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GUESS Lace mockneck. $59. Faux leather culottes. Polyurethane. $79. Both for misses. Watch. $115. WebID +2910016. Earrings. $20. +2339670. Bangles. 22.50 ea. +1757816. Kadani dress sandals. 5-10M. $99. FREE SHIPPING ONLINE AND FREE RETURNS

*Free shipping with $99 purchase. U.S. only. Exclusions apply; see Advertised merchandise may not be carried at your local Macy’s and selection may vary by store. 6070029


trend report new season. new trends. new must haves. new ideas. new ways to wow you.


Only at Macy’s. Faux leather jacket. Polyurethane/polyester. 109.50. T-back satin cami. Polyester. 49.50. Floral lace midi skirt. 69.50. All for misses.

My Stylist @ Macy’s Let our pros help you, IT’S FUN, FAST & FREE! Call 1-800-343-0121 to make an appointment or visit






some of the coolest looks from the major shows of fashion month




here are our favorite beauty products of the year.

say goodbye to stripes as you know them.

032 FASHION NEWS 040 GIRL WE HEART zuri marley talks music, beauty, and her wig collection.

042 PRIVATE ICON paying homage to amanda jones's classic style from some kind of wonderful

044 NOW TRENDING from a '90s resurgence to making upholstery fabrics chic to faces on tops, check out these fall '16 trends.

048 MODEL CITIZEN ilana kozlov lives by one motto: “idgaf.”

053 FACTORY GIRL dani stahl goes behind the curtain at iconic american jewelry brand tiffany & co.

054 HOMEBODIES nomia designer yara flinn gives us a tour of her brooklyn nest .

FEATURES 098 SHE'S BA-AACK cover star winona ryder reflects on her career, her new netflix series stranger things, and why she isn’t afraid of getting older. by margaret wappler. photographed by ash kingston. styled by j. errico

108 LAY IT ON THICK outerwear like you've never seen it before. photographed by dani brubaker. styled by christine baker

116 MOODILY EVER AFTER dark fairy-taleinspired pieces add a layer of mystery to your fall wardrobe. photographed by carissa gallo. styled by santa bevacqua

126 XXL oversize styles to expand your closet, in more ways than one. photographed by ben lamberty. styled by christine de lassus

98 she's ba-aack photographed by ash kingston. styled by j. errico. jacket by offwhite c/o virgil abloh, dress by ryan roche, necklaces by chanel, ryder's own earrings. on the cover: top, tie, pants, and belt by brunello cucinelli, ryder's own earrings.

BÆ ©2016 CHANELÆ, Inc.,


Kristen Stewart is wearing LES 4 OMBRES in Candeur et Expérience, ROUGE ALLURE VELVET in N°56 and LE VERNIS in Rouge Puissant.

SEPTEMBER 136 THE DARK ARTS meet the ladies who aren't afraid to get a little macabre. by lisa mischianti. illustrated by kris chau

RADAR 144 WATCH THIS meet the stars of the coolest shows on tv.

156 TRUST THE PROCESS sampha traces his past and reveals details about his first fulllength album, process. by nick duerden. photographed by aitken jolly

158 WOMAN OF THE WORLD ella purnell has accomplished a lot, but the British actress is ready for what's next . by lucy brook. photographed by aitken jolly

160 BORN AGAIN kt tunstall talks her new album, kin, and finding her tribe. by jessica herndon. photographed by amy harrity

164 HEAVENLY HOST the release of her third studio album, my woman, has angel olsen taking a closer look at life in the music industry. by sophie saint thomas. photographed by michael beckert


168 LIFE CYCLE jenny hval's new album, blood bitch, goes beyond skin-deep. by barry nicolson. photographed by kim jakobsen to

170 CULTURE CLUB this month’s best art, films, books, food, and more

186 SHOPPING LIST 188 BAG CHECK if black and gold weren't already your go-to colors for fall, they are now. photographed by will anderson. packed by dani stahl

70 dreaming of you photographed by anairam.


© 2016 VA N S INC.


chairman marc luzzatto president and chief revenue officer jamie elden chief financial officer, controller candice adams

editor-in-chief melissa giannini creative director molly butterfoss

features features director lisa mischianti senior beauty editor jade taylor associate editor keryce chelsi henry editorial assistant austen tosone contributing editor david walters contributing copy editor matt schlecht

fashion fashion director joseph errico style director dani stahl market editor marissa smith assistant editor nicole draga

art photo director sonia ostrovsky art director kayla kern producer blake vulgamott

digital editorial director gabrielle korn creative director of tv and video ryland mcintyre deputy editor kristin iversen video producer daniel huskey senior editor ben barna video editor tina vaden content editor irina grechko design director liz riccardi staff writer hayden manders design assistant ricky michiels market assistant jenna igneri director of e-commerce katherine martinez editorial assistant sydney gore creative and merchandising manager amber bek weekend editor dani deahl customer care and logistics manager hawa bello contributing editor evan rachel wood snapchat manager lori trigonis contributing writers liz arnold, molly beauchemin, lucy brook, nick duerden, margaret farrell, dan frazier, jessica herndon, noah jackson, brian moylan, barry nicolson, joseph “ jp� patterson, ali pechman, remy ramirez, sophie saint thomas, chloe schildhause, allyson shiffman, margaret wappler contributing artists anairam, will anderson, alice baird, bethany bandera, michael beckert, dani brubaker, kris chau, fionayeduardo, carissa gallo, david gomez maestre, greg granaghan, amy harrity, eric helgas, jason hetherington, scott horne, aitken jolly, isaac jolly, jake jones, ash kingston, ben lamberty, ellie mclean, tyler mitchell, natalie o’moore, matthew priestley, maria qualtieri, daniel terna, katie thompson, kim jakobsen to, carla tramullas, eduardo valderrama, cara worcester, cecy young sales and marketing associate publisher julie humeas head of marketing and entertainment lauren cohen east coast sales director chloe worden senior integrated marketing manager jana segal pacific nw director scot bondlow integrated marketing manager courtney greenbaum director of partnerships and events kristin welton planning and ad ops manager chris potter events coordinator catherine rardin assistant controller stephanie lopez staff accountant stephanie thompson hr coordinator carolin fernandez office manager and executive assistant jessica mannarino

circulation specialists and newsstand consultants greg wolfe, beth ulman; national and foreign distribution curtis circulation subscriptions One year for $19.95 in the U.S. and possessions; $44.95 for Canada and $65 for all other destinations. Payment in U.S. funds must accompany Canadian and international orders. Address subscription orders and inquiries to P.O. Box 5796, Harlan, IA 51593-3296, or call 866.639.8133 for customer service. 11 0 greene street, suite 6 00, new york, ny 1 00 12 / 212.226.6 4 5 4 /

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letter from the editor

Time of the Season September is always our biggest issue of the year—a fall fashion explosion and home to our ever-sprawling Beauty Hit List (page 70) and annual TV preview (page 144). And with her role in a Netflix hit, a beauty campaign with Marc Jacobs, and too many fall ’16 collections to count that take her most memorable character—Beetlejuice’s Lydia Deetz—as inspiration, Winona Ryder is a most fitting cover star. Ghoulish comedies with rumored sequels aside, Ryder’s CV is jam-packed with classics, from Heathers to Edward Scissorhands to Mermaids to Reality Bites to Girl, Interrupted, and so on. Talk about an epic movie marathon! I’ve been a fan for as long as I can remember—my sister, Allison, and I were obsessed with Mermaids. (I mean, come on: Ryder, Christina Ricci, Cher, Catholic guilt, and a mermaid costume? What more could angsty Midwestern tweens possibly want?) I could also quote any line from Heathers or Reality Bites on command, and gushed over both the Johnny Depp and Dave Pirner eras. So it goes without saying that I was beyond excited to learn about Stranger Things, a new Netflix series that finds Ryder playing a super-intense mom whose son vanishes mysteriously from his Indiana home in 1983. So many nostalgia feels with this one, but also timeless ones—kind of like Ryder herself. I knew immediately that longtime NYLON contributor Margaret Wappler was the perfect person to interview Ryder for our cover story, which she did in between events to celebrate the release of her new novel, Neon Green, about an alien encounter in suburban Chicago in the mid-’90s. So it makes sense that she had time (and time travel) on her mind when she wrote the piece, which offers a delightful peek inside Ryder’s adorably, brilliantly rambling mind—and a scoop on that rumored Beetlejuice 2 sequel. Check it out on page 98. As you’ll see in the following pages, Ryder’s goth vibes creeped into other parts of the magazine, including a dark fairy-tale-inspired fashion story (“Moodily Ever After,” page 116) and a feature celebrating some of our favorite “morbid girls”—what we’ve started affectionately calling a growing group of women who are making careers out of a love of the macabre (“The Dark Arts,” page 136). So pop the popcorn and strap in for a fun one. Autumn is coming, but we’ve got you covered.


fun times on set, photographed by ash kingston.

VA N S . C O M

© 2016 VA N S INC.



Joseph “JP” Patterson

Kris Chau

Kayla Kern

Photographer, NYC

Writer, London

Illustrator, Los Angeles

NYLON Art Director, Brooklyn

Shot “Beauty Hit List” (page 70).

Wrote “Grime Bosses” (page 176).

Illustrated “The Dark Arts” (page 136).

various pages.

“I loved shooting for this issue. It was as dreamy as the images look.”

“Working on this issue was a pleasure! Writing about grime music for such a publication is truly an honor.”

“Illustrating for this issue was ‘fun, fun, fun till daddy takes the T-Bird away.’ Creepy-crawlies and lots of jumbled-up sketches and ink drawings are totally in my wheelhouse.”

Hometown Mexico City

Instagram handle @anairam10

Latest discovery

Hometown London via Wellingborough, England

Instagram handle

Hometown Honolulu, Hawaii

Dumplings in chili oil—my life is complete.


Instagram handle

Travel plans

Latest discovery


Home for a couple of weeks, hopefully soon!


Latest discovery

Travel plans Ibiza for the closing parties in September

That there is saccharin in commercial toothpaste. It’s counterproductive!

Playing on repeat

Travel plans

Playing on repeat “6 8” by Gabriel GarzónMontano

Compulsively reading I’ve been a bad reader lately, not afraid to admit that. But I obsessively read the digital daily WWD PDFs if that counts.

Mode of transport Feet, subway, and Uber

“My Hood” by Ray BLK featuring Stormzy

Mode of transport Uber or friends’ whips

Secret skill I can sing better than Usher.

Designed and illustrated

“At NYLON I have a lot of freedom and room to play. Secretly the opening image of Fashion News is always my favorite to pick out.” Hometown Elko, Minnesota

Instagram handle @kaylakern

Latest discovery Luckybird Bakery in Williamsburg has the most delightful rosewater scones.

Travel plans #midwestisbest

Playing on repeat

Marfa, Texas, for a T-shirt portrait studio workshop I’m running at Trans-Pecos

Online fixation

Playing on repeat

I really only use the internet to send emails.

Every episode of Friends

Velour Afternoon

Online fixation Chances With Wolves

Compulsively reading E-flux Journal: The Internet Does Not Exist by Julieta Aranda

Secret skill

Compulsively reading

My cooking game is strong.

Chani Nicholas

Mode of transport

Sartorial signature

Mode of transport

Anything as long as it’s black

Betty, my main roll dawg ’82 yellow 240 Mercedes-Benz—or Mercury, my beloved bicycle

I think I have worn through every pair of shoes I own.

Secret skill Hype girl

Sartorial signature I wear the same gray sweatshirt every day.


behind the scenes

Cool Ryder

photographed by ash kingston.

While Winona Ryder may remind so many of us of the ‘90s, she’s making big moves this year to further cement her icon status. Ryder has always shined in her dramatic roles, and her latest project, Stranger Things, is just another reminder of her celebrated spirit and endearing qualities, which makes her the perfect fit for our biggest cover of the year. From sparkling dresses to band T-shirts, Ryder’s photo shoot had just about everything one could dream of for an epic fall fashion spread. NYLON fashion director J. Errico said that he and Ryder got on famously: “She’s very fun and super collaborative. She knows a lot about fashion.” Hairstylist Marcus Francis went for “cool, undone, classic Winona hair.” He dampened her hair with water, applied a volumizing mousse from roots to ends, and then brought out her natural texture with a blow-dryer and used a half-inch curling iron to create a mix of bends and waves. Makeup artist Stephen Sollitto kept Ryder’s base simple, choosing to make her eyes the center of attention by tapping glitter under the eye and at the upper lashline and letting it fall into place. He says, “There were lots of laughs and great shots. It was a perfect day.” The vibe on set involved playing ‘80s and ‘90s tunes—we hear Madonna was involved—and everyone got into the spirit of the shoot. We love Ryder then, now, and forever.

get a look like ryder’s: dior rouge dior lipstick in saint germain, $37; dior diorskin forever & ever control loose powder, $52; dior diorskin forever foundation in linen, $50; dior diorblush in my rose, $43; dior diorshow pro liner in black, $32;

dior diorshow fusion mono matte longwear eyeshadow in nocturne, $31; for all. suave professionals luxe styling volume soufflé mousse, $5,



par avion

#mynylon tag your pics and they could appear right here. SARA




P S U !





NYLON Letters, 110 Greene St., Suite 600, New York, NY 10012

[Jaden Smith] always looks so good, damn it. @MNAMNAMS VIA INSTAGRAM

So much love for [the Denim Issue]. @MADELEINELOVELY VIA INSTAGRAM

Aww! @oficialjaden is the first male cover of @NylonMag! My heart is smiling. @KARISSMMITCHELL @KARAKANVAS


Just got a notification that my August @NylonMag was finally here and I gasped and started tearing up a bit. @WHOSAVA VIA TWITTER


Jaden is an underrated icon. REIMOND ULIXES













O R D E R O N L I N E AT N Y L O N . C O M



All great metropolises have distinct attractions. New York has the Statue of Liberty. Paris has the Eiffel Tower. And Amsterdam has legalized marijuana. Tourists, young and old, flock to the Dutch capital to revel in its open society, get stoned in its coffee shops, and amble through the narrow streets and along its serene canals. But guess what? Amsterdam is also a thriving cultural hub, with innovative designers, artists, chefs, gallerists, and entrepreneurs who are challenging the city’s reputation for debauchery. So if you find yourself in the obscenely pretty municipality—and we sure hope you do—here are some places you have to see while you’re there.

The Weirdest Music Festivals in the World

Many of today’s brides-to-be are ditching ball gowns of princess proportions and age-old solitaire engagement rings for more unexpected outfits and accessories. Echoing the free-spirited and fiercely independent sensibilities of the brides they cater to, fashionforward designers dream of creations that offer novel touches on traditional elements, and have a keen understanding of what the modern woman wants. With so many bold and brazen bridal designers giving the “I do” a fashion redo, we’ve got advice on how to make your wedding truly your own.

The music festival circuit is dominated by familiar names such as Bonnaroo, Coachella, and Lollapalooza, monolithic events that are different on the micro level, but largely indistinguishable on the macro: All are held for thousands of revelers in expansive fields with essentially interchangeable lineups. But the world is a big place full of eclectic tastes, so music festivals catering to all sorts of subcultures and people with adventurous spirits have been popping up around the globe, providing us with an antidote to the corporate overlords that tend to dominate the scene. Here are some of the best and weirdest.

Breakout Stars of Summer ’16 At the beginning of last year, Rami Malek was a largely unknown actor who paid his bills by taking on supporting roles in movies that featured much bigger stars. Then, on May 27, the techno-thriller series Mr. Robott premiered on USA and, as the show unfolded, Malek skyrocketed to stardom as the leading actor. This seems to happen every summer: Artists get the chance to break through and add something entirely new to the culture, whether it’s by creating a song that we can’t stop spinning or giving a performance that we can’t stop thinking about, even after the warmer months come to an end. Check out some of our favorites.


illustrated by liz riccardi.

NYLON’s Nine Guide to Designers Amsterdam Who Redo “I Do”

The m

photographed by natalie o’moore.

ost aw e site in some shop ping the w orld

wave after wave get entranced by these electromagnetic designs. photographed by jake jones. styled by j. errico

all clothing by kenzo.

opposite page: all clothing and accessories by salvatore ferragamo.

all clothing and accessories by fendi.


dress by karen walker, turtleneck by wolford.

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all clothing and accessories by carven.

opposite page: all clothing and accessories by chanel.

hair: peter matteliano at kate ryan inc. for oribe. makeup: akiko owada. manicurist: angel williams at opus beauty using dior vernis. model: noreen carmody at new york model management. casting: adam browne at six wolves. special thanks to the computer music center at columbia.


new faves

Plys This line’s prospects are as bright as its custom-dyed colors. Designed in Berlin by South Korean-born Lee Joon, the label’s inaugural oferings are inspired by the luminous fluorescent hues of the construction workers’ vests and cyclists’ gear that dot the city’s urban landscape, making this streetwear in the most literal sense. Crafted from high-quality yarns and merino wool, the pieces are elevated and functional as well as fun and eye-catching. Best of all, they’re sure to make you look cooler than everyone dressed in basic black. MARISSA SMITH

© B Bu ffa ffal alo D Da a vid v Bit t on o 20 016 01 16 1 6


What approach did you take to designing this collection?

Liv On The moment that she first appeared in Aerosmith’s video for “Crazy,” Liv Tyler became an instant style icon. With an afinity for crop tops, pleated skirts, and slip dresses, she helped direct the trends of the ’90s and ’00s. This fall, the eternally cool Tyler makes her design debut, teaming up with British luxury heritage brand Belstaf to build a 12-piece capsule that accentuates strong and modern femininity. “I wanted to create my essentials—things I really wanted and needed in my closet: the perfect military coat, a great cape, a simple cashmere knee-length coat, a fun winter pufer, a knee-high lace-up riding boot, and my favorite bag,” she says. “They’re the kinds of things I have always worn as a New York City girl.” Here, Tyler shares more details on the making of the collection. YASMEEN GHARNIT Belstaf x Liv Tyler, $495-$2,895,

Forever NY Iconic New York City jewelry brand Me&Ro has epitomized bohemian luxury for 25 years now, with founder Robin Renzi’s famed incorporation of efortless designs made from high-end materials. To continue its year-long anniversary celebration, Renzi is presenting a limited-edition collection of vintage ebony pieces inlaid with diamonds and recycled gold, handmade in her TriBeCa workshop. Here, she reflects on the journey. KERYCE CHELSI HENRY Me&Ro 25th Anniversary Collection, $975-$2,450,

How has NYC and its jewelry scene changed since the shop’s earliest days on Elizabeth Street? Moe the Butcher has been right across the street for over a hundred years— everything else has changed. Seventeen years ago, when we opened the boutique, we were one of the only designer jewelry stores downtown. There are so many now, and I think there are more women designing jewelry.

I worked closely with the brand’s VP of women’s design, Delphine Ninous. She is wonderful and has been very supportive and helpful in making my ideas and dreams into reality. This was my first time designing a collection and a big learning experience. We went through Belstaff’s archives (filled with amazing things!), and it was so inspiring and helpful in capturing the spirit of the brand.

What kind of energy did you want the collection to have? Who is it for? One of the things I really love and wanted to emphasize was the combination of masculine and feminine looks. I love a jacket that looks like it could be yours or your boyfriend’s. I wanted to create pieces that every woman would enjoy having in her wardrobe and could wear season after season.

How has your personal style evolved through the years? I suppose my sense of style is always growing as I mature, but in many ways I’m most drawn to classic looks—not a trend or what’s in fashion in that

How has Me&Ro evolved in the last 25 years? I used to sell to many department stores. Now, I just sell to a few stores, and mostly through my store and the web. I’m much happier with a smaller company—it means I spend more time designing. I think my jewelry is more mature, but it has the same feeling, style, and look. I work more with 18-karat gold and less in silver. I use more unusual, one-of-a-kind diamonds. I make many limited collections. Since I finished this 25thanniversary collection with ebony inlaid with gold flowers, I am now making smaller ebony pieces.

What are some of your favorite Me&Ro pop culture moments? Notting Hill was the movie that helped put us on the map, and it was really fun to collaborate with Colleen Atwood for Memoirs of a Geisha. It was an incredible project—hair combs for geishas! I made flowers, flowers, and more flowers. And at one of her first Golden Globe Awards, Charlize Theron was wearing long gold earrings and loads of bangles made especially for her—she looked gorgeous.

moment. I often draw my inspiration from old films and photographs, and even women around me whom I have been inspired by, like my mother, my grandmother, Debbie Harry, and girlfriends I have grown up with like Kate Moss and Stella McCartney. I have always secretly been a bit of a tomboy and I love to mix something very feminine with something strong, practical, and masculine. I like wearing a beautiful dress with a boot or a little leather jacket, and wearing men’s clothes as well as women’s all mixed together.

