to the subject, a better word for this is formalist concerns. I’m basically a formalist, not a reporter.

―

As a young photographer I worked for 10 years with the goal of becoming a photojournalist, and at the age of 27, after moving to New York, I was accepted into Magnum on a provisional basis. Also, about this time, I started assisted filmmaker Robert Frank on a couple of his films, and at the same time my work was changing, which led to the photographs in my first book, The Somnambulist. To be Magnum photographer means that you can tell a story with a camera, among other things. One of the things that transpires in the narrative is the subject supports the content. The Greeks have a word, solipsism, which means how you feel determines how you perceive reality. Therefore, the only thing that’s real is how you feel. So, I ask myself, what can I do with these two things? For example, if I perceive these two napkins in front of me I can make a compelling photograph, but it’s going to be my perception that’s going to turn these two napkins into a strong photograph, not because one is on fire, or because one has blood on it from a murder.

―

292

Infanta, 2002

Ralph Gibson,

Nathan Lyons, the founder of The Visual Studies Workshop in Rochester told me that they had a theory which stated that the eye was self-monitoring and had its own intelligence. And, from a purely metaphysical approach, as a visual artist I’ve learned to listen to my eye. I have come to know exactly when to accept or reject something I’m seeing. Often my eye will see something that I think is banal or cliché, but I know from experience to take up the camera… the next thing I have is a strong photograph.

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Ralph Gibson,

Vertical Horizon, 2018

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YOU CAN HAVE IT TOO! A shopping guide for some of the products featured in the editorials of this issue

DEATH OF FASHION

Stitch nappa leather booties in black, $1095. Page

Page 65 Dundas yellow chiffon plunging front long

Page 45 MISSONI lamé net long dress, $3795

55 Andrew Gn; off-the-shoulder polka-dot gown

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ivory, $850 (lutzmorris.com). N°21 cross sandals in

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(andrewgn.com) René Caovilla The Krisabrita

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Morris Elise shoulder bag in handprinted red/blue

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Makri zehar mohra serpentine stone sterling silver

row pixel bracelet with mother of pearl, glass and

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flow earrings with 10k gold posts, $325 (eye-m-

acrylic pearl, $250 (carolee.com).Delpozo ankle

(agnona.com, bergdorfgoodman.com) Page 68

i l e a n a m a k r i.c o m). P a g e 4 8 C O M M E d e s

length cotton dress, $2200 (available on coplons.

Simone Rocha ivory paper double belted double-

GARÇONS Junya Watanabe cream linen denim

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$745; red tulle flower embroidered bib, price upon

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Cloud suede mix ruffle bag in raspberry, $2095

request; black jelly sliders with jet beading and black

ferro croco embossed leather peak lapel jacket,

(available at select Jimmy Choo stores, jimmychoo.

feathers, $640; (Simone Rocha 71 Wooster Street,

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New York, NY 10012, 646-810-4785).Alexis Bitter

ferro slip skirt with nude chantilly lace hem, $2050;

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gold and rhodium two-tone capped hinge bracelet,

periwinkle satin mary jane pump, $1490 (available at

Page 57 Louis Vuitton sleeveless zip blazer, price

$295; silver medium tapered bangle bracelet, $120

select Tom Ford stores, tomford.com). Tom Ford

upon request; printed jersey dress with oversized

(alexisbittar.com). Page 69 Moncler 5 Craig Green

chalk light mikado peak lapel jacket, $3,490; black

sleeves, price upon request; LV circle belt, price

coat, (for more information montcler.com).Jimmy

chantilly lace and silk camisole, $1690; ecru light

upon request; LV Janet ankle boot, price upon

Choo Stitch nappa leather booties in black, $1095.

mikado with black chantilly lace trim slip, $1890;

request (available at select Louis Vuitton stores,

Page 70 & 71 Alexandre Vauthier black ruffle

black satin mary jane pump, $1490. Page 50 MSGM

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c h i f fo n g ow n, $ 8 320 (m o d a o p e r a n d i.c o m).

tie dye coat, $1005; tie dye shirt, $195; tie dye

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S wa rovsk i sunglasses, price upon request

leggings, $210 (msmg.it). Santoni leather sandals,

$795; calf leather belt, $295; long gloves, $270; calf

(swarovski.com). René Caovilla The Galaxia sandal,

$1200 (santonishoes.com). Page 51 Marc Jacobs

leather heels with ruffle detail, $725; Virgus glossy

$1550 (renecaovilla.com).Alexis Bitter limited

pink foiled suede pants, price upon request;

jersey blouse, $495; Capsula cropped wool trousers,

edition 10K gold tone plated brass orbiting hinge

chartreuse silk organza polka dot sleeveless top,

$965; Vaimy ruffled cotton-twill jacket, $2290 Capra

bracelet with crystal accent, $445 (alexisbittar.com).

$895; pink mixed fleece and mohair tweed cropped

lightweight wool-gabardine shorts, $675 (Max Mara

Page 72 HYKE tan twill polyester military shirt, price

jacket, $2500; PVC shoes, price upon request

813 Madison Avenue, New York, NY 10065, 212-

upon request; tan twill polyester asymmetrical wrap

(similar styles available at marcjacobs.com, 212-

879-6100). Page 60 Greta Constantine Jilin dress

skirt , price upon request; white sheer polyester

832-3905). Page 52 & 53 Adeam off-shoulder dress

(available upon request at jesse@gretaconstantine.

leggings, price upon request; white sheer polyester

in sea green/peppermint, $1095; belted wide leg

c o m); N ° 21 c ro s s s a n d a l s i n s a ti n, $ 562

skirt, price upon request; shoes in black lambskin,

pant in sea green/peppermint, $1250 (adeam.com).

