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keep dreaming of warmer weather with these transitional outfit ideas.





let these tropical prints inspire a getaway, no matter where you are.


fashion meets virtual reality to create an epic experience.


step inside casey dienel's brooklyn home and studio.


dior's latest collection delivers both country chic and city cool.


snowboarder chloe kim is the rising star of the winter sport.


sahara lin on how modeling made her feel comfortable in her own skin.


proudly rock the labels of your favorite designers.

these pastel beauty looks are begging you to try them.


our favorite products aren't just good— they're out of this world.


m.a.c cosmetics' colourrocker lipsticks are what your pout needs right now.


the blur products that will give you perfect skin, no filter required.


say goodbye to undereye circles with these rad eye masks.


these mascaras will take your lashes to new lengths.


these oils will keep your hair hydrated through the rest of winter.


cover star lena dunham on the end of girls, our new president, and being a workaholic. by margaret wappler. photographed by sofia sanchez & mauro mongiello. styled by sally lyndley

page 060 sweet dreams photographed by anairam. on the cover: lena dunham photographed by sofia sanchez & mauro mongiello. stylist: sally lyndley. hair: marcus francis at starworks artists. makeup: fabiola at tracey mattingly using sephora collection colorful. manicurist: kait mosh at cloutier remix. set design: jamie dean at walter schupfer. photo assistants: leon singleton and sean costello. stylist's assistants: nicola rowlands and hunter woodruff. raincoat by diesel, bathing suit by volcom.


give your shoe collection a step up with these killer styles. photographed by stephanie galea. styled by keanoush da rosa


perfect looks for a night out—with or without the going-out part . photographed by anairam. styled by michael kozak


we traveled to byron bay to meet some of the coolest creatives from this paradise down under. by diane vadino. photographed by james j. robinson


condola rashad talks season two of billions and how acting has changed her life. by jenna sauers. photographed by tiffany nicholson


the xx emerge from their shell for their new album, i see you. by phillip mlynar. photographed by laura coulson



alizé carrère travels the world, and makes a difference while doing so. by angela almeida. photographed by sonny crockett

140 MAN WITH A PLAN with his meticulous approach to rap, goldlink is poised to be the next big thing. by paula mejia. photographed by lloyd pursall


rapper aristophanes takes on gender, sexuality, and capitalism on her spacey debut, humans become machines. by alexandra pollard. photographed by lin xiu wei


the best art, books, films, food, music, and more


you’ll definitely be falling for red and pink accessories this month. photographed by will anderson. packed by dani stahl

actress callie hernandez on la la land and how she found her footing in hollywood. by fiona duncan. photographed by amy harrity


muna prepare to take center stage with their debut album, about u. by celia shatzman. photographed by michael bailey-gates


page 102 disco nap photographed by anairam. styled by michael kozak. headpiece by piers atkinson.













chairman marc luzzatto president jamie elden chief financial officer 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 fashion market editor marissa smith assistant editor nicole draga

art photo director sonia ostrovsky art director kayla kern photo producer ricky michiels

digital editorial director gabrielle korn design director liz riccardi deputy editor kristin iversen design technologist daniel sieradski senior editor ben barna design assistant jihyang lim content editor irina grechko director of e-commerce katherine martinez web editor taylor bryant creative and merchandising manager amber bek staff writer hayden manders customer care and logistics manager emily bliss market assistant jenna igneri social media director bee hill editorial assistant sydney gore snapchat director lori trigonis weekend editor dani deahl nylon studios vp, nylon studios kristin welton integrated marketing manager courtney greenbaum marketing and events manager catherine rardin

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letter from the editor

My Funny Valentine Dear readers, While all of my missives to you are essentially mash notes, I’m feeling especially sentimental this time around. In my last letter, I’d mentioned feeling exhausted by 2016’s endless wrath. And that was before so...much...more shit hit the fan. Needless to say, I started my New Year’s resolution early, and began setting aside a little time each day just to take care of myself, whether that meant frightening my poor dog with my new sheet mask obsession or flipping through old boxes of photos and letters solely to bask in the memories (i.e., not strictly for #tbt material). I know you’re all very busy being your amazingly talented, creative, generous, passionate, and astute selves, but I urge you to take some time each day—at least 10 minutes or it doesn’t count—to turn off your phone, breathe, and celebrate what makes you special. If you need some help, turn to page 150 for a self-love-themed playlist courtesy of Dua Lipa. I’m also thrilled for the assist from Lena Dunham, this month’s cover star and a tireless advocate for reproductive rights and all kinds of other important issues that we at NYLON also support, who has some refreshing ideas on where progressive thinkers such as ourselves can go from here. While the outspoken feminist has misspoken on occasion, she has never been too proud to acknowledge and apologize when she’s messed up. Revel in her brilliance—and also her gorgeous, glorious, unabashed femme fatale photo shoot—on page 82. Elsewhere in this issue, you’ll find profiles of a 16-year-old snowboarding champion (page 40), a modern-day explorer (yes, this is a job that still exists—see page 136), and an extended review of former NYLON intern Cat Marnell’s explosive new memoir (page 144). Just one look at the tattered and dog-eared review copy that’s been floating around our office all month is proof of its impending impact. So without further ado, I’ll let you dig right in, my dear valentines. And please don’t change a hair for me (unless, of course, you’re itching to try out the teased, ’80s-tastic waterfall bangs in our Glamour Shots-inspired beauty opener on page 60).

P.S. I’m over-the-moon excited to finally be able to announce that NYLON Guys is returning to print as a section in next month’s issue of NYLON. To start, we’re including it with the March, June/July, and September issues, so be sure to give all the Guys fans in your life a heads-up! xo

photographed by sofia sanchez & mauro mongiello.

socks, yeah bunny, $13; sneakers, pop shoes, $128. photographed by eric t. white. styled by amber bek. model: kennidy hunter at major model management.


Angela Almeida

Jenna Sauers

Kelly Abeln

Writer, NYC

Writer, NYC

Illustrator, Minneapolis

Interviewed Condola Rashad for

Drew Cat Marnell for Culture Club on page 144.

Interviewed Alizé Carrère for “Off the Beaten Path” on page 136.

“I reported from an alpaca farm while writing for this issue. It was a dream I didn’t know I had.” Hometown

A town outside of Dallas. Think Friday Night Lights.

Instagram handle


Latest discovery

“An Education” on page 124.

“I sat down with Condola Rashad to talk about her role on the Showtime series Billions, about feeling like an outsider in high school, and why there’s no reason for so many sci-fi/ fantasy novels and series to feature practically only white characters.” Hometown

Christchurch, New Zealand

Instagram handle

The year-round utility of Christmas lights


Travel plans

Cook’s Illustrated’s baguette recipe

Buying Tums before India and glacier-proof boots before Iceland

Playing on repeat

My thoughts before a deadline

Online fixation

Latest discovery

Travel plans

New Zealand (where it’s summer) and Los Angeles (where it’s always sunny) this winter

Playing on repeat

Wedding videos of people I knew in high school (full disclosure)

Solange Knowles’s new album, A Seat at the Table

Compulsively reading

Pimple-popping videos

Harry Potter, again!

Online fixation

Compulsively reading

Mode of transport


The fourth book in Elena Ferrante’s Neapolitan series

Secret skill

Mode of transport

I can’t read wall clocks, but I somehow managed to graduate.


Sartorial signature

Knowing precisely where to stand on the subway to get off at the exact platform exit that I need

Leotards and turtlenecks—till death do us part

Secret skill

Sartorial signature

Summer or winter, evening or daytime, I am rarely without a silk scarf.


“I love painting portraits, so I was thrilled to get to illustrate Marnell.” Hometown

Santa Cruz, California

Instagram handle


Latest discovery

Posca paint markers ordered online from Japan

Travel plans

I just got back from three weeks in Australia, and my next travel goal is to visit Japan.

Playing on repeat

Katie Dey’s second album, Flood Network. It’s fuzzy and weird, but her hard-todecipher lyrics have wormed their way into my heart.

Online fixation

Podcasts! Some of my favorites are Throwing Shade, Doughboys, and Weird Adults With Little Esther.

Compulsively reading

The lengthy biography American Heiress: The Wild Saga of the Kidnapping, Crimes and Trial of Patty Hearst by Jeffrey Toobin

Mode of transport

My trusty black Jetta or on foot

Sartorial signature

Boxy Dusen Dusen dresses with black leggings and boots

Sofia Sanchez & Mauro Mongiello Photographers, Paris Photographed Lena Dunham for “Gone Girl” on page 82.

“Shooting for this issue was really fun and creative at the same time. Dunham is such a giving person that it makes the shoot interesting in so many different ways.” Hometown

Sofia: Buenos Aires, Argentina Mauro: Rosario, Argentina

Instagram handle


Latest discovery

The band Slaves

Travel plans

Yakushima, Japan

Playing on repeat

Sofia: Harry Nilsson Mauro: Neutral Milk Hotel

Online fixation Kittens

Compulsively reading Online newspapers

Mode of transport Walking

Secret skill

Sofia: Making the best fish tacos Mauro: Making a knot with a cherry stem

Sartorial signature

Sofia: Simple Mauro: Black + Black + Black

par avion

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

Dear NYLON, I just really, really wanted to let you know that as a reader, I am so impressed with how the magazine has been changing recently. Not much to say except that I love it. Especially the very, very new website format and the new variety of cover stars. I mean, like, hells to the yes with Lizzy Caplan and Alia Shawkat!!! I feel like it’s returning to what NYLON originally was about—only better. When I met some NYLON editors at an event this summer, they were interested in what I thought of the changes. I really like this new direction!





P S U !


Love [Alia Shawkat]! Just watched her live stream on AOL. She is so smart, funny, and talented! I want to eat vegan food with her!


Alia Shawkat, a.k.a. Maeby Fünke, in NYLON Dec/Jan ‘17 is everything. @MOTHERBOYMMXVI VIA TWITTER

Oh hey, @ShawkatAlia— you’re looking pretty fly on the cover of NYLON.

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



Girl Power Lena Dunham is a true New Yorker— she’s constantly working on something, be it her podcast Women of the Hour, her media brand, Lenny Letter, or her hit HBO series Girls, which debuts its sixth and final season this month. Even with the show coming to an end, Dunham is already dreaming up the next thing, which is why this energetic, ambitious, badass lady was a no-brainer to appear on the cover of our February issue. “Lena was the most open and fun person I have [worked with] in ages,” says stylist Sally Lyndley. “I think she is one of the sexiest, bravest, and smartest people in the world and I wanted to style her that way.” Enter one hot pink Diesel raincoat and a bold striped Opening Ceremony dress that Dunham wore for the shoot. Hairstylist Marcus Francis took inspiration from Gwyneth Paltrow’s Margot in The Royal Tenenbaums. “Lena is always so trusting and up for anything!” Francis says. He used thickening spray on her damp roots, blow-dried her hair, used a flat iron to make random bends throughout, and finished off the look by using three bobby pins to hold her bangs to the side. The fresh and chic makeup look created by Fabiola Arancibia pulled it all together. She applied moisturizer on Dunham’s face, and feathered foundation onto her skin lightly. Arancibia then defined her brows, added a tomato red lipstick, and finished the look with two coats of mascara. “The shoot was very relaxed and the styling was eclectic and fun, which complemented Lena’s personal style,” says Arancibia. As Dunham looks ahead to what’s next, we can surely predict that it will be loud, exciting, and very Lena.

get a look like dunham’s: ag hair ultradynamics, $21, and ag hair mousse gel, $22; for both. the body shop matte lipstick in 410 havana red lip, $12.50; the body shop vitamin e bb cream, $23; the body shop big & curvy mascara, $18; the body shop 3 in 1 brow definer in dark brown, $11; for all.

photographed by sofia sanchez & mauro mongiello. top by advisory board crystals, choker by giuseppe zanotti design, crystal necklace by energy muse.

behind the scenes


. c om

12 Books Every American Should Read

Virgil Abloh, on Why Fashion Matters

Meet Iceland’s Hottest Rap Collective

Since the election of Donald Trump, countless essayists have grappled with the difficulties of this time in history. Thanks to pieces like “Autocracy: Rules for Survival” by Masha Gessen and “No President” by Mark Greif, you can weep for this country while simultaneously marveling at its writers’ boundless talent. As Americans, we should have an in-depth understanding of the past, present, and future of the country that we call home. And if you want to delve a little deeper into the state of the union, add these books to your reading list stat.

From back when they were unknown Chicago upstarts with a mutual taste in fashion and the arts, Virgil Abloh and Kanye West have been irrevocably linked. Abloh lent West his keen eye and immaculate taste, and in return he gained access to the rarefied social circles that the rest of us only get glimpses of via social media. As West became more famous, Abloh embraced his place in the shadows—but that was then. Today, Abloh is a budding fashion titan, whose Milan-based label Off-White graces some of the most sacred runways throughout the world. In our exclusive interview, we talk to Abloh about the rise of streetwear, the future of fashion, and, yes, Kanye West.

Originally formed at a females-only hip-hop party in 2013, Reykjavíkurdætur was simply an opendoor collective for any woman who wanted to try her hand at rapping, regardless of skill level. Until they recorded their eponymous first single, it never occurred to any of the members that there might be something more to the project. Even still, it wouldn’t be until this past summer that they’d call themselves a band. But with the group’s rapid-fire flow, intense lyrical wordplay, and feminist lyrics, they’ve become one of the buzziest acts around. Get to know them better with this in-depth profile.