So Strapping Soft, minimalist fall staples get an upgrade from sleek, sharp accoutrements courtesy of & Other Stories’ latest Co-lab with leather connoisseur Zana Bayne. The range of harnesses, corsets, and straps pairs beautifully with complementary clothing (think dresses, sweaters, and suiting made to be worn underneath), proving the perfect marriage. The same could be said of these two labels’ union. “The assumption for a company of their size would be that they would inhibit our vision, but in actuality the opposite was true,” says Bayne. “The first sketches that we presented to them have become the pieces which will be sold as the Co-lab, without them asking for any changes to the design. They love and are genuinely fans of our brand, and we reciprocate.” The running theme of this collection of leather accessories is the stark diference, but ultimate harmony between such items and classic ready-to-wear: the way that strong lines and silhouettes combine with pretty, polished pieces for what Bayne’s co-creative director Todd Pendu describes as “a forwardthinking, modern woman’s wardrobe”—our kind of girl. KCH Zana Bayne & Other Stories Co-lab, $29-$325,

new faves

new faves



From the founders of cult-favorite luxury retailer N-Duo-Concept, Natuka Karkashadze and Nina Tsilosani, comes N-Duo, an in-house brand launched in 2015. Based and produced in Tbilisi, Georgia, the label seeks to bring experimental ideas to the table through unconventional materials, bright colors, exclusive prints, and quirky design touches. The brand’s fall ’16 collection features fun items like hooded tracksuits reimagined with extra-long bell sleeves and wide-leg silhouettes as well as roomy dresses with mesh necklines and oversize buttons that dare you to have fun with your clothes. #MajorKey. MS

Launched in 2014 by Mijia Zhang and Wei Lin, Singapore-based brand PH5 fills a niche in the market for cutting-edge knitwear. Lin brings a strong knit technology background while designer Zhang, an alum of big names like Christopher Kane, Nike, and Calvin Klein, is the mind behind the label’s crazy-cool patterns and shapes (think sweater bodysuits and maxi dresses). With inspirations ranging from architecture to art installations, this line is one to covet for your fall needs. MS

C’est La Vie Parisian flea markets, particularly their incredible vintage lingerie selection, served as Rebecca Taylor’s inspiration for her new collection. Dubbed La Vie, the range features the brand’s signature feminine details and silhouettes, but represents a new foray into the world of casual ease. (“Personally I’m more of a tomboy than you would imagine,” Taylor explains.) The oferings, available this month, include washed poplin rufled blouses, easy-to-layer bouclé knits, and the perfect high-waisted straight-leg jeans—Taylor’s personal favorite. AUSTEN TOSONE La Vie Rebecca Taylor, $75-$395,

designer dispatch

Christelle Kocher Since graduating from Central Saint Martins in 2002, Christelle Kocher has put in her time with some of the fashion world’s top talent—cutting her teeth at Chloé, Sonia Rykiel, Dries Van Noten, and Bottega Veneta. In 2015 she struck out on her own with a high-fashion-meetsstreetwear brand dubbed Koché, complete with true couture detailing. As the artistic director of legendary plumassier (et fleuriste) Maison Lemarié, she has unparalleled access to Paris’ great maisons d’art, many of whom lent their talents to her budding designer label. The result helped Kocher establish a new category of dressing, “couture to wear,” earning her a nomination for this year’s LVMH prize. So, to whomever said couture is dead, in the hands of Christelle Kocher, it looks like it’s getting a reboot. JOSEPH ERRICO


Hometown Strasbourg, at the French and German border

Astrological sign Libra

Design philosophy Curiosity and creativity

Material of choice Jersey

Sartorial scenario Right now, I’m not nostalgic, and I’m somewhere between Paris, Tokyo, and New York.

Musical metaphor A very intense mixed DJ set

Inspirations for fall ’16 A collage of couture,

contemporary, craft, street culture, motocross, Nico Vascellari, Bjorn Copeland, and Greta Garbo

Personal wardrobe staple Black men’s jacket, embroidered top, and relaxed trousers

Dream travel destination Trinidad and Tobago

Last novel you loved The Pale King by David Foster Wallace

Favorite film of all time Hard to pick only one, but Do the

Right Thing stuck in my mind for a long time.

Soundtrack Aamourocean for my shows

Drink order Red wine or Champagne or both

Standby snack Avocado with some salt and pepper



obsessing over

Editorial assistant Austen Tosone has a crush on velvet. photographed by katie thompson As I prepared for movie night, my friend texted me the dress code: “Wear cozy clothes! I’m in sweats.” In the small town where I grew up, people rarely put much thought into the outfits they wore to buy groceries or mail letters, which totally blew my mind. In my eyes, every activity was fitting of at least a little efort on the fashion front. So I did the only thing I could: pulled on my black velvet burnout pants. Warm and soft, slightly baggy but fitted at the waist, they’re my personal take on snuggly attire—and never for a second did I feel like I was sacrificing style. I paired them with a cropped sweater and slip-on sneakers and headed out the door. The thing about velvet is that it has this amazing and totally transformative quality that can make a regular, comfortable piece feel like something really special. The luxe vibe that comes from a subtle shimmer and an incredibly rich, fuzzy feel instantly elevates basics. Because of this, I take extra care with my velvet items and hang them front and center in my closet so they’re easy to grab. Fall is, of course, the best season for velvet. I’m especially a fan of the jewel-tone variety: emeralds, cobalts, and my personal favorite, burgundy. I’m currently dreaming of acquiring a velvet jumpsuit in (you guessed it) burgundy, and when it finally works its way into my wardrobe, I’ll wear it everywhere from going out in New York City to the grocery store in my hometown. Maybe I’ll even pick up some red velvet cupcakes while I’m there.


Footloose venturing off the beaten path to the birthplace of some of our favorite shoes. by marissa smith. photographed by jordi sarra New York, Paris, London, and Milan are the first cities of fashion. But it took journeying to Elda, a small city in the Alicante province of Spain, to witness the best in shoemaking. There, acclaimed footwear designer Stuart Weitzman has been building his empire since 1986. This year, Weitzman’s namesake brand is celebrating its 30th anniversary, and I got the chance to experience firsthand why the company is one of the best in the busines. Within the city, the company works with 11 factories, all of which seem to have a specialty or a focus, from leather and embossing to the making of the heels themselves. The factories oversee the production of the shoes from beginning to end, starting with the initial drawing and finally shipping their creations to retailers around the world. But before they are sent of to customers, they spend a lot of time in Spain, as does Weitzman himself. What brought him there this time around, you ask? A Ping-Pong tournament. As it turns out, Weitzman is not only a footwear connoisseur but also a competitive table tennis player! With his knowledge of everything from the most complex details of designing a shoe to running a business, the 30-year mark is a well-deserved achievement. “You know what’s changed the most? It’s the customer we’re selling it to,” says Weitzman. “When I first got into the business I was right at the end of my father’s generation; designers were still only designing for themselves, and dictating to you what you have to wear this season.” Today, you can

be your own tastemaker, as we can see from personalities like Gigi Hadid and Joan Smalls (who have starred in Weitzman’s campaigns). The time and efort it takes to create a good shoe is something many customers take for granted. “The line of the shoe [is the most important part] because that’s where it will put the most pressure on your foot,” says Weitzman. It’s clear that he understands intimately the intricacies of design and function, in all shapes and forms. His company’s products range from boots to pumps to bridal pieces. The label’s expansive collection of designs makes them appealing to every customer, young or old. Weitzman’s even produced shoes worth a million dollars—they made their red carpet debut in 2002 on Laura Harring for the Academy Awards. “The sole was platinum, it had 800 or so diamonds,” he says. “I think there were nine or 10 karats. They looked like the ones Beyoncé wears.” Over the last three decades, the company has grown immensely, building a legacy of footwear we all covet. And after seeing these shoes made IRL, I now know it’s true that you get what you pay for. So, I would advise saving up for Stuart Weitzman rather than blowing your piggy bank anywhere else. You won’t be sorry.


Zuri Marley Zuri Marley’s summer dorm at New York University comes furnished with typical college staples: khaki walls, matching twin beds, and stock dressers. The room seems normal at first, until you notice the flair she’s added. On a desk in one corner are two shelves lined with wig heads, each with its own unique style. Next to them, a vinyl record of music by her dad, Ziggy Marley—Bob’s eldest son. “It’s my Factory,” she says of the space, referring to Andy Warhol’s iconic studio. Her chosen wig for the day is jet black and wavy, with a bang. “When I first moved here, I couldn’t even aford a wig,” she says. “Now I’m building my collection.” Visually, the 20-year-old rising musician and actress (who also moonlights as a DJ) fits the profile of a Warhol muse. For today’s photo shoot, she’s paired a black T-shirt and voluminous sheer white wire-frame skirt that intentionally channels ’50s prom wear—part of her personal mission to subvert American culture. “When you look up ‘1950s prom,’ you don’t see a black girl. You have to really dig deep,” she says, in a barely detectable Jamaican patois. “I was so obsessed with prom, football, cheerleaders—’cause we didn’t have any of that in Jamaica.” Fueled solely by curiosity, Marley spent much of her youth holed up in a room decorated with Jonas Brothers posters and Rihanna records. Instead of


frolicking through the hills of Kingston—where she was raised by her mom Carleen, a producer (her dad lived in the States)—Marley studied American culture and cured her hyperactivity with African, tap, and jazz dance classes. “We didn’t have the resources for all the things I needed in Jamaica, so I would constantly be online,” she says. “Tumblr was a huge thing for me. Writing was a huge thing for me. We had no Broadway. I would just listen to all the soundtracks.” As a descendant of reggae legends, she frequently tagged along with the Marley elders to studio sessions and concerts—just her and her “100 cousins,” she jokes. “They’d always have us run up on stage for the finale, ‘Look Who’s Dancing,’ usually, or ‘Could You Be Loved,’” says Zuri. “Those were the dope times.” Three years ago, she moved to the United States—specifically to New York City for its rich subcultures—to attend NYU’s Clive Davis Institute of Recorded Music. Though music is in her DNA, she has no interest in merely following in the footsteps of her bloodline. “There are a bunch of diferent sounds that my family hasn’t explored as deeply as I have,” says Marley, citing influences like Cyndi Lauper, Dionne Warwick, and cellist Arthur Russell. “I’ve always been interested in things that weren’t just reggae and dancehall, even though that’s what makes me shake.” For instance, the entire time we’ve been speaking, her

room has been flooded with the sounds of her latest obsession, Blood Orange’s album Freetown Sound. When Marley cues up her own demos (including a “sexed up” version of Neil Young’s “Harvest Moon”), it’s all ethereal, atmospheric mood music made for lovers. “I’m a romantic. Everyone knows this. It’s really bad,” she says, smiling. “Everything I do is diferent. When I present my music to people, they’re going to mention my lineage. But they’re also going to see something that’s very specific to me.”

hair and makeup: danny lariviere using marc jacobs beauty.

she may come from reggae royalty, but this budding creative is forging her own path. by clover hope. photographed by carla tramullas

marley’s musts Eating Miss Lily’s. Even though it’s not exactly like home, it comforts me.

Wearing I’m obsessed with jumpsuits, wigs, and lowkey turtlenecks. Thrift stores, always—I love creating makeshift clothes.

you get insight into how she works as a creative person.

Visiting My mom is going to take me wherever I want in the world for my birthday in October. I want to go to Bali or Morocco— somewhere where I look outside and get inspired.

Coveting A Vitamix blender. It sounds so silly, but a good blender makes a difference.

Believing Beautifying M.A.C foundation. I use Origins’ Rose Clay mask, Aztec Healing Cleanse, and Tatcha Dewy Skin Mist to make my skin look glowy and beautiful.

I have Bibles that I try to read. I take from them what I want.

Listening I love the new Blood Orange record, and Bon Iver, James Blake, Lykke Li, and Kate Bush’s Hounds of Love. I’m listening to Bob Marley because that’s what I need right now.

Browsing Vegan “What I Eat in a Day” YouTube videos, with the smoothie bowls with 60 different things in them.

Rejuvenating I’m all into pampering. My shower gets really hot, so me and my friend turn on the steam, put masks on, and have our Bluetooth playing Sade. We call it “Broke Bitch Spa.”

Reading Grace Jones’s autobiography. It’s candid and


Instant Classic amanda jones from some kind of wonderful is an inspiration to us all. by austen tosone. illustrated by liz riccardi We can all agree that few things are worse than watching someone you have feelings for fall for someone else. That’s exactly what happens to Watts (Mary Stuart Masterson) in the 1987 film Some Kind of Wonderful when her best friend, Keith Nelson (Eric Stoltz) goes out on a date with the most popular girl in school, Amanda Jones (Lea Thompson). Although Watts doesn’t recognize it at first, the audience is well aware of her afection for Keith. Before Amanda’s date with Keith, Watts warns her with the iconic words, “You break his heart, I break your face.” The love triangle grows when word of Keith and Amanda’s relationship gets out and Amanda’s ex-boyfriend Hardy Jenns (Craig Shefer) plans revenge at a party, leading to everyone’s true feelings being revealed. While Watts has the louder personality by far, we can’t help but fall for Amanda’s awesome and utterly classic style. She not only styles herself in a polished, slightly undone way, but she

totally rocks the wardrobe staples that we find ourselves coming back to year after year. From her chambray shirt to her black high-waisted shorts, Amanda has a lock on no-fail pieces. Her great taste extends to accessories as well: a simple watch, her signature choker necklaces that change over the course of the film, and a pair of sunglasses perfectly perched atop her voluminous hair. For most of the film, Amanda only knows herself through her friends and her romantic relationships—a character (dreamed up by writer John Hughes) who has many similarities to Claire Standish in The Breakfast Club. Amanda’s shining moment comes at the end of the movie when she returns Keith’s earrings and tells him that she feels she should learn to stand on her own. And what’s cooler than self-confidence?

top row from left: vanessa mooney, $48; sunday somewhere, $250; nixon, $200; j.crew, $60; tecovas, $235; denim & supply ralph lauren, $165; topshop, $360.


trend 1

Over the past 16 years, ’90s fashion has been mined time and time again. The minimalism set forth by the greats— Helmut, Calvin, and Jil—has been dutifully reworked to suit today’s legions of Carolyn Bessette Kennedy wannabes. But where does it leave those among us who look to the likes of Lisa “Left Eye” Lopes for our style cues? No need to feel “Unpretty” any longer—with the debut of the Fenty Puma by Rihanna collection, it’s clear that it was high time for old-school street fashion to get remixed. Sport-injected silhouettes that would have looked perfectly at home on Baby Girl Aaliyah appear to be the jumping-of point for Bad Gal RiRi’s collection. She’s not the only designer to telegraph this ’90s redux, however: Labels as varied as Proenza Schouler, Versace, and Louis Vuitton all look to the racy and colorful streetwear seen in countless Hype Williams videos as inspiration for their fall collections. Even fashion world darling Demna Gvasalia has injected his take on ’90s sportswear into the venerable house of Balenciaga, while rifing on classic streetwear brands such as Champion for his own collection, Vetements. It’s about time for some supa dupa fly fashion. JOSEPH ERRICO

top from left: versace, fenty puma by rihanna, vetements, louis vuitton. middle from left: balenciaga, tim coppens, public school, gypsy sport, gypsy sport, caitlin price. bottom from left: rag & bone, chromat, versace, versace, versace.

Oooh, Baby, Baby

trend 2

top from left: dolce & gabbana, balmain, prada, ralph lauren. middle from left: oscar de la renta, lanvin, christian dior, prada. bottom from left: miu miu, burberry, gucci, miu miu, michael kors.

Inside/ Outside September—even the mention of the month makes us start thinking about our fall/winter looks (read: Septembrrr). Sad as it is to put away our summer gear, the silver lining to cloudy skies ahead is that with the change in weather comes the opportunity to layer on thick, rich fabrics. And this season, what could be more alluring, more appealing, more tempting than to wrap oneself in luxurious upholsteryinspired styles?  Sumptuous brocades, daring damasks, jaunty jacquards, and fancy fils coupes all create a beautiful tapestry of options for your coldweather wardrobe. For both day- and eveningwear, these materials traditionally used for interiors seem even more at home cut into a perfect coat than they do in, well, your home. So whether you gravitate toward the gilded look of Dolce & Gabbana, Gucci, and Michael Kors or feel more comfortable in the deep dark tones of Burberry, Miu Miu, or Lanvin, you’re sure to find something to help reupholster your wardrobe. JE


trend 3

Long gone are the days when people carried pictures of their loved ones around in their wallets, ready to produce at a moment’s notice. For years, these little 2.5-by-3.5inch shots served as tangible talismans we could connect with when miles from home; now, we rely on a full battery charge for visual reminders of our assorted baes. Perhaps this age of disappearing Snapchat pics and digital photo albums is leaving us wanting more permanency? Might we be craving something more tactile in our connection with humanity? Search no further than the fall ’16 runways. Multiple designers have looked to the visage for their print inspiration this season, and the results are as varied as one would expect. From classical portraiture with a twist, seen at Undercover and MSGM, to cameo cutouts at Paul Smith, to Warhol-esque Polaroids popping up at House of Holland, suddenly everyone’s face is in your face this season. So on your next stroll through the city, try to pull your own face out of your phone long enough to have a look at the people around you. You never know who you might see staring back. JE


top from left: msgm, undercover, paul smith, house of holland, msgm. bottom from left: house of holland, house of holland, julien david, undercover.

Portrait of a Lady

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Ilana Kozlov

makeup: hayley jean farrington.

idiosyncratic and unflappable, this multidisciplinary artist and fashion industry newcomer is effortless in all the right ways. by remy ramirez. photographed by carissa gallo Ilana Kozlov makes giving no fucks incredibly endearing. “I don’t know, I’m not really that kind of model,” she responds when asked which of her latest projects makes her most proud. We’re sitting high atop a downtown L.A. warehouse where the 21-year-old multimedia artist and Hollywood native just wrapped a photo shoot, and I can’t help but go a little slack-jawed at her answer. It’s just not what you’d expect from someone who broke into the modeling scene only a year ago and has already walked for industry giants like Max Mara and Balenciaga, not to mention laid claim to the latter’s spring ’16 campaign and Diesel’s as well. But what may initially come across as blasé in Kozlov is actually an efortlessness that not only defines her career to date (she was discovered while out casnot a thing for me. No one cares about sette-tape shopping with a pal, and only your walk if you have a cool look.” followed up with the agent in hopes of That, Kozlov most definitely has: all making some extra cash), but also sums sculpted cheekbones, tatted limbs, and up her whole vibe: “I was hanging out in androgynous mien. But the veneer is Paris with my friend, and she asked if I backed by a complexity that instantly wanted to come along to her Balenciaga surfaces when she starts in on her first fitting. I didn’t think much of it; I showed love, art. “A lot of the artwork I produce up in my pajamas and thought I’d just is rooted in feminist theory,” she explains. wait around and kill time. Next thing I “For example, I think a lot about the way know, the casting director is booking me.” that women are expected to be both If getting enlisted on the spot for one infants and prostitutes”—a theme that of the biggest shows in Paris wasn’t comes up, needless to say, in her work enough to rattle her, nailing the catwalk as a model. But instead of turning away was, like, whatever. “People were telling from the close relationship she now has me diferent things, but I said, ‘Fuck you’ with these problematic topics, she uses to all of them and walked like a normal it to fuel her creative process. “Modeling person,” she declares. “Runway walks are has a hand in distributing that narrative

to the masses, and being a medium for that information allows me to treat those ideas more intimately in my artwork,” says Kozlov. Throughout our conversation, it becomes increasingly clear that she isn’t only thoughtful about the concepts that feed her work, but also about defining the work itself: “I sculpt, dance, take photos—I’m multidisciplinary, but I’m not sure how to frame it thematically,” she says. “I look at the art object as a container, a vessel for communication, so I don’t like to specify which genre I work in because it puts me in a corner.” That resistance to being pigeonholed is another of Kozlov’s defining traits, and one that may have taken root during her


struggles as a teen. “I was depressed and addicted. When you’re partying all the time it feels like you have friends, but you don’t. I was bullied throughout my childhood, and when I got older I was always looking for a way to escape,” she recalls. Unexpectedly, that escape finally came in the form of modeling. Whereas other neophytes might freak out under the spotlight’s scrutiny, Koslov is soothed by it. “It’s very similar to meditation; you become aware of the moment as


opposed to checking out. Whatever pain I’m in or whatever thoughts I’m having, when I’m taking direction on set, I’m not thinking about any of that. I have to be completely present,” she says. As it turns out, that’s not the only way fashion acts as a source of comfort for Kozlov—in fact, it may even trump fine art for her in that department. “There’s an intimacy about fashion that’s so cool,” she muses. “With sculpture, you can arrive at it, interact with it, but then you have to leave it; you

can’t carry it around as a way to represent yourself. But with clothing, I can carry it with me. It can become a part of who I am whenever I feel like it.” With such breadth of experience as an artist and model, perhaps she has a cerebral take on what it means to be beautiful. “That’s so hard,” she says, looking out at the Los Angeles skyline, suddenly taciturn. “I honestly don’t know what beauty is. I think it must be love.”

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“The Clif Hanger”

True Gem dani stahl goes inside the essential new york institution that is tiffany & co. photographed by eric helgas

On the corner of 57th Street and Fifth Avenue in Manhattan, I stare up at the iconic Atlas clock. You know the one: the famous nine-foot bronzed statue holding a huge timepiece almost four feet wide, mounted in the limestone, granite, and marble entrance of the Tiffany & Co. flagship store. The clock originally sat atop one of the very first Tiffany locations at 550 Broadway way back in 1853, a reminder that I’m about to enter the home of a brand that’s essentially synonymous with New York City’s history of old-school glamour. I’m getting the obligatory Breakfast at Tiffany’s vibes.

elsa peretti cuf— need!