(numeroventuno.com). Page 61 The Row dark navy

price upon request (Notre Shop, Chicago IL). Jimmy

Mikimoto white south sea cultured pearl strand

soft wool and mohair canvas dress, $2290 (The Row

Choo Sidney velvet cross body bag with mixed

with 18k yellow gold clasp, $32,000; white south sea

17 East 71st Street, New York, NY 10021, 212-755-

crystal logo in chilli, $1150. Carolee Kylie two tone

cultured pearl earrings with diamonds set in 18k

2017); Slouchy Banana bag in deerskin, price upon

metal flat back earring with glass stone and pearl

white gold, $11,000; white south sea cultured pearl

request (therow.com). Jimmy Choo Bowie suede

accent, $85 (carolee.com) Page 73 N°21 sleeveless

ring diamonds set in 18k white gold, $7400; white

booties in vine, $975.Page 62 & 63 COMME des

top, $364; black pencil skirt $376; metallic chain,

south sea cultured pearl ring with diamonds set in

GARÇONS Noir Kei Ninomiya women’s polyester

$1010; cross sandals in satin, $562 (numeroventuno.

18k white gold, $5700 (mikimotoamerica.com).

jacket, $1795; women’s polyester skirt, $2730

com).Page 74 & 75 Dundas grain de poudre one-

René Caovilla Serpiana satin sandal, $995

(COMME des GARÇONS 520 W 22nd Street, New

shoulder tuxedo dress in black, $2590; N°21 cross

(renecaovilla.com). Page 54 Sacai Poplin jacket,

York, NY 10011, 212-604-9200, Dover Street Market

sandals in satin, $562 (numeroventuno.com).

$1115 (similar styles at Bergdorf Goodman); stripe

New York, 646-837-7750, Dover Street Market Los

Dundas grain de poudre halter neck jumpsuit in

organza vest, $670 (similar styles at Bacci);

Angeles, 310-427-7610). Page 64 Preen by

black, $2190 (dundasworld.com). Page 76 Akris

Garbardine x Poplin shorts, $880 (similar style at

Thornton Bregazzi Emily polyester cotton printed

Marker St. Gallen embroidery short waist zip jacket,

Ssense.com, Dover Street Market New York,

georgette

$ 815

$4490; Marker St. Gallen embroidery silk crêpe knit

newyork.doverstreetmarket.com). Jimmy Choo

(preenbythortonbergazzi.com, net-a-porter.com).

hooded pullover, $1109; Marker St.Gallen embroidery

294

AS IF / ISSUE 14

dress

p e o n y,

YOU CAN HAVE IT TOO! long skirt, $2290 (akris.com). Jimmy Choo Stitch

one shoulder top, $595; viscose skirt, $745; calf

mules with diamonte in rosewood suede, price

nappa leather booties in black, $1095. Page 77

leather heel with ruffle detail, $725. Page 90 & 91

upon request (jimmychoo.com). Page 147 David

Brock Collection striped twill peplum dress, $2,530

The Salting linen/cotton Sanded jersey sweatshirt,

Salle x Peter Hidalgo Salle Dress Gown special

(net-a-porter.com). Jimmy Choo Stitch nappa

$300; and Sanded jersey drawstring walking shorts,

limited-edition collaboration dress, price upon

leather booties in caramel, $1095. Moncler

$325 (thesalting.com). Page 92 Bottega Veneta

request (Bergdorf Goodman, NYC and asifmag.

transparent sunglasses, $410 (available at select

leather short pants in soft mat, $3700; crew neck

com); Sanjay Kasliwal From the Royal Collection:

Neiman Marcus stores).Alexis Bitter high shine

sweater, $1480; Bianco sneaker, $790 (1-800-845-

Navratna choker with rubies, sapphires, emeralds,

silver crumpled wide cuff bracelet, $245 (alexisbittar.

6790). Page 93 Anna-Karin Karlsson You Tiger

diamonds and South Sea pearls, price upon

com). Page 78 & 79 Camilla and Marc Valo wool

sunglasses; $1400. Bottega Veneta crew neck

request. Audemars Piguet CODE 11.59, 41mm,18k

blend blazer, $950; Miri polyester dress, $499; Etta

sweater, $1480. Page 94 Belstaff Heathbrook jacket

pink gold case, glare proofed sapphire crystal

cotton flare sleeve shirt, $450 (camillaandmarc.com).

in dark camel, $550.00 (belstaff.com) Page 96 Zadig

and caseback, water-resistant to 30m, lacquered

Tom Ford black satin mary jane pump, $1490. Page

& Voltaire Kennedy Cony Show sweater (similar

white dial, 18k pink gold applied hour-markers

78 Thom Browne Trompe L’oeil polyamide long

styles available); Scout leather short, $788.00; Sasha

and hands, 24k pink gold applied logo in galvanic

sleeve shirt, $331; Supersize Classic silk double-

leather and canvas boots (similar styles available)

growth, lacquered white inner bezel, hand-stitched

breasted sport coat, price upon request; Moretta

(farfetch.com, us.zadig-et-voltaire.com). Page 97

“large square scale” brown alligator strap with 18k

mask with sunglasses, price upon request (Thom

Alber tus Swanepoel Milan straw hat, $700.

pink gold pin buckle, $26,800. Page 148 Max

Browne 100 Hudson Street, New York, NY 10013,

Zadig & Voltaire Kennedy Cony Show sweater.