We’re calling it right here: Nashville is the new Austin. Thanks to an eponymous TV show and a slew of hip new restaurants, bars, and boutiques, the music capital is having a moment. Yes, neighborhoods are evolving, buildings are getting taller, and rents are, of course, on the rise, but the city’s rich history lends it an authenticity and identity that is part of its fabric, no matter how many rooftop bars open. We spent four days in Music City and fell hard for its many charms, from honky-tonk to hot chicken. Check out our guide on what and where to eat, drink, and shop in this legendary town.

illustrated by liz riccardi.


The NYLON Guide to Nashville


give your wardrobe a taste of the tropics. photographed by olivia malone. styled by gena tuso

all clothing by just cavalli, vintage earrings and necklace from the way we wore, ring on index finger by unearthen, ring on ring finger by delfina delettrez, socks by topshop.

all clothing by msgm. dress by isa arfen.

dress by louis vuitton. dress by just

cavalli, earrings by annie costello brown. opposite page: dress by rochas, vintage gloves from the way we wore.

all clothing by msgm.


all clothing by marc jacobs, vintage earrings from the way we wore. opposite page: all clothing and accessories by gucci.

dress and shoes by chanel, ring by delfina delettrez, vintage earrings from the way we wore. opposite page: dress by valentino. hair: nikki providence at forward artists using r+co. makeup: diane da silva at atelier management using chanel ultrawear. model: mae at next models. special thanks to lotusland.

Fendirumi Take Over the Plaza all clothing and accessories by fendi. photographed by katie thompson. styled by dani stahl. hair: matthew monzon at jed root inc. makeup: william murphy at atelier management. model: kit keenan.

New Yorkers have trained themselves to ignore pretty much anything—from subway performers to fortune tellers sitting along the sidewalks of St. Marks. But one thing that definitely got some heads turning was the sight of Piro-chan and Bug-kun (known fondly as the Fendirumi) casually bopping through the halls of the Plaza Hotel. NYLON enlisted It Girl Kit Keenan to follow the furry duo around for the day and find out what makes these adorable life-size versions of the covetable Fendi bag charms tick. Watch the hilarity that ensued at AUSTEN TOSONE fendirumi key chains, $1,500 each,

Ka, You’re a Firework With a style that’s as bright and bold as her chart-topping songs, Katy Perry is known for her playful aesthetic, eye-catching colorways, and punchy accessories. Now you can add a touch of Perry’s spirit to your wardrobe with her eponymous footwear collection, debuting this season. Katy Perry Footwear has virtually every style you could ever want—from pumps and booties to slip-ons and sandals—with a variety of accents that include futuristic lucite and vinyl materials, designs that feature her face on a $100 bill, and heels that take the shape of Rubik’s Cubes, cigars, and chain links. Best of all, the singer made it a point to ensure the affordability of her collection, so you can break necks without breaking the bank. Here, we chat with Perry about her first-ever shoe collection. KERYCE CHELSI HENRY katy perry footwear, $59-$299,

Why was it important for you to create shoes that were affordable?

I grew up styling myself on a thrift-store budget. As a teenager, I was eager to present myself as one of a kind through the way I dressed, so I know how it feels to want to look fun but still be [economical]. I wanted to bring

together quality and creativity at an accessible price point.

What was the most challenging part of creating the collection?

Figuring out how dreams become reality logistically, taking chances, and trusting my intuitive eye and having my team trust it as well. We also had to negotiate to get open heel molds [for example], because a lot of our ideas were not standard, factory-made options. But overall, we learned a lot about the business, what buyers are looking for now, and we know that each new season will be better than the last.

What fashion icons—past or present—do you envision wearing your shoes? Chloë Sevigny, Rihanna, Lily Allen, and Lena Dunham. I also named all of the shoes after my most chic girlfriends, and I hope they all wear them!

What are your top three favorite styles from the collection?

The Shannon in red, The Cleo in white, and The Jessica in baby pink.

katy perry photographed by rony alwin.

Make the Cut For many denim lovers, part of the appeal of the fabric is the ability to customize jackets, overalls, and jeans to reflect an individual style. As part of its spring 2017 collection, 3x1 has taken an extra step to encourage denim enthusiasts to make their denim truly theirs. The brand, created in 2011 by denim expert Scott Morrison, is launching the DIY Jean, which contains a guide on the inside of the pants to help wearers customize their denim to achieve the length that works best for them. According to Morrison, “We offer custom and bespoke denim services in our NYC atelier and encourage our customers to come in and experience the design and manufacturing process from start to finish firsthand.” Whether you choose to leave the edges distressed or hem them for the perfect crop, there’s no doubt that you can make the DIY Jean daring, fashion-forward, and totally you. AT 3x1 denim, $105-$335,

Astrological sign Capricorn


designer dispatch

Andrea Jiapei Li Since starting her namesake label in 2014, Andrea Jiapei Li has caught the fashion world’s attention, having been both a finalist for the 2015 H&M Design Award and a semifinalist for the 2015 LVMH Prize. Her spring ‘17 collection, “Her Name Is Dada,” takes a cue from the early 20th-century movement pioneered by Marcel Duchamp. Li was inspired by the spirit of Dada, which she says embodies “the artistic process that goes against the norm.” Here, get to know everything about Li, from her favorite fabrics to her snack of choice. AT andrea jiapei li, $300-$1,000,

XOXO, adidas Minimal, cross-functional, and classic by nature, adidas is officially launching XBYO (pronounced “x-by-o”), a new apparel collection aimed at curating the key items for any streetwear lover’s wardrobe. The line is inspired by the brand’s definitive and historic three-stripe sportswear aesthetic. No one captures contemporary athleisure quite like adidas, and the brand is continuing to dominate street style through its partnership with renowned pattern cutter Satomi Nakamura. The collection features a signature cross motif design from 1959 adidas Italia shoes. The seasonless items are constructed with premium-quality Japanese terry cotton, thanks to a half-century-long partnership with Yamayo Textiles. The sharp and defined sportswear line includes separates for both men and women, but the structure of the design translates across both genders, creating a unisex feel that we’ve come to expect and admire about adidas. This collection mixes contemporary street style with beloved essential closet items to provide you with all of the necessary basics needed for this season and all the ones to follow. CHANTE’ DYSON xbyo by adidas, $30-$95,

Women who are not afraid to take risks, and who have an optimistic and playful attitude toward life

Materials of choice

Sportswear fabrics

Fun fact

I have an adorable pit bull mix named Luna. I adopted her last year just before fashion week— still not sure if that was good or bad timing!

Dream travel destination

Japan and Los Angeles

Personal wardrobe staple

White cotton shirt

Favorite spot in New York

Chelsea—I love the galleries.

Last novel you loved

Since high school I’ve always been more of a magazine girl.

Favorite film of all time

Paolo Sorrentino’s The Consequences of Love

Daily soundtrack

COS stores’ Soundcloud playlists

Drink order

Sparkling water

Standby snack

Cheetos and chips

new faves

DAFT When you’re on an island getaway, the last thing you should be worrying about is dressing up after a day spent by the water. Thankfully, DAFT is here for beach days and beyond. Designed in Milan and made in India, DAFT’s versatile vacation pieces will live in your closet for many seasons. With over 20 years’ experience in the fashion industry, designer Susy Scott launched DAFT in 2016 after a trip to India got her creative gears going. The result was a line that represents the chic solution to resort wear. Cotton plays a starring role in this collection, with embroidered details on each dress that will take you from the shoreline to the cantina, and everywhere in between. MARISSA SMITH daft, available at

Flying Solo

new faves

Koza For the girl who loves a good adventure but doesn’t want to shop strictly by season, Koza is the perfect balance. Made in the USA and designed by Sinje Lesemann with help from stylist Daniela Jung, the brand’s resort ‘17 collection has an easiness to it that will make even a trip to the grocery store feel special. Lesemann injects a fashion-forward feel to the collection, which includes American motifs like baseball tees and varsity letters, making these pieces suitable for jet-setters and errand-runners alike. Kitschy graphics and elements of classic streetwear are combined with beachy silhouettes like cover-ups and oversize T-shirts. It will be your go-to whether you’re running to catch a plane, or running late to meet up with friends. MS koza, available at

Love is in the air, as evidenced by the marriage of art and fashion in Olivia Wendel’s debut collection of silk and wool scarves. This spring, the longtime creative—whose résumé notes a Master of Fine Arts degree from RISD and textile training from fashion empires such as Proenza Schouler and Kate Spade—translates six of her Brooklyn-bred, hand-painted prints onto luxury fabrics that are made in Como, Italy. As a twin, Wendel’s fascination with duality inspired her first solo collection, which is most fittingly titled “Miniature/Gigantic” as it narrates fundamental juxtapositions—night and day, wood and water, memories and reality. As to how we should flaunt these sophisticated staples? “I prefer to style the scarves playfully in a variety of ways,” Wendel suggests. “Around the neck, tied around the hair, or draped on the body.” There’s no doubt that wearable art will occupy a spot in our hearts this season. CAITLIN CORBIN olivia wendel scarves, $325 each,

Reality Bytes

google daydream view customized by kayla kern and photographed by marco girardo.

google daydream is a mobile-phone virtual reality system. could it also be a fashion game changer? by faran krentcil


sitting front row at Rag & Bone’s spring runway show in New York. You’re perched between YSL muse Staz Lindes and NYLON fashion director J. Errico. As the clothes breeze by, you’re so close you can see every detail, from the opening look’s silver zippers to the models’ nude lip gloss. Radiohead’s OK Computer thumps from the speakers as lasers dance to a beat on the ceiling, a trick by the London tech collective TEM. After the final outfit—a moody pinstripe suit—stomps by, designer Marcus Wainwright takes his bow, and everybody claps. (OK, everybody Instagrams, but that’s the postmodern version of applause, yes?) You all get up to leave. As the other showgoers head for the crowded exit, you remove your virtual reality headset and decide it’s time to put on some pants and get coffee. Maybe you’re in Austin or Boston or Barcelona. It doesn’t really matter, because with Rag & Bone’s spring 2017 show, you can experience it anywhere—as long as you’re hooked up. Enter the Google Daydream View, a new VR headset and controller (compatible with a Daydream-ready phone like the Google Pixel or Motorola Droid) that launched worldwide in November. At $79, it’s more accessible than a Gucci bag or even a Yeezy hoodie, but tech fiends are working to make it just as coveted for style fans. That’s

thanks to Google’s continuing work with the Council of Fashion Designers of America (CFDA), which counts influential names such as Marc Jacobs, Tom Ford, and both Wangs—Alexander and Vera—as active members. Recently, the CFDA’s YouTube channel debuted a Rag & Bone mini documentary made in conjunction with Google, in which you can experience the aforementioned spring runway show, plus model fittings, meetings with Wainwright, and more. It’s designed to be watched with a VR headset—or the regular way, at your desk when you’re supposed to be working. “Rag & Bone will have a coordinated eff ort to show the video [in stores],” says Google’s communications manager Liz Markman. “But you can watch it on your phone or on YouTube. Obviously, the best experience is in a [virtual reality] headset, but the beauty of YouTube is that it’s for everyone.” The fashion world is betting virtual reality is for everyone, too—at least, everyone who shops retail. Ask Rebecca Minkoff, the accessories empress who created a VR livestream for her latest fashion show. “It was phenomenal,” she says about the experience, which lured fans into her boutique to see new clothes and try new tech. “I think more and more, as the nature of retail becomes experiential, we will see [VR]

as a tool to engage [with shoppers and fans].” Topshop had similar success in 2014, when they optimized their London runway show for VR, which drew nearly a million web visitors to their site. And when Dior Beauté launched a backstage beauty video with their own VR headsets (all black and très sleek, of course), makeup counters in Paris and Tokyo were mobbed by curious mascara junkies. But just because you want to test a cool headset doesn’t mean you’re gonna buy some $1,200 boots, or even a $40 mascara. And just because virtual reality is inspiring—and it is, in a jawdrop, gut-punch, WTF-just-happened kind of way—doesn’t mean you want (or need) to walk down the street with a pair of giant goggles on your head. In Wainwright’s own words, “The internet’s great and all that, but the human experience is never going to go away.” And the Daydream believers actually agree, thinking (for now) a VR headset will be worn like your favorite Snuggie: on your couch. “We get that you’re most likely using it in your home,” says the head of business development and content partnerships for Google VR, Julia Hamilton Trost, “probably once a day, probably in the evening. It’s not when you’re walking around throughout your daily life. It’s like watching videos, but



imagine being able to watch any 2-D YouTube video in your own personal bigscreen environment—and also check out 360-degree videos and content built just for VR.” That includes a sandboarding session in Peru, a minute-long (and endlessly creepy) zombie encounter from The Walking Dead creators, and even concert footage of Demi Lovato and The Weeknd. “Anytime you feel like you’ve been somewhere, you feel closer to it,” Hamilton Trost insists. “There’s a big theme around VR which is, ‘Walk in a woman’s shoes.’ You have the sense of what it’s like to be with someone. You get a sense of them and their mannerisms. You feel closer to whatever you’re experiencing.” Here’s the thing, though: If you ghost through a social experience like a concert or a fashion show—even a superrealistic 3-D concert or fashion show— can it really be as satisfying as the real thing? With no friends, no possibility of meeting new people, and no selfie potential, what’s the point? “The human element will keep coming,” says Jamie Garratt, the founder of digital creative agency Idea Rebel, which creates VR projects for brands like Converse and BMW. “But right now, the tech is still evolving. It’s still a novelty. What you’re talking about—the social part of VR— that’s called ‘mixed reality.’ It’s where you go to a store—without actually going anywhere—and try clothes on.