Upon entering the building, I’m immediately greeted by my hostess, a lovely woman named Dale Marcovitz. She’s been at the company since 1972 and, although technically retired, now serves as an ambassador of all things Tiffany. Basically, I get the sense that if she doesn’t know about it, it didn’t happen. In a soft voice with an almost magical cadence, my Tiffany fairy godmother tells me the story of how a company that started in 1837 as a “stationery and fancy goods” shop became one of the most renowned jewelers of all time and the embodiment of American luxury. We tour the store’s many levels, each with a different tale to tell. There’s almost too much history to process. The main floor is a classic Hollywood fave: Obviously it’s Holly Golightly’s haunt, but it’s practically a character in Sleepless in Seattle and Sweet Home Alabama as well. It’s also where the renowned Tiffany Diamond can be found, but if that’s not enough to wow you, the mezzanine is full of the rarest jewels (all of which my guide lovingly refers to as “she”). The second floor is dedicated to engagement rings and wedding bands. (Fun fact: Tiffany invented the engagement ring as we now know it, with the shining raised center diamond—before them, diamonds were almost always put in concave settings called bezels.) The third floor features sterling silver jewlery designs, which, as any girl who ever coveted Tiffany’s famous heart tag bracelets knows, is a huge part of the brand’s heritage. Indeed, silver is what originally put it on the map: In 1867, when the company was awarded the grand prize for silver craftsmanship at the Paris World’s Fair, it was the first

time that an American design house had ever been honored in that way. The next three floors of the building are dedicated to special collections for the home, events and exhibitions, and customer care respectively. And then comes the Tiffany workshop, where master artisans craft the brand’s high jewelry beauties. Of course, this Factory Girl has to check that out. As always, I get down to the nittygritty. The work is delicate and requires a professional, but I do get to tweak a setting, investigate a prong, and shine and heat the precious metal. Let me tell you, it’s intricate business. I then shadow a man who’s deep in the process of creating an amazing pavé-style necklace, carefully placing each diamond. I ask him how long it will take to make that one piece. The answer: a whole month. But perhaps the biggest takeaway from this experience (aside from my newfound obsession with a chunky yellow gold pinky ring that just came out of “retirement”) is that Tiffany & Co. has

setting a stone

always been and will always be a beacon of society and culture in New York and America at large. It was a favorite of the Vanderbilts, Astors, Whitneys, and Havemeyers. Its china set the table at White House dinners. Its jewels adorned elegant women like Jacqueline Kennedy Onassis, Elizabeth Taylor, and Diana Vreeland. Designs from legendary creatives like Jean Schlumberger, Paloma Picasso, and Elsa Peretti are exclusively found at its stores. (Peretti’s Open Heart, Marcovitz informs me, is one of the most recognized symbols of love in the world.) Even the Vince Lombardi Trophy for the NFL Super Bowl championship game has been created by Tiffany since the first one was held in 1967. So remember, the next time you see that signature baby blue, it represents so much more than just luxury goods. It’s the symbol of a full-on way of life.

my breakfast at tiffany’s dreams come true.

just rocking a milliondollar ring, no big deal stare into the sun

artisan at work

HOME This chair is one of a set of four that Flinn borrowed from her brother. “I love Shaker furniture,” she says, musing on the chair’s solid construction and simple shapes. The poster above it is from a show of photographs by Tim Barber.

Yara Flinn inside the nomia designer’s smart, simple space. by liz arnold. photographed by daniel terna

Those familiar with Yara Flinn’s fashion brand Nomia won’t be surprised that her one-bedroom apartment in Williamsburg, Brooklyn, is as minimal-chic as the collections for which she’s known. “I make dresses for women who don’t like dresses,” says the longtime New York City dweller, sitting on a linear gray sofa in a sporty sleeveless anorak-style midi frock of her own design. “It’s so hard to find a dress that feels like jeans and a T-shirt—not only in terms of comfort, but also feeling casual and put-together.” Her aesthetic, she says, “is really about juxtapositions: the tensions between masculine and feminine, between utilitarian and luxury. I like recontextualizing shapes into unexpected fabrics. Those are the things I find most exciting about design.” Translate that to the home, and you won’t find rufled curtains. Instead there are clean lines, unstained wood, two cats, art from friends, and a lot of herbs and plants. The cofee table, built by her husband, architect Drew Seskunas, is a Uline utility cart on locking casters that he cut down and topped with painted and varnished OSB (oriented strand board), the strong and cheap material commonly found at construction sites. “I love it, because you can move it and do your workout on the rug,” she explains. Seskunas, whose design studio The Principals makes experimental architecture, objects, and furniture, also notes a pragmatic benefit of the table’s wire base: “It helps to have something open so cat hair doesn’t collect.” Flinn had lived in the apartment for a few years before Seskunas joined her (they got hitched in August), but aside from a few antique rugs from eBay, she hadn’t directed much attention to the

space. “I wasn’t the best nest-maker,” she concedes with a laugh. “I was at work for such long hours that I came home just to go to sleep. Once Drew moved in, he was like, ‘So basically we’re going to redo everything.’” With his encouragement, Flinn got inspired. A lamp that had sat in its box for eight years finally went up, and now she’s getting into tactile ceramics. “I used to covet shoes,” she adds. “Now I covet housewares.” Though they both have strong opinions about design, the marriage of their furnishings was pretty easy. “Luckily we have very similar tastes,” says Flinn. She liked everything Seskunas contributed, particularly another OSB side table with triangular legs that he and his partner laboriously fit together and secured with dowels. Other pieces include prototypes from a pop-up shop he built for Everlane: a tall mirror in light, unfinished wood, and a rack, similar to a ladder, on which they can hang things, like a wetsuit after a day of surfing. But the emphasis on function doesn’t mean that beauty is compromised. Flinn, influenced by the ’80s classic The International Book of Lofts and other vintage interiors books that she buys of Amazon, describes her vision for the home as “warm minimal.” A Wassily Chair by Marcel Breuer that she found on Craigslist—in tan leather, not the more

popular black—is a perfect example. “When I found it, I was like, ‘Oh my god, amazing,’” she says. “For me, chrome plus tan equals the perfect juxtaposition of materials. It’s austere, but it’s warm.” Her Instagram feed features more design inspiration from the ’70s and ’80s, like a monochromatic pale yellow living room with sling chairs, and a tonal carpeted floor with sunken seating areas. Pointing to a photo in the lofts book, she says, “I mean, these Mario Botta chairs are amazing, and for some reason I can still be inspired by them for clothing, because it’s about the lines, or the finishes of the metal.” And that only makes sense. When Flinn speaks about her home, she could just as easily be describing her mission for fashion. “There should be a lived-in aspect to it,” she says. “It shouldn’t be untouchable.”

Function is key for the minimalist couple, who favor materials like unfinished wood, OSB, and stainless steel. The cofee table’s modified utility cart features a heavyduty wire rack, perfect for storing dense books on architecture and design. For entertaining on the roof, Flinn says, “We just climb out the window.”

Next to the record player is a coral stone Flinn brought back from a CFDA trip to Puerto Rico, a photo of Seskunas’s parents on a camping trip in the 1960s, antique soldiers, and prototypes from The Principals’ Brancusi Studies, “a project inspired by the multiple re-creations of Brancusi’s studio by the French government,” says Seskunas.

A rack is perfect for hanging things—like sports equipment and wetsuits—that are often in use. Seskunas built the triangular OSB side table, and the Philippe Starck lamp is from Flos. It was a gift from Flinn’s dad.

Miu Miu, one of the couple’s two cats, lounges in the kitchen near the AC. Flinn, who has a green thumb, grows a lot of herbs, like this basil in the kitchen, and rosemary, sage, and thyme on the rooftop. “It’s not like I’m a big cook,” she says, “but it’s the easiest to throw sage in something.”

A vintage rug is complemented by Flinn’s chunky suede Maryam Nassir Zadeh shoes. “Sky blue is my favorite color,” she says. “I think it goes well with most other colors, and it’s really serene.”

sweater by emilio pucci. not gold—but these lurex-incorporating pieces are just as luxe. photographed by david gomez maestre. styled by wendy mcnett


1. marc jacobs, $425 2. sass & bide, $490 3. emilio pucci, $1,220 4. redvalentino, $595 5. bella freud, $385 6. american apparel, $88 7. (nude), $440 8. bcbgmaxazria, $198 9. christina economou, $242. opposite page: all clothing and accessories by isabel marant.


1. suno, $895 2. nomia, $440 3. vanessa seward, $1,900 4. tory burch, $995 5. house of harlow 1960 x revolve, $198 6. majorelle, $288 7. zara, $100 8. paul & joe, $359 9. asos, $57. opposite page: all clothing and accessories by missoni.


all clothing by karen walker, earrings by faris.

all clothing and accessories by dolce & gabbana. opposite page: all clothing and accessories by emilio pucci.

hair: david cruz at art department using kevin murphy. makeup: yinna wang using glossier. manicurist: angel williams at opus beauty using dior vernis. model: kyle kellogg at muse.

1. frankie, $440 2. sadie williams, $490 3. m missoni, $695 4. jil sander, $730 5. alice + olivia by stacey bendet, $695 6. nicole miller, $265 7. orla kiely, $419 8. saunder, $295 9. alexandre vauthier, $1,500. opposite page: all clothing and accessories by chanel.


All Around the World get inspired by these show stopping looks from fashion month.



1. j.crew, $50 2. brixton, $18 3. 6229, $775 4. diane von furstenberg, $348 5. gucci, $770 6. armani exchange, $200 7. closed, $334 8. tifany & co., $7,500 9. beau souci, $450 10. dkny, $228.

1. topshop unique, $600 2. anya hindmarch, $4,450 3. oxydo, $295 4. 3.1 phillip lim, $395 5. boden, $108 6. asos, $49 7. adidas by stella mccartney, $170 8. dolce vita, $125 9. sonia rykiel, $570 10. guess, $79.



1. uniqlo, $40 2. band of weirdos, $6, available at 3. baublebar, $28 4. kenzo, $2,910 5. m.i.h jeans, $225 6. abril barret, $8,800 7. christian louboutin, $1,450 8. brooks brothers, $25 9. givenchy, $395 10. pinko, $483.

1. vans, $22 2. uno de 50, $200 3. opening ceremony x gentle monster, $380 4. elizabeth and james, $325 5. smythe, $495 6. alexander wang, $535 7. the fifth label, $70 8. joie, $258 9. stuart weitzman, $565 10. nomia, $360.


the magic’s in the makeup with this year’s award-winning beauty products! by jade taylor. photographed by anairam. still lifes photographed by fionayeduardo

models: seashell and sabrina fuentes

best eye cream clinique pep-start eye cream, $26.50,

best essence sk-ii r.n.a. power radical new age essence, $195,

best face serum jurlique herbal recovery advanced serum, $56,

best night treatment kiehl's nightly refining micro-peel concentrate, $54,

best makeup remover chanel gentle bi-phase eye makeup remover, $34, best face oil arcona wine oil, $58, best exfoliator tatcha classic rice enzyme powder, $65,

best facial spray mario badescu facial spray with aloe, herbs and rosewater, $7,

best face toner weleda refining toner, $17.50,

best foam cleanser fresh peony brightening foam face cleanser, $42, best face mask sisley paris express flower gel, $140,

best pore treatment perricone md intensive pore treatment, $85,

best face sunscreen skinceuticals physical matte uv defense spf 50, $34,

best cleansing oil sulwhasoo gentle cleansing oil, $38,

best night moisturizer lancôme visionnaire nuit night cream, $88,

best face self tanner by terry terrybly densiliss sun glow, $116,

best pore strips bioré deep cleansing pore strips, $7.50 for eight strips,

best sheet mask clé de peau beauté intensive brightening mask, $30 for one pair,

best spot treatment peter thomas roth acneclear invisible dots, $12 for 24 dots,


best face cleanser glossier milky jelly cleanser, $18,

best face peel kate somerville retasphere micro peel, $90,

best day moisturizer algenist sublime defense anti-aging blurring moisturizer spf 30, $75,





S E P H O R A .C O M


© K AT V O N D B E A U T Y 2 0 1 6

model: jazzelle at new york model management

best makeup bag sonia kashuk the overnighter in artwork, $16,

best blotting papers dhc oil blotting paper, $5,

best round brush drybar double pint large round brush, $42, best eyelash curler ulta professional eyelash curler, $16,

best makeup sponges beautyblender, $18; beautyblender beauty.blusher, $16; beautyblender the original, $20; for all

best konjac sponge boscia konjac cleansing sponge, $15,

best blow-dryer paul mitchell neuro motion dryer, $190,

best facial toning tool nuface trinity facial toning device, $325,

best makeup brushes artis elite gold 10 brush set, $495 for 10 brushes, best straightener babyliss pro nano titanium prima 3000 stainless steel straightening iron, $200, best facial cleansing tool foreo luna 2 normal skin, $199,

best hair brush tangle angel brush in pink, $19,

best tweezers anastasia beverly hills tweezers, $28,

best hair ties scunci effortless beauty ponytail holders, $4 for 100 pieces, best face steamer dr. dennis gross pro facial steamer, $139, best curling iron ghd curve soft curl iron 1.25", $199,


models: leaf at muse models and alexis jae at mother division

best topcoat and best base coat formula x shine nail top coat, $10.50; formula x prime nail base coat, $10.50; for both best gold cĂ´te nail polish in no. 97, $18, best purple cnd vinylux weekly polish in 138 purple purple, $10.50,

best spray nail polish nails inc. paint can spray in porchester square, $12,

best glitters deborah lippmann nail polish in stronger and happy birthday, $20,

best vamp essie polish in wicked, $8.50,

best drying drops sparitual andalĂŠ fast dry & shine drops, $17,

best nail polish remover zoya remove + nail polish remover, $10,

best gray smith & cult nail polish in subnormal, $18,

best red christian louboutin nail colour the pops in lady peep, $50,

best white and best black opi nail lacquer in alpine snow, $10,; marc jacobs beauty enamored hi-shine nail polish in blacquer, $18,

best nail stickers sally hansen salon effects real nail polish strips in 490 geome-trick, $9,

best cuticle cream and best cuticle oil burt's bees lemon butter cuticle cream, $6,; ciatĂŠ london marula cuticle oil, $19;

best nail tools tweezerman neon hot filemates, $7; tweezerman powergrip fingernail clipper, $10; for both

best orange nailing hollywood nail polish in hazard, $10,

best nude ncla nudes in volume iv, $16,

best pastels jinsoon nail polish in charme and dolly pink, $18 each,

best multicolor polish me silly nail polish in rose bud, $11.50, shop/polishmesilly

best earth tones floss gloss nail polish in donatella and faded, $8 each,


model: ceilidh joy

comme des garçons dot eau de parfum, $130 for 3.4 fl. oz.,

miu miu eau de parfum, $88 for 1.7 fl. oz., tom ford velvet orchid eau de parfum, $168 for 3.4 fl. oz.,

byredo bal d'afrique eau de parfum, $230 for 3.3 fl. oz.,

diptyque essences insensées eau de parfum, $180 for 4 fl. oz.,

best diffuser rosy rings lemon blossom & lychee reed diffuser, $56,

issey miyake l’eau d’issey pure eau de parfum, $108 for 3.3 fl. oz.,

juicy couture i love juicy couture eau de parfum, $94 for 3.4 fl. oz.,

prada candy flowers: candy eau de parfum, $38 for 0.68 fl. oz.,

stella mccartney pop eau de parfum, $72 for 1.6 fl. oz.,

best home fragrance peacock parfumerie prince orange geranium hand, $30,

best room spray jo malone lime basil & mandarin scent surround room spray, $60,

maison margiela replica by the fireplace eau de toilette, $125 for 3.4 fl. oz.,

bond no. 9 dubai amethyst eau de parfum, $550 for 3.3 fl. oz.,

derek lam 10 crosby rain day eau de parfum, $95 for 1.7 fl. oz.,

best solid perfume, best perfume oil, and best rollerball catbird kitten solid perfume, $18,; elizabeth and james nirvana black pure perfume oil, $35, sephora. com; dolce & gabbana dolce rosa excelsa rollerball, $33,

yves saint laurent tuxedo le vestiaire des parfums eau de parfum, $250 for 4.2 fl. oz.,

best candle malin+goetz cannabis candle, $52,

bulgari eau parfumée au thé noir eau de cologne, $97 for 2.5 fl. oz.,

le labo santal 33 eau de parfum, $175 for 1.7 fl. oz.,

best essential oils aura cacia bergamot essential oil, $13.60,; young living lavender essential oil, $31,


models: rachel trachtenburg at elite models and sasha frolova

best mauve japonesque color pro performance lipstick in shade 6, $20,

best liquid lipstick obsessive compulsive cosmetics lip tar liquid lipstick in cosplay, wasabi, technopagan, and disintegration, $16 each,

best rose burberry beauty burberry kisses lipstick in english rose no. 17, $33,

best lip effects sigma beauty lip switch in flip-flop and doublewhammy, $14 each,

best berry revlon super lustrous lipstick in berry haute, $8.50, best violet kevyn aucoin the matte lip color in persistence, $33,

best black colourpop lippie stix in bull chic, $5,

best lip enhancer and best lip oil manuka doctor apirefine lip enhancer, $30,; yes to coconut cooling lip oil, $5,

best nude charlotte tilbury k.i.s.s.i.n.g lipstick in nude kate, $32, best peach temptu color true lipstick in buffed nectar, $24,

best bronze le metier de beaute colour core stain lipstick in nevis, $32,


best lip crayons too cool for school dinoplatz lost identity lip tint in #3 lost in dinoplatz and #2 lost in hawaii, $18 each,

best lip moisturizers chapstick total hydration in soothing vanilla, $3; vaseline lip therapy original lip balm tin, $4.40; for both

best satin dior rouge dior couture colour voluptuous care lipstick in prune daisy 976 and rose dolce vita 555, $35 each,

best lip tint guerlain la petite robe noire lipstick in 007 black perfecto, $32, best red shiseido rouge rouge lipstick in rd312 poppy, $28,

best blue and best purple urban decay vice lipstick in heroine and urban decay vice lipstick in speedball, $17 each,

best orange and best pink bite beauty amuse bouche lipstick in persimmon and bite beauty amuse bouche lipstick in kimchi, $26 each,

best lip glosses lipstick queen lip gloss in frog prince and hello sailor, $25 each,

gravity defying! |


model: coco layne

best brow products benefit cosmetics gimme brow volumizing eyebrow gel, $24; browvo! conditioning eyebrow primer, $28; precisely, my brow eyebrow pencil, $24; goof proof eyebrow pencil, $24; brow zings eyebrow shaping kit, $32; for all best clear lash and brow gel make beauty sculpting lash & brow gel, $25,

best eye shadow stick flower beauty eyeshadow chubby in daffodil with it, on taupe of the world, and keep your pansies on, $8 each,

best eye shadow primer lorac behind the scenes eye shadow primer, $21, best gel eyeliner gucci infinite precision liner in iconic black 010, $28,

best small eye shadow palette sephora collection colorful 5 eyeshadow palette in n°04 serene to majestic plum, $25,

best extra small eye shadow palette covergirl eye enhancers 3 kit shadows in dance party, $5.50,

best creative color liquid eyeliner too faced sketch marker liquid art liner in candy pink, deep lilac, and canary yellow, $20 each,

best large eye shadow palette anastasia beverly hills modern renaissance palette, $42,

best single eye shadow pan makeup geek duochrome eyeshadow pan in blacklight, $6,

best mascara m.a.c cosmetics instacurl lash in instablack, $23,

best creative color pencil eyeliner wet n wild color icon kohl liner pencil in like, comment, or share and don't leaf me, $1 each,

best black liquid eyeliner kat von d tattoo liner in trooper, $19, best black pencil eyeliner hourglass 1.5mm mechanical gel eye liner in obsidian, $18,


best medium eye shadow palette lime crime venus ii, $32,

best eye glitter in your dreams chunky face glitter in silver selene, gold lileth, and purple unicorn, $7.30 each,

best false lashes kiss blooming lash collection in daisy, $5,

model: alana derksen

best body oil herbivore botanicals jasmine body oil, $44,

best shower gel molton brown dewy lily of the valley & star anise bath & shower gel, $30,

best bath salts and best bath bag mayfair soap foundry grapefruit bergamot bath salts, $9,; house of intuition clarity bath bag, $8,

best body self tanner st. tropez tanning essentials in shower gradual tan, $25,

best tinted body oil & other stories samite gold shimmer body oil, $29,

best body bar rad soap co. kryptonite body bar, $10,

best hand lotion soap & glory hand food, $8,

best post-sun and best body sunscreen dr.jart + every sun day soothing gel, $32,; avène ultra-light hydrating sunscreen lotion spray spf 50+ body, $30,

best massage oil the body shop spa of the world tahitian orchid massage oil, $20,

best gel deodorant, best natural deodorant, and best dry spray deodorant secret outlast xtend completely clean clear gel antiperspirant deodorant, $4,; tom’s of maine long lasting tea tree deodorant, $4.30,; degree motionsense daisy fresh dry spray antiperspirant, $5,

best post-shower and best razor jergens wet skin moisturizer in restoring argan oil, $8,; gillette venus & olay razor, $11,

best body serum this works skin deep golden elixir, $61.50, best body scrub and best body lotion ren moroccan rose otto sugar body polish, $60,; lush dream cream, $27.95,

best soap on a rope senteurs d'orient hamman soaps jasmine of arabia, $38, usa.