Mara cotton poplin shoulder dress with gathered

thombrowne.com).Page 80 Thom Browne Trompe

SCARLETT

detail, $765 (813 Madison Avenue, New York, NY,

L’oeil polyamide long sleeve shirt, $331; Supersize

Page 141 David Salle x Peter Hidalgo Salle Dress

10065 and 212-879-6100); Sanjay Kasliwal coral

Classic silk double-breasted sport coat, price upon

Cocktail special limited-edition collaboration dress,

and onyx pendant earrings with diamond detail,

request; Supersized Backwards silk bermuda shorts

price upon request (Bergdorf Goodman, NYC and

$11,000; sapphire cocktail ring, $8000 (Sanjay

with suspenders, price upon request; Crab Icon

asifmag.com); Audemars Piguet CODE 11.59,

Kasliwal 971 Madison Ave, New York, 212.988.1511).

Intarsia nylon and polypropylene tights, $130; leather

41mm, 18k pink gold case, glare proofed sapphire

Page 150 David Salle x Peter Hidalgo Salle Dress

knee-high anchor button boots, $1720; crisscross

crystal and caseback, water-resistant to 30m,

Cocktail special limited-edition collaboration dress,

mary jane, $1720 (Thom Browne 100 Hudson Street,

lacquered black dial, 18k pink gold applied hour-

price upon request (Bergdorf Goodman, NYC and

N e w Yo r k , N Y 10 013 , t h o m b r o w n e .c o m).

markers and hands, 24k pink gold applied logo

asifmag.com); Audemars Piguet CODE 11.59,

BEIGE-CENTRIC

in galvanic growth, lacquered black inner bezel,

41mm, 18k pink gold case, glare proofed sapphire

Page 82 & 83 MAX MARA taffeta belted trench

hand-stitched “large square scale” black alligator

crystal and caseback, water-resistant to 30m,

coat, $2190; taffeta skirt with asymmetrical ruched

strap with 18-carat pink gold pin buckle, $26,800

lacquered black dial, 18k pink gold applied hour-

detail, $695; taffeta one shoulder long sleeve shirt;

(audemarspiguet.com, 888-214-6858); Sanjay

markers and hands, 24k pink gold applied logo in

$765; calf leather heel with ruffle detail, $725 (813

Kasliwal morganite ring with pink sapphire, halo and

galvanic growth, lacquered black inner bezel, hand-

Madison Ave, New York, NY 10065 (212) 879-

aquamarine, diamond and orange sapphire petals,

stitched “large square scale” black alligator strap

6100). Page 84 House of Lafayette Safari hat in

$8000; aquamarine teardrops with tanzanite buttons,

with 18-carat pink gold pin buckle, $26,800. Max

ramisisol gold, $360 (info@houseoflafayette.com).

$5,700 (Sanjay Kasliwal 971 Madison Ave, New York,

Mara Napa heels $725 (813 Madison Avenue, New

Akris fine net mock neck blouse, $795 (1-877-

212.988.1511). Page 143 Akris silk crêpe column

York, NY, 10065 and 212-879-6100) Page 152 & 153

700-1922, us.akris.com). Page 85 Prabal Gurung

gown with georgette bow top, $5990 (available at

Delpozo fil coupe skirt, $2200; lace knit mohair

nylon twill Utility tunic with Juliet sleeve and

select Akris boutiques, 1-877-700 1922, and akris.

sweater, $500 (modaoperandi.com); sandals, price

silk charmeuse combo, $795; khaki nylon jodhpur

ch); Sanjay Kasliwal multi-colored floating sapphire

upon request (delpozo.com); Alex Solider White

pant with hand embroidered ostrich feather detail,

tennis bracelet with diamond encrusted link, price

Swan earrings, $5900 (available by special order

$2995; Porcelain Leather Gemma Sandal With

upon request; multi-colored sapphire trapeze

at alexsoldier.com). Page 154 Marc Jacobs pale

Jet Tipped Ostrich Feathers (similar styles at

earrings, $11,500. Page 145 Hellessy Carmen midi

pink/peach cheer cropped cardigan in cashmere,

Prabal Gurung Bleecker at 367 Bleecker St, NYC

dress with peplum and scarf detail, lips fil coupé

wool and silk, $850; pink thick plastic belt; light pink

sales@prabalgurung.com) Page 86 Akris fine net

in white/pink, $1990 (modaoperandi.com); Sanjay

pearlized high-waisted skirt in leather lamb skin; pink

drawstring parka with stand collar, $2,390; fine net

Kasliwal turquoise and onyx spears with pave

PVC sling back with toe cop, prices upon request

mock neck blouse, $795; fine net long skirt, $1190

diamond, $9000; multi strand white sapphire tennis

(available at Marc Jacob stores and marcjacobs.