It’s where you’re working from home and walking into someone’s office in London at the exact same time. It’s like Pokémon Go, heightened and applied to every part of your life. You’re trying on a pair of shoes in Sydney. You’re seeing a dress in San Francisco. And then you can put your device down and interact with the people in front of you, in real, actual life.” Translation: Today’s Snapchat filters are tomorrow’s virtual Saint Laurent outfits. But even if they look great on your phone, you’ll still need to feel the fabric IRL, and love the brand on an emotional (not virtual) level. And as Garratt puts it, “No matter how cool a fashion show looks, you won’t buy the clothes unless you, personally, connect with them. And the reason someone’s going to love a VR experience is because it tells a great story. It’s not just VR. It’s a cool story. That’s the whole point.” Wainwright’s blunter take: “We didn’t want to create an imaginary world with imaginary people that nobody gives a shit about.” This is where you come in. Instagram may be jammed with swishy-haired style influencers, but the VR space is still an empty dance floor—so if you’ve dreamed of being “internet famous,” this might be your ticket to Leandra land. “The cool thing is you can [create your own VR content] right now,” says Markman. “The free Cardboard Camera app lets you take VR photos

in the same way you take a panorama shot, just keep spinning all the way around. Once you have [the images], you can view them in Daydream or with your phone—and, of course, upload your videos to YouTube.” Which means if you want to be the first VR beauty vlogger to score a makeup contract—or the first VR activist to help lead a revolution— the time to hone your stereoscopic craft is now. (Memo to future Phoebe Philos: Consider Tiltbrush, an app that lets you paint or draw in 3-D, and see potential designs from all angles before buying any fabric.) Experiment. Collaborate. See what happens. You might even hit on something magical—like the U.K. theater collective Punchdrunk did in December. They paired with Samsung at Miami’s Faena Bazaar to reveal Believe Your Eyes, a VR ghost story where actors clutch your hands onscreen—and in real life—at the same time. The effect was gorgeous, gleeful, and seriously chilling. But even as I was scared nearly shitless, I couldn’t help but wonder who made the ghost’s pale pink slip dress, which looked, from all angles, like a vintage find that got away. Turns out it’s by AllSaints, available online, and soon to be shipped from their huge London warehouse to my tiny New York apartment. So it seems great VR content can indeed influence our shopping habits— even if it terrifies us a little bit first.



Casey Dienel Her Brooklyn Live-Work Space by joan lemay. photographed by jacqueline harriet

Upon entering Casey Dienel’s shellpink Brooklyn living room, you’ll experience a strong urge to cannonball into her oversize, putty-colored, marshmallowy sea of a sectional. Originally from CB2 but acquired secondhand from AptDeco, the couch takes up half of the sizable room and easily seats 12. This allows Dienel, a musician, producer, amateur cook, stylist, and natural host, to bring her community to her. “In New York, externally, there’s just so much chaos and hustle, and it’s nice for me to be able to invite people over to experience sanctuary in a safe place,” she says. “I think that’s the ultimate luxury here.” For Dienel, who has released three critically acclaimed LPs as White Hinterland and is working relentlessly on a new full-length under her given name, those restorative social hours are precious. Dienel has spent much of the past two years commuting between The Glades in her hometown of Scituate, Massachusetts, and Ursula B, her home studio in Brooklyn, building the follow-up to 2014’s Baby while producing beats for others. The gear in Ursula B is a condensed mirror of her ocean-and-woods-adjacent Scituate setup, allowing her to flexibly work between the two. “I have Yamaha HS8 monitors that are wonderful for mixing. I love Akai products and I use their MIDI controllers. I program beats using Maschine MK2 and BKE Tech Beat Thang, which is my favorite thing right now because it’s kind of old-school and portable,” she explains. Her new work is wild, vicious, poetic, feminine, brash, and singular—all off-kilter beats, brazen textures, and feminist narratives. At Ursula B (which also happens to be in her bedroom), she writes and produces it all while seated on an elegant wooden Victorian chair clad in burgundy velvet. It’s a queen’s seat, and it’s appropriate. That chair, like many other pieces in Dienel’s apartment, belonged to someone else before she expertly picked it from a flea market—a process on which she waxes poetic with a conspiratorial twinkle in her eye: “I’m a total magpie. I hate shopping, but I love hunting. The idea that you can find some cracked, Cricket, so named because she chirps for food, is Dienel’s studio assistant. She enjoys treats and has an enviable resting bitch face.

beat-up old thing, take it home, and salvage it in some way is really exciting. Also, I’m kind of a dick about negotiating and it really gets my rocks off. Everyone at the flea market comes to play, and everyone’s into the conceit of the game.” Her gorgeous art deco waterfall wardrobe was also hunted. “The haggling became this amazing back and forth where I threatened to walk away, and the seller just gave it to me. I think my face can throw people off, because they think I’m going to be really nice, and then…,” she trails off with a wink and a smile. The lesson: Never underestimate Casey Dienel. She is a matryoshka doll of undeniable natural talents that are as disparate as they are interrelated. Down the hall from one of Dienel’s expertly curated closets (packed with everything from a teal velveteen robe from the 1910s to an MM6 fringed camel coat) is her immaculate kitchen. It’s good that it’s a well-laid-out galley, because she’s as likely to be making from-scratch duck confit or a complicated pastry as she is to be offering guests cocktails using liquor she’s infused with some tangy, delicious thing. Although the place is a rental, Dienel’s landlord fully recognizes her great taste and ease with power tools, and thus is enthusiastic about any upgrades she makes. This year, she painted a wall black, installed open shelving, and gave brackets and cabinet hardware a facelift with matte

gold spray paint. Now, the space just works. “The way that songs come together for me, I think it’s the same click that I need when I feel like an outfit works or the food is ready to put on the table,” she explains. The fact that her home, all wainscoting, sea foam greens, shibori pillows, and designed-to-be-lived-in pieces, is a sanctum as well as a workspace really jibes for Dienel. It also creates a productive constraint: “I think it’s impossible to know what areas of discipline you need to work within if you’re not coming up against some sort of boundary,” she notes. With all of her creative endeavors—but especially her music—Dienel loves to “set the GPS to Mars” and tinker. “I need to have a vanishing point with my work because if I don’t step back once in a while, I will just obliterate everything in my path. I’ll be like, ‘Let’s just delete all of this,’” she says. “That’s the tricky part about being freelance and also working from home: knowing when to take your own foot off the pedal and get out of your goddamn house.”

Scored at a flea market, this striped director’s chair references colors from Dienel’s Pendleton Glacier Park blanket. The chair nods to her childhood spent on the beaches of Massachusetts, and the blanket was made in Oregon, where Dienel lived for much of her twenties. This art deco waterfall dresser was also hunted down at a flea market, and is full of dresses, delicate vintage robes, and show clothing. Dienel’s a big coffee and tea drinker, and puts this gorgeous vintage cup and saucer set to heavy use. The cups often double as small vases for dinner-table flower arrangements when Dienel is entertaining.


“I have an intense material curiosity,” explains designer and woodworker Kate Casey. “I believe most pieces benefit from a variety of textures, finishes, and processes.” This much is evident in her line Peg Woodworking, which is chockfull of seating that melds geometric weaving patterns with Scandinavian and Shaker furniture design techniques. (It also features fun and functional decorative objects like her Fire Starter matchbook holders made of leftover wood scraps.) Casey, who has a background in sculpture and art fabrication, admires a certain simplicity of shape and aesthetic. “Both [Shaker and Scandinavian traditions] display so much about their construction and process to the viewer,” she says. “As a maker I am drawn to work that reveals itself to you, where I can try to solve the puzzle of how it was made.” AUSTEN TOSONE


It can be tough to find truly unique home pieces. Katie Stout gets that. After winning Ellen’s Design Challenge on HGTV, the Brooklyn-based designer has gained growing notoriety for her wonderfully wacky home furnishings—from cartoony stuffed chairs to puffy 3-D rugs—that bring a fresh perspective to typical livingspace decor. But what we really fell for are her lamps, most of which take on abstract and playful forms, their bases rendered in colors like chartreuse and lavender. (Check out her celebration of the female form in her awesome new series “Girl Lamps.”) With no two lamps alike, Stout sums it up best: “Each one is meant to be its own unique, lumpy self.” AT

Dienel’s nightstand is a treasure trove of books, crystals, vintage trinkets, and evening skincare products. Dienel spends countless hours in her home studio, programming beats and recording and producing her work.


katie stout imagery courtesy of joe kramm/r & company.

This massive secondhand CB2 sofa serves as the apartment’s community hub.




20 MAR / Atlanta GA / VINYL


04 APRIL / Seattle WA/ CHOP SUEY

21 MAR / Carrboro NC / CAT’S CRADLE

28 MAR / Montreal QC / LA SALA ROSSA

05 APRIL / Portland OR / HOLOCENE

23 MAR / New York NY / MARLIN ROOM


07 APRIL / San Francisco CA / RICKSHAW STOP

24 MAR / Philadelphia PA / THE FOUNDRY

31 MAR / Chicago IL / LINCOLN HALL

25 MAR / Washington DC / U STREET

01 APRIL / Minneapolis MN / 7TH STREET ENTRY

all clothing and accessories worn throughout by dior, bags by dior lady art bags.

british-countryside-inspired styles meet streetworthy wearability in dior’s resort ’17 collection. photographed by ed singleton. styled by dani stahl

After debuting his eponymous fashion line in 1947, Christian Dior designed for only 10 years before his death. Since then, a series of great talents have put their own spin on what Monsieur Dior created, mining the archives time and again to connect the past to the present. It was in this spirit that the label returned, once again, to England to show its resort ’17 collection. Back in 1954, Dior first staged a charity show at Oxfordshire’s Blenheim Palace, the birthplace of Winston Churchill. Then, in 1958, Yves Saint Laurent, who took over immediately following the death of Mr. Dior, showed a collection there as well. Resort ’17, therefore, marks the third collection to take the stage at this storied location. Fittingly, the range echoes English countryside life, especially the tradition of the hunt, as expressed through intricate jacquards or, at times, country florals. Subtle nods to house hallmarks such as the Bar Jacket and signature bow are evident throughout. But make no mistake, this is no trip down memory lane. The clothes feel very youthful and eclectic—equally at home in Blenheim or Brooklyn.  JOSEPH ERRICO


dress by louis vuitton.


lighting assistant: william takahashi. makeup: aminata at mam-nyc using diorskin forever. hair: angela m. soto. manicurist: yukie miyakawa at kate ryan inc. for dior vernis. model: melanie engel at img.

Chloe Kim getting to know snowboarding’s great new slope star. by lisa butterworth. photographed by natalie o’moore “I’m really basic,” Chloe Kim says with a laugh as she settles into a Los Angeles lunch spot near her home in Torrance. “I go shopping all the time and I love tanning at the beach.” It’s kind of hard to buy that this 16-year-old who was recently dubbed “the future of snowboarding” at the X Games is ordinary. Kim is the first female snowboarder ever to pull off back-to-back 1080s (three full mid-air rotations) in competition, and is currently a favorite to medal at the 2018 Winter Olympics in Pyeongchang, South Korea. Doesn’t sound very “basic” at all. But still, when we meet for a midday bite, the only giveaway that Kim is a world-class athlete who cuts down black-diamond slopes like a hot knife through butter is the delicate snowflake charm hanging from her necklace. She sports cute black overalls with a striped shirt underneath, Snapchats her kale salad before taking a bite, is only slightly disappointed that the dyed streaks in her hair are more faded turquoise than the silvery gray she was going for, and delays an answer to one of my questions to pro-


kim’s musts Eating: I can’t

turn down a good steak and mashed potatoes. I love Chart House. It’s one of those really pricey steak houses, so I only go every once in a while because I’m not trying to spend $100 on steak.

Beautifying: On

the mountain, the wind and sun definitely destroy my skin, so I use a lot of Laneige products. I love their water-based serum.

Listening: Melanie

Martinez. I love her stuff. And Halsey. I really like those kinds of raspy, haunting voices.

like the Percy Jackson series. I think I’m too old for it, but I like a good adventure and some Greek mythology.

Visiting: I’m a

huge roller coaster fan, so when I’m home I always try to go to a theme park.

Coveting: I

Drinking: I love

a fresh apple juice. I’ll go to Whole Foods and get some, or I like making my own.

Reading: I really

Browsing: Puppy videos. I love little puppy butts.

always wanted to live in a giant, princess-like house.

Believing: There’s a positive in everything, even mistakes—it’s just up to you to flip things around.

Rejuvenating: I

photo assistant: charlotte patterson. special thanks to mammoth mountain.

Wearing: I have

these crazy pants I got from Zara— they’re really ripped and shredded and I like wearing them with a white T-shirt.

love going to the spa with my mom. I get a good nap in there, and a good massage.

has also been a coming-of-age journey. claim her love for the Lana Del Rey song “I used to be such a loner when I was that’s just come on over the speakers. younger,” she recalls. “But snowboardIt’s all pretty par for the teenage course. ing definitely brought out my inner self And for Kim, tearing up the snow is and helped me a lot.” just as normal as anything else in her Now a senior in high school, she does life. A first-generation Korean-American, most of her schoolwork online, since she has been hitting the slopes since training and competitions have her travshe was three, first on skis, and then eling all over the world (when we meet, a year later on what must’ve been the world’s tiniest snowboard. “I still have it,” she’s just returned from New Zealand she says. “I die. It’s, like, up to my knees.” and will soon be heading to Colorado). It sounds like a lot of pressure, but Kim Her dad took her to the mountain on doesn’t see it that way. “I’m all about nothing more than a whim, because being stoked on life, and it definitely he liked that Californians can surf gives me an opportunity to help other and snowboard in the same day. She girls out,” she explains of her situation’s started competing when she was six, upsides. And help she does. “I’ve literally and has racked up an obscene number had moments where I just give my fans of trophies and medals since, including boy advice. And it’s the best thing ever. consecutive superpipe golds at the WinOne said, ‘Chloe, this boy doesn’t like me. ter X Games and top podium honors for What do I do? He likes my best friend.’ halfpipe and slopestyle at 2016’s Winter And I was like, ‘Oh my god, girl, I don’t Youth Olympics. The whole experience

even know where to start right now,’” she remembers. “I just want people to know that I still go to the mall, I still have boy drama. Just because I snowboard at the X Games doesn’t take me away from all that, you know?”