model: mallory merk at new york model management

best tinted moisturizer the estée edit by estée lauder skin glowing balm makeup with pink peony, $36 each,

best sculpting stick maybelline face studio master contour stick, $8,

best contour palette nyx cosmetics cream highlight & contour palette, $15 each,

best concealer for lighter skin tones and best concealer for darker skin tones nars radiant creamy concealer, $29 each; laura mercier secret camouflage, $35 each; for all

best color correcting kryolan concealer circle in neutralizer, $29, best cc cream and best bb cream smashbox camera ready cc cream broad spectrum spf 30 dark spot correcting, $42; erborian bb crème, $39; for both

best powder blush zoeva pink spectrum blush palette, $18.80, best foundation stick bobbi brown skin foundation stick, $46,

best makeup setting spray laura geller spackle mist, $32,

best loose translucent setting powder and best pressed translucent setting powder make up for ever hd microfinish powder, $35; make up for ever hd pressed powder, $36; for both

best foundation l'oréal paris infallible pro-glow foundation, $13 each,

best powder highlighter and best liquid highlighter becca shimmering skin perfector pressed in champagne pop, $38; josie maran argan enlightenment illuminizer, $26; for both

best powder bronzer and best cream bronzer givenchy healthy glow bronzer, $52, sephora. com; milk makeup matte bronzer, $24,

best cream blush chosungah 22 real cheek smoother blush, $22 each,

best color correcting primer and best pore minimizing primer algenist reveal color correcting radiant primer, $36; dr. brandt skincare pores no more pore refiner primer, $45; for both


models: ruby june at marilyn models and bianca valle

best anti-frizz redken frizz dismiss fly-away fix finishing sheets, $25 for 50 sheets,

best for straight hair philip kingsley straight hair, $34,

best thickening mousse bumble and bumble thickening full form mousse, $31,

best dry shampoo klorane dry shampoo with oat milk, $20,

best hair spray oribe superfine hair spray, $33,

best texturizing spray shu uemura texture wave dry texturizing spray, $39,

best hair paste got2b beach matte surfer look paste, $10,

best hair glitter major moonshine glitter gel, $28,

best hair oil ouai hair oil, $28,

best hair color manic panic high voltage classic cream formula hair color, $14 each,

best pastel mixer splat hair color pastel mixer, $7.50,

best curl mousse kĂŠrastase discipline mousse curl idĂŠal, $42,

best salt spray evo salty dog salt spray, $25,

best hair serum davines this is an invisible serum, $23, best volumizer verb volume spray, $14,

best cleansing cream hairstory new wash, $40,

best hair gel r+co. motorcycle flexible gel, $26,

best anti-humidity living proof no frizz humidity shield, $22, best hair mask ĂŠprouvage reparative treatment masque, $18,

best for curly hair carol's daughter hair milk cream-to-serum lotion, $10,

best styling cream rene furterer karinga hydrating styling leave-in cream, $28,

best shampoo and conditioner ogx strength + body bamboo fiberfull shampoo and conditioner, $8 each,


makeup: lindsey williams at kate ryan inc. using dior addict. hair: travis speck at sally hershberger downtown. manicurist: fleury rose at bryan bantry using dior vernis. hair assistant: jamie kottis at sally hershberger downtown. special thanks to remy moore.


Graduate top of your class in robotics. Complete 1,000 pilot hours. Be selected to go to space. Have people ask how you’ll cope in space without makeup. Get in your shuttle. Show them.



from a hit sci-fi show to a marc jacobs beauty campaign to the fact that just about every film she’s ever been in is currently experiencing a cult renaissance, there’s no doubt that winona ryder is now (and also forever, of course).

by margaret wappler. photographed by ash kingston. styled by j. errico


t’s very likely that Winona Ryder is a time traveler from another decade, but it’s tough to pinpoint which one. Possibly her flux capacitor got jammed on shufle and she’s been bouncing between timescapes ever since, taking a pinch from this era and that. She’s a high-intensity mix of communeeducated ’60s, rocker-goth ‘90s, and something sweepingly, intellectually Victorian—all of which swirl together on this particular late-summer afternoon of free-ranging conversation inside a weirdly stripped-down room at Hollywood’s Roosevelt Hotel, and surely on every day of Ryder’s life. At 44, there’s a sense about her that despite whatever self-doubts she might’ve struggled with in the past, she’s at peak power now. This month, she makes a cameo in the much-anticipated Author: The JT LeRoy Story. And audiences are still buzzing over Stranger Things, a meticulous slice of ’80s Spielbergian nostalgia that debuted on Netflix in July, and which has benefitted greatly from Ryder’s revitalization: She pounces all over the role of Joyce, a worked-to-the-bone single mother whose son is kidnapped by supernatural forces. To most people, though, Ryder’s face is a portal to the ’90s. (Her friend Marc Jacobs capitalized on the fetishization of that decade when he tapped her to model in his latest beauty campaign.) Even today, with her long wavy hair and delicate lines etched around her eyes, it’s easy to summon that pixie haircut and those brick-red lips, or the lovestruck expression as she snuggled up to then-boyfriend Johnny Depp in so many now-classic images from the era. The daughter of hippie writers Cynthia Palmer and Michael Horowitz, Ryder was named after a little town near her family’s Minnesota farmhouse, where they lived before moving to a Northern California commune. It was a time when parents of a gifted child still viewed Hollywood as a ravenous wolf from which to protect their daughter, not an opportunity for a future family reality show. Actors didn’t worry about their platforms, but they still risked burnout or worse from drugs and anxiety—all of which Ryder’s battled, sometimes in painfully public ways. Throughout it all, though, she’s been game to poke fun at herself. Exhibit A: the 2002 W cover on which she wears a “Free Winona” tee. Last year, model Sarah Snyder echoed that cheekiness when she wore a T-shirt featuring her own mug shot to her shoplifting trial. Recalling the media frenzy that surrounded Ryder’s own run-in with the law, it’s not surprising that she’s not interested in returning to that time, or even just before, no matter how much we all might miss the golden era when alternative was queen, quick to serve some jovial sideeye to the Spice Girls, MTV’s Spring Break, and the like. How did she get through it? “You just do,” she says. “In the scheme of things, there are much bigger problems to worry about.” When asked whether she’s aware that she’s a goth icon, Ryder pauses, momentarily speechless. “I feel kind of proud, I guess, but I can’t take full credit,” she says. She cites The Cure’s Robert Smith, but that’s music; she was the queen pur-


veyor of ’90s goth vibes in film (second place: Christina Ricci, who coincidentally starred with Ryder and Cher in Mermaids, a solid contender for a Heathers: The Musical- or Beetlejuice 2-style treatment). “It’s flattering to me. It was a long time ago, but I’ve always felt sort of attached to that time,” Ryder says. “I was just listening to [The Cure’s] ‘Pictures of You’ because I have these old mixtapes that I don’t know what to do with—I’m like, ‘How do I transfer them?’ I still have a tape deck.” Countless young actresses working today are indebted to the groundwork Ryder has laid, but one of her most vocal fans, Emma Roberts, brings a similar America’s sweetheart-meetswitchy energy to her roles in Scream Queens and American Horror Story. “She made being strange both beautiful and cool,” says Roberts, who watched the savagely satirical Heathers in preparation for Scream Queens, and claims to have all of Ryder’s lines from Girl, Interrupted memorized. “She’s forever a trendsetter without even trying.” What Ryder doesn’t have in common with her millennial cohorts is the pressure to perform on social media. She doesn’t have a single account, but that doesn’t mean she judges those who do. “I know it can be a fantastic tool,” she says, “but do you have to have all the crazy people? Is there a way to just…?” She trails of.

dress by giamba, cuf by erickson beamon, ryder’s own t-shirt.

dress by marc jacobs, ryder’s own earrings worn throughout.

“I THINK ACTORS, ON SOME WEIRD LEVEL, FEEL LIKE DISPLACED SOULS.” No, there isn’t. “Yeah, I’m just a very private person,” she says. By the way, call her goth, but don’t call her grunge, her relationship with Soul Asylum’s beflanneled Dave Pirner aside. “That whole label was a little bit weird. I somehow got sucked into that. Not by choice, because I was actually listening to Judy Garland albums,” she says. The clamor of ground-zero Hollywood leaks in from the open windows of Ryder’s hotel room. She tunes out the noise as she paces around the room, searching for a menu to order eggs and hash browns. She’s only had tea all day, and the unrepentant night owl woke up late. “We’re all nocturnal,” she says. “It runs in the family.” After she orders, Ryder settles into the monstrous leather couch. Slightly hunched in a faded black Leonard Cohen Tshirt, black jeans, and oxfords, clutching a Václav Havel book, Ryder speaks with bubbling admiration for the noted writer and former leader of the Czech Republic. “Václav Havel has always been a hero of mine,” she says. “I underline so much of what I read. It’s awful—I can’t lend my books to people because I don’t know if I’m revealing too much about myself by what I’ve underlined, or if it’s just plain distracting for them.” She launches into a story about how she just missed meeting the playwright in person, that cute creak in her voice that’s always made her sound a bit quaint or elderly or unhinged (or all three) punctuating the anecdote, which meanders from her dad’s archival work for Timothy Leary (also Ryder’s godfather) to the time Woody Harrelson, formally invited by Havel, was nearly kicked out of a Czech opera hall because of his crying newborn. Perhaps her most distinct quality is her ability to talk, in a way that’s almost a lost art, stringing together long sentences packed with knowledge, anecdotes, and philosophical speculations, a style of communicating that she likely learned from her parents—the kind of folks who would choose a counterculturalist acid sage to be her spiritual guide. Her mind engages in the ultimate wanderlust; it’s a joy to strap in for the ride.


From the start of her career, Ryder’s been looking back in time. When she first appeared in Lucas as a teen wallflower in 1986, it wasn’t her contemporaries she looked up to but a mix of Old

Hollywood and ’70s art film icons—Audrey Hepburn, Gena Rowlands (with whom she worked in Jim Jarmusch’s Night on Earth), and mentors such as Jason Robards. “I was perhaps a little unusual,” she says, in between bites of hash browns. “I really was always drawn to other eras.” Reading Jane Eyre for the first time as a teen, she wanted to transport herself to the late 1700s, until her parents dropped some knowledge about 18thcentury plumbing and dental care. But Ryder still yearned, and

vest by a.f. vandevorst, pants by ann demeulemeester, ring on right hand by konstantino, ring on left hand by erickson beamon, gloves by lacrasia. opposite page: dress by giamba, cuf by erickson beamon, ring on pointer finger by atelier swarovski by rosie assoulin, ring on ring finger by laruicci, ryder’s own t-shirt.

clothing by rodarte, cuf by verdura. hair: suave professionals celebrity stylist marcus francis. makeup: stephen sollitto at using diorskin nude. manicurist: debbie leavitt at nailing hollywood using formula x in atomic. prop stylist: scott horne.

yearns now: “I think actors, on some weird level, feel like displaced souls,” she says. “I have had a lot of conversations about this, and part of it just may be from steeping ourselves in the history of film and the things we’re drawn to, like period pieces.” Ryder has done her fair share of those—Bram Stoker’s Dracula, The Age of Innocence, Little Women—and nothing makes her brown eyes blaze more than talking about movies, be they tiny indies, blockbusters, documentaries, or Sundance winners. Though we’ve seen glimpses of her over the past decade— most notably in a meta turn as an embittered ballerina deemed past her prime in Black Swan—Stranger Things delivers the first opportunity ever to sink into a Ryder performance drawn out over eight episodes. Created by the Dufer Brothers, the series provides the perfect vehicle: a character on the edge of falling apart who manages to demonstrate a secretly mighty resilience. Ross Dufer, one half of the twin brother team, says that Ryder “brought this wild energy to the character, this frenetic quality,” which led them to write one of the show’s best scenes. In it, Ryder learns that her missing son is communicating with her through electricity, namely a tangled bundle of Christmas lights. As the lights blink in response to her questions about his whereabouts, “she takes us through the whole sequence of emotions—terror, confusion, and joy,” says Dufer, all while winking slyly at the absurd humor of the scene. The Dufer Brothers found themselves a little scared of Ryder at times, but happily so. “We did not expect the intensity she brought to the role,” Matt Dufer says, recalling how Ryder often disappeared for five to 10 minutes before dramatic scenes, only to come back in another state. Indeed, Ryder’s performance is a physical and emotional wallop—she smashes phones, shakes with sobs, and plays up her small frame for every unnerving bit of baby-bird fragility. For Ryder, commitment to turning out Joyce’s every fear is what it means to work. “Yeah, I’m kind of a bit old-school,” she says sheepishly, “which is good and bad, I guess. The only way I know how is to really go there.” At first Ryder was daunted by TV’s pacing, as the bulk of her acting experience is in film. But even with the pressure on, she was not willing to ransack her private life for the sake of a scene. “I don’t want people bringing up personal things. I think that can damage an actor, and I know a lot of people who have been incredibly hurt. There are things in my life that I’ve been through that I do not want to exploit. It’s hard, though, when it’s crunch time and you’re losing the light or we only have 20 minutes left. It’s weird. There are certain things that do make me cry, but I feel like they’re almost sacred,” she says. Ryder’s relationship to the camera and how much she’s willing to give is always a negotiation. In Girl, Interrupted, a passion project that she doggedly pursued for years until its release in 1999, Ryder remembers holding the operator’s hand under the camera during close-ups. “Literally, these are people that are closer to me than sometimes the director, sometimes another actor,” she says. “You work so closely with them, and it’s this weird thing with film because you have to be natural. You have to forget there’s a camera there, but there is also an element of choreography because you have to hit your mark. So you have to be aware but not be aware. I have to say, my guys got me through it. All of that emotion, and they knew instantly to support me.”

Ryder shows me one of her tricks: She lays her hands on her lap, palms up and open. “If you put your hands up, you feel vulnerable. It’s the little things. I learned that from Jennifer Jason Leigh when I was just starting out,” she says. As much as Ryder melds with the camera (and its operators), there are times when she was so close to a part, she simply was that person. Case in point: Lydia, from Tim Burton’s Beetlejuice, one of her most iconic roles. “That was sort of what I looked like,” she recalls. “That was my hair—I was super pale. They really just put some powder on me.” Burton, who’s tapped Ryder’s dark powers for numerous projects, including, most recently, a video for The Killers where she’s strapped to a spinning torture wheel, says that “she’s always up for anything I ask.” Even when she doesn’t see a trace of herself in the role. In Edward Scissorhands, she left her stock-in-trade behind to play a blonde cheerleader. “I think she would admit she didn’t relate to her character; she was tortured by these kinds of people at school herself,” Burton says. “So it definitely was a challenge, but she shaped it into something really emotional.” As for those Beetlejuice 2 rumors, Burton cannot confirm or deny their validity: “I’ve talked to Winona and Michael [Keaton] about it. It’s something I really would like to do under the right circumstances, but it’s one of those films where it has to be right. It’s not the kind of movie that cries out for a sequel—it’s not the Beetlejuice trilogy. I do love the characters, so we’ll see. There’s nothing concrete yet.” Though her former aesthetic has been co-opted for high fashion—Wes Gordon paid homage to Lydia’s girl-vampire hair at his spring show, and Jacobs name-dropped the character as a reference for his epic fall collection—it’s Jacobs’s campaign for his cosmetics line that captures Ryder now. Photographer David Sims shows her in rich, creamy lighting, her smoky eyes staring into the distance. Again, she radiates presence like she’s almost inside the camera. “She does not model the look; she gets into the role—and exudes it,” Jacobs said in a statement upon the campaign’s release. “A brilliant mind, talent, and physical beauty like no other.” Part of what’s clear about Ryder in both Jacobs’s campaign and Stranger Things is that she doesn’t fear getting older. One night a few years ago, when she was up late watching TV, a movie of hers came on. “I can’t remember what channel it was or which one, but it was a ‘golden oldie’ and it was kind of great! It made me laugh,” Ryder says, tilting her head back into the couch. “I never really had any hang-ups about aging. I’m not trying in any way to be insensitive to the conversations about ageism going on, because I know it’s definitely a struggle. I think just, for me, part of it is probably having started so young and that desire I had—I was always hanging out with, or trying to hang out with, the ‘grown-ups.’” For as long as she can remember, Ryder has felt a deep connection to her elders. She wants to greet the future like an old friend. To which the future says: Winona, forever.


be ready for any autumn adventure with roomy, robelike outerwear. photographed by dani brubaker. styled by christine baker

all clothing by y’s yohji yamamoto, necklace worn throughout by tom binns. oppposite page: all clothing by dries van noten, boots by undercover.

all clothing by undercover. opposite page: all clothing by sportmax, boots by marc jacobs.

all clothing by etro.

coat by erdem, dress by y’s yohji yamamoto.

all clothing by sportmax. opposite page: all clothing by miu miu. hair: makiko nara at walter schupfer using oribe. makeup: jen fiamengo at walter schupfer using hourglass. manicurist: morgan mcguire at the wall group. model: yasmine sima at ford models. casting: adam browne at six wolves.


once upon a time, fashion graced us with a delightfully grim array of gothy dresses, witchy capes, and sky-high platform boots as dark and treacherous as our souls. photographed by carissa gallo. styled by santa bevacqua

dress by gucci, top by tableaux vivants. opposite page: all clothing by simone rocha. opening spread: coat and corset by prada, leggings by agent provocateur, shoes by marc jacobs, latex socks by tableaux vivants.


dress by calvin klein collection, bra by mkhnue, briefs by tableaux vivants, gloves from the way we wore. opposite page: all clothing and hat by chanel. from left: shoes by marc jacobs, gloves from the way we wore, choker by zana bayne, tights by falke; shoes by marc jacobs, nose ring and necklace by chrishabana, tights by falke.


dress by louis vuitton, choker by zana bayne. opposite page: from left: top by dilara findikoglu, bra by tableaux vivants, pants by les copains; cape from the way we wore, vintage blazer and pants by issey miyake from the way we wore, top and skirt by lacoste.



all clothing by marc jacobs, white gloves from the way we wore, black gloves by louis vuitton. opposite page: from left: all clothing by erdem, shoes by simone rocha, stylist’s own gloves; beaded gilet by rita vinieris, jacket, pants, and bow tie by thom browne, dress by christopher kane, shoes and underskirt by simone rocha. hair: bertrand w. at opus beauty using oribe hair care. makeup: diane da silva at atelier management using diorshow. manicurist: tracy clemens at opus beauty using dior vernis. models: charlotte at two management, reese and gracie at freedom, annie montgomery at photogenics. casting: adam browne at six wolves.

oversize and elongated silhouettes are the perfect fit for fall. photographed by ben lamberty. styled by christine de lassus

coat by andrea jiapei li, overalls by dkny, belt worn as choker by edun, earrings worn throughout by valentina kova. opposite page: clothing by acne studios.

jacket, overalls, and shirt by faith connexion, choker by alexander wang. opposite page: all clothing and accessories by marc jacobs.



jacket by yang li, shirt by faith connexion, necklace by valentina kova, nose ring by chrishabana. opposite page: all clothing and boots by hood by air, necklace by valentina kova, rings worn throughout by chrishabana.

jacket by dkny, top and pants by rag & bone, boots by barbara bui. opposite page: shawl by valentina kova, sweater by christopher kane, pants by chanel, sneakers by alexander wang.



jacket by coach, pants by of-white c/o virgil abloh, boots by msgm. opposite page: shirt and pants by andrea jiapei li, shoes by t.u.k. hair: jerome cultrera at see management using bumble and bumble. makeup: cedric jolivet at see management using giorgio armani beauty. manicurist: miss pop using dior vernis. stylist’s assistant: pedro rodrigo gonzalez. photo assistants: manuel zuniga and elliot ryan. model: emma waldo at the society.

nd I was like, ‘I can’t even get through the skull with a bone saw,’” says Nicole Angemi, pausing to take a long swig of her milky iced latte. I steal a tentative glance over at the neighboring table—some rather loud, detailed morgue talk at Philadelphia’s trendy La Colombe café could conceivably be grounds for a complaint to the manager. It’s the kind of stuf that doesn’t usually come up during polite cofee date conversation, but for Angemi, a pathologist’s assistant and self-described “autopsy dork,” the subject matter flows from her matte pink lips freely and efusively, her brightly tattooed arms gesticulating excitedly with every scientific detail before she readjusts her black, thick-framed glasses with one talon-nailed finger. It’s this enthusiasm that led her to channel her workplace knowledge into a blog, I Heart Autopsy, and its accompanying Instagram account, @mrs_angemi—the contents of which, let me warn you, are not for the faint of heart, but have garnered her hundreds of thousands of followers (as well as plenty of critics ofended by its graphic nature). Angemi is a character to be sure, but she’s not alone—hidden in plain sight (or perhaps where some would rather not peek) exists a burgeoning community of young women whose passion and work is steeped in what most would consider seriously macabre business. It’s a deeply interconnected group, in some respects even a movement. Welcome to the morbid girls club.