Page 87 Anna-Karin Karlsson Bang Bang Baby

bracelet with brilliant cut diamonds, $45,000. Page

com); Alex Solider Champagne Blossom earrings,

sunglasses, $990.00 (Bergdorf Goodman, Neiman

146 Marchesa Couture one shoulder multi color

$8900; Codi The Snail ring, $3500 (available

Marcus, modaoperandi.com, annakarinkarlsson.

pebble organza gown with softly draped bodice and

by special order at alexsoldier.com) Page 155

com).Amaiò Franz Maillot bodysuit, $445.00

slit detail in sorbet, price upon request (marchesa.

Valentino dress, $10,500 (similar styles available at

(Bergdorf Goodman, Neiman Marcus, amaioswim.

com); Alex Soldier Diamond Astra ring, $55,000;

Valentino boutiques); Joana Salzar for Gemfeild X

com). Page 88, 89, 95 Max Mara Double Calvary

Black Swan earrings, $5500 (available by special

Muse ruby chain earrings with Gemfields rubies and

long sleeve coat with pockets, $2045; viscose

order at alexsoldier.com). Jimmy Choo Bing suede

white diamonds, $4800 (Muse 601 Hudson Street,

AS IF / ISSUE 15

295

YOU CAN HAVE IT TOO! New York, 212.463.7950); Alex Soldier Amethyst

ring 18k rose gold, $1565; Sundance BY KIM ring

pearl grey suede lining, $4280 (irisnoble.fr). Page 179

Astra ring $2,200 (available by special order at

18k white gold, $1675; Sundance BY KIM ring 18k

John Hardy dot hammered 18k gold diamond pavé

alexsoldier.com). Sanjay Kasliwal morganite ring

rose gold, $1795; Sundance BY KIM ring 18k rose

long drop earrings, $2895; Asli Classic chain link

with pink sapphire, halo and aquamarine, diamond

gold, $1795; Sundance BY KIM ring 18k white gold,

18k gold link necklace, $11,000; Legends Naga 18k

and orange sapphire petals, $8000; aquamarine

$1895 (New York 700 Fifth Ave, 212 397 9000 and

gold diamond pavé dragon head pendant on mini roll

teardrops with tanzanite buttons, $5,700. Page 158

wempe.com). Page 170 Sally LaPointe fuchsia airy

chain necklace with blue sapphire eyes, $3995; dot

Delpozo fil coupe skirt, $2200; lace knit mohair

cashmere silk boxy sweater with feathers, $1100

hammered 18k gold diamond pavé chain y-shaped

sweater, $500 (modaoperandi.com); sandals, price

(sallylapointe.com).Sanjay Kasliwal semi-precious

slider necklace, $2495; (left hand) Asli Classic chain

upon request (delpozo.com); Alex Solider White

drop earrings, lemon topaz amethyst and blue topaz,

link hammered 18k gold flex cuff, $17,000; (right

Swan earrings, $5900 (available by special order

$6500. Page 171 Andrew Gn fitted coat in villa medici

hand) dot hammered 18k gold round ring, $795; Asli

at alexsoldier.com). Page 159 Dolce & Gabbana

jacquard, approximate retail price $2750 (avaliable

Classic chain link 18k gold ring, $2300; Asli Classic

floral print tulle dress, $3645; slanders with plexi

at Bergdorf Goodman NYC, and bergdorfgoodman.

chain link 18k gold small chain bracelet with pusher

heel, price upon request; gold pendant earrings,

com).de GRISOGONO Cascata amethyst watch,

clasp, $7900; Asli Classic chain link 18k gold link

$1395 (select Dolce & Gabbana boutiques and

$87,700.Marc Jacobs pink Rosette slingback

bracelet with pusher clasp, $5500 (johnhardy.com).

1-877- 70 -DGUSA, us.dolcegabbana.com); Alex

pump, 100% silk, $950. Page 172 Borgo de Nor

Rianna + Nina x Andy Wolf acetate sunglasses,

Soldier Blossom ring, $5900; socks stylist own..

The Isabeau dress, $1525 (bergdorfgoodman.com).

price upon request (riannaandnina.com). Marysia

LONG LIVE THE KING

Sanjay Kasliwal Indorussian drop earrings made

Wainscott tie top, $189, and bottom, $189. Page

Page 161 & 167 Marc Jacobs pale pink organza

with aquamarine, tanzanite and diamond, $5700.

180 Cartier Panthère de Cartier ring in 18k yellow

multi layer ruffle mini dress, $3600 ; pink lurex

BEACH BITCH

gold with black lacquer, tsavorite garnets, and onyx,

tights, $225; pink Rosette slingback pump, 100%

Page 175 & 189 Jennifer Fisher Ruba hoops,

$11,200; Love bracelet in 18k yellow gold, $6300;

silk, $950, (Marc Jacobs and marcjacobs.com).de

$325; small chain link cuff, $350; Globe ring, $325;

Panthère de Cartier bracelet in 18k yellow gold with

GRISOGONO Allegra ring in pink gold, $13,800

large emerald cut ring, $320 (jenniferfisherjewelry.

tsavorite garnets and onyx, $10,400; Love small

(degrisogono.com and 754 5th Ave, New York, NY

com, 1-888-255-0640). Emilio Pucci Boutiques

model bracelet in 18k yellow gold, $4050 (cartier.