Sahara Lin discussing dollar store jewelry and disliking the internet with the girl who made braces badass. by molly beauchemin. photographed by dafy hagai

A proper English accent and a salty, don’t-give-a-shit manner of speech might seem like Sahara Lin’s most incongruous traits. However, the 19-year-old Chinese/ Welsh/Dominican/Puerto Rican model who was raised in Wales and Brooklyn is the product of many seemingly disparate ideas and influences that manifest themselves in an overall lifestyle defined by fearless opposition—beginning with her signature braces. “When I was 16, I didn’t want to get braces because I loved my fucked-up teeth,” Lin says, sitting in the third-floor Williamsburg walk-up where she has just wrapped her NYLON photo shoot. “But then when I got them I was like, ‘Fuck, I love my braces.’ It was only once I got my braces that I felt confident in myself, which is strange because it’s not supposed to happen that way. Suddenly, the braces were like a cool accessory—they look like grills!” Dental hardware that most teenagers rue as the bane of their existence has become, on Lin, a fashion statement. And it’s this kind of latent quirkiness that makes her so eminently likable. The model is soft-spoken but bold—a rare mix of rough-around-the-edges attitude

and sweetness—with a multiethnic lar store, ’90s butterfly clips, and a tiny beauty that has landed her modeling plastic baby whose position amid the gigs with everyone from Calvin Klein accessories makes it unclear whether or to Kenzo (and a deal from Elite Model not it is part of an outfit. Management NYC). “Whenever they put Lin, a self-professed tomboy, also me in a dress I feel strong as fuck,” she “doesn’t really like the internet.” Unlike says of her approach to her work. “I don’t most models, she doesn’t have Twitter, try to look dainty—I try to look tough. recently deleted her Snapchat, and only When I put on a dress I feel like I could rarely posts on Instagram as fight someone in it.”   @palefoxsahara—but that hasn’t Lin’s perspective on her own style stopped her from quickly accruing an is similarly idiosyncratic: “I buy all my enviable online following. Everyone has clothes at thrift stores, and I don’t really a friend that’s too cool for Facebook, post my outfits on Instagram at all, either, and Sahara Lin is that person. so when I show up to shoots people “I was always the kid in the corner seem surprised. They’re like, ‘I love your just drawing with my hood up,” she outfit, where did you get it?’ and I’m like, reflects. “When friends in high school ‘A person died in these clothes—and it ostracized me, I sat at the table with the was two dollars!’” so-called ‘nerds’ and that’s where I had Lin proceeds to show off her pair of the best conversations, because they wide-legged snakeskin trousers, a furry weren’t so involved in the internet and zebra-print half-zip, and a bright yellow all this other bullshit.” crop top from a pile of what looks like Lin’s mother, multimedia artist old-school J.Lo velour that is gathered Choichun Leung, influenced both her up on the floor. “I always get 99-centsense of self and her tendency to follow store jewelry, too,” she adds, holding up a her impulses—even dabbling in other fringed rhinestone choker with hearts at forms of expression. “When I draw, I’m the end of each string. On a nearby table, trying to get out an emotion, but if I her purse has been dumped to display can’t get it right, I’ll change it up—I’ll do diamond-tipped fake nails from the dolsculpture, or I’ll make a beat instead,” Lin



that her career will tank once she gets explains. The benefits of switching it up her braces off, she seems unperturbed, are true in modeling, too. “When they put me in outfits, it’s like I’m playing a charac- shrugging her shoulders with the same breezy confidence with which she ter or a different version of myself—I get to try out different personalities,” she says. mentioned being flown to Morocco for a photo shoot. “When I was younger, I “Sometimes I’ll put on something unexcouldn’t really find myself, but now I am pected like a suit and be like, ‘Shit, this so totally fine with who I am,” she says. looks good.’ So modeling has definitely “I’m going to do this shit because I want made me more comfortable with me.” to do it—and that’s all there is to it.” Accordingly, when Lin brings up the fact that some internet trolls have said





Look for it in the feminine hygiene or menstrual pain relief section. Use as directed.

© Pfizer 2016

all clothing by moschino, stylist’s own earrings (worn throughout). opposite page: all clothing by msgm, sneakers by marco de vincenzo, ring by eddie borgo, socks by american apparel.


NAMES rep your favorite brands with these label-centric looks. photographed by sarah kjelleren. styled by javon drake

all clothing by msgm.

all clothing and socks by dkny, ring by jennifer fisher.

dress by louis vuitton.

2 1



5 6


8 9


11 12

1. philosophy di lorenzo serafini, $290 2. zac zac posen, $200 3. volcom, $55 4. off-white c/o virgil abloh, $573 5. adidas originals, $70 6. a.p.c., $165 7. carhartt wip, $115 8. balmain, $385 9. baja east, $345 10. penfield, $85 11. armani exchange, $95 12. opening ceremony, $250


all clothing by msgm.

all clothing and bag by chanel, bracelet on left wrist by mateo new york, bracelet on right wrist by alexis bittar, socks by wolford.

all clothing and accessories by gucci, stylist’s own socks.

2 4

1 3


6 9 8


12 10 11

1. cheap monday, $44 2. calvin klein jeans, $40 3. see by chloĂŠ, $120 4. nike, $45 5. givenchy, $740 6. marc jacobs, $150 7. no. 21, $154 8. bebe, $39 9. sonia by sonia rykiel, $80 10. isabel marant, $190 11. versus versace, $275 12. koza, $79


3 1

4 2



7 6



11 12

4. stĂźssy, $30 5. philipp plein, $354 6. huf, $60 7. maison kitsunĂŠ, $180 1. kenzo, $345 2. abercrombie & fitch, $58 3. hlzblz, $74 8. rodarte, $205 9. champion, $60 10. gypsy sport, $325 11. fendi, $400 12. fila, $70

clothing by msgm, bracelet by eddie borgo. photo assistant: tikos. hair: takayoshi tsukisawa. makeup: tadayoshi honda using dior. manicurist: tracy “kawaii� lok. model: maggie mizner at wilhelmina models. still lifes: savanna ruedy.

gear up for warmer days with these transitional looks.

3 2









8 7 1. raquel allegra, $120 2. tibi, $1,100 3. venessa arizaga, $150 4. hilfiger collection, $560 5. forever 21, $16 6. roger vivier, $2,550 7. elizabeth and james, $265 8. frame, $339 9. aska, $395


10. iam by ileana makri, $355





5 4 6

8 1. lady grey, $156 2. bcbgmaxazria, $368 3. kate spade new york, $598


4. kenzo, $710 5. wildfox, $179 6. equipment, $258 7. m. martin, $350 8. jill stuart, $368


9. aldo, $130 10. alpha industries, $140









9 2




1. mother of pearl, $550 2. mother of pearl, $550 3. falke, $36


4. nixon, $150


6. giuseppe zanotti design, $950 7. christian louboutin, $1,700 8. ganni, $150 9. no. 21, $867 10. coach 1941, $995



still lifes: savanna ruedy.

5. bario neal, $844










unleash your inner glamour-shot pastel princess with these diffused beauty looks. photographed by anairam

TRY THESE: nars duo eyeshadow in habanera, $35,; yves saint laurent vinyl cream lip stain in 408 corial neo-pop, $36, sephora. com; milk makeup blush oil in flush, $26,; bumble and bumble thickening dryspun finish, $31,

TRY THESE: make up for ever artist eyeshadow in m126 chalk, $21, sephora. com; too faced love flush long-lasting 16-hour blush in i will always love you, $26,; smith’s rosebud salve, $8,; ouai medium hair spray, $26,

TRY THESE: nars single eye shadow in night star, $25,; urban decay afterglow 8-hour powder blush in obsessed, $26,; tonymoly petite bunny gloss bar in bunny 1, $8, urbanoutfitters. com; moroccanoil curl defining cream, $13,


TRY THESE: dior fusion mono eyeshadow in 871 olympe, $31,; bobbi brown blush in sand pink, $28, sephora. com; too faced TRY THESE: major moonshine glitter gel in the ocean’s kiss, $28,; serge normant meta luxe hair spray, $25, melted matte liquified long wear matte lipstick in it’s happening!, $21, sephora. com; living proof full dry volume blast, $29,


TRY THESE: ciatĂŠ london skinny shadow stick shimmer eyeshadow in charmed, $15,; clinique cheek pop in peach pop, $23,; bite beauty lush fruit lip gloss in strawberry, $22,; igk intern flexible hairspray, $29,


TRY THESE: bh cosmetics modern mattes eyeshadow palette, $20,; marc jacobs beauty air blush soft glow duo in 504 kink & kisses, $42,; lancĂ´me juicy shaker in 301 meli melon, $21, sephora. com; phyto phytovolume actif volumizing spray, $30,

hair: sean bennett. makeup: lindsey williams at kate ryan inc. using m.a.c cosmetics. makeup assistant: emily klein. models: tamara ryzhenko at muse model management, sarah brown at the society management, emma at unite unite and kate o, fiona fussi at ford model management, andrea carrazco, and gabby richardson. beauty editor: jade taylor.


When Nirvana first released “Smells Like Teen Spirit” (which, fun fact, was a phrase Kathleen Hanna came up with), we all knew exactly what they were talking about, but had no material way to re-create the scent. By now we’ve all smelled our fair share of “nice” smells. But what about scents that are harder to pin down—ones that aren’t sweet or fruity? Enter Boy Smells, the company that creates candles with unexpected fragrances. The brand takes presentation as seriously as the products themselves, with each candle (made of a blend of natural beeswax and coconut wax) encased in a sleek black jar and packed in an adorable light pink carton. Its founders, Matthew Herman and David Kien, count roles in design and production at Zac Posen and Nasty Gal on their résumés, and were able to find a way to translate those experiences to home and lifestyle. Herman says, “We pooled our creative talents and resources to design and develop a product that appealed to us on a personal level.” Boy Smells is produced in California and currently has 10 scents up for grabs. Among our favorites are Redwood (woodsy, spicy, masculine), Kush (herbal, fresh, heady), Lanai (smoky, tropical, floral), and Ash (woodsy, smoky, airy). Overall, we think Herman describes the line best: “high design, high concept, and loads of fun.” AUSTEN TOSONE boy smells, $29 each,


photographed by marco girado.

Light My Fire

Color Spectrum Christian Louboutin has reigned over the shoe world for as long as we can remember. But during the last few years, the French luxury accessories brand has had its eye on a new kingdom to conquer: the beauty world. Christian Louboutin Beauté launched in 2014, debuting the Rouge Louboutin nail color—a new spin on a classic red polish. Next up was a collection of lip colors, which came with a ribbon and a ring at the top of the cap, so that the lipstick could double as a pendant necklace—because they know that it’s crucial to always have lipstick at the ready. The brand continued to expand last September when they created three signature fragrances to add to their beauty lineup. Now, Louboutin is taking it to the next level with their latest release. This month, the brand debuts Loubichrome Nail Colours, a trio of mini polishes. The limited-edition collection features three metallic and high-shine colors: Loubichrome I, a perfect blend of lemon and lime, Loubichrome II, a rosy red, and Loubichrome III, a majestic and vibrant purple. The collection appears in the same bottles as the original polishes, with a pointed, calligraphy-inspired brush and a clear crystal-like bottle, but features a new chromelike rainbow coloring, confirming our theory that these products have some magic in them. We dare you to try buying just one. AT loubichrome nail colours, $30 each,


I have never played chess in my life—I have, however, played with a ton of lipstick (that counts, right?). This season, Poppy King, the genius behind one of our favorite brands, Lipstick Queen, has just become the Bobby Fischer of the beauty world (so to speak) with the introduction of her new Lipstick Chess collection. And it even comes with instructions! 1. Pick the color you’re most attracted to. 2. Turn it upside down to find out which chess piece it is. 3. Read what that chess piece says about you. (Are you the Ruby Red Queen who reigns supreme? The Rich Berry King who is noble? The Deep Plum Rook who is bold? The Dashing Mocha Knight who is unpredictable? The Determined Mauve Bishop who is courageous? The Subtle Nude Pawn who is loyal to what they love?) With six totally modern and full-coverage matte shades that range from berry to the perfect ‘90s brown you’ve been desperately searching for, there’s definitely something for everyone here, whether you’re chess or beauty obsessed. JADE TAYLOR lipstick queen lipstick chess, $24 each,

photographed by marco girado.


glasses, rad and refined, $46. photographed by eric t. white. styled by amber bek. hair: rachel hopkins. makeup: mika shimoda. model: kennidy hunter at major model management.


these new beauty launches are out of this world. by jade taylor. illustrated by john f. malta Space Oddity Move over, Carl Sagan, there’s a new Cosmos in town—and it’s a beauty brand (which is, like, science!). Created by herbalists Sarah Buscho and Marina Storm, COSMOS is the “plant”-etary (see what I did there?) sister line of Earth Tu Face (one of our favorite all-natural luxury skincare brands), which offers four products made with safe, high-vibrational ingredients and zero If you’ve been chemicals added. Oh, and they have really cute sleeping on the packaging, too! We recently fell in love with Milk Makeup the Lavender + Aloe Face Wash, a conditioning cleanser infused with aloe vera (to soothe), laven- Holographic Stick (that everyone on the goddamn planet der essential oil (to calm), and palmarosa essenhas been raving about), please—PLEASE— tial oil (to hydrate). The line also has a Rose + Lavender Face Oil, Lavender + Witch Hazel Toner, wake up, because this iridescent-and-lavenand an Everywhere Salve that we’re also digging. der-hued cream highlighter is truly cosmic. Infused with meteorite powder, twilight pearls, Needless to say, the stars were totally aligned mango butter, peach nectar, and avocado oil when this brand formed! cosmos lavender + aloe for prismatic hydration, the formula glides vera face wash, $32,