On the upper floor of the nearby medical and anatomical oddities mecca that is the Mütter Museum, volumes of leather-bound books rest on wooden shelves between thick, cascading cur-

tains and old sconces, the walls covered in vintage portraiture. It’s a striking space, so much so that it has become a popular wedding venue for the alt-bride set. (Unsurprisingly, Angemi herself was married there, and has the institution’s telltale “ü” inked on her body.) Perched on plush furniture in the back room are stafers Evi Numen, Emily SneddenYates, and Meredith Sellers, waxing poetic on how one comes to find her calling among a plethora of diseased and deformed organs preserved in fluid, and some 3,000-plus human bones. All three women come from a fine arts background with specialties ranging from sculpture and ceramics to photography to drawing and painting, but their personal interests in mortality and the corporeal seem to stem from equal parts nature and nurture. “I was the weird kid that looked through the encyclopedia under the ‘anatomy’ entry for hours,” reminisces Numen, who serves as the exhibits manager and designer, but will soon move on to pursue work as what she calls a “death midwife” (which I’m told is someone who facilitates a dignified end of life through compassion, comfort, and general help). SneddenYates, special assistant to the museum’s director, comes from a line of physicians, and thus was raised to be comfortable around the human body’s potential maladies, deformities, and ultimate fallibility. “[Growing up] I watched my dad perform surgery—I held a hip bone in my hand,” she recalls. For arts program coordinator Sellers (who also works as the programs assistant for the center for education and public outreach), death is something she came to know at a young

age: “My father died of cancer when I was 14. I wonder sometimes if that has anything to do with why I’m here or why this stuf interests me. I’d like to think I’d be able to separate that, but....” She trails of. These backstories are roughly mirrored by members of the all-female staf of the Morbid Anatomy Museum in Brooklyn, New York, a like-minded institution complete with a popular downstairs café and shop. While co-founder and creative director Joanna Ebenstein spent her childhood preserving dead insects and pet lizards in formaldehyde, museum manager and membership coordinator Cristina Preda had a somewhat diferent experience with mortality during her formative years. “I grew up with a very death-phobic mother,” she says, sitting in the museum library sporting jet-black hair and a tiny septum ring. “She was visited by a lot of tragedy in her life: Her mother died when she was 12, a sister died, a niece died young in an accident. So the topic, for me, was very mysterious and taboo and that made it all the more fascinating. When I found this place that not only showcased but celebrated that sort of thing, I gravitated right to it.” Laetitia Barbier nods in understanding, her red-pink mane brushing against her Wednesday Addams-style collared dress. A student at the Sorbonne interested in inherently death-centric religious art, she first contacted the


Morbid Anatomy Museum in the hopes of accessing its book collection for her dissertation. In exchange, she started working there as the “nerdy French intern” and simply never left. Divya Anantharaman’s mom was a biology teacher and likely responsible for her ease around innards and flesh. “I think the disconnect there became like, ‘Wait. You’re not doing it for science? You’re doing it for art?’” she says with a laugh when we meet in her home-slash-studio in Brooklyn’s Ditmas Park neighborhood. Anantharaman is a taxidermy artist who ethically and sustainably sources already-dead animals—think passed-away pets or stillborns from a critter’s litter—to create delicate, fantastical pieces. In her spare time, she teaches courses at the Morbid Anatomy Museum. Anantharaman often works with her friend and fellow taxidermist Katie Innamorato, who also uses ethical/ sustainable materials (the two have just written a book together to be released by W.W. Norton in October). “I wanted to be a veterinarian, but I realized that I can’t deal with the visual of live blood,” explains Innamorato. “I’ve been interested in skeletal articulations and cleaning bones for the longest time. So in high school, I started picking up roadkill and burying it in the backyard and, like, digging it back up later.” Any parental objections to this unusual take on teenage angst? “Well, they were kind of like, ‘This is gross and weird,’ then they were also like, ‘But you’ve always just been weird,’” she says, her pierced lip curling into a knowing smile.

Society loves to police what is normative and “ladylike,” and a fascination with death hardly qualifies. But in these


girls’ world, normal is all relative. Sometimes it means casually eating your lunch next to a dismembered body part on a busy afternoon. “When I worked at a city hospital, we would go downstairs to look at the organs after they were washed, and there were lots of times where I just brought my sandwich,” recalls Angemi with a laugh. Or maybe it’s going home afterward and unwinding with a few tokes and some heavy medical blogging: “It’s really funny because my friends will text me and I’ll say, ‘Oh, I just smoked a lot of weed,’ then they’ll be like, ‘And you just posted all of that?!’” she declares proudly. In other cases, a regular morning might be spent scoping out leads on a passed-away pigeon. “Most of the birds I get are from people who raise them as pets or who have aviaries,” explains Anantharaman of her sourcing. “For example, there’ll be a guy that’s a pigeon fanatic and has a bazillion of them—fancy ones with big tails or ones that have crazy feathers on their feet. But when they get old and die or if there’s one that’s sick and has to be put down, instead of just disposing of them, I’ll buy them from him.” (If you’re wondering where these specimens are stored before the art-making commences, let’s just say you won’t find ice cream in the basement freezer.) These ladies won’t even bat an eye at sharing their workspace with some unlikely company. “I once walked into Evi’s ofice and there was this big cardboard box of dirt just sitting there. I was like, ‘What is this?’” recalls Sellers. “And Evi goes, ‘Oh, just some bones— they were found in the plumbing in 1980,’ and I was like, ‘Um...oh.’” Both begin to giggle. “I came back later and said, ‘I have this idea, can I have that box of bones?’” Numen swiftly inter-

jects: “And I was like, ‘Wait, let me pick my favorite one first!’” They explode into a riot of laughter. “Death and illness and pathology—these things kind of provoke gallows humor,” adds Numen. “You’ll find in people that work directly with the dead there is also a quirkiness. And there is definitely a strong sense of delight at the unusual. Finally, there is less judgment than you would find in other places. I’m always reminded that I live in a little bubble here.” Yates smiles in agreement. “I once installed an exhibit on shrunken heads. I remember handling them throughout the day, and then in the evening finding a very long, black hair on my shirt. That’s among the few times I’ve been kind of shocked into my own reality here,” she says. “But they do have silky

laetitia barbier, katie innamorato, and divya anantharaman, and innamorato and anantharaman’s work photographed by sonia ostrovsky; niocle angemi and her home photographed by maria qualtieri, styled by charlotte spritz.

clockwise from top left: laetitia barbier at the morbid anatomy museum; framed insects and a clydesdale horse skull at nicole angemi’s home; katie innamorato’s work featuring a passed-away domesticated rat; nicole angemi at home; katie innamorato and divya anantharaman at anantharaman’s home.

hair. They’re beautiful.” Numen concurs, “They really are.”

As much as some people would like to believe that these women and their interests are “other,” their community will tell you that’s rather deluded thinking. “Let’s start with the idea that everyone is preoccupied with death all the time, whether they admit it or not,” asserts Caitlin Doughty over the phone from her home in Los Angeles. “Everything that we do is driven by the fear of our own death or the fact that

we’re going to die. And so the way to be a more self-aware person and a better citizen of the earth is to acknowledge that this preoccupation with death is there.” In the death-positive community, and even in mainstream pop culture, Doughty hardly needs an introduction. YouTube star of the famed series “Ask a Mortician,” author of two books (one forthcoming in fall 2017), owner of an alternative funeral business, and founder of the collective Order of the Good Death, she is among the foremost authorities in her field. And to her, it’s very clear that our society is death-repressed, all the way down to

the shows we binge-watch. “It’s evident in our media, in the way that we fetishize zombies, for instance,” she says. “Zombies are just decaying corpses. They’re not vampires, they can’t transform into other things, they can’t fly, they can’t shoot poison. The fact that we have that much fear around just the decaying body, which is the natural process of death, [says something].” Like any long-term self-deception, she insists this isn’t healthy. “You know, it’s similar to what can happen when people deny fundamental parts of their sexuality or gender. Things get weird when you’re forced by your culture to


clockwise from top left: emily snedden-yates at the mütter museum; a book demonstrating the negative efects of corset-wearing at the mütter museum; a curated representation of an ossuary at the mütter museum; a vintage cabinet, formerly used in the medical practice of joanna ebenstein’s grandfather, now full of wet specimens at the morbid anatomy museum; a collection of vintage pathology books, fetal stingray and skunk specimens, and other assorted oddities at nicole angemi’s home.

reject fundamental truths about yourself.” She’d even go as far as to suggest this “death-denying culture” has major political ramifications. “There’s a great article about something called ‘terror management theory.’ It’s the idea that the fear of mortality makes us double down on our prejudices and that is pouring out all over the world right now,” says Doughty. “Our fear that there’s only so much life to go around, only so much existence and peace and happiness, is just our fear of mortality at work.” Ebenstein agrees: “My whole life I was called ‘morbid.’ And then I started

to really look at history and art and think, ‘Well, OK, we’re living in the only time I’ve ever seen where people don’t have a sophisticated discourse or an artistic practice or a philosophical [approach to death],’ probably because we’re the first ‘post-religious’ culture. I think this is a weird social experiment and I don’t think it’s very successful. In my opinion, it’s a morbid thing to pretend that death doesn’t exist.” French-born Barbier is quick to note that in some sense, this profoundly problematic relationship with death is a more American phenomenon. “You go to a church in Paris and you’ll see

emily snedden-yates and the mütter museum photographed by cara worcester; morbid anatomy museum photographed by sonia ostrovksy; nicole angemi’s home photographed by maria qualtieri.

a mummified saint. Les Jardin des Plantes is a universal exhibition with building after building of osteology collections and taxidermy,” she says. “And for the longest time you had at least two or three medical museums, if not open to the public all the time then accessible by appointment. That material culture is everywhere—you don’t even have to look for it.” But perhaps Angemi puts the paradox of our society’s attitude most bluntly: “People are intrigued by death and by sex. They’re like, ‘Oh, I don’t wanna look, but I kind of wanna look,’ you know what I mean?”

Back at the Mütter Museum, the girls are sharing their favorite pieces in the collection with a hushed excitement. Numen whisks me over to the prized

skeleton of Harry Eastlack, who had fibrodysplasia ossificans progressiva, a disorder that causes muscle and connective tissue to become ossified or gradually replaced by bone. Of all the many pieces, I ask her why she’s chosen this. “Well, we know that he liked movies—little things like that about his life. His sister visited his skeleton in the museum. I also feel a lot of sympathy for what he went through, and I find the actual skeleton gorgeous. I’ve had the opportunity to photograph him extensively so I got to see every nook and cranny. He’s very fragile,” she says tenderly. And in that moment it becomes overwhelmingly clear: While this kind of work might seem clinical and unfeeling, it is in fact the very opposite. These women do what they do because they have an incredibly full and nuanced appreciation of life, of humanity, and of everything that it encompasses.

“One of the things that is very bizarre to me is the idea that what’s inside your body is gross, whereas what you can see is fine. We all have these organs— hopefully we don’t have the pathologies that are shown in the museum, but we all could have them. And every time that I hear someone say, ‘Oh, this skull is so creepy,’ I say, ‘You have one, too,’” Numen continues. “I think it should inspire reverence in people, such a collection saying, ‘Look, this is a huge variety of shapes and sizes and pathologies and backgrounds and things that we consider deformities, and yet this whole variety is part of the human experience.’” Maybe it was hunger pains coming on after opting out of lunch in anticipation of some quality time with medical oddities, but I think I feel a sudden wave of aching enlightenment.


To listen to these women talk about ostensibly grotesque forms is also to hear an honest-to-God belief in their beauty. “I remember Emily taking me into this weird mobile storage unit and pulling open this drawer that was hidden away behind lock and key and saying, ‘This is one of my favorite things in the collection,’” recalls Sellers of her early days on the job. “It was [a stash] of these tiny bell jars and each had the very inner part of the human ear in them. They looked like seashells or something—just otherworldly and so beautiful.” They’re careful not to aestheticize the subject, as they’re very sensitive to that pitfall. “I do sometimes worry some people are just interested in this sort of 19th-century steampunk aesthetic and they’re not thinking about the specimens as things that came from real human beings with very human sufering,” says Sellers. But it’s clear that the way she thinks about the museum’s contents is no such fetish. It’s authentic awe.

a bird that is normally seen as a pest is brought into a home and treated with love. Instead of just being thrown out like a piece of trash, it’s remembered.” And their relationship with the critters in their work is deeply personal. “I do tiny stuf, like squirrels,” says Anantharaman. “I’ve always lived in the big city so I just identified more with these little animals. And I think they’re cool, too; they’re underrated, underappreciated, and they’re just, like, tenacious. You have to admire something that will live of a rusty old pizza slice!” “I like medium mammals: fox, coyote, raccoon—animals that most people see as a nuisance,” ofers Innamorato. “I’m fascinated by the whole cycle between life and decay and decomposition. And also just studying a relationship with animals. I tend to anthropomorphize my pets a lot—like, I call my cat my ‘cathusband’ and we watch Golden Girls. I In the same vein (pun unavoidable), at think it’s easier to relate to an animal, I the core of it, the taxidermy girls in guess.” She lifts up her sleeve to reveal Ditmas Park simply respect wildlife far a tattoo: It’s a huge portrait of her cat too much to let it rot once dead. “A lot framed in wildflowers and text that of the animals we use become more reads, “Thank you for being a friend,” a appreciated,” notes Anantharaman. “Like, lyric from the Golden Girls theme song.


Ultimately, why this world has become something of a girls club is up for debate. (“Of course there are men, too, but it’s interesting, we almost have to find ‘token men,’” jokes Doughty.) The cause could be rooted in women’s historical roles as caretakers of the body. Maybe it has to do with the duality of our empathy and our toughness. In the end it doesn’t really matter why women abound in what many would call macabre fields, but it does matter that they do. “Traditionally when you think of who is the person that gets to talk about death, it’s the old white guy, right? Well, that old white guy doesn’t necessarily serve everyone and doesn’t necessarily make everyone feel comfortable and welcome,” Doughty adds. So go ahead and get a little morbid. “Pursue whatever you think is interesting—it doesn’t matter if somebody else thinks that it’s gross,” Sellers concludes unabashedly. “Girls should always follow their weird.”

NEW WHITE CHOCOLATE MOC HA Starbucks, the Starbucks logo and Frappuccino are registered trademarks of Starbucks Corporation. ©2016 North American Coffee Partnership. All rights reserved.

Watch This Space in an overcrowded, overwhelming television landscape, here are seven reasons not to change the channel.

Ben Sinclair & Katja Blichfeld High Maintenance


premieres: on:

September 16 HBO

with low-budget web series, High Maintenance is one of the few that have garnered widespread acclaim and notoriety for their creators, who in this case began the project so that Sinclair, an actor, would finally have a good role for himself and Blichfeld, a casting director, could employ some of the terrific, underused actors she knew. The format they settled on was tracking a weed dealer, called The Guy (played by Sinclair), whose profession allows him to intersect with scores of New Yorkers. They’ve included cancer patients, asshole party kids, shut-ins, asexual magicians, doomsday preppers, and a heterosexual cross-dresser. “We wanted to write something that could change every week, and change the location, because where the hell were we going to shoot?” Blichfeld says of their methodology. “We would have to do a day here and a day there, so we’re just going to change up the scenario every time we shoot.” Some people compare great television shows to novels, but Sinclair and Blichfeld’s tiny masterpiece is more like the best collection of short stories you’ll ever read. For the HBO series, Blichfeld and Sinclair tell 11 tales over the course of six episodes, featuring a gay man who wants to get sober, a Muslim college student, a frisky bunch of fiftysomethings, and one very unexpected protagonist. Blichfeld and Sinclair say that HBO was incredibly hands-of and that they tried to keep the new series as true to the original as possible. As they did in the early days of the web series, the two still use friends’ houses as their locations. Now they just use some of that cable TV money to actually pay them. BRIAN MOYLAN

photographed by carla tramullas. styled by heather newberger. on blichfeld: top and pants by rachel comey, shoes by coclico, blichfeld’s own rings; on sinclair: jacket by matiere, shirt by acne studios, jeans by mavi jeans. hair: rachel hopkins. makeup: sarah graalman using make up for ever.

Things have really changed for Ben Sinclair and Katja Blichfeld, the husband-and-wife creators of the web series High Maintenance. “I remember once being ofended when our cast members wouldn’t change in the van,” Sinclair says. “‘What, are you too good for the van? The van’s great! Everyone can change in the van.’ Then I realized shortly after that, it was probably a weird expectation.” Now that the show, which ran for 19 short episodes on Vimeo between 2012 and 2015, has been picked up for a six-episode run on HBO this fall, the production standards have gotten a lot higher. They now have—wait for it—pop-up dressing rooms. But Sinclair and Blichfeld say that they kept their crews as small as the unions would allow and still tried to make the episodes on the cheap. “Our goal is to be a drop in the bucket for HBO,” Sinclair says, hoping that they can fly under the radar and not get canceled. They probably have nothing to worry about. While the internet is littered



Gently October 22


BBC America

“You’re not going to be impressed by this at all,” says Hannah Marks as she searches for a video that shows of her newly acquired drumming skills. Sitting in the shade at a cofee shop in Studio City in Los Angeles, Marks continues to scroll through her phone with purpose. “Where is it? Oh no, hold on. This is crucial.” The 23-year-old actress learned to play the drums for her latest role in BBC America’s Dirk Gently, an eccentric dark comedy about an unusual detective and his assistant, Todd (played by Samuel Barnett and Elijah Wood respectively), who solve one sprawling mystery per season. Marks plays Amanda, a former drummer in a punk band who is also the title character’s sister. “It was really fun and wild,” Marks says of her experience shooting the Max Landis-penned show, which is inspired by the Douglas Adams book series. Her character, she explains, is plagued by a nerve disease that leaves her agoraphobic. Marks admits it’s not too far of from her own personality, citing the “death machines” that are cars as her main phobia. It was her father who kindly drove her to this interview. “Everyone jokes that I’m perfect for this character because I’m so useless,” she says. “I am very afraid of a lot of things. I get scared easily and I have a lot of anxiety, so I can easily channel Amanda.” Influenced by her mother, a former actress, Marks’s career began at age 11 when she landed a role in Accepted opposite Jonah Hill and Justin Long. A few years later she acted alongside Kristen Stewart in The Runaways. Then there was a moment in 10th grade where she tried the typical high school trajectory, but found that it was “the worst thing ever.” She adds, “When you’re used to being homeschooled and being alone all the time, being thrown into this extremely social environment is terrifying.” Of set, Marks spends most of her time writing, and recently finished a script for a movie called Eskimo Sisters. She put the project on hold for Dirk Gently, but plans to dive in headfirst once she has time. “I can write and I can act and I can direct, and hopefully people can take me seriously enough to let me direct a little tiny film,” she says. “It’s the main goal I’m working toward. And just becoming an adult woman that people will listen to. I think that’s the main challenge.” She finds the video on her phone, and despite her warning, her skills are pretty damn impressive. CHLOE SCHILDHAUSE

photographed by ellie mclean. styled by laura mazza. dress by ksubi, top by pari desai. hair: david stanwell at the wall group using kérastase. makeup: kelsey deenihan at the wall group using mark.

Hannah Marks



Camila Mendes began her acting career as a cranberry. The production was a third grade play, The Turkeys Go On Strike, and, as Mendes recalls, “I was taking the role so seriously, playing all sorts of emotions. I think that’s when I started to get a kick out of it because the audience was laughing, and people seemed to be enjoying my performance.” Mendes is taking her newest role just as seriously. In Riverdale, the CW’s dramatic reimagining of Archie Comics, the Miami native plays Veronica Lodge, a snobby vixen whose large wealth is matched only by her attitude. But Mendes insists this is the most connected she has felt to a character. “I had never felt more confident about a role and about playing a character than I had with Veronica. I read the breakdown for this and I was like, she could not be closer to who I am.” That’s because while Archie fans know Veronica as the spoiled brunette who always gets her way, Riverdale will present her as a three-dimensional character. The show’s creator, Roberto Aguirre-Sacasa, was drawn to the vulnerability that Mendes brought to the role, giving Veronica a likability factor that had escaped the character in her previous incarnation. In Riverdale, Mendes says, “She’s trying to be a diferent person and she’s trying to reinvent herself. But there’s one thing I didn’t want to take away from the essence of Veronica: her poise.” Another aspect to Veronica one could never take away is her best friend Betty Cooper, played in the series by Lili Reinhart. Mendes, who lives in New York City with her boyfriend, says, “She really is the Betty to my Veronica. We’re out to portray two iconic characters on our own, plus we’re portraying an iconic friendship. To have someone to take on that challenge with me is really special. I don’t have to do it alone, I have Lili with me.” CS

photographed by matt priestley. styled by gabriella langone. from top: jacket and shorts by hilfiger collection, chokers worn throughout by topshop, necklace worn throughout by dylanlex, rings worn throughout by erica wiener; all clothing by hilfiger collection. hair: kylee heath at the wall group using serge normant. makeup: rebecca restrepo at tracey mattingly using elizabeth arden.