10019). Page 163 & 169 Prabal Gurung atelier

sunglasses $265 (select Pucci boutiques and

com, 1-800-CARTIER). Page 181 Begum Khan

Prabal Gurung rhododendron silk faille gown with

emiliopucci.com).Apparis Goldie coat in fuschia,

for Gemfields x Muse Begum Khan Caretta

hand draped sculptural skirt, $6595 (to purchase

$185 (apparis.com). Marysia Suffolk maillot swimsuit,

party earring with Gemfields emeralds in 9k yellow

email Sales@PrabalGurung.com). de GRISOGONO

$359 (marysia.com). Page 176 H.Stern Iris earrings

gold, $15,400 (musexmuse.com). Rianna + Nina

pink sapphire and amber boule honeycomb earring,

in 18k rose gold with 88 diamonds; Cobblestones

printed dress, price upon request. Page 182 &

$10,000. Page 165 Jason Wu Collection collaged

ring in 18k noble gold with 14 diamonds and 1

183 Van Cleef & Arpels Bouton d’or necklace

lace cocktail dress in magenta, $3395 (Saks Fifth

quartz, $3600; Sunrise ring in 18k noble gold with

featuring chrysoprase, onyx and diamonds set in

Avenue). Jimmy Choo Annie platinum ice dusty

22 diamonds and 2 quartz, $6800; Moonlight ring

18k yellow gold, $106,000; Bouton d’or pendant

sandal, $695, (jimmychoo.com). Sanjay Kasliwal

in 18k yellow gold with 6 diamonds and 1 citrine,

featuring chrysoprase, onyx and diamonds set

Buttercup Bouquet cocktail ring white diamonds

$2500 (hstern.net). Rianna + Nina printed dress,

in 18k yellow gold, $43,000; Bouton d’or bracelet

and yellow diamonds, $24,000; Stargazer tourmaline

price upon request (riannaandnina.com). Page

featuring chrysoprase, onyx and diamonds set in

cuff 18k semi-precious tourmaline, $20,000 (971

177 Vhernier Verso earrings in 18k rose gold and

18k yellow gold, $49,600; Bouton d’or earrings

Madison Avenue New York, NY 10021 212-988-

kogolong, $10,800; Calla necklace in 18k rose gold

featuring chrysoprase, onyx and diamonds set in

1511 GemPalace.com). Audemars Piguet Royal

and kogolong; Vague chain in 18k white gold and

18k yellow gold, $29,300; Bouton d’or ring featuring

Oak Frosted Gold Quartz 18k pink gold case and

kogolong, $21,000; Re Sole bracelet in 18k rose gold

chrysoprase, onyx and diamonds set in 18k yellow

bracelet with pink gold-toned dial $38,600 (www.

and turquoise, $19,550; Fibula ring in 18k rose gold

gold, $19,700 (vancleefarpels.com, 877-VAN-

audemarspiguet.com / 888-214-6858) Page 166

and turquoise, $9300 (783 Madison Avenue, New

CLEEF).Boucheron sunglasses, $1020 (boucheron.

Nanushka SWIA wrap front dress in rosebud, $566

York , 140 NE 39th Street, Miami).Gucci sunglasses,

com). Rosa Cha Karol one piece discs swimsuit,

(nanushka.com). Audemars Piguet Millenary Hand-

$1450 (gucci.com). Mar ysia French Gramercy

$245 (rosacha.com or Flagship Store Westfield

Wound 18-carat pink gold case, diamond-set bezel

maillot swimsuit, $399. Page 178 Roberto Coin Symphony Golden Gate extra-large hoops in 18k

Century City). Page 184 Vhrenier Freccia earrings

and lugs, crown set with a pink cabochon sapphire. White mother-of-pearl off-centered disc, pink gold

yellow gold, price upon request; Classica Parisienne

(783 Madison Avenue, New York, 140 NE 39th

hands on alligator strap. 116 brilliant-cut diamonds

oval necklace in 18k yellow and white gold with

Street, Miami). Alexander McQueen sunglasses,

totaling 0.60 carats (bezel, lugs).$28,400 Page

diamonds, price upon request; (left hand) Princess

$680 (alexandermcqueen.com). Page 185 Ralph

168 MSGM pink and orange shirt, $430 (msgm.

Flower bracelet in 18k yellow and white gold with

Masri Phoenician Script Lightning Earrings, $6900;

it). de GRISOGONO gocce emerald and black

diamonds, price upon request; Princess Flower

Arabesque deco ring, $4715 (modaoperandi.com).

quartz ring in white gold, $39,900; tourmaline ring

diamond ring in 18k yellow and white gold, (price

Marlo Laz vertical iris ring, $2975 (millojewelry.

in pink gold with amethyst, brown diamonds and

upon request); Double Symphony Princess ring in

com/collections/marlo-laz/products/vertical-iris-

fuchsia sapphires, $83,100. Page 169 Akris chiffon

18k yellow gold; (right hand) Gourmette bangle in

ring); Micro Eyecon necklace, $2760 (millojewelry.

asymmetric gown with tulle inset sleeve and front

18k yellow gold, price upon request (us.robertocoin.

com); Enamel Porte Bonheur Coin necklace, $3490

plisse, price upon request. Wempe Sundance BY

com). Trina Turk Theodora dress, $298 (trinaturk.

(farfetch.com); Porte Bonheur Coin bracelet, $3910

KIM ring 18k rose gold, $1565; Sundance BY KIM

com). Iris Noble bag in yucca python leather with

(shop.nordstrom.com). Johnny Was Bay top, $118,

296

AS IF / ISSUE 14

in 18k white gold with jade and diamonds, $16,250

YOU CAN HAVE IT TOO! and high waisted bottom, $108 (johnnywas.com).