Twilight Galaxy


onto skin like a dream. And it’s not just for cheekbones! One of our favorite ways to wear it is on our eyelids as a cream shadow—but if you’re more daring, try patting some on your lips, too (thank us later). Beam us up, Milk Makeup! milk makeup holographic stick, $28,


Green Day

Between Planets While it may seem like Urban Decay has just as many new eye-shadow palette launches as there are Star Trek films, we promise this one is the coolest yet. Featuring eight sparkly new shades, think of the Moondust palette as the Naked palette’s parallel universe sister—if said parallel universe sister

wanted to drench her eyelids in multicolored glitter and metallic shadows every day. The octet of sparkly shadows consists of Specter (a soft pink), Element (a peachy rust), Magnetic (a purply blue), Lightyear (a saturated green), Granite (a galaxy black), Lithium (an iridescent brown), Vega (a bright blue), and Galaxy (a smoky blue-gray)—which all work together to give you some serious extraterrestrial eye-shadow goals. urban decay moondust palette, $49,

“How many more space puns can they come up with?” you may be asking yourself. Well, we're not finished just yet. (Sorry!) So let’s talk about Sunday Riley’s new product called U.F.O.—which is also punny, considering it actually stands for Ultra-Clarifying Face Oil, but implies that it’ll give you alien-looking skin thanks to its green packaging and sister product, the Martian Mattifying Melting Water-Gel Toner. And while both products were formulated specifically for folks with oily, acne-prone skin, the U.F.O. just happens to be our personal fave. It’s made with 1.5 percent salicylic acid (which helps prevent future flare-ups), while the hexylresorcinol and licorice help brighten for more even-toned skin. And all you have to do is use it once a day (or night!). sunday riley u.f.o. ultraclarifying face oil, $80,

Rainbow Connection


m.a.c cosmetics colourrocker collection, $17 each,

lipstick junkies, rejoice: m.a.c cosmetics’ brand-new colourrocker collection boasts 28 matte shades of pure kaleidoscopic heaven. photographed by marco girado

Blur It Out these pore-minimizing and texture-reducing “blurring” products will literally make your skin look like it’s been filtered. photographed by ruo bing li

clockwise from left: benefit cosmetics the porefessional face primer, $31,; the estée edit pore vanishing stick, $28,; clinique pep-start hydroblur moisturizer, $29.50, clinique. com; dr. brandt pores no more pore refiner primer, $45,; yves saint laurent touche eclat blur perfector, $55,; algenist sublime defense anti-aging blurring moisturizer spf 30, $75, makeup: lindsey williams at kate ryan inc. using kevyn aucoin. hair: remy moore for hairstory. model: hyobi at trump model management.



Mask Away if you suffer from under-eye dark circles, puffiness, or dryness, we have good news: you can transform your skin and remedy those woes with these soothing new eye patches. photographed by ruo bing li

TRY THESE: peter thomas roth 24k gold pure luxury lift & firm hydra-gel eye patches, $75,; patchology flashpatch eye gels, $50,; klorane smoothing and relaxing patches with soothing cornflower, $24,; karuna renewal eye mask, $36,; rodial dragon’s blood eye masks, $39,; skyn iceland hydro cool firming eye gels, $30, ulta. com; boscia sake brightening hydrogel eye masks, $15, makeup: lindsey williams at kate ryan inc. using patchology. hair: remy moore for hairstory. model: melanie culley at muse model management.



Magic Wands get you a mascara that can do both with these innovative brushes that build crazy volume and length. photographed by marco girado

clockwise from top: the estĂŠe edit the edgiest up & out double mascara, $24, sephora. com; nyx cosmetics doll eye mascara, $9.50,; too cool for school dinoplatz twisty tail mascara, $27,; make up for ever smoky extravagant mascara, $24,; smith and cult lash dance mascara, $28,; too faced better than sex waterproof mascara, $23,; revlon super length mascara, $8.50,; covergirl full lash bloom mascara, $8,; charlotte tilbury legendary lashes mascara, $32, charlottetilbury. com; m.a.c cosmetics in extreme dimension waterproof, $23,; clinique lash power flutter-to-full mascara, $21,; milk makeup ubame mascara, $24,; ardency inn modster big mascara, $25,; ciatĂŠ london wonderwand intensely volumising mascara, $22,



Soft Touch get ready to drench your locks in these yummy-smelling and super-moisturizing hair oil heroes. photographed by ruo bing li

from left to right: ouai hair oil, $28,; reverie ever recovery hair oil, $52,; captain blankenship mermaid hair oil, $34,; christophe robin moisturizing hair oil with lavender, $47,; earth’s nectar hair gloss, $18.50, hair: remy moore for hairstory. makeup: lindsey williams at kate ryan inc. using glossier. model: lee armoogam.


go coconuts for hydration! |


on the eve of the sixth and final season of the hit show she created and starred in, lena dunham is ready for a break—which in her world means hosting a podcast, promoting a new collection of short stories, expanding her newsletter into a book imprint and short-film series, and researching a theater project...among other things. by margaret wappler. photographed by sofia sanchez & mauro mongiello. styled by sally lyndley

Like many successful, so-called nasty women, Lena Dunham is less self-aware than I thought,” she says, noting that she couna masterful practitioner of the sugarcoated business voice. You tered the first pings of public critique with shielding thoughts like, “‘Oh, I’ve been in therapy since I was seven. There’s nothing know the one; Melanie Griffith cooed it in Working Girl. Taylor you could say about me that other people wouldn’t know.’ But Swift could offer an MBA in it. Game of Thrones’ Margaery the older I get, the more I’m like, ‘I don’t fucking know what anyTyrell wrapped boy-kings around her pinkie with it. If you wield body is seeing when they look at me,’ and the coolest thing is it’s it incorrectly, though, beware: Hillary Clinton, Dunham’s politinot my problem.” Her hazel eyes open wide. “That’s an interestcal girl-crush, never powdered enough sugar on those boss ing thing. It kind of doesn’t matter. I used to think the worst thing pipes during the election, according to the pundits. And, well, in the world could be for someone to have a thought about you we all know how that went. that you didn’t have yourself. Now I’m like, ‘Have at it, guys!’” Dunham, 30, identified with Clinton, whom she actively Have at it they do. Since its premiere in 2012, legions of campaigned for alongside friends America Ferrera and Amber Tamblyn, because the demands to be a different kind of woman futon critics have claimed they could make Girls better than Dunham. And truth be told, certain aspects of the show don’t have burned her, too. More aggressive, more gentle, more feel right to her anymore either. “I wouldn’t do another show clothed, more invisible, more whatever, it’s always changing. that starred four white girls,” Dunham, who plays Hannah HorBut after six seasons of creating, writing, directing, producing, vath, acknowledges. “That being said, when I wrote the pilot and acting in her HBO series, Girls, which premieres its final I was 23. Each character was an extension of me. I thought I season on February 12, Dunham has finally learned how to be was doing the right thing. I was not trying to write the experiher own kind of bohemian boss. She’s learned to apologize ence of somebody I didn’t know, and not trying to stick a black when she makes mistakes, but never to apologize for living in plain sight. And living in plain sight means asking for what you girl in without understanding the nuance of what her experience of hipster Brooklyn was.” want—but in the voice, always the voice. She wasn’t alone in her self-doubt. Jemima Kirke, Dunham’s On a Sunday morning at Soho House, the West Hollywood childhood friend who plays Jessa, the long-haired wild child outpost of the posh members-only club for creatives, Dunham with a secret grounded core, hardly accepted herself as an and I search for a table in the buzzing dining room. We’ve already rejected the garden area, which threatened to erupt into actor on a prestige network. “I didn’t think I had earned that show,” she says. “It was like, ‘You didn’t even take a class.’ I live jazz at any minute. We could wait for a hostess, but instead Dunham sidles right up to the bar in her tan Ugg boots, heather was embarrassed to say I liked acting.” But when Jessa got her most meaningful story line—dating gray sweats, and Fair Isle cardigan. “Hiiiiii,” she says in a bright, Adam, Hannah’s mercurial ex played by the series’ breakout cheery tone, followed by a honeyed but firm request to be actor, Adam Driver, in season five—Kirke sunk deeper into her seated, her unwavering eye contact reaching state diplomacy levels. We’re led to a lovely perch by the windows. But when the character, thrilled to be given more responsibility by Dunham. “In waiter doesn’t visit fast enough, she’s back up to the bar. “Hiiiiii,” the beginning,” Kirke says, “she was holding on really tight. She was a machine of creativity, of putting out this product. She’s she says, before sweetly demanding that he come by quick. To me, she says, “I’ve always done this. I learned it from my Jew- dropped that significantly and the creativity level has gone up.” In a season where many characters wrestled with their ish mother. I didn’t start doing this when I got famous or anything.” boldest story lines yet—Marnie (Allison Williams) got married, Dunham tosses this off nonchalantly, but there’s a perverse for instance, in a feast of twee-folk narcissism—none inspired thrill to it, this mentioning of her celebrity. She was perfectly debate in the writers’ room quite like Jessa and Adam’s budpolite to everyone, but realizes how close she veered to the ding affair. “That’s what takes someone from being kind of a diva celebrity cliché (and being a diva to service-industry shitty friend to being an actually shitty friend, but at the same people is the rankest of diva sins). Instead of letting it quietly time, it’s one of the ways you meet people,” Dunham says. gain traction, she calls it out. This is peak Dunham. Naming Her beloved parents, the artists Laurie Simmons and Carroll the chafing spots that happen in everyday interactions is her Dunham, met this way. “I am the product of a much-discussed favorite sport. The trivial, the gauche, the downright forbiddowntown SoHo romance,” she merrily dishes, “that put a few den—she loves all of her awkward children. Part of the game is that she recognizes you’ve noticed it, too, and she’s already one people in a really bad mood.” Kirke sees her character’s development as a sign of Dunham’s step ahead of you by having the audacity to name it. growth, creatively and beyond. “Lena’s becoming more free,” she In person, the hyper-articulate, hyper-self-aware Dunham is says. “She wants people to understand her, but she’s also trying a marvel to behold, if a little unnerving. She’s so observant— not to apologize so much. I don’t know why Lena Dunham, more fluidly tracking every single time I scribble a note, eye contact like a retinal scan—that sitting across from her gives the sensa- than anyone else, is asked to fucking apologize so much.” For all of Dunham’s emotional intelligence, she has her blind tion of being read by a super-high-performing care robot. She’s spots. That desire to call out the awkward moments sometimes not cold or forced—quite the opposite, in fact. Her bare face backfires, like when she joked about the NFL player Odell with just a hint of coral lipstick lights up when she’s excited, Beckham Jr. ignoring her at the Met Ball because she wasn’t which is often. She’s warm and spontaneous, funny and disattractive enough (a joke that unfortunately involved projecting arming. It’s just that she speaks and listens (every single friend misogynistic thoughts onto a black man she didn’t know). of Dunham’s I talk with praises her full-body listening skills) Her good friend, writer Ashley Ford, wishes more people with such tangible emotional access and presence, it’s a little would recognize Dunham’s efforts to broaden her perspective. uncanny. Underneath the lighthearted self-deprecation and “I’ve never seen her not take the opportunity to learn how her quips about how both she and her dog Susan have endomewords and actions might affect other people. That’s what frustriosis is a laser-focused mind that barely misses a thing. trates me about reactions to her.… She’s perceived to be this She admits, though, that there are gaps in her self-knowledge: super-evil pinnacle of white feminism, but they haven’t even “I’m realizing more and more as I get older that I’m actually way

dress by opening ceremony, necklace by energy muse. opening spread: coat by prada, bathing suit by lonely lingerie, necklace by energy muse.



“I USED TO THINK THE WORST THING IN THE WORLD COULD BE FOR SOMEONE TO HAVE A THOUGHT ABOUT YOU THAT YOU DIDN’T HAVE YOURSELF. NOW I’M LIKE, ‘HAVE AT IT, GUYS!’” sweater by victor glemaud, dress by h&m, socks by stance. opposite page: kimono by bordelle, dress by h&m, shoes by aldo, socks by stance.



raincoat by diesel. opposite page: top by advisory board crystals, shoes and choker by giuseppe zanotti design, crystal necklace by energy muse.