Camila Mendes + Lili Reinhart

Riverdale premieres:

photographed by tyler mitchell. styled by annabelle harron. dress by redvalentino, earrings by jacquie aiche, choker by peoples project la. hair: derek williams at the wall group using moroccan oil. makeup: desirae cherman at exclusive artists management using diorshow.



The CW

LILY The moment Lili Reinhart found out she would be playing the iconic Betty Cooper, of Archie Comics fame, she was making herself a hot dog and curly fries. “I got the call and I was like, ‘Oh my god!’ I started crying, and after I found out I ate my hot dog like a champion. It was one of the best days of my life.” The 19-year-old actress will be starring in Riverdale, The CW’s gritty adaptation of the classic comic strip, and though Reinhart didn’t grow up on them, she immediately read up and found ways to propel Betty forward. “In the comic books she’s a pushover a little bit, she takes the backseat,” she says. “Archie is a lot more interested in Veronica, and Betty is just hopelessly in love with Archie, which is great, but the comics can come of a little misogynistic.” The show in general will be darker in tone than the oft-lighthearted comics, Reinhart explains, and Betty has evolved beyond the “damsel in distress” we’ve come to know since the comics premiered in 1941. “I want her to be stronger and not let people walk all over her,” Reinhart says. “In the comic books, Archie just kind of picks between each girl every other day. No girl wants to watch a girl on television be pulled apart by a guy every which way. You want a girl who doesn’t let someone do that to her.” Before becoming Betty, the Cleveland-born Reinhart grew up acting in community theater, but beyond that, she says, “I didn’t do any plays in high school and I never even really got many leading roles in the plays that I did. I didn’t even make my high school a cappella choir!” Riverdale, she says, is the big break she has been working toward since she started acting at age 12. Her hope is that it’s only the beginning of working with her castmates, with whom she became close while filming on location in Vancouver. “At the end of the day we were constantly texting each other like, ‘When do you get of set? Let’s go get dinner. Let’s all hang out in so-and-so’s room.’ We would go and hang out in the hot tub downstairs. We all really became like a family, which I think is kind of rare.” CS


Phoebe Waller-Bridge While developing her one-woman play Fleabag into a television show, actress and writer Phoebe Waller-Bridge looked for examples of breaking the fourth wall. She wanted to translate her crass and unreliable narrator to the screen, so she watched the Sex and the City pilot, when the cast still spoke directly into the camera. “I couldn’t believe that one,” Waller-Bridge says. “It just felt so cheesy!” Fleabag, now an Amazon Original series, takes a wry, uncensored look at the life of a woman navigating contemporary life in the big city, and has drawn comparisons to Girls. But the show is singular in that the lead character is the villain of her own life, with few to no allies, and a dark streak that makes Don Draper look mild-mannered. “I have a horrible feeling that I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist,” Waller-Bridge’s character says during one late-night, drunken rant. WallerBridge, 31, a London native and theater veteran who previously appeared on BBC’s Broadchurch, has written a counterpart to the male leads who have defined television in recent years. Her nameless antiheroine, a failing café owner, wanders London as she steals money from the perfect date’s wallet, tries to flash a banker to get a loan, and masturbates to Barack Obama while her boyfriend is asleep next to her. While the lead’s actions may be hilarious or outrageous, the underlying problems of Fleabag aren’t trivial. It began as a stand-up monologue that Waller-Bridge performed on a dare by a friend in London, she says: “It was a 10-minute story about a girl who gave the front of being very sexually confident and borderline arrogant, but she was using that to basically tell the story of this terrible tragedy.” The idea was expanded to a full-length one-woman show that she performed at the Edinburgh Fringe Festival to rave reviews, before developing it as a series. Waller-Bridge cites characters such as Frank Underwood from House of Cards as her inspirations. “You never know when he’s going to use you as an audience or not, and you never know how much you can trust him,” she says. She also looked to Louis C.K.’s alter ego on Louie as well, for “him being completely flawed as a central character and sort of struggling.” Her Fleabag also makes the case that bad girls deserve our sympathy, too. ALI PECHMAN

September 16



photographed by jason hetherington at serlin associates. styled by lola chatterton. coat by acne studios, dress by ashish. opposite page: faux fur coat by mcq, sweater by le kilt. hair: josh knight at unit 30 using bumble and bumble. makeup: victoria bond at caren using mac cosmetics.


Atlanta premieres: September 6




It seems as though, between Desiigner bragging about his “broads in Atlanta” and Donald Glover’s forthcoming FX series named after Georgia’s largest city, the Southern metropolis is having a moment. Also having a moment is the eponymous show’s breakout star, Zazie Beetz, who, surprisingly, may be the only 25-year-old on the planet who has never heard the Brooklyn rapper’s summer anthem “Panda.” Stranger still, her show chronicles two cousins trying to make it in the rap game. Apparently Beetz was too busy becoming the next big thing to turn on the radio. In the offbeat dramedy, Beetz plays Van, Glover’s baby mama. But given that Atlanta is, according to Beetz, more Louie than Empire, the character is hardly a hot-tempered cliché. “They really didn’t want her to come across as an angry black woman,” she says. “They emphasize her nuances.” Aside from being a native New Yorker without a driver’s license, Beetz herself fits no stereotypes: her mother, a social worker, is African-American and her father, a cabinetmaker, is German. Unsurprisingly, she does a killer German accent (Glover, on the other hand, “does a great Cookie Monster,” she says). And while her parents were always supportive of their daughter’s aspirations, her biggest fan is easily her nine-year-old brother, who’s taken to singing “Paper Boy,” the catchy rap song featured in Atlanta’s pilot. Beetz thought she did such a “terrible job” at her audition for the show, she couldn’t even recall what the project was when they called to do a screen test. But few people are better prepared for their big break than Beetz. She attended LaGuardia High School—a performing arts school that was the inspiration for Fame—and then majored in French with a side of theater at Skidmore, a minuscule liberal arts college. She was, as she puts it, “lucky enough to always have theater in my life.” Not only is Atlanta Beetz’s big break, but the series is refreshing in its portrayal of its primarily black cast of characters, something that’s not lost on the actress. “If a movie features a black family, it’s about them being black, and not about them being a family. If you watch Friends, it’s not about them being white, it’s about them being friends,” she says. “[Atlanta] shows all diferent kinds of black people, and not all the jokes are Kool-Aid jokes. That’s funny, I guess, but I’m a little over that.” There’s one last thing Beetz gained from playing Van: the chance to portray a mother. “Literally my uterus sings every day,” she says, adding that if she weren’t an actor she’d be a midwife. Though her career is taking of, there’s still one last piece missing from the puzzle: “I have always felt that my highest calling was to be a mother.” ALLYSON SHIFFMAN

photographed by carla tramullas. styled by liz rundbaken. top by karen walker, pants by lie sang bong, stylist’s own bracelet. opposite page: coat by mademe, beetz’s own earring. makeup: janice kinjo at exclusive artists managemcoat bent using diorshow.

Zazie Beetz

Trust the Process there’s more to sampha than the melancholy of his debut album.

grooming: josh knight at unit 30 using bumble and bumble. photo assistant: izaak jolly. postproduction: touch digital. special thanks to loft studios, film plus, and saving the internet (since 1994).

by nick duerden. photographed by aitken jolly

When he was 11, Sampha Sisay, a Londoner of West African descent, composed his first song. He can’t recall its full title now, but it was something like “Believe God’s Promise.” Despite the suggestion of overt religious compliance, it actually questioned the very concept of belief. “It was basically me asking that if God was real, then why was there all this pain in the world?” he says. If this seems pretty philosophical for a preteen, then it’s worth noting that his father had died of lung cancer just two years prior, a seismic event that not only stayed with him but established a very particular vein of soul-searching that continues to mark his songwriting today. Now 27, Sampha is perhaps the most exciting new British talent to emerge since James Blake, another electronic-based singer-songwriter whose songs plumb self-reflection to often breathtaking efect. He sings in a way that makes his tracks sound like confessionals, like it hurts him to do so. And now, three years after his debut six-track EP, Dual, he is releasing his first full album, Process, which merges lyrical themes of existential doubt with exquisitely haunting, minimal beats. It is this combination that has brought him—quite unwittingly—to international acclaim: Back in 2013, Drake announced himself a fan, and requested Sampha’s services as a collaborator on his album Nothing Was the Same. He was then brought to Los Angeles by legendary producer Rick Rubin to work with Kanye West on the latter’s The Life of Pablo. “To have artists like that even know I exist is surreal,” says Sampha. And what was it like working with, as West likes to refer to himself, “this generation’s closest thing to Einstein”? Sampha grins and replies, “He has this aura about him. It’s intense, it’s all energy. You learn so much just by being in the same room as him. I wish I had his levels of ambition, or at least the ability to express myself in the way he does.” Sampha arrives for our interview—at a terrace café overlooking the Thames on a hot July morning—bang on time, wheeling with seeming efortlessness through the crowds on his chunky scooter. It’s only when he stops that he begins to puf heavily. “Harder than it looks, actually,” he says. A gentle, introspective man with bashful eyes, he was born in London, the fifth of five brothers, and the youngest by 10 years. His father was a

diamond evaluator from Sierra Leone who transferred the family to the United Kingdom before his youngest son was born, and life, Sampha says, was comfortable. But after his father’s death, things became more complicated. “I never really got to know him because he was always working so hard,” he says, “but growing up in a house without him—well, you felt his absence.” He was a naturally musical child, and took instinctively to the family piano. At 18, he went to university to study music production but soon dropped out when he got the chance to work with his friend, Aaron Jerome, who was making widely acclaimed music under the moniker SBTRKT. “After that, I wanted to produce,” he says. “The fact that I’ve ended up in front of the microphone myself is pretty much an accident, really.” But his career progression has been hampered by more family tragedy. First, his oldest brother sufered a severe stroke, and then in 2015, his mother died of cancer. In a mournful state of mind he began creating Process, which surely accounts for the fact that it sounds so haunted by memory, and driven by it, too. The title of the song “(No One Knows Me) Like the Piano” alludes to the one in his mother’s home, while “Plastic 100°C” relays his own run-in with ill health: “Oh, sleeping with my worries, yeah,” he sings. It concerns a lump he discovered in his throat back in 2011. “The doctors don’t know what it is; it’s a mystery, and so I have to just live with it,” he says, looking pained. Is it still there, the lump? “Yes. Every time I swallow, I feel it.” After an hour of talking in the sunshine—about, among other things, his girlfriend of three years, a personal trainer who keeps on at him about the benefits of a healthy lifestyle and to whom he responds by drinking orange juice (“fruit’s healthy, right?”)—Sampha frowns, his forehead collapsing into a tight V. You look anxious, I tell him. He nods. “Sometimes I listen to my music and wonder what will people think of me. It’s very melancholic, isn’t it?” he muses. “But my life isn’t totally miserable, you know. I can be quite silly, as it happens. It’s just that, for whatever reason, I only express one side of me in my music. I suppose one of my challenges now is to express more of myself, to channel my inner Kanye, perhaps.” He grins, unconvincingly. “I’m working on it.”


Woman of the World

all clothing and accessories by ashley williams. hair: josh knight at unit 30 using bumble and bumble. makeup: valeria ferreira at caren using diorskin nude. photo assistant: izaak jolly. postproduction: touch digital. special thanks to loft studios and film plus.

ella purnell is far too preoccupied with a leading role in tim burton’s latest film and championing women’s rights to conform to starlet stereotypes. by lucy brook. photographed by aitken jolly. styled by jeanie annan-lewin

“I always feel like sugar cubes aren’t big enough,” says Ella Purnell, dropping another square into her cofee, dispelling any notion that she is an archetypal Hollywood starlet. Further proof: The night before, a special delivery landed the 19-year-old Brit with seven tubs of Ben & Jerry’s, one of which she’s already polished of. As if her unregulated eating habits aren’t proof enough of her down-to-earth demeanor, when I ask how often she visits Los Angeles, she says once a year is enough. “I’m quite easily influenced,” she says. “Twenty-four hours too long and suddenly I’m in a yoga class with a smoothie and a dog in my handbag.” She wrinkles her nose and laughs. “I love London too much and I’d miss my friends. Also, I can’t actually drive.” This is Purnell in a nutshell: charmingly scatterbrained, enthusiastic and curious, talking animatedly about everything from filmmaking and the agony of wearing high heels to reincarnation and learning to play the saxophone. On the back of successful roles in Intruders (2011), Kick-Ass 2 (2013), and Maleficent (2014), she’s become something of a teen idol, amassing close to 30,000 followers on Instagram who live and breathe all things Ella. There’s a name for them, too—the Purnellephants. “They’re so lovely, I feel like they’re my mates!” she says of her fans. “I didn’t really have idols growing up, but some of my friends were huge fangirls. People just dismiss it, but it’s really important to have someone to look up to, so I try to interact as much as I can. A little like can make someone’s day, and I’m happy to do it.” She’s quick to clarify, though, that she’s not shy about blocking bullies and haters. “Social media can be so damaging,” she says. Today Purnell—casually dressed in checked Zara pants, an American Apparel tee, and Stan Smith Adidas sneakers—has philanthropy on the brain: “I have a dream to create charities and hubs for people where hopefully something can change,” she says. “I don’t want to inspire people to look pretty and buy makeup. I want to inspire them to knit scarves for Syrian refugees.” Lounging around North London’s Loft Studios, where preparations are underway for her NYLON shoot, she’s armed with piles of what appear to be schoolbooks. They’re actually Purnell’s personal notebooks, crammed with jottings on Educate2Eradicate, a women’s rights

charity for which she’s the events and PR manager. “I’m so stressed,” she says before passionately launching into the charity’s mission statement. “We have this big fundraiser tomorrow and it’s all completely on my head.” No wonder she needed ice cream, I ofer. “Exactly!” she says with a laugh. “I picked it up for breakfast, too, but my mom said no.” Born and raised in East London, Purnell studied acting, singing, and dance at the respected Sylvia Young Theatre School, and was always drawn to creative industries. She made her London stage debut in Oliver! as an 11-year-old, and scored her first feature film, Never Let Me Go, costarring Carey Mulligan and Andrew Garfield, when she was 12. This year she’ll appear in Tim Burton’s Miss Peregrine’s Home for Peculiar Children, alongside Eva Green, Dame Judi Dench, Samuel L. Jackson, and her rumored real-life love, Asa Butterfield. In the film, which is based on the popular books by Ransom Riggs, Purnell plays Emma Bloom, a softspoken orphan whose particular “peculiarity” is being able to manipulate air. “It was totally surreal,” she says of working with Burton, whom she’s admired for a decade. “The day I found out I got the part I was in complete shock, but then [I felt] this immense pressure, too. It took a few days to sink in, but once I got on set and met everyone, and got my costumes, the professional part of my brain kicked in and it was just like another job.” After sufering bouts of anxiety while growing up, Purnell says she’s forever reminding herself that “nothing is permanent,” and she doesn’t take her career for granted. While she admits that loneliness is a side efect of the business (“especially when you come from a big family, and if you’re doing a film where there aren’t many people your age—you can spend six months pent up in a hotel room,” she says), she afirms that the downsides, for her, are far from grave. “People make out like it’s really hard to be famous, but I’m quite happy-go-lucky,” she says with a smile. “I can’t see myself complaining about that very often.”


Born Again kt tunstall ditches london for california, and stages a psychedelic pop-rock comeback on kin.

all clothing by h&m, tunstall’s own sunglasses.

by jessica herndon. photographed by amy harrity. styled by ashley zohar

There’s a song on KT Tunstall’s new album Kin about the need to wear armor. “Hard Girls” basically sums up who she used to be: a guitar-wielding chick incapable of cutting the bullshit so she could just chill. “I felt like, ‘I’m a pop star. I should be drinking and partying every night and hosting enormous parties at my house that cost thousands,’” she admits while giving a tour of her sick pad in Venice, California, where she’s lived since 2014. “It was fun, but you don’t have to do that all the time.” This home is no place for ragers. With its gray palette, wooden tables with raw edges, copious amounts of plants, and cool beach breeze, the house is a sanctuary, albeit a sassy one. On the wall in the living room is a framed temporary tattoo by Tracey Emin, Tunstall’s favorite artist. “It’s a little bird getting a ride on a cock,” she says, laughing. “No one ever notices it!” Tunstall, 41, moved here from London in search of a place where calm and quiet could prevail. “I can sit on my balcony in the nude after a bath and look up at the stars,” she says, now barefoot and sitting on her couch in a black Michael Kors jumpsuit. “I can’t hear trafic at night, and there are no street lights. It kind of saved my life.”

After releasing four albums and feeling “burnt out for sure,” she’d vowed to quit recording solo albums. “The whole process of leaving the U.K. was like a spiritual, mental, physical clearing,” she adds. “I knew I had to start again because I’d fucked up.” How exactly did she fuck up so badly? “Mentally I couldn’t handle anything,” she admits, adding that her insecurities also held her back. After Tunstall’s 2004 debut, Eye to the Telescope, went multiplatinum and her track “Suddenly I See” was featured in the opening credits of The Devil Wears Prada and used as Hillary Clinton’s 2008 campaign theme, she was everywhere. “It was so weird when four million people bought that record and you know they’re expecting something from you,” says Tunstall, who began playing the guitar at age 15 back in her hometown of St. Andrews, Scotland. “Suddenly I go from, like, playing on the fucking street and living in a shitty little house on the edge of town in Scotland with no heating while eating pasta covered in ketchup, to having 15 to 20 people on the road with me, two tour buses—a huge production. And if I want to take a break, 15 people don’t have wages, and they have children. It was not attractive to me to be in charge of all that.” By her second and third albums she’d become “standofish and obser-



bies are for,’” she says. “I was like, ‘Fuck that!’” Despite the hustle to become a successful musician, Tunstall had had enough and relocated to California to work on music for movies and attend the Sundance Composers Lab. Breaking into the scoring business didn’t pan out, but she still enjoyed Cali life and would hike and drive along the beach and on Mulholland Drive while listening to Tom Petty, Fleetwood Mac, Tame Impala, Devendra Banhart, and Django Django. She started thinking about rifs and lyrics again, and soon she broke out the looper pedal she’d tucked away. “Evil Eye,” a vengeful jam with a dirty swing beat influenced by African electric guitar players like Tinariwen and Femi and Fela Kuti, was the first track she wrote for her new record. After about a year and a half, she’d completed Kin, which Tunstall says is “all about tribe and finding your people.” It’s a solid mix of folk, psychedelia, and pop-rock with a raw, sweet soul and hooks that are catchy as hell. “We went to Joshua Tree, and I sat outside and sang for the rocks, and I took a trip to New Mexico and chopped wood and sat by a fire for about six to seven hours for days and just wrote and wrote and it felt serious,” she says. “It felt good. I think more than ever I understood that I had to be vulnerable and honest.”

dress by suno, necklace by luv aj.

vational in the way that I wrote,” says Tunstall. “It was less personal because I was feeling vulnerable.” On 2013’s Invisible Empire // Crescent Moon, her music had become very melancholic, quiet, and subdued. She toured that record wearing a tailored Dior suit and tie while performing in seated theaters to static audiences. While she loved rocking the highend brand, she knew that the vibe of her show was too restrained. “The last album was like the soundtrack to my funeral,” she says. “It feels like something died.” She was also coping with her dad’s death and the end of her five-year marriage, both of which happened in August of 2012. “My dad dying was a massive wake-up call,” she says. “We were close, but he was a total taskmaster. He’d grown up in the boarding-school system, so afection was conditional to your achievement. I taught him how to hug.” As a kid, Tunstall spent “every fucking minute” trying to impress her father. “It was all about trying to be liked,” she adds. “I mean, why the fuck do you end up on stage trying to make thousands of people like you? It’s not a normal thing to want to do.” Her parents, who adopted her as an infant, never thought she’d make it as a musician. “I remember them telling me, ‘You don’t get to do what you like for your job. That’s what hob-

all clothing by h&m, tunstall’s own sunglasses. hair: aaron light at the wall group using kevin murphy. makeup: jenn streicher at forward artists using laura mercier.

“That’s a brave thing for me because you’re meant to not regret a thing.... I’m like, ‘No, fuck that.’”

The track “It Took Me So Long To Get Here, But Here I Am” is “like the mission statement of the record,” says Tunstall. On the second verse, she sings: “If I could do it/ Do it all again/ I can’t safely say I wouldn’t change it./ There were things that left me feeling ashamed.” “That’s a brave thing for me because you’re meant to not regret a thing,” Tunstall says. “I’m like, ‘No, fuck that.’ If I could do it again there would be things that I would do diferently, and one of those things would be not listening to negative voices and just fucking giving them the middle finger, and being confident and not ashamed of parts of me that I think other people don’t approve of, and know that I’m enough.” Tunstall’s newfound confidence has also given her a fresh lease on fashion. “I always thought I’m just a Bob Dylan [type] who is going to wear a pair of trousers and a T-shirt,” she says. Nowadays she dons ensembles that are loose but ofer a tailored fit, by brands like Acne, Vince, and Scotch & Soda. But her drop crotch gold pants and silver Isabel Marant jeans are her faves. “I love wearing something that’s going to make me stand out,” she adds. “I like being a woman comfortable in my own skin.”