Leather Gemma Sandal With Jet Tipped Ostrich

multiprene skirt, $406; black feather basque, $551

Page 186 H.Stern Moonlight Crystal necklace in 18k

Feathers (similar styles at Prabal Gurung Bleecker

(numeroventuno.com); Ella Gafter NY dragon

noble gold with 59 diamonds and 24 quartz, $31,000;

at 367 Bleecker St, NYC sales@prabalgurung.com)

bracelet with diamonds, price upon request

Moonlight Crystal earrings in 18k noble gold with 12

GALLERY GIRLS

(ellagafter.com); Sophia Webster Rizzo ankle

diamonds and 12 quartz, $6500; Moonlight Crystal

Page 192 & 193 Missoni knit dress, $1895 and

boot in snake print, $675 (sophiawebster.com);

bracelet in 18k noble gold with 50 diamonds and 10

knit pant, $1,325 (missoni.com).Kooreloo Petite

Miu Miu socks, $185 (miumiu.com, select Miu Miu

quartz, $15,800; Cobblestones charm in 18k noble

Lollipops Multi, $345 (kooreloo.com).Charlotte

boutiques). Page 209 & 217 Dolce & Gabbana

gold with 3 diamonds and 1 quartz, $2300. Emilio

Olympia shoes, $685 (charlotteolympia.com). Page

appliqué dress, price upon request; satin bra and

Pucci Boutiques sunglasses $265 (select Pucci

194 Roberto Cavalli knit top in multi stretch metallic

briefs, price upon request; gold pendant earrings,

boutiques and emiliopucci.com). Missoni Mare

sequin embroidery, $1995; cycling shorts, $525

$1395 (select Dolce & Gabbana boutiques, 1.877.70.

swimsuit, $1140 (missoni.com). Page 187 Roberto

(robertocavalli.com).Charlotte Olympia shoes,

DGUSA, us.dolcegabbana.com); Audemars Piguet

Coin Symphony Barocco hoops in 18k yellow gold,

$685. Page 195 Issey Miyake cotton/polyester

Royal Oak Frosted gold quartz 18k pink gold case

price upon request; Designer Gold link necklace in

brush jersey long sleeve top, $845 and pants in

and bracelet with a pink gold-toned dial, $38,600

18k yellow gold with diamonds, price upon request;

blue-hued, $1,230 (Issey Miyake, 119 Hudson

(audemarspiguet.com, 888.214.6858) Page 210

(left hand) Portofino 4 row bangle with diamonds,

Street, New York).Charlotte Olympia raffia shoe,

Kenzo Flying Phoenix dress, price upon request

price upon request; (right hand) Roman Barocco 5

$685. Page 196 Ulla Johnson Frieda dress, $375;

(similar styles available at kenzo.com); Rene

row diamond ring in 18k yellow gold with diamonds,

Naz tote, $575 (ullajohnson.com and Ulla Johnson

Caovilla The Serpiana sandal, $995 (renecaovilla.

price upon request; Double Symphony Pois Moi cuff

15 Bleeker Street, New York). Charlotte Olympia

com); Begum Khan for Gemfields X Muse

in 18k yellow gold with diamonds, price upon request

printed fabric sandal, $790. Page 197 Issey Miyake

Rooster Party 9k yellow gold earrings with Gemfields

(us.robertocoin.com).Karla Colletto Lanai swimsuit,

Paccheri dress in dark green, $2,700 (Issey Miyake,

rubies, $13,200 (musexmuse.com). Page 211 Off-

$265 (Ritz Carlton, Naples). Page 188 Coomi (right

119 Hudson Street, New York) Page 198 & 199

White snakeskin print dress, price upon request,

hand) 20k cuff gold with 6.58c diamonds, $39,000;

ETRO dress, $3578 (similar styles at select Etro

(similar styles available at off---white.com); Ella

18k White Gold Chandelier Earrings, $118,000; 18k

boutiques). Charlotte Olympia raffia shoes, $685.

Gafter NY dragonfly brooch with South Sea pearl,

White Gold Pendant Necklace with, $60,000; (left

Alexis Bittar (on right arm) medium tapered lucite

diamonds, lavender sapphire and abalone shell,

hand) Vitality Tendril diamond bracelet set in 20k

bangles, each $120; crystal encrusted lizard hinge

price upon request; Capricorn ring with blue sapphire

yellow gold with 3.24c rose cut diamonds, $8000

bracelet, $275; handcrafted lucite bangle, $85; (left

and diamonds, price upon request (ellagafter.com);

(coomi.com). Mar ysia Giga visor, $227. Trina

arm) crumpled rhodium hinge bracelets each $275

Dolce & Gabbana satin bra and briefs, price

Turk deco stripe maillot, $160 (trinaturk.com).

(alexisbittar.com). Page 200 Sacai jacquard knit top,

upon request (1.877.70.DGUSA, dolcegabbana.it);

Page 190 Judy Geib Swoosh ruby necklace 22k

$ 970 (Ikram, Chicago); gabardine and poplin shorts,

Sophia Webster Rizzo ankle boot in leopard, $675

gold and silver, $168,220; Mod ruby earrings 22k

$695 (at Bergdorf Goodman, New York). Charlotte

(sophiawebster.com). Page 213 Roberto Cavalli

gold and silver, $24,720 (lyst.com/designer/judy-

Olympia shoes, $685. Kooreloo Hollywood Babe,

Tyger Twiga woven shirt with black corset, $1850

geib).Alexander McQueen sunglasses, $790

$635. Page 201 Ulla Johnson Berna pullover, $525

(robertocavalli.com). Audemars Piguet Royal Oak

(alexandermcqueen.com). Apparis Sophia coat in

.Charlotte Olympia printed fabric sandal, $790.