“Sometimes being a creator, and especially being a female investigated those feelings,” Ford says of Dunham’s critics. “A creator, is an exercise in shutting people’s voices out, because lot of them decided a long time ago that they don’t like her. there are so many who think they understand better than you She can’t live by those opinions.” how to do your job,” she says. Dunham can, however, respond to the valid concerns that Threats be damned, Dunham won’t be quieting her voice she hasn’t done enough to depict life outside the white hipster anytime soon. For the final season of Girls, “we wrote in a clibubble. Quietly, outside of Girls, she’s been building a media fempire that constitutes what Ford describes as a new platform mate where we were thinking a lot about this election, and the election was heating up as we shot the show, and that energy “to support women’s voices that need to be heard the most.” for sure made its way into how we tackled topics. I don’t mean Lenny Letter, the media brand she created with longtime Girls showrunner Jenni Konner, and Women of the Hour, her podcast to be demurring, but there are some big female issues, more than maybe ever before,” she says. now in its second season, are both showcases for eclectic While Dunham shares a home with Antonoff, both in New stories, including Ford’s own gripping experience with her faYork and Los Angeles, the die-hard workaholic says she would ther, who was incarcerated 30 years on rape charges. A recent WoTH episode, “Faith & Spirituality,” featured a Muslim woman hardly see her boyfriend if they didn’t intertwine their frenetic work lives. (She’s directed a few of his music videos, and he sharing dating tips, and a hilarious tale of a lapsed Mormon in contributed two songs to the final season of Girls.) “I have no flagrante with a former Orthodox Jew. In both forums, Dunham social life, I have a tiny personal life, and I work myself to the leaves her stamp, with her nurturing interviewing style and point of illness three times a month,” she says. In 2016, she wryly vulnerable stories, but she isn’t the star by any means. had three surgeries related to her severe endometriosis. Her Konner says that Dunham came “pretty fully formed as an friends and family wonder if her pace is sustainable. artist,” but it’s been her comfort level with public life that’s That question will be carried over to the conclusion of grown in the past couple of years. “She’s honest and straightGirls. “This is for sure the season where people are like, ‘It’s forward, and it comes with a price. I see it chip away at her, but now or never. Am I going to perish in the worst apartment in ultimately, it’s more important for her to be a Hillary supporter Bushwick, or am I going to figure out a way to actually live and a supporter of reproductive rights. It’s more important to where I’m not scared every day?’” she says. “It’s also a lot about be out there,” she says. examining these friendships, which we’ve looked at over five Due to her campaigning for Clinton, but also because she’s seasons, and asking, ‘Are these sustainable in any way? Why been targeted as an outspoken feminist for years, Dunham has are we even doing this? And are these friendships even the been harassed by the alt-right brigade. After Trump won the healthiest thing for us, or are we holding on to hold on?’” election, her Instagram account, where she captures life with For now, Dunham is taking what she calls a break, which her three fur babies and boyfriend Jack Antonoff, was besieged really means the following roster of activities: publishing her with threats. To a certain degree, she understands why she’s a book of short stories about the complexities of female-male target: “So much of what we’re dealing with in America isn’t just relationships, Best and Always; growing Lenny Letter’s recently misogyny, isn’t just racism, but is also this unspoken constant tug launched book imprint and collaborating with HBO Go on between people living on different sides of the class divide,” she a series of Lenny Letter short films; and going to London to says. “You come in and you’re like, ‘I went to Oberlin. My godparresearch a film and theater project. Feel like a sloth yet? ents are both art critics. I was raised at a women’s action coalition When Girls exits for good, “I’m probably going to have a nermeeting,’ and that’s repugnant to them on a thousand levels. vous crying breakdown,” she says. As we speak, she only has There’s a sense of snobbery or intellectualism that feels like it’s one more episode to edit. “I had a psychotic moment where the enemy of patriotism and also the enemy of the working class, I was like, ‘I’m going to become a wildlife rehabilitator and a which is by no means where I ever wanted to position myself.” crystal expert.’ My boyfriend was like, ‘No, you’re not.’ I’m like, Dunham is clear that she doesn’t condone any threats or violence, but she’s always open to respectful conversation. Her ‘I’m going to rehabilitate squirrels and owls. And I’m going to educate myself so that I can do crystal healings.’ He was like, younger sibling, Grace, a gender-nonconforming activist who ’Good luck with that.’” has been dragged into the alt-right maelstrom before, is in a The truth is, as much as Dunham loves the woo-woo side of constant debate with Lena. Is it better to be radical and reach life, she’s on a bigger mission. “It’s going to be interesting profewer people, or soften the message and reach more? “Lena is moting this show right after Trump is inaugurated. The final an amazing listener, and she’s not stubborn,” says Grace. “But season definitely tackles some topics that are complicated and she’ll push your thinking—she’s pushed me to really consider wouldn’t be beloved by the incoming administration. Hopefully the goals of my activism. We go toe to toe; it’s really rigorous.” “Grace is my fucking boss spirit guide on this stuff,” Dunham it’ll bring up important conversations, and not just become the worst Twitter abuse storm in history—or it will,” she says, but says. “She’s definitely the best member of our family, and I don’t think anyone would refute that.” The two text daily, Face- she’s prepared to weather it. “The confluence, for me, of the time every few days, and spent this past Thanksgiving together show ending and this new era beginning in which I know that we as public women are going to have to fight harder than we serving food to trans teens at a community center. Grace is six ever have before, is a really interesting, complicated moment.” years younger but very protective of her older sibling. “I wish No matter the reaction, Dunham will protect her creation— she’d move to British Columbia, throw all her tech in the ocean, a TV document of her growing up before our eyes. “I know get a garden going, and write a novel,” Grace says. “She’s been I’m never going to have another work experience like this,” prolific for so long. She will never stop making things, that’s one thing I know. You could tie her hands behind her back, and she says. “Eight years of working on a project; it’s this living, breathing organism, but it’s also the luckiest thing.” she’d still find a way to write.” The young woman’s curse, the need to be liked by everyone, has been one of Dunham’s toughest lessons professionally:

coat by prada, bathing suit by lonely lingerie, shoes by christian louboutin, necklace by energy muse, socks by stance.

this page and opposite: sweater by victor glemaud, dress by h&m. photo assistants: leon singleton and sean costello. stylist’s assistants: nicola rowlands and hunter woodruff. hair: marcus francis at starworks artists. makeup: fabiola at tracey mattingly using sephora collection colorful. manicurist: kait mosh at cloutier remix. set design: jamie dean at walter schupfer management for jamie dean studio.



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Re-Boot y hotographed b p . g in k c ro r fo ere made sa these styles w keanoush da ro y b d le ty s . a le stephanie ga


dress by ashish, boots by toga archives.


shorts by ashish, boots by moschino.

boots by vivienne westwood, bag by marques’almeida.


dress by moschino, boots by giuseppe zanotti design. photo assistant: peter carbonaro. second assistant: serena emtiaz. manicurist: monica agius at the beauty boutique malta. models: stephanie cutajar at models m and abby at supernova model management. special thanks to architect richard england.



boots by toga archives.

coat and hat by gucci, sweatshirt by american apparel, glasses by a-morir.

because getting ready > going out. photographed by anairam. styled by michael kozak

dress by louis vuitton.

coat by marc jacobs, dress by chanel, hat by eugenia kim, glasses by a-morir. opposite page: top by filles a papa, shorts by chanel, shoes by marc jacobs, hat by miu miu, shawl by molly goddard, belt by gucci, stylist’s own tights.


coat by marc jacobs, dress by chanel, hat by eugenia kim, sunglasses by a-morir, earrings by gucci. opposite page: shirt, belt, and bag by olympia le-tan, silver dress by diane von furstenberg, shoes by christian louboutin, beret by chanel, sunglasses by wildfox, earrings by gucci, gloves from search and destroy, socks by pan & the dream.


shirt by olympia letan, beret by chanel, sunglasses by wildfox, earrings by gucci. opposite page: top by preen by thornton bregazzi, sequin shirt by msgm, skirt by just cavalli, shoes by marc jacobs, bag by les petits joueurs, chokers by roxanne assoulin, socks by pan & the dream, stylist’s own bracelet.




jacket and skirt by gucci, top by american apparel, shoes by t.u.k., hat by anna sui, necklace by sarah magid, earrings by hart, bag by olympia le-tan, socks by marc jacobs, stylist’s own bracelet. opposite page: top and vest by miu miu, headpiece by piers atkinson, choker by roxanne assoulin.



sheer dress by molly goddard, heart dress by marc jacobs, turtleneck by american apparel, sneakers by gucci, beret from search and destroy, socks by dsquared2, stylist’s own bracelet. photo assistant: eduardo valderrama. hair and makeup: lindsey williams at kate ryan inc. using ysl beauty and kÊrastase. hair and makeup assistant: emily klein. model: sabrina fuentes at no agency


getting to know the young creatives who help make byron bay australia’s most magical destination. by diane vadino. photographed by james j. robinson

Go to the easternmost point in Australia. Stop. You’ve arrived: This is Byron Bay, creative center and healing vortex, equal parts sunny Los Angeles, super-woke San Francisco, and every tiny beach town you loved as a kid. From its improbable early days as a whaling station to its lasting identity as a gathering place for community-minded souls (and vegans and surfers and yogis and designers and painters and all-purpose makers of things), Byron Bay has

drawn dreamers to its white-sand beaches for decades. Byron is a mind-set as much as a municipality, and its true boundary lines expand to include the surrounding laid-back villages— like Suffolk Park, a few streets of beach bungalows and a bakery—as well as the hinterland, with its waterfalls and lakes and lush, rolling hills. Here, some of the Byron area’s coolest inhabitants sound off on this special place.


the scene: It’s got some pretty tough competition, but Wategos might just be the best beach in Byron Bay— and if you walk back to town, you’ll pass through super-lush parkland with views of the water for miles.

AGE: 21 OCCUPATION: Model/bartender CURRENTLY LIVING IN: A tree house surrounded by lush rain forest. It’s amazing waking up to native birds chirping, from the magpies to the cheeky butcher birds—they’ll swoop in and steal food when I’m sitting on my veranda. Byron Bay actually used to be a whaling town, and there’s a beach called Belongil where the station used to be. It’s pretty crazy to think that a place with so much emphasis on being eco-friendly and kind toward all creatures was pretty much built on the slaughtering of whales. I was a water baby from day dot, so being away from the ocean for long periods of time makes me really unsettled. I was a sponsored surfer from around eight to 15 years old—my dad and granddad taught me how to surf when I was four, on a board my granddad shaped himself. The color of aqua that the ocean around here produces is phenomenal—it makes me want to rip my clothes off and dive in butt naked, no matter who is around.


AGE: 26 OCCUPATION: Artist/soon-to-be mum CURRENTLY LIVING IN: A farmhouse on three acres of land They say that Byron is a place of healing, and that you should never outstay your welcome. However, if you do— and most people find it far too enchanting to leave—then you eventually turn slightly crazy. I guess this explains why there are so many wild and colorful personalities in Byron. Turning a little loony in Byron is definitely something I aspire to do. It’s slow-paced here—even the speed limit in Byron is low. I think the slow, almost island vibe of Byron is something that you either love or hate. It seems some people can’t stand it and prefer the hustle and bustle of the city, while others fall captive.

MERRYN JEANN AGE: 21 OCCUPATION: Musician CURRENTLY LIVING IN: Mullumbimby, a little north of Byron Bay, in a beautiful, big timber home covered in jewelry. The owner of the house is a jeweler, and she has made it into a pocket of magic full of mannequins clothed in tiaras and chandeliers dripping in necklaces. I moved to Byron when I was 15 and started to make music with some people I met. In high school, we were in a folk-pop band called Potato Potato, and at one stage, we had a funk band made up of folk musicians and a blues-influenced groove-metal guitarist. Now they play disco pop (as Parcels) and I play folk jazz and collaborate with bands and producers making all sorts of music, from chillwave to pop to house and hip-hop. The people in Byron have shaped my music more than the place itself—otherwise, I would be playing the ukulele and singing about the ocean and opening my chakras. Respect if you do, though.


HANNAH SIMS AGE: 24 OCCUPATION: Forever a student, and a waitress at The Roadhouse café [a local favorite] CURRENTLY LIVING IN: A 1980s hillside home in the hinterland I work with a local nonprofit group called Future Dreamers, an organization meant to empower girls and young women. The girls there have been kind enough to let me help out with some of the design and photographic elements of their “Year Book,” a book to celebrate and spark conversations about womanhood, growth, and individuality. My favorite way to spend a Saturday afternoon in Byron Bay is to get in the ocean, then head out to a little Japanese café in [the village of] Federal that is probably going to send me broke. After eating, I’ll try and convince my friends to take their clothes off for me again. They always do. We have a couple of waterfalls near our house, so that’s usually a nice environment to have them strip down and take their photo.

the scene: Byron isn’t just about the ocean—head inland to the hinterland for waterfalls, lakes, and towns where even the smallest pharmacy seems to stock Aesop.


AGE: 32 OCCUPATION: Healing crystal jeweler CURRENTLY LIVING IN: A beach house on Lighthouse Road. My front door is across the road from the ocean, and my back garden leads to a secret forest walking trail up to the lighthouse. I work with healing crystals, and Byron is renowned for its healing energy, which attracts so many beautiful healers. Byron Bay is set on sacred Aboriginal ceremonial and birthing grounds, at the most easterly point of Australia. The energy here is intense. Organic food, veganism, alternative education, herbalism, composting, fermenting, and animal activism are the norm. It is also said that there are massive belts of obsidian crystal underfoot and ley lines running through the land, making it an energetic vortex. In the Byron hinterland, you can visit the Crystal Castle, beautiful gardens in the rain forest where you can find the largest amethyst cave and the tallest geode pair in the world.



AGE: 27 OCCUPATION: Mural artist and illustrator CURRENTLY LIVING IN: My partner Adam is a culinary artist, and together we have created a cozy rain forest retreat in Lilli Pilli—a 10-minute bike ride from central Byron. Byron Bay tends to attract creative people from all walks of life. It also attracts people who are focused on a spiritual or health path—whatever that means for them. What I’ve discovered is a kind of collective consciousness that nourishes me as an artist. I have set up my art desk on the outside veranda. I find being surrounded by trees and nature really conducive to inspiration. We even have a family of koalas outside our cabin, who provide some interesting acoustic entertainment. If you’ve ever heard koalas crying or arguing, you’ll know what I mean.



photographed by karson lewis.

AGE: 37 OCCUPATION: Free surfer, writer, and yoga teacher CURRENTLY LIVING IN: The seaside village of Lennox Head I’d tell a visitor to go to the lighthouse atop Cape Byron. Take in the lay of the land, see Tallow Beach stretching away down to Broken Head and Lennox to the south, then Wategos and Main Beach, and across to Mount Wollumbin to the north. This is a powerful spot energetically, with spectacular views, and it’s an epic place to check the surf from. This spring, there was a butterfly explosion, and thousands of them danced on the sea breezes along the shore for a week. It was so beautiful to have butterflies landing on your skin and then watch them flutter away to the flowers.