Heavenly Host if her dazzling new album, my woman, is any indication, angel olsen has come into her own—and she doesn’t give a damn what anyone has to say about it.

dress by simone rocha, dress worn underneath by valentino, olsen’s own jewelry worn throughout.

by sophie saint thomas. photographed by michael beckert. styled by liz rundbaken

Angel Olsen has the power. Of course, she’s always had it, but with the release of My Woman, she doesn’t really care about how you perceive that power. “People think they know you entirely based on the work that you project, famous or not famous,” says Olsen over lemonades in a Brooklyn tea shop. “But you still have to be a person, and wake up and go through human struggles while everybody is thinking of you as not a human who goes through those things. You’re living the life of the self that you project, in the life of your actual self.” Olsen is disarming in person—a celebrity with the air of a perceptive, considerate, and passionate friend, discussing the dificulties of being a working woman in her late twenties, and defying the limiting expectations of the public. My Woman, her third studio album and the follow-up to 2014’s Burn Your Fire for No Witness, is demonstrative of her ability to disregard these constraints and portrays the broad spectrum of Olsen’s musical talent, which ranges from her signature folk, steeped in her superior songwriting chops, to synthy glam rock. After the success of her last record brought Olsen to the stages of latenight television and into the hearts of an ever-growing fan base, the repetitiveness of fame and the unavoidable typecasting as a female folk singer led her to question where her hard work had landed her. “It went from the positive inertia of creating something alone in a room that no one cared about to a commercial image that you’re just living over and over again,” she says. “Despite the fact that I was doing well, and the album was doing

well, I wasn’t doing well.” Naturally, her admirers viewed her through the self-absorbed lens of fandom, oblivious to the fact that even celebrities need repose. “People come up to me and they’re like, ‘You saved my life.’ Even though it’s amazing to hear that, when people compliment you in that heavy way, there is some sort of expectation. They want something back,” says Olsen. “I feel very fortunate to have fans that would say that to me, but when was somebody gonna pull me aside and be like, ‘Are you OK?’ No one was doing that.” She sips her lemonade and continues: “So I went to therapy, took a break. I just didn’t want to tour as much. I was like, ‘I don’t know if I want to do this. Maybe I should reconsider my plan.’” Ironically, it was on the road where Olsen felt reinvigorated, thanks to the camaraderie of fellow musicians on the festival circuit, such as St. Vincent, Courtney Barnett, and Mac DeMarco. “You think all these bands are getting together and getting shit-faced and there’s probably drama, and there is,” she says, “but behind the scenes and on the sidelines, there’s also a lot of community that’s being built. It was really refreshing to talk to people—even in a drunken way—about our careers, and to know that I wasn’t totally isolated in the experience. Hearing that other people were bummed, and making fun of ourselves, like, ‘I’m so famous, my life is so hard,’ really saved my career. I was like, ‘I’m not going to quit. I’m going to keep doing this.’ And after that I wrote a bunch of material.” Thus, My Woman was born. The world was introduced to the new music via the morbidly beautiful lead single “Intern,” the video for which was directed by Olsen herself



tions like, ‘So, as a feminist, your album is a feminism album?’” says Olsen with a scof. “I can’t deny that I’m a feminist. I don’t like that it’s hip right now, because I don’t want it to be a trend. Just because it’s being talked about doesn’t mean that people are getting the picture.” She finishes her lemonade—a fitting drink for a discussion about the limitations put on artists who happen to be women (see Beyoncé’s latest album). In spite of it all—the cages of fame, the insistence of critics on typecasting her, the archaic categorization of female artists by their gender, and her occasional bout of exhaustion—Olsen has no plans to slow down. “I did name my album My Woman, so it’s very easy for people to think all these things,” she says. “It is a really bold move, but that’s what you gotta do. I’m going to be audacious enough to say that I’m important.”

coat by kenzo. hair: peter matteliano at kate ryan inc. using oribe. makeup: lindsey williams at kate ryan inc. using dior addict. manicurist: angel williams at opus beauty using dior vernis.

and filmed with a micro-crew of friends in Asheville, North Carolina, where the singer has resided for three years. The visuals for “Intern” and its commanding follow-up, “Shut Up Kiss Me,” star a silver-tinsel-wigadorned Olsen, invoking comparisons to “Life on Mars?”-era David Bowie. “I wanted to create my own character and be more in control of the image I project through my own music,” she explains. Olsen’s also determined to expose the hypocritical manner in which men and women in the industry are received by critics. Although male rock stars can howl misogynistic lyrics without being quizzed on feminism, when a female artist writes her own music and names an album something even moderately gutsy, she’ll likely be interrogated about it. With that in mind, the singer is already swatting away the line of stereotypical questioning that the title of her record will inevitably conjure up. “The album is called My Woman, and people are like, ‘Are you afraid that your male fans might be turned of by this title?’ I can’t wait for the ques- #reasons2standup #su2c (:;9(A,5,*(*(5(+0(5)9,(:;*(5*,9-6<5+(;065*(5(+0(5047,90(3)(526-*644,9*,*(5(+0(505:;0;<;,:6-/,(3;/9,:,(9*/ *(5*,9:;,4*,33*65:69;0<43033@65*636.@-(99(/-(>*,;;-6<5+(;065.,564,*(5(+(3(<9(A0:205-(403@;9<:; 5(;065(36=(90(5*(5*,9*6(30;06565;(90605:;0;<;,-69*(5*,99,:,(9*/6=(90(5*(5*,99,:,(9*/-<5+(330(5*, ;/,7(92,9-6<5+(;065:;)(3+90*2Âť:-6<5+(;065=(5(5+,39,:,(9*/05:;0;<;, :;(5+<7;6*(5*,90:(796.9(46-;/,,5;,9;(054,5;05+<:;9@-6<5+(;065,0-(**/(90;()3,69.(50A(;06504(.,:-964;/,:;(5+<7;6*(5*,9(5+:/6>: ;/,(4,90*(5(::6*0(;065-69*(5*,99,:,(9*/((*90::;(5+<7;6*(5*,9Âť::*0,5;0-0*7(9;5,9

Life Cycle singer-songwriter jenny hval may not have intended to create a brilliant, blood-themed record, but her new album is just that.

hair and makeup: jeanette gjerde olsen at pudder agency.

by barry nicolson. photographed by kim jakobsen to. styled by jeanette gjerde olsen

Concept albums, by definition, are not random occurrences. Somewhere along the line, the artists who make them generally have to decide to do so. Ask Jenny Hval what made her decide to write a record about lunar cycles, time-traveling vampires, and the flow of menstrual blood, however, and her answer might surprise you: She didn’t—at least not intentionally. Which means that Blood Bitch may be the first concept album in history to have happened by accident. “All of the themes of this album, all the stuf I’ve written about it—that came after it was finished,” admits the Norwegian singer-songwriter. “When an album is presented to journalists, there’s a press release that comes with it, and that makes it sound like I sat down and thought, ‘What shall this album be about?’ But although it might seem like I was planning ahead and being very clever, I have to emphasize that when I made this album, I was feeling very stupid.” Literate, challenging, thoughtful, provocative—there are plenty of words you could use to describe Hval, but “stupid” certainly isn’t one of them. Over the course of her discography, she has carved a niche for herself as one of the smartest, most singular voices in pop music—and, yes, despite her amorphous, experimental approach to melody and song structure, she does still consider herself a pop artist. “You can look at it in a couple of diferent ways,” she says with a smile. “If you see pop music as a product, as finished songs, my music is something very diferent. But if you see it as an artistic discipline, an exploratory process of sound-making—that’s how I like to think about it.” That’s the spirit in which Blood Bitch was made: an automatic, unthinking frenzy of creation, resulting in a record of dark, dissonant electronica that owes as much to the music of Hval’s youth (raised in Norway’s equivalent of the Bible Belt, she came to inhabit “a private satanic world” of doom metal) as it does to her last album, 2015’s Apocalypse, Girl. “I didn’t really know what I was doing, or what I was writing about, and that was

the aim from the start: to make something that was very spontaneous,” recalls Hval. “I wanted to make something that I didn’t have time to process, refine, and rewrite, and I was surprised by how eloquent the music could be without having a predefined framework for it. Lasse [Marhaug, Blood Bitch’s co-producer] and I really don’t know why we’re so happy with this album, because it almost seemed as though we did nothing. I feel like anybody could have made this album.” Yet Blood Bitch didn’t exactly come out of nowhere. During the recording of the album, the singer became obsessed with the schlocky exploitation cinema of the ‘70s, particularly the films by Spanish director Jesús Franco, the man responsible for such nefarious top-shelf classics as Vampyros Lesbos and The Bare-Breasted Countess. As Hval explains, “Very often, these films are full of nudity. They’re filmed very fast and very cheaply, and it’s a depiction of sexuality that sells because it’s cheap. I found that very open and liberating, as opposed to things that are very perfected. And of course, there was so much blood in these films! As I was watching them, in my brain—all the female characters from these films, and all the blood that was spilled in them—it all combined to form a sort of menstruation cult.” She may not have known it at the time, but Hval was making an album about what she calls “the red-and-white toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers.” The overriding theme of Blood Bitch, she says, “is that menstrual blood is something that’s shared amongst everybody, not just women. There’s a tendency to think of it as a female thing. You take power from something when the world tells you, ‘This is only for women,’ but really it concerns 100 percent of the population because menstrual blood is the most powerful blood there is. Women only have it in the middle of their lives, but even for people who don’t have it, it’s still there: You hate having it, or you dream about having it; you dread it, or you can’t wait to get it. It’s a wonderful part of life and desire—and death.”



When I’m presented with the opportunity to see a live show by Perfume, Japan’s most popular girl group, I have to admit that I know nothing about them. But a few YouTube searches later and I’m hooked. It’s like if Grimes, Cocteau Twins, and Skrillex had a baby, or triplets, rather, who perform kick-ass choreography and catchy melodies that weave between Japanese and English lyrics, surrounded by sick visuals on stage. Though I start to understand the obsession, it’s not until I’m 7,000 miles from home, in a small city outside of Osaka called Wakayama, that I actually start to feel it. I’m walking around a venue known as the Big Whale, named for its rather bulbous architecture, when I notice a theme: intense cosplay. Teenage girls and 50-year-old dudes alike are in groups of three, dressed up with either a clean-cut long bob, bangs and a ponytail, or straight bangs and long silky hair—the signature hairstyles of Nocchi, A~chan, and Kashiyuka (a.k.a. Yuka), the powerhouse trifecta known as Perfume. I’m sitting front row when thousands of fans start clapping and dancing—45 minutes before the girls hit the stage. Nobody is on a cell phone, nobody is drinking alcohol—everybody is there to see their beloved Perfume. Case in point: When I pull out my phone to Snapchat the scene, I’m met with aggressive, disap-


proving stares, silently ordering me to put my phone away and become totally present—talk about a culture shock. Finally, the lights dim and the massive stage beams with neon lights. A countdown begins. Holograms of Nocchi, A~chan, and Yuka appear, and the stars themselves step out onto the stage. It’s all very dramatic, and people are losing their shit. The girls perform three songs, while dancing pretty damn impressively in their heels. Then the lights turn on, and the girls begin talking to the audience. Completely confused, I ask my translator Aya for the Clif Notes version of the speech: Essentially, the girls are super grateful to be performing—and then they launch into an anecdote about how their show used to feature water shooting up from the roof of the venue, but people who lived nearby complained that their laundry hanging outside was never dry. They have two more interludes during the show, with the final one being the most unexpected: The girls roll massive dice across the stage to tell them which three songs to perform last, which direction to face when they perform, and whether or not they should wear a headset or use a microphone for each. The songs are chosen, the girls take a minute to strategize, and, with the audience hooked on every word and move, they pull it of flawlessly. I’ve never seen anything like it, such efortless improvisation—I can

clothing by msgm.

barely walk without tripping. “Talent” is far too weak of a word for what I’m witnessing. The show ends. A group of girls sitting next to me are crying, happy that they got to see their idols but sad that the moment is over. Then I’m told that Perfume want to meet me. But aren’t they tired? They just performed for over two hours in heels! I’m quickly assured that they won’t mind; they’re shocked I came all the way to Wakayama to see them. Next thing I know, I’m in the maze of backstage, navigating through dozens of crew members who are disassembling the stage, until I’m finally face-to-face with the girls. We end our quick introduction by planning to meet up again in Tokyo in a few days. I walk away shocked by how sweet and down-to-earth the girls are, considering that they are three of the most famous musicians in Japan, and they’ve just put on one of the most insane shows I’ve ever seen. This is a crucial moment for Perfume. Not only are the 27-year-olds celebrating their 16th anniversary this year, but they’re steadily increasing their international appeal. The 2015 documentary We Are Perfume: World Tour 3rd Document shows the girls traveling to America to perform for the first time at the Hollywood Palladium in Los Angeles and Hammerstein Ballroom in New York City. There are funny clips throughout—such as the girls eating In-NOut (the Animal Style burger, of course)—but you also get a feel for how touching it was for them to realize that halfway across the world, they are loved, admired, and idolized by so many. This month, they’ll get to experience that feeling again when they return to the States, performing not just in L.A. and New York, but also in San Francisco and Chicago, proving that their American fan base is only getting bigger.

On the way to Tokyo, I do some impromptu market research on Perfume, casually mentioning to the Japanese girls I encounter that I’m here from New York City to interview the country’s biggest girl group. Nine out of 10 times, they flip out; one even tears up because she’s “their biggest fan.” Their popularity is almost overwhelming when I check in to my hotel in Shibuya, with its massive posters promoting the girls’ new album, Cosmic Explorer. Before I meet up with Perfume again, I have some time to explore the area. I end up in a Purikura machine on the top floor of an arcade—it’s a photo booth that makes you look super kawaii by enlarg-


ing your eyes, slimming your face, and blurring out imperfections, and then you can apply stickers and glitter to your photos before you print them. Schoolgirls are everywhere (no surprise, considering the arcade’s strict requirement that all boys be accompanied by a girl), sporting not just Perfume merch, but also the three telltale haircuts. Aya confirms that Nocchi, A~chan, and Yuka are, in fact, beauty trendsetters, promptly showing me a meme with a photo of Nocchi beside one of a man with a bob wig. The caption reads: “When you go to the hair dresser and ask for a Nocchi, but come out looking like this.” I can’t help but laugh. Finally it’s time for the girls and I to reunite. After a few hours of glam, a couple of outfit changes, and an impromptu photo shoot with my disposable camera, we finally sit down and talk—first about how Perfume basically went from being local idols in Hiroshima to three of Japan’s biggest celebrities almost overnight. “During our summer vacation from college, our breakthrough single ‘Polyrhythm’ came out, so when school resumed in the fall, people started recognizing me as ‘Nocchi from Perfume,’” the singer recalls, detailing how the girls met at the ages of nine and 10 while attending Actor’s School Hiroshima. Yuka chimes in: “At school they had you form groups, so A~chan and I formed a group with another girl in the beginning.” The three original members all had the same Japanese kanji character for “fragrance” in their names, so they named the group Perfume. “She left the group, then Nocchi joined a year later. We’re lucky she was chosen as the new member because we were the same age, around the same height, and all had the same blood type, so we had so much in common,” says Yuka. Blood type? The girls start laughing. “In Japan,” explains Yuka, “a lot of people care about blood types because they believe your personality depends on your blood type, so a lot of young people ask what blood type you are.” So what’s the blood type that unites the group? “A,” replies A~chan, “which means we’re very detailed and precise people.” I can’t help but throw in a couple of beauty questions—especially about those hairstyles. “It’s paying of that we’ve kept the same hairstyle for 16 years,” says A~chan as the other girls giggle. “We didn’t change it because we thought we needed to keep our image the same until we made our big break, but even after we did, we kept it. There are tons and tons of people with bobs like Nocchi, but people think of

stylist: toshio takeda at mild. hair: yuki shimajiri at team starter. makeup: masako osuga. special thanks to isetan.

Nocchi when they see that hairstyle because it’s her signature.” I recall from the documentary their ritual of applying essential oils to their skin before they step out on stage. Though I’m sworn to secrecy on the specific scent, the girls are willing to describe it. “It’s a little bit of a spicy scent,” says A~chan, to which Nocchi adds: “It’s more floral. It’s something that gives you confidence.” But back to their overseas success: “What I think is cool is that what we were doing in Japan was brought over to the U.S., and it really overcame the cultural and language barriers,” says A~chan. “It gave us so much confidence as Japanese artists.” Still, their biggest dream is to perform at Madison Square Garden, an aspiration that they mention several times in their documentary, as well as during one of their speeches at the Wakayama show. “The chairman of our management company never, ever complimented us before our New York show,” continues A~chan, “but when we got of stage he said, ‘You are the ones that are going to make my dream come true, to do a show at Madison Square Garden, and be the first Japanese artists to do it.’ We were really happy that his expectations of us were so high, so we’ve made it our mission to go for it from here on out.”

Our night in Tokyo ends around 11 p.m. in Isetan (basically Tokyo’s Bergdorf Goodman), in the perfume section, naturally. We have the whole place to ourselves, thanks to Perfume’s strong relationship with the store: They shot their music video for “Pick Me Up” here with OK Go, and also have collaborated with the store on an insanely popular shoe (inspired by the fact that they’re known for dancing in heels). Now that my visit has come to an end, I find myself in an emotional limbo, both happy and sad—similar to how their fans felt back in Wakayama. There’s no denying how powerful their presence is; it’s dificult to put it into words. But this is not goodbye for us: I tell the girls that I’ll be seeing them when they return to New York City, and again when their dream of selling out MSG comes true. The girls let out a big “Aww,” and we all hug. Arigato, Perfume, until next time.



The Art of Maintenance mierle laderman ukeles takes over the queens museum. by austen tosone. illustrated by liz riccardi Mierle Laderman Ukeles started out as an artist in search of freedom, but after the birth of her daughter in 1968, she felt an unavoidable shift in her life. “Being a mother entails an enormous amount of repetitive tasks. I became a maintenance worker. I felt completely abandoned by my culture because it didn’t have a way to incorporate sustaining work. I had no words, no language to deal with it,” she says. This realization lead Ukeles to write Manifesto for Maintenance Art, 1969!, a statement intended to unite her work as a mother and her work as an artist. “I felt like two separate people,” Ukeles says, “and I wanted to be both.” Now, nearly 50 years later, a survey of her work will be shown at the Queens Museum in New York starting September 18. “The critical thing to understand about being a maintenance worker is that you make a decision that something has value and should be sustained, maintained, kept alive,” says Ukeles of the connection between mothers and maintenance workers. “Once you make that decision, you have to do the work that it takes to keep that person, system, or city going.” Western culture has never celebrated maintenance work in this way; as she points out, “it’s done behind the scenes, downstairs, after hours, unseen.” Because of her interest in both creating work and how our society receives her work, it is unsurprising that this connection has led Ukeles to the Queens Museum. “Thinking about the city, thinking about our culture, enlarging who has a voice in our culture—that’s what the Queens Museum has become famous for,” says Ukeles, who will be the first artist to have a show occupy the entire building. “This exhibition involves looking at works that happened 30, 40 years ago, re-envisioning them for our site today and also re-envisioning the ideas behind them for contemporary issues,” explains curator Larissa Harris. Since Ukeles’s work is heav-


ily performance-based, the exhibition presents some dificulties for Harris and her colleagues. “Our very interesting challenge is to try to understand how this material can take shape in three dimensions, on white walls,” she says. “What you’re going to see in the show is fantastic glimpses of the performances themselves, taken by photographers.” As Ukeles looks back on the last 50 years, she is particularly grateful for those who believed in her along the way. “I have a great appreciation for the people who took a chance on me and made it possible for me to continue doing my work,” she says. She has led the movement in making strides to improve the treatment and appreciation of the artistic values of maintenance and motherhood, with a core message that remains constant: There is always more work that can be done.

photographs courtesy of the queens museum.