Frosted white gold quartz 18k white gold case

lavender, $295 (apparis.com). Rosa Cha Guta top

Tights stylist’s own Page 202 Preen by Thornton

and bracelet with black dial, $38,600); Van Cleef

in green heart, $115; Audrey bottom in green heart,

B r eg a z z i Holly hat, $385 (matche sfashion.

and Arpels Perroquets clip, price upon request

$115 (rosacha.com or Flagship Store Westfield

com); Adrianna Poncho, $1045 (shopbop.com);

(vancleefarpels.com and 877.826.2533). Page 214

Century City). Page 191 David Yurman Crossover

Jay shor ts, $625 (similar st yles available at

Longchamp calf hair vest, $3410; silk dress, $890

extra-large hoop earrings with diamonds, $1950;

preenbythorntonbregazzi.com).Charlotte Olympia

(longchamp.com, Longchamp boutiques nationwide);

Tides single row necklace in 18k yellow gold with

printed fabric sandal, $790.Kooreloo Petite Juliet

Cartier Panthère de Cartier ring in yellow gold,

diamonds, $10,000; Chatelaine full pavé statement

aquamarine, $365 (kooreloo.com). Page 203

tsavorite garnets and onyx, $20,000; Panthère de

pendant in 18k yellow gold, $5900; Crossover

Prabal Gurung navy cashmere crewneck with

Cartier white gold, diamond and onyx earrings, price

pendant necklace with diamonds in 18k gold, $7800;

hand embroidered coin fringe, $1,895; violet silk

upon request (cartier.com). Page 215 DUNDAS by

Tides pendant necklace in 18k yellow gold with

cargo jodhpur pant with top stitching, $1,595 (by

Peter Dundas black jacquard jacket, price upon

diamonds, $11,500; (left hand) Cable buckle bracelet

special order sales@prabalgurung.com).Charlotte

request; black/white flocked lace trousers, price

with diamonds, $1800; Cable bracelet with pavé

Olympia printed fabric sandal, $790. Page 204

upon request (dundas.com); Ella Gafter NY spider

diamonds in 18k gold, $7200; Cable Collectibles

Sacai stripe organza blouse, $905 (select Saks

brooch with golden pearl and diamonds, price upon

buckle bracelet in 18k gold, $1450; Novella extra-

Fifth Avenue stores), gabardine and poplin pants

request; bird brooch with coral, yellow sapphire, price

large ring with blue topaz in 18k gold, $4900; (right

$775 (select Saks Fifth Avenue Stores), gabardine

upon request; bird brooch with coral ruby, South Sea

hand) Cable buckle crossover cuff , $1600; Novella

neck piece, $250 (sacai.jp), mesh leather booties, $1,245 (sacai.jp) Page 205 Preen by Thornton

pearl and diamonds, price upon request (ellagafter.

extra-large ring in 18k gold, $4900 (David Yurman, 712 Madison Ave, New York, NY 10065, davidyurman.

Bregazzi Holly hat, $385); Lilly shorts pajama set,

Longchamp boutiques nationwide); De Grisogono

com). Roberto Cavalli sunglasses, $505 (saks.

$1225 (themodist.com).Preen Home Elderdown

Crazymals Collection monkey ring in white gold,

com). Missoni Mare bikini, $565. Silk charmeuse

duvet, $1200. Charlotte Olympia shoes, $685.

yellow gold, and pink gold with black and white

combo, $795; khaki nylon jodhpur pant with hand

MARGARET QUALLEY

diamonds, price upon request; seal ring in white gold

embroidered ostrich feather detail, $2995; Porcelain

Page 207 No. 21 shiny sleeveless top, $360;

with white and black diamonds (degrisogono.com,

com); Longchamp shoes, $480 (longchamp.com,

AS IF / ISSUE 15

297

YOU CAN HAVE IT TOO! De Grisogono New York, 700 Madison New York,

silver crystal mesh tank, $3000; heather gray

212.439.4220). Page 216 Miu Miu jacket, $2875;

gladiator basketball shorts with clear crystal and bead

top, $1400; bra, $290; skirt, $8060; socks, $185;

embroidery detail, price upon request (theblonds.

belt, $525; sandals, $1100 (miumiu.com, select Miu

nyc); Circle3.nyc silver shoes, $145.00 (circle3.

Miu boutiques). Page 218 No.21 shiny sleeveless

nyc). Page 253 Dope Tavio Dope biker jacket,

top, $360; multiprene skirt, $406; black feather

$900 (dopetavio.com); Allsaints Mode merio crew,

basque, $551; Ella Gafter NY dragon bracelet

$120 (us.allsaints.com);Swonne Putney white jean,

with diamonds, price upon request (ellagafter.com);

$189; Geoffrey Mac pant leg, price upon request.