AGE: 25 OCCUPATION: Yoga teacher, actor, model, and “chocolate alchemist” at [the local raw, organic, vegan chocolatier] Caravan Cacao CURRENTLY LIVING IN: The hinterland. The little studio I share with my partner looks into a valley of horses. Our outdoor kitchen-slash-living area is very rustic and open to the elements. It’s not for everyone, but we like it. I practice yoga on our deck. It’s very peaceful. The golden hour is magic, and sometimes we wake up surrounded by mist. Eventually we would love to have our own land to grow, build, and live off of sustainably. For now we are content, and going with the flow. Some incredible talent floats through this area—not just in Byron, but surrounding towns, too. The Hotel Brunswick is fun for a boogie, [as is the] Billinudgel Hotel. Tune in to Bay FM and check Byron Bazaar for local music and theater events. I have grooved well into the night just by stumbling upon a traveling busker jamming on the street. Byron has that magnetic energy, and perhaps I carry that with me, too. I have been to many places all over the world and, especially when living in Paris, I was told I was like a rainbow in the dark, leaving color and good vibes wherever I went.


KATE DALTON AGE: 27 OCCUPATION: Naturopath, nutritionist, and owner of Mayde Tea CURRENTLY LIVING IN: Suffolk Park, a tiny little coastal town, a few kilometers south of Byron Bay, with not much more than the most beautiful—and dogfriendly—beach, a somewhat famous bakery, and an organic produce store It’s hard not to sound extremely cliché here, but the ocean really is the best medicine for me. There’s no amount of tea or supplements I could consume to have the same effect as what jumping into the ocean at the end of the day is for me. I also started learning to surf when I moved here from Sydney two years ago—it’s my most favorite way to practice mindfulness. The best part of this area is out in the hinterland—you can go on bush walks through rain forests, past waterfalls, and through the most magnificent landscapes. the scene: Lennox Head, on the southern end of Seven Mile Beach, is reportedly where Liam Hemsworth and Miley Cyrus are buying a house. Walk there from Byron Bay and you’ll pass through perfect spots like Suffolk Park, with its bakery and bungalows.



An Education

coat by redvalentino, top by dior, jeans by j brand, earrings by alexis bittar. hair: jeanie syfu at atelier management using tresemmé. makeup: holly gowers at atelier management using diorskin nude. retouch: kassie jackson.

as a teenager, condola rashad struggled to find her footing. but after learning the craft of acting, she flourished. by jenna sauers. photographed by tiffany nicholson. styled by thomas carter phillips

two of Billions, the Showtime drama that follows a politically ambitious U.S. Attorney (played by Paul Giamatti) and a conniving hedge fund Condola Rashad spent the majority of her high school years feeling manager (Damian Lewis) as each struggles to vanquish the other. Rashad adrift. “I remember I would be in a classroom,” she says, “and the class plays Assistant District Attorney Kate Sacker. The show is one part liberal would start and I’d look out the window, and then in the blink of an eye wish-fulfillment—it imagines a world where, after the 2008 financial crisis, the class was over and I was like, ‘Wait, I don’t know what happened.’” the government had actually gone after Wall Street—and one part study Rashad re-enacts the moment, sitting up with a start. “We would go in the darkness of the male ego. Sacker is whip-smart, independently home with homework and it would take me hours to finish. I would work wealthy, and not prone to the same moral compromises her boss makes— and work, and I would remember it, but I didn’t know how to understand but she’s also timid. “Me and Kate Sacker are very, very different,” Rashad it. It was like I was learning for memorization, not for comprehension.” says with a laugh. “I’m a lot spunkier than Kate Sacker is.” She found it demoralizing. Rashad was raised in Mount Vernon, just north of New York City. Her While Rashad’s classmates at her prestigious New York prep school, Fieldston, pursued Ivy League ambitions, her goal became “just not failing.” parents are the actress Phylicia Rashad—known to television audiences around the world as Clair Huxtable on The Cosby Show—and Ahmad She later learned she had attention deficit disorder, but at the time, she Rashad, the former NFL player and sportscaster. Growing up, she often says, “I just didn’t think I was very smart.” accompanied her parents to work. Observing her mother’s many roles Rashad, who recently turned 30, is talking about how she came to on Broadway was particularly instructive. “I was able to watch all of the understand how her “brain just computes things differently” in a café in stages of what it takes to have a theater piece come together, from table her Brooklyn neighborhood of Bushwick. It’s a frigid winter day, and whatread to working in rehearsal, to tech rehearsals, to previews,” she says. ever warmth the herbal tea she’s drinking offers is no match for the draft “My mother’s way of including me was basically treating me like an assisthat courses through the former industrial space. tant. She would always take a nap right before the show. I was in charge It’s perhaps ironic that the young actress who never felt eligible to be of making sure her nap was the right amount of time, and when the alarm smart is currently best known for playing a character who is defined by went off, I would wake her up and I’d have tea ready.” her intellect. This month, Rashad returns to television screens in season


jacket by gap, turtleneck by jil sander.


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Rashad knew she wanted to be an actor as a child, but she also knew she didn’t want to be a child actor. After Fieldston, her goal was to study acting, and to do it as far away as possible. “The first school I looked at was the University of Melbourne,” she recalls. “My mom was like, ‘Very funny.’” Eventually, she opted for the California Institute of the Arts, a nurturing environment in which she flourished. After graduating, Rashad worked jobs in restaurants and bars before landing a role in Lynn Nottage’s 2009 Pulitzer Prize-winning play Ruined. While Rashad says that she wasn’t afraid of inviting comparisons to her mother, she was nonetheless relieved by something Nottage said after Rashad had been chosen for the play. “She told me later, ‘You know what was so great? We didn’t know who your mom was until after the casting.’ That meant the world to me,” says Rashad. Before shooting Billions last fall in New York, Rashad, who has been nominated for two Tony Awards, wrapped filming on the forthcoming independent film Bikini Moon. Directed by Milcho Manchevski, the story follows a troubled Iraq war veteran who goes to live with a documentary filmmaker and his wife. Rashad plays the veteran. “Bikini is young, she’s a vet, and she also suffers from MST, military sexual trauma,” explains Rashad. “And she has very bad PTSD from an accident that happened where lives ended because of something that she did.” In the film, Bikini struggles to regain custody of her daughter. When Rashad got the script, she was immediately attracted to the challenges of the role. “A lot of the things she would say sounded nonsensical when you first look at it,” she says. “But she’s actually trying to communicate. It only sounds nonsensical because of the way her brain works.” Rashad researched bipolar disorder, addiction, MST, PTSD—and then “allowed them all to dissolve a little bit, and find out who Bikini was,” she says. “She’s a woman and these are the circumstances that she’s working around. But that’s not who she is.” Right now, Rashad, who will soon be starring opposite Chiwetel Ejiofor in the Netflix religious drama Come Sunday, is working on a surprising side project: She’s teaching herself screenwriting in order to write a fantasy series. “My favorite genre growing up was always fantasy,” she says. Rashad loves “anything Narnia, anything Harry Potter,” and has seen the Lord of the Rings films so often she can quote them by heart. “Fantasy stories affected my imagination, and are part of the reason I became an artist in the first place,” she continues. “But as a young person of color, I remember watching these films and thinking—and I love them still—but I remember thinking, ‘Hmm, there’s nobody in here who looks like me.’” “I feel like if more young people saw people who looked like them in those films, it would affect the way that they see themselves,” she says. After all, if a fantastical world has elves or goblins or dragons, why shouldn’t it have some black people? Rashad is now mapping out the story line; she intends a screenplay for a pilot to follow. “I’m in the process of creating a world. A world that doesn’t exist,” Rashad says and smiles. “I think that’s something that’s needed.”


Out Loud on i see you, the xx’s latest album, the reclusive indie-pop band learn to embrace what lies beyond their comfort zone. by phillip mlynar. photographed by laura coulson

“People always seem to think we’re vampires,” says Romy Madley Croft, seated on the edge of an ornate leather chair at New York’s Bowery Hotel and flanked by Oliver Sim and Jamie xx, her bandmates in the indie-pop trio The xx. Dressed head-to-toe in signature all-black garb, and with a collective skin tone that approaches the alabaster end of the spectrum, they might well come across as reclusive night dwellers fond of introspective wallowing. But it’s an image the band have shed with I See You, their confident and punchy third studio album, which has thrust the three shy kids from London into the worldwide spotlight. Their self-produced breakout record—2009’s xx—was anchored on Madley Croft and Sim’s intertwining elegiac vocals, which gelled with Jamie xx’s nuanced beats to deftly fuse a dream-pop vibe with sampledigging tendencies. After xx scored the coveted Mercury Prize and its follow-up, Coexist, was released in 2012 to critical acclaim, doors began to open for the group, leading the way to opportunities to curate and headline their own Night + Day Festival in 2013 and to perform a series of exquisitely intimate shows at New York’s Park Avenue Armory a year later, to crowds of 40 people that often included stars like Jay Z and Beyoncé. “Being so close to our idols that we could smell their perfume was pretty nerve-racking,” says Sim. But every time The xx started to gain momentum, the group members’ self-conscious tendencies kicked in like a defense mechanism. While recording Coexist, for example, they stripped down their minimalist formula even further as they locked themselves away in a studio setup that Jamie xx refers to as “just this very dark room.” With I See You, however, they’re emerging from their cocoons. “I can absolutely see why people might think that about us—that we’re shy and we’re not massive characters,” says Madley Croft. “But we’re not like that at all, and I’d like that to come across a little bit more in the music this time.” That goal is evident from their songwriting process for the album: Whereas they once composed songs by emailing delicate shards of lyrics back and forth, because “we were too shy to sit and sing in front of each other,” says Madley Croft, this time they hung out face-to-face and composed melodies “in a very communal way.” Sim chimes in: “I See You is a more confident version of us, and I think that fi ts with how we’re develop-

ing as people,” he says. “We were given the opportunity to push out of our comfort zone and try new things.” But The xx’s emergence from their shells didn’t stop there. While recording I See You, whose title was inspired by the Velvet Underground song “I’ll Be Your Mirror,” the band made a collective decision to travel to New York, Reykjavík, Los Angeles, London, and Marfa, Texas, in search of musical inspiration. The expansive approach has imbued the record with a glow and a self-assertiveness that was absent from earlier albums; the opening track, “Dangerous,” resonates like a mission statement with its fanfare of horns, garage-influenced beats, and lyrics that cry, “I couldn’t care less if they call us reckless.” Madley Croft further explains how the project was influenced by the ambient playlist from their travels, recalling highlights of their trip such as vibing to soulful rock down in Marfa and absorbing synth-pop remixes bubbling out of the radio in Reykjavík, before Jamie xx chips in with a story about a harrowing road trip from Portland to Los Angeles, during which each member was assigned the task of compiling a mixtape to provoke their creative instincts. “It was a pre-studio holiday of sorts and we all agreed to listen to a bunch of music in the car to inspire us,” recalls Jamie xx. “It ended up becoming a pretty full-on experience.” As The xx navigated the winding roads and cliffs around Big Sur, vintage West Coast soft rock soon made way for pummeling techno music. “We were driving through the worst bit of the trip—you couldn’t see around corners and it was like a nightmare, but for some reason we just kept it on,” Jamie xx says. “I think we were enjoying the wild intensity of it.” With this fresh, outgoing method of making music, The xx have learned the value of going with the flow of life, rather than micromanaging every intricate step of the creative process. “When we went to Marfa, we decided to make music that’s a little more band-y and has more live drums,” recalls Madley Croft of their earlier blueprint for the album. “But it’s funny how it’s ended up not like that at all. Over a period of time you come out of an album with one idea, and then you go on a whole journey.” It’s a mentality that casts I See You as The xx’s first steps on an assured new adventure.