Grime Bosses meet five powerful women in the british genre co-signed by the likes of drake and kanye west. illustrated by liz riccardi Born out of East London’s Bow neighborhood in the early 2000s, grime music has become the voice of a voiceless generation, with many likening the genre to punk for its DIY, anti-establishment nature. Whereas hip-hop spoke to and for the ghettos of the United States, grime did the same in England—but that is pretty much where the comparisons end. Stylistically its influence comes from Jamaican soundsystem culture more so than it does American rap, being that it was created in an environment with a penchant for jungle, U.K. garage, ragga, and dancehall. The beats are metallic riddims that blast at 140 beats per minute, derived from Fruity Loops plugins and Music 2000 (yes, the Playstation game); the lyrics are just as icy, with bars centered mostly on the trappings of street life. With the help of MCs such as Wiley, Dizzee Rascal, Kano, and Skepta—as well as newcomers like Stormzy, AJ Tracey, and Novelist—grime is now respected not only as a genre, but also as a culture. It’s all in the walk, the talk, and the swag. It’s also a male-dominated scene; very few females have made long-lasting impressions. However, grime’s popularity can be partly attributed to women such as Lady Leshurr, whose “Queen’s Speech” freestyle videos helped the genre go viral, and without writers Chantelle Fiddy and Hattie Collins, who were the first to cover the genre in the press, we wouldn’t even have a name to call this thing. Here, we touch base with five other lady bosses who are dominating the worlds of journalism, radio, photography, and, of course, music, all in the name of grime. JOSEPH “JP” PATTERSON


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S h y s t i e, M C Known to many as the first lady of grime, MC and actress Shystie has undoubtedly earned that title. Having set out on her musical journey back in 2003 with a remix of rapper Dizzee Rascal’s “I Luv U,” she is the epitome of a boss: She was one of the first in the scene to get a major record deal, played the leading role in the British television series Dubplate Drama, and can count rapper 50 Cent among her many fans. “I’ll forever be grateful to grime,” says Shystie. “It’s set me up for nothing but success.”

S i a n A n d e r s o n, DJ “I love grime because it personifies me; that raw, honest, zerotolerance approach is very much a part of who I am,” says Sian Anderson. Apart from hosting a popular show on BBC Radio 1Xtra, she has penned articles for Noisey and The Fader, among others, establishing herself as one of the leading voices in grime. Add the fact that she runs SighTracked, one of the biggest music PR firms in the United Kingdom, and it’s clear to see this woman is about her business. “Grime is a lifestyle. It’s my lifestyle,” she says.


V i ck y G r o u t, p h o t o g r a p h er

F l a v a D, p r o d u c e r It’s difficult to highlight grime’s inclusiveness when you can only count its female producers on one hand. That hasn’t deterred Flava D. Raised on a diet of Crazy Titch and other stars from Channel U—a British television station that played music from popular American rappers alongside rising artists in the U.K.’s urban music scene—the rawness of the riddims and gritty London swag resonated within the Bournemouth beatmaker. “The lyrical content gave an honest insight into what it can be like living and struggling in London’s concrete jungle,” she says. Now signed to the blog-turned-music label Butterz, Flava D is a force that is being felt in the underground arenas of grime, bass, and U.K. garage.

L a u r a “H y perf r a n k” Br o s n a n, jo u r n a l i s t “I can safely say that grime saved my life,” says Laura Brosnan, better known as Hyperfrank. The blogger, writer, and promoter has spent the last decade writing grime-focused articles for the likes of MTV, i-D, and Complex, establishing herself with a straight-tothe-point style. “It allowed me to channel my pain, anger, and loss from losing my mother into something that represented who I was. I was a broken shell, treading on thin ice, but grime and the people in it pieced me back together, and soon it became my home sweet home,” she says.

A grime rave doesn’t feel the same without Vicky Grout running rings around performers and snapping away. With an impressive portfolio that includes images of artists like Skepta, AJ Tracey, Novelist, and Stormzy, this photographer has already made her mark on the scene—and she’s still in her teens. “Grime has this sense of unity and energy that not a lot of other genres have,” says Grout. “There’s literally nothing better than hearing a grime tune that makes you bass-face and want to punch something [laughs].”



D E V E N D R A B A NH A RT Ape in Pink Marble Nonesuch Records

P H A N TO G RA M Three Republic

Devendra Banhart is a folk music sommelier on Ape in Pink Marble, crafting luxurious, genre-blending tracks for listeners to revel in. Recorded in Los Angeles with producers Noah Georgeson and Josiah Steinbrick, the album, Banhart’s ninth, is a psychedelic reverie. “Middle Names” is the seductive opening track, leading into the rest of the album like a quixotic daydream. Filled with uncertainty and awe, Banhart wonders, “Why is the moon so bright?/ Why are you so nice?” sending us on a ship that sails through the stormy night while thunder rages in the distance. “Fig in Leather” is his formal invitation to “Come right in, have a seat/ Remove your shoes and have some fruit/ Did I mention have a seat?” The funkfilled “Fancy Man” is whimsically absurd, as Banhart lavishly coos about irritations and delicacies while backed by a romantic orchestral arrangement. No matter the subject or circumstance, Ape in Pink Marble, out September 23, is a treat that is sure to bring a smile or inspire a contemplative thought. MARGARET FARRELL

Aptly titled Three, Phantogram’s third studio album works through rehabilitations and heavy revelations while retaining the duo’s signature electropop sound. Following up 2014’s Voices and their collaborative project with OutKast’s Big Boi, dubbed Big Grams, Three is Phantogram’s most aggressive, accomplished, and humanizing work to date. Members Josh Carter and Sarah Barthel wrestle with an illusory happiness that has metastasized into misery, and explore the demons of nostalgia and grief. As usual, Phantogram incorporate samples on most of the tracks, including that of American minimalist composer Steve Reich on “Barking Dog.” Barthel and Carter question their surroundings and their current reality after experiencing the loss of many heroes—both public and personal—this year, and allow their music to endure the stages of grief for them. The final track, “Calling All,” celebrates the ultimate step of acceptance, halting all of the previous uncertainty with an intoxicating beat. MF



Reputations Juan Gabriel Vásquez Riverhead Books


Tommy Pico Ever get a text in the middle of the night from a hookup and only consider going if they have air conditioning? Brooklyn-based writer Tommy Pico can relate. Pico, originally from the Viejas Indian reservation of the Kumeyaay nation, is the founder and editor-in-chief of the antiracist/queer-positive collective birdsong. His debut book, IRL, a poem structured like a long-form text message, comes out this month. IRL chronicles the journey of Teebs, who is simultaneously trying to reconcile his past while attempting to enjoy the present. Austen Tosone sat down with Pico to discuss the making of a contemporary long-form poem. Teebs, IRL’s protagonist, shares a name with your personal Tumblr page (Hey, Teebs!). Where does Tommy end and Teebs begin?

I don’t think if I wrote as myself I would get very much done. The persona of Teebs allows me to be who I am, but at a multiple of 10. Teebs is me but 10 times sadder, 10 times happier, 10 times messier, hungrier, and more fucked up. How else would you characterize Teebs?

He’s a person who is trying to reclaim his indigenous spirituality, and though it’s been taken from him he doesn’t know how to get it back, so he finds himself indulging in [the poem’s refrain of] “boys, burgers, booze,” which are very superficial ways of finding emotional satisfaction. What is your writing process like?

Monday through Thursday it’s sitting down and writing, and my rule is that I can’t stop. Friday is the day I go back and look at everything, type things up, cut things out, and put things together. How did you decide where line breaks and scene breaks would occur?

I made the line breaks somewhat unexpected, as I want the person who is submitting themselves to the world of the poem to feel like anything can happen. As an indigenous person living in modern, occupied America, sometimes things do feel arbitrary, and I wanted the text to reflect that. I showed scene breaks using three dots, thinking of texting, when someone’s typing and the dots appear because the message hasn’t sent yet. There seems to be an important connection between past and present in the book.

Everything in the book is in present tense. There’s no past tense because the English language is a colonial legacy in the way in which it has absorbed the languages of the people that it’s conquered. English itself is like a living history of colonialism, so when we’re using these words we are living with the past as well.


Here I Am Jonathan Safran Foer Farrar, Straus and Giroux If the success of Jonathan Safran Foer’s prior releases, Everything Is Illuminated and Extremely Loud and Incredibly Close, wasn’t a thorough enough testament, his third novel, Here I Am, validates the author’s status as one of our generation’s great American novelists. Set in present-day Washington, D.C., the book follows Jacob, Julia, and their three tween sons as their suburban lives are affected by an international crisis when Israel suffers a calamitous earthquake and erupts in political turmoil. It’s Foer’s most complex and fictional (not to mention longest) plot yet. And while the underlying themes may not drastically diverge from the author’s go-to subject matters (cultural identity, family issues) or personal experiences (fatherhood, divorce), and the characters’ perspectives may feel alien to anyone who hasn’t attended Hebrew school, the story thrives on Foer’s uncanny ability to cunningly fold the perceptual sets of multiple generations into a modern national epic. DAN FRAZIER

The passing of Gabriel García Márquez certainly left a void in the literary world, but if there is a contemporary author capable of redirecting readers’ attention back to Colombian fiction, it is Juan Gabriel Vásquez. In Reputations, his latest novel, political cartoonist Javier Mallarino attends a ceremony that pays homage to his 40-year career, helping him realize how much he is adored despite the fact that his name is more recognizable than his face. But when an unexpected visitor turns out to be not only a childhood friend of his daughter but also a central figure in a controversy involving a congressman who makes regular appearances in Mallarino’s comics, the cartoonist is faced with a harsh reality he’d tried for years to suppress: that in his insatiable quest for professional admiration, he’d left countless tarnished reputations, ruined careers, and destroyed families in his wake, affecting individuals traversing his personal circle as well as the seedy politicians he’d targeted in his work. Apart from the inventive plot and Vásquez’s knack for colorful similes, the writer’s mastery of tense shines throughout the novel, which dances from the present to the past to the future as Mallarino’s reputation is built, dismantled, and rearranged. The reader is left with plenty to ponder regarding morality and intention, the business of exposing hypocrisy, the dangers of fame, and the malleability of memory. KERYCE CHELSI HENRY


Ube photographed by sonia ostrovsky “It’s almost like a white chocolate flavor,” says Björn DelaCruz of Manila Social Club in Brooklyn. “A combination of pistachio and vanilla,” adds Nicole Ponseca of Manhattan’s Maharlika and Jeepney. “I feel like it has mild coconut notes,” offers Ginger Dimapasok of Café 86 in San Bernardino County, California. And while its flavor may be somewhat indefinably delicious, ube has a look. With its naturally royal-purple hue, this yam traditionally used in Filipino cooking—a cuisine that’s currently riding a wave of mega-popularity—is social media’s new favorite food. It’s popping up in cocktails and waffles at Maharlika and Jeepney, in everything from truffles to bread pudding at Café 86, and in the beloved doughnuts at Manila Social Club. (Their world-famous Golden Donut? Yep, ube-infused.) Don’t believe the hype? “[In January we hosted] a doughnut party and our friends DJ’d. The line was 200 people down the block, waiting in four-degree weather. And you have to remember,” DelaCruz recalls with a laugh, “there was no alcohol at this party.” LISA MISCHIANTI

This lovely lavender ingredient can be found in some form at most Asian markets. Here are a few recipes to get your ube on at home.

Mini Ube Monster Cheesecakes Crust Ingredients:

50 Oreo cookies 10 tbsp. melted butter Procedure:

•Finely crush Oreo cookies. You can use a food processor, or do this in a sealed Ziploc bag with a rolling pin. •Add melted butter to cookies and mix well. Filling Ingredients:

24 oz. cream cheese, softened 3 whole eggs 7 oz. white sugar 8 oz. sour cream ¾ cup ube jam


•Preheat oven to 350 degrees Fahrenheit, then combine all ingredients in a food processor and blend until smooth. •Line a 24-cup muffin pan with paper liners, spoon 2 tablespoons of the Oreo crust into the liners, and pack down firmly and evenly. •Scoop cheesecake filling over the crust until the cup is threefourths full. •Bake cheesecakes in a water bath for 25-30 minutes or until set. •Refrigerate for at least 6 hours before serving. —GINGER DIMAPASOK, CAFÉ 86

Ube Gnocchi

Ube Compound Butter



5 medium potatoes 2 eggs 1-1 ½ cups flour 64 oz. dehydrated ube

1 lb. unsalted butter 2 cups ube paste ¼ cup white granulated sugar


•In a stand mixer with a paddle attachment, add room-temperature butter to sugar. •Slowly bring the mixer to medium speed until sugar is incorporated (about 3 minutes). Now, change speed to high for about 2 minutes. •Once butter and sugar are properly creamed, slow the mixer and add the ube paste slowly. Mix on medium until fully incorporated. •Transfer to a glass container with a lid or tightly wrap the butter in plastic wrap and refrigerate.

•Place ube in a sheet pan and dry out in the oven at low heat. •Bake potatoes until soft. •Press potatoes through a ricer. •Combine ube and potato. •Add eggs. Mixture should be firm but fluffy and not sticky. If mixture is too wet, add flour 1 tablespoon at a time. •In salted boiling water, add gnocchi and cook for 5 minutes. •Pan fry in olive oil until golden brown. —NICOLE PONSECA, MAHARLIKA AND JEEPNEY

clockwise from top right: ube bae donuts from manila social club, richard gomez ube cocktail from jeepney, ube compound butter from manila social club, ube marble cheesecake from maharlika, ube ice cream from manila social club. special thanks to for the green glassware.





Youth in Revolt This fall, a trio of new releases aim straight for the jugular with their examination of the perils and promise of being young.

Goat (September 23) Exposing the excesses of frat culture is practically a national pastime, and on that front Goat certainly delivers. We see the brothers of the fictional Brookman University’s Phi Sigma Mu force new recruits, or goats, to down intolerable amounts of alcohol and submit to simulated violence—while one unfortunate pledge is locked in a cage and urinated on. But Goat is more than just fratty torture porn. It’s a surprisingly subtle dissection of the fragility of masculinity. After being beaten, robbed, and humiliated during the summer before college, freshman Brad (Ben Schnetzer) is determined to prove he’s not a “pussy” (the insult most commonly lobbed by the film’s bro clique), and attempts to join his brother Brett (Nick Jonas) in Phi Sigma Mu. But as he becomes increasingly more uncomfortable with PSM’s destructive nature, he soon finds himself at odds not just with his brother, but with the frat’s limited definition of what it means to be a man. Look out for James Franco as an over-the-hill ex-brother who can’t leave his old frat alone, arguably his creepiest role since Spring Breakers. NOAH JACKSON


American Honey (September 30) Andrea Arnold’s American Honey tells the story of a teenage girl who leaves her world of Mountain Dew and meth to sell magazines with a band of merry pranksters traveling across America’s heartland. Star (played by newcomer Sasha Lane) has nothing to lose when she meets crew manager Jake (a rattail-sporting Shia LaBeouf) and his matriarch, Krystal (a pimplike Riley Keough). A forbidden romance ensues between Jake and Star as the former teaches his “new recruit” to hustle subscriptions from wealthy suburbanites, and Rihanna’s “We Found Love” becomes a leitmotif as the sales crew explores the country through the lens of its impoverished communities. Low-income living (cheap liquor, crack pipes, neglected children) forms a sensuous and sobering backdrop to this coming-of-age road movie—a scuzzy, heartwarming tale of how the nation’s lost youth maintain their dignity and dreams despite growing up in an America that forgot them. MOLLY BEAUCHEMIN

With her directorial debut, White Girl, Elizabeth Wood searingly addresses the sexual and racial politics of slumming it in New York. Leah (Morgan Saylor), a recent transplant interning at a pop culture mag, moves to Brooklyn’s Bed-Stuy neighborhood for her freshman summer. Soon, she and her roommate fall in with a crew of Latino youth led by the beguiling Blue (the musician Brian “Sene” Marc). After Blue (a nickname he earned because he’s “always sad”) lands in prison for drug-related offenses, Leah attempts to sell his multithousand-dollar cocaine stash to get him out, and falls into a toxic spiral of sex and drugs. The film is certainly sensational—Wood and cinematographer Michael Simmonds gorgeously aestheticize the brutality of self-destruction—but the central romance between Leah and Blue is tender and eminently believable. Wood’s social message also packs a punch. Although Leah undergoes considerable trauma (including sexual assault) to save Blue, her privileged position means that she can ultimately leave his world behind when the summer ends. He, on the other hand, is stuck in a structural cycle of violence and incarceration. No one girl, not even Leah, can undo that. NJ

American Honey photo by Holly Horner, courtesy of A24.

White Girl (September 2)

keep fall fabrics fresh with patches and laser-cut accessories.

photographed by natalie oâ&#x20AC;&#x2122;moore

hat, chloe norgaard x photo/genics + co, $48; dress, photo/genics + co, $158; leggings, sophireaptress, $80; shoes, melody ehsani x reebok, $60.

Detail Oriented

dress, frenchie york, $90; romper, lioness, $58; belt, jennifer loiselle, $125; earrings, jennifer loiselle, $66. hair and makeup: lisa thai at model: cat carney at apm models.

r e t s n o m y t r a p #TRACKISBACK The Juicy Couture tracksuit is oficially making a comeback. This past July, we paid homage to the iconic outfit, while also celebrating the brand’s 21st anniversary and the launch of its fall 2016 collection, with an all-out bash. Guests gazed at the campaign imagery, which featured 21 influencers, hanging throughout White Space Chelsea at Agora Gallery in New York City, while Y3lda and Juicy Couture model Atlanta de Cadenet Taylor provided the beats. Track is definitely back! Photographed by Steven Simione


Didn’t grow up attending an elite boarding school? No problem! Anyone can enroll in Wildfox Academy. This fall, the Los Angeles-based label’s collegiate-inspired collection is giving everyone a piece of privileged pedigree to add to their wardrobes. Think matching snarky tracksuits and efortlessly elevated cashmere that would make Blair Waldorf crack an Upper East Side smile. Our suggestion? Make like a modern millennial heiress and rock Wildfox’s covetable collection from coast to coast, to score straight-A style this season.

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This past June, we partnered with 20th Century Fox for an exclusive, pre-release VIP screening of the hilarious raunch-com Mike and Dave Need Wedding Dates at Landmark Sunshine Cinema in New York City. It Girl and It Guy influencers alike were decked out in Hawaiian leis and treated to snacks and refreshments inspired by the movie. Guests posed for pictures at an on-site interactive GIF photo booth, and shared their images across social media. Photographed by Laura June Kirsch

, 17 m o

en e a sy s we at s ard , f g i la b l e a t wi l d fo $ 1 a v x .c a

mkhnue see m missoni see msgm see nicole miller see nixon see nomia see off-white c/o virgil abloh see opening ceremony see orla kiely see pari desai see paul & joe see people’s project la see pinko see prada see rachel comey see rag & bone see redvalentino see sacai see sadie williams see sass & bide see saunder see simone rocha see 6229 see smythe see sonia rykiel see sportmax see stuart weitzman see sunday somewhere see suno see tableaux vivants see tecovas see the fifth label see the 2 bandits see the way we wore available at 334 s. la brea ave., l.a., 323.937.0878 thom browne see 3.1 phillip lim see tiffany & co. see tommy hilfiger see topshop see topshop unique see tory burch see t.u.k. see undercover see uniqlo see uno de 50 see valentina kova see valentino see vanessa mooney see vanessa seward see vans see yang li see y’s yohji yamamoto see zana bayne see zara see

photographed by aitken jolly. dress by dior.

abril barret see acne studios see adidas by stella mccartney see a.f. vandevorst see agnés b see alexander wang see alexandre vauthier see alice and olivia see american apparel see andrea jiapei li see anya hindmarch see armani exchange see ashish see ashley williams see asos see atelier swarovski by rosie assoulin see band of weirdos see barbara bui see baublebar see bcbgmaxazria see beau souci see bella freud see boden see brixton see brooks brothers see calvin klein collection see chanel see chrishabana see christian louboutin see christina economou see christopher kane see closed see coach see denim & supply ralph lauren see diane von furstenberg see dkny see dolce & gabbana see dolce vita see dylanlex see edun see elizabeth and james see emilio pucci see erdem see etro see faith connexion see falke see frankie see givenchy see gucci see guess see hood by air see house of harlow 1960 x revolve see isabel marant see jacquie aiche see j.crew see jil sander see joie see karen walker see kenzo see lacoste see laruicci see le kilt see les copains see lie sang bong see louis vuitton see mademe see maison kitsune see majorelle london see marc jacobs see matiere see mcq see m.i.h jeans see missoni see miu miu see

black metal two of fall’s favorite colors are even better together. packed by dani stahl. photographed by will anderson

bag, $3,950, gucci boot, $2,295, christian louboutin; headphones, $150, frends; pouch, $350, alexander wang; necklace, $7,000, tiffany & co.; ring, $367, fausto puglisi; côte d’azur candle, $62, oribe; charcoal pore pudding intensive wash-off treatment, $38, boscia; nourishing cleansing balm, $65, diptyque paris; sí intense eau de parfum intense, $96 for 1.7 fl. oz., giorgio armani; loubilaque lip lacquer in rouge louboutin, $85, christian louboutin; j’adore dry silky body oil, $57, dior; infinite precision liner in iconic black, $28, gucci beauty; sunglasses, $200, versace; stylist’s own book; nail polish in paparazzi, $18, lauren b. beauty; nail polish in autumn in new york, $20, deborah lippmann; razor sharp water-resistant longwear liquid eyeliner in bump, goldrush, and perversion, $22 each, urban decay; opulent volume mascara in iconic black, $33, gucci beauty; stylist’s own usb key chains; sports bra, $32, everlast; russian amber imperial insta-thick spray, $24, philip b.

©2016 Goose Island Beer Co., Goose Four Star Pils Lager Beer, Chicago, IL, Baldwinsville, NY & Fort Collins, CO | Enjoy responsibly.

Nylon - September 2016  

Nylon Magazine (USA) September 2016, Starring: Winona Ryder | 2016 Beauty Hit List

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