Begum Khan for Gemfields X Muse Rooster Party

TAYLOR MADE

yellow gold earrings with Gemfields emeralds Page

Page 254 Esenshel split low crown wide oval

219 Tom Ford sleeveless evening dress with panther

brim hat in black, $425 (If Soho, 94 Grand St, New

printed calf hair waist cincher $8150 (available at

York, NY0013, ifsohonewyork.com).Céline white

select TOM FORD stores, TOMFORD.com); Van

button-up shirt, stylists own Dsquared2 peaked

Cleef & Arpels butterfly clip, price upon request.

lapel one-button stretch wool 80s-fit jacket, $1790

COPY THAT

(dsquared2.com) Page 256 Issey Miyake Men TC

Page 239 Laurence & Chico Run hoodie, $525.00

shirt in white, $440 (Issey Miyake, 119 Hudson Street,

(laurenceandchico.com). Page 240 Santa Monroe,

New York, NY 10013, 212.226.0100). Wolford

Open Fields Patch Jacket with handmade corduroy,

cotton socks in white, $29 (wolfordshop.com). Geox

$550 (santamonroe.com); Swonne Streatham

loafer with two-tone platform, $170 (geox.com).

indigo tee, $79 (swonne.com); Sho Konishi metal

Page 258 & 259 Jennifer Fisher Samira hoops in

belt (worn on neck), $300 (sho-konishi.com). Page

gold, $550 (jenniferfischerjewlery.com) Camilla and

241 Santa Monroe, The Golden Puffer Jacket with

Marc Nebula wool blend jacket, $850; Nebula wool

gold sequins, military pockets, zip-off hood finished

blend trousers, $499 (camillaandmarc.com). Issey

with blackfur and contrasting black and white striped

Miyake Men TC shirt in white, $440. Gray Matters

trim, $1,600; Bob Timbs hand embellished shoes

Dot pumps Nero Tangerette, $550 (graymattersnyc.

covered in crystals, $2,200; Geoffrey Mac sheer

com). Page 261 YOKO tall crown wide classic brim

Cube tank, prices upon request (geoffreymac.com).

hat in green, $355; Céline white button-up shirt,

Page 242 Victoria Hayes car print novelty coat,

stylists own. Audemars Piquet Royal Oak “Jumbo”

$1450 (victoriahayesnyc.com); Swonne Streatham

Extra-Thin 18k yellow gold case and bracelet, 39mm,

indigo tee, $79, and Putney black jean, $189. Page

$55,400 (audemarspiguet.com, 888-214-6858). The

243 Lucio Castro mesh holographic zip jacket, price

Frankie Shop taupe soft corduroy paperboy pants,

upon request (luciocastro.com); Santa Monroe black

$99 (thefrankieshop.com). Page 262 The Row

and white Kaleidoscope shorts, $188 (santamonroe.

double face soft wool diagonal coat in silver moss;

com) Page 244 Geoffrey Mac coat, black mesh

long shirt silk organza dress in grey moss, $2250

top, and pants, price upon request; Asos sneakers,

(dress: berdorfgoodman.com, coat: available upon

models own. Page 245 Geoffrey Mac nude mesh

request, similar styles at The Row New York, 17

top, and scarf, prices upon request; Santa Monroe

East 71st St, 212.755.2017) ANH Jewelry Michel

Heavy Metal Pants silver sequined joggers s.M

ring sterling silver signet ring, $127; Joan ring sterling

patches, $500; Bob Timbs hand embellished shoes

silver signet ring, $127 (anhjewelry.com). Page 263

covered in crystals, $2,200. Page 246 DSQUARED2

Max Mara double cavalry cotton double-breasted

neon-trimmed camouflage cotton hooded-parka,

short sleevecoat in white, $2045 (Max Mara, 813

$1,780 (dsquared2.com) Page 248 Private Policy

Madison Ave, NY 10065, 212.879.6100).Audemars

checkerboard shirt, $485.00, (privatepolicyny.com);

Piguet Royal Oak Selfwinding Chronograph 18k

DSQUARED2 The Giant Sandals, $590. Page 249

rose gold case and bracelet, 41mm case, $56,600.

Issey Miyake Men Shrink leather black and blue

Maaari Lunar Drops black onyx pendulum, $140

bomber jacket, $4,000; Homme Plisse Issey

(maaari.co). Wolford cotton socks in white, $29.

Miyake Pleats Bottoms3 ivory jumpsuit, $715

Geox loafer with two-tone platform, $170. Page 265

(Issey Miyake, 119 Hudson Street, New York, NY

Bally laminated cotton coat, $1850; cotton canvas

10013, 212-226-0100); Gola men’s trainer suede

trousers in nude, $750; Super Smash Weekender

in moody orange and white, $85 (golausa.com).

bag, $2550 (Bally Madison, 689 Madison Ave, NY

Page 250 Landlord LL nylon denim jacket in blue,

10065, 212.751.9082). Repetto The Michael Loafer

$350; LL nylon denim pants in blue black pants,

in camel patent leather, $385 (repetto.com). Page 267

$245 (landlordnewyork.com). Page 251 Landlord

Max Mara long sleeve overcoat in grey, $2190; wool

Cybernetic Tee 2 in black, $200; Space Colony track

Prince of Wales double breasted jacket in grey, $1690;

shorts in multi black, $500. Page 252 The Blonds

wool Prince of Wales shoulder long sleeve shirt, $635.

298

AS IF / ISSUE 14

AS IF / ISSUE 15