True West

dress by zero + maria cornejo, top by a.l.c.

after discovering the courage to pursue her dream, callie hernandez found herself in los angeles. by fiona duncan. photographed by amy harrity. styled by skye stewart-short

Callie Hernandez spent the better part of two years sleeping on other people’s couches. From 2014 until recently, the Texas-raised actress relied on the kindness of friends, who welcomed her into their New York City apartments. She also relied on coconut oil. “When you’re crashing with friends, you start to notice what you can utilize without feeling like a total leech, like coconut oil,” she says. “You can use it for pretty much anything.” Hernandez’s laugh, which punctuates her endorsement, is as generous as her frame is slight, and helps explain why she was invited to stay in people’s homes for so long, even if she felt guilty about it. “You start to feel like you’re just infringing on people,” she says. At the time she was an acting student, then an acting-school dropout after not being able to afford tuition at the William Esper Studio in Manhattan. But a lot can change in two years. “It was pretty raw,” she recalls of that period while seated in a cabana chair in the garden of the Hollywood Roosevelt hotel. She lives nearby now, in the hillside neighborhood of Los Feliz. “I mailed whoever let me live with them a key,” she says, “and was like, anytime, please.” Today there are billboards for her latest feature, La La Land, all over Los Angeles. The movie, a Hollywood Golden Age-style musical from writer-director Damien Chazelle, stars Emma Stone and Ryan Gosling as two aspirational creatives who fall in love against a technicolor L.A. backdrop. Hernandez plays friend and roommate to Stone’s character, and shares an intricate musical number with her famous co-star. “I

was definitely the worst dancer,” she says self-deprecatingly. She is currently filming another L.A. story, Under the Silver Lake, a psychotropic California noir written and directed by David Robert Mitchell, who is following up his 2014 horror hit It Follows. To prepare for the role, which Hernandez is keeping under wraps, she was advised by Mitchell to watch David Lynch’s Mulholland Drive. “It was the only Lynch movie I hadn’t seen,” she says. “Watching it, I was like, this is the best Lynch, so no wonder!” Before joining the cast of Under the Silver Lake and after shooting Ridley Scott’s top-secret sci-fi sequel Alien: Covenant, Hernandez spent several months wandering around Los Angeles, wondering how she’d gotten here so quickly after her meager New York existence. “I worked for a year and a half straight,” Hernandez explains. “I was going off of curiosity and intuition.” After Alien: Covenant wrapped, a project whose details Hernandez is sworn to protect, “that was the first time I got to step back, and I realized I was in a different place. It was kind of sudden.” While couch surfing, she’d started booking jobs with the help of an agent. Her first major role came in 2015—a lead in the horror sequel Blair Witch, where it took 36 takes to nail her death scene. “That’s when I kind of lost my mind,” she says. Hernandez is also a regular on the Epix dramedy Graves, playing a “tatted up” muse to Nick Nolte’s former POTUS who is going through an existential crisis. “The show is about taking responsibility for being alive,” Hernandez says. Just a few years earlier, Hernandez was “waking up every day feeling like, ‘I know there’s something I’m supposed to be doing that I’m not


doing, and I don’t know what it is.’” This was in 2012. “I call it the lost year,” Hernandez says, laughing that laugh. “Because it was a bit wild.” Living in Austin, Texas, untethered to any commitments, Hernandez decided to join a friend, musician Jess Williamson, on tour across the Pacific Northwest. “It was really beautiful,” she says. “I got to accompany Jess on the cello for two weeks. It was just the two of us driving through these rainstorms.” When Hernandez returned from tour, something in her had changed. “I hate to sound like, ‘The universe decided for me,’ because I don’t think I’m that special, but by the time I got back, everything was gone, missing, stripped. And that was the moment that I decided I would do the thing that I buried for so long.” That thing was acting, a vocation Hernandez wanted to pursue as a child, but an impulse which she quieted at a pivotal moment in her life. “I remember getting in the shower when I was about 12, thinking, ‘It’s


selfish to want to try and be in the arts. I should just be a teacher and be happy with a simple life.’ And I convinced myself. It was so painful to deny that I wanted to do it all this time.” As swiftly as she’d buried it, Hernandez recommitted to her unearthed childhood ambition. “It sounds so cheesy,” she says. “But it was like a now-or-never moment—I didn’t have anything else to lose.” And so came the move to New York, acting school, auditioning, an agent, going for broke, and finally, making it. “I do applaud myself on being a bit of a jumper,” she says. “If I feel something’s right, I just sort of put my blinders on and do it.”

dress by preen by thornton bregazzi, shoes by chanel. hair: kylee heath at starworks artists using r + co. makeup: fiona stiles at starworks artists using fiona stiles beauty.

“That was the moment that I decided I would do the thing that I buried for so long.”


Nothing, not even a period, should get in a woman’s way. INVISIBLE PROTECTION YOU CAN BARELY FEEL

Made of Flex

Absorbs 10x its weight

Feels Like Nothing


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Support Group

from left, on maskin: coat by moussy, shirt by ellery, bra by calvin klein underwear; on gavin: vest by boss by hugo boss, shirt by chanel; on mcpherson: bralette by phelan, top by 3.1 phillip lim. hair: matthew tuozzoli at atelier management using bumble and bumble. makeup: hiro yonemoto at atelier management using diorskin nude.

strength, sisterhood, and identity take center stage on pop band muna’s debut album, about u. by celia shatzman. photographed by michael bailey-gates. styled by liz rundbaken

“Slang and bang.” It’s a phrase that comes up quite often in conversation with Katie Gavin, Naomi McPherson, and Josette Maskin—collectively known as moody pop band MUNA. As we tuck into our dinner at a dimly lit Italian joint on the Lower East Side of Manhattan, I ask the L.A.-based trio about the meaning behind the catchphrase. “We usually say ‘slang and bang’ right before we go onstage,” explains lead vocalist Gavin of their pre-show ritual, which also involves them huddling together, sports-team-style. “‘Slang’ for us is kind of like ‘schlep,’ because we’re our own roadies right now. We’re in a dirty, dirty van and we load everything up at night. Doing that quickly, doing that hardcore, that’s slanging. And ‘bang’ is when you do the show and you’re just like, ‘Ahh! Slang and bang!’” Lead guitarist Maskin jumps in to elaborate: “That’s what that means. Getting it done from start to finish, killing it.” Showing as much exuberance for the cheese and risotto before us as they do for one another’s talents (“You’re so good at it,” Maskin says to McPherson, gushing over her production skills), the three bandmates have a refreshing camaraderie that proves their dedication to staying true to themselves. That infallibility is exactly why they made the conscious decision to write and produce all of their own music, even after signing to a major label. Their debut album, About U, which lands this month, is no exception. “Do you know what I would boil it down to?” Gavin asks her bandmates with regard to their creative independence. “That we’re all really smart. You just know when you do it yourself that it’s going to be better.” McPherson adds, “It’s like when you’re doing a group project in school. You can sit back and slack and let everyone else take up the extra weight, or you can just do it, and I’ve always just done it,” she says. “We know what we want it to sound like.” Gavin jumps back in: “It also comes from personal experience. When I was younger, people wanted to produce my music, and I remember feeling it wasn’t right, but I didn’t feel like I could articulate what I wanted in a way that was going to be respected. So it’s a very futile, helpless feeling, and I didn’t want to do that again.” Talking over one another, they explain that they create a safe space when working together that allows them to give each other feedback instead of seeking input from outside the group. “Girls aren’t taught that they can do that,” says Maskin. “This is hard to do, and I don’t know if I would have enough conviction on my own to really have a vision for everything that I wanted, because there are just so many people in your ear

every day telling you what’s right or what’s wrong. It’s so wonderful that we have each other. If one of us feels weak, the others are strong.” That empowerment comes through in their music, catchy pop with a big soul that somehow sounds simultaneously delicate and strong, due to Gavin’s smooth, soothing voice singing sweet melodies that are charged with a plethora of emotions, and juxtaposed with powerful guitar riffs. Take “Loudspeaker,” for example. At first, you’ll want to sing along, feeling the beat move through your body. But then you listen a little closer, and the lyrics will break your heart: “What you’ve done to me/ I’ve seen many a friend be silenced/ Thinking nobody would believe them.” Gavin actually wrote the song about her experience with sexual assault. “It becomes this meta thing, where I have to prove myself again and again by being strong enough to be like, ‘Yeah, this song is about something that happened,’ and being brave enough to talk about it every time,” she says. “I’ve healed, so it’s not traumatic at this point.” “It is kind of an angry song, but the focus isn’t on the perpetrator,” Gavin continues. “It’s supposed to be more of a love song about myself. It’s like, ‘Every time I love myself it hurts your feelings.’ Talking about this stuff is an act of revolution in that it makes you stronger every time you do it, and it’s a way you can fight against those powers. Even now, for women, what we’re doing is validating each other and saying, ‘What you felt is really not crazy; I understand what’s happened to you.’ That building of solidarity is what I was looking for when I was writing that song.” MUNA are often categorized as a queer band or a girl band. Gavin, who identifies as bisexual, resents being compartmentalized. “Because how do you know, homie?” she says. “You don’t know how I feel today.” McPherson, on the other hand, has learned to embrace the latter phrase. She remembers not liking female singers as a tween, despite being a musician herself. “It’s so internalized,” she says. “You feel like men are the only ones who can do it and do it well. And then someone changes your life. Stevie Nicks changed my life when I heard ‘Edge of Seventeen.’ I was 11 years old. And if it takes us being called a girl band to change someone’s mind, I’m down.” For her part, Maskin hopes that MUNA being pegged as a queer band can expand the horizons of aspiring musicians who aren’t exposed to people with identities that defy societal norms. “I want them to know that they could do that, too,” she says. “And also that sexuality and gender are fluid things. Growing up, being a girl was so difficult for me because I thought being a girl meant one thing. I feel more proud to be a woman because of being in this band.”



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Off the Beaten Path it’s not often that you meet a real-life explorer, but for alizé carrère, seeing—and saving—the world is her nine-to-five. by angela almeida. photographed by sonny crockett

It’s a windy afternoon in New York’s Hudson Valley, and Alizé Carrère is trying to figure out how best to feed a herd of hungry alpacas without losing grasp of her free-flowing tunic. Just a few hours ago, the 27-year-old explorer was at the ophthalmologist, getting her eye lasered in an attempt to mend a detached retina, but now, Carrère is taking on her first magazine photo shoot, albeit still somewhat blind. “I’m really sorry if I’m flashing anybody,” she says with a laugh, before walking into the alpaca abyss. When it comes to handling unconventional experiences, Carrère is a seasoned pro. In the past, she’s trekked through the king penguin colonies of South Georgia Island, stood on the edge of a lava-spewing volcano in Vanuatu, and found herself in the middle of a Malagasy village in Madagascar during an outbreak of the bubonic plague. But unpredictability is part of her job—or jobs, rather. As an expedition leader for Lindblad Expeditions, a company that has pioneered aquatic travels for over 50 years, and a National Geographic Explorer, Carrère divides her time by traveling the world as a cultural ecologist, excursion planner, climate researcher, and bona fide adventurer. Thus far, she’s visited an impressive 37 countries, 17 in the last year alone, which naturally raises a more important question for the rest of us: How on earth does someone become an explorer? “I feel like I have the world’s most amazing job, but the majority of people who follow me on social media don’t know what I actually do,” says Carrère. “They probably think, ‘She’s on ships a lot.’”

By “ships,” Carrère is referring to one in particular—the National Geographic Orion, a 337-foot vessel from which she conducts most of her work for Lindblad Expeditions, crafting the ultimate travel itineraries and leading tour groups on excursions throughout coastal Europe. She is also responsible for personally vetting all of the interesting off-ship activities from which passengers can choose. (At the top of her list: A trip from Lisbon to Bordeaux, which slinks guests through cider houses in the French and Spanish Basque country.) But if there’s one message Carrère wants to emphasize, it’s her lack of a linear path, despite having a childhood that essentially primed her for the work that she does today. “Growing up, my chores weren’t things like laundry or dishes. It was like, ‘OK, we’re gonna hoist you up into the canopy and you’re gonna clear the leaf debris from the gutters,’” she says, reminiscing on her childhood in Ithaca, New York. Raised in what she describes as a “quasi tree house,” Carrère learned about the power of nature early on from her parents. Her French father—a former sailing captain turned eco-home builder—constructed their wooden house around a 100-year-old oak tree on the banks of Cayuga Lake. In the winters, her mother, a Philadelphia-raised graphic designer, former sailor, and onetime dolphin trainer, used to worry that the tree branches would freeze and crash through the living room. “I think part of the reason that I ended up going into this field is because, as a kid, I had such a close proximity to my natural surroundings,” she says, then pauses. “It was literally in my house.”


clockwise, from top left: carrère overlooking canyonlands national park, utah, photographed by taylor marshall; carrère and a black-and-white ruffed lemur in madagascar, photographed by sally gee; driving on a desert road in wadi rum, jordan, photographed by joe comiskey; surfing with the locals in fort dauphin, madagascar, photograph courtesy of carrère.

Unsurprisingly, in 2011 Carrère graduated from McGill University in Montreal, Canada, with a degree in environmental science and international development, and returned a year later to complete her masters in bioresource engineering. By that point, she’d lived in Panama, as well as along the contentious Israeli-Palestinian border, where she studied water resource management. Yet she was looking to turn her passion for the natural world and travel into a sustainable, long-term career. That’s when Carrère learned about National Geographic’s Young Explorers grant program, an initiative that helps 18- to 25-year-olds fund their scientific fieldwork. In 2013, she put together a project proposal and was awarded $5,000 to research how people in Madagascar were responding to severe deforestation by using an innovative agricultural technique. She blogged about her experience online and soon noticed a trend. “I started getting emails from people all over the world—people I didn’t know—saying, ‘This reminds me of the adaptation strategy happening in my country,’” she says. Carrère then thought back to a lesson she learned in her youth while living in the tree house: When humans are confronted with forces outside of their control, they learn to adapt. However, in today’s world, Carrère believes that our attention is consumed by doom and gloom. “So much of the scientific documentation of climate change is focusing on how we’ve messed up—what went wrong,” she says. “But let’s shift away from the doomsday narrative, because everybody is desensitized.” So, how do we confront the issue at hand? The first step is to define it. “People say ‘adapt,’” she says. “But what does that actually mean? What does that look like? Who are the people doing it?” To answer those questions, Carrère is currently developing a digital documentary series on the topic of climate change adaptation for National


Geographic. Thus far, she’s traveled to Bangladesh to study the emergence of floating gardens, schools, and hospitals in response to worsening floods in the country. She’s also traversed the Himalayan region of Ladakh, and profiled a man who has been working to build artificial glaciers that provide water to high-altitude villages in warm summer months. “My whole life has been looking at what works—what are the ways I can inspire people to be reminded that we are an awesome, cool, creative species, and we will adapt and thrive?” she says. “I celebrate what we do well. It’s the basis of my work.” So, where do we sign up?


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Man With a Plan goldlink’s new music is poised to catapult his “future bounce” sound to the forefront of rap, and he’s taking all the right steps to ensure that it does. by paula mejia. photographed by lloyd pursall

On a dreary afternoon in late November, GoldLink—the spitfire young rapper hailing from the Washington, D.C.-Maryland-Virginia area (a.k.a. the D.M.V.)—is seated with three friends at the debonair Earls Kitchen + Bar. Hunkering here for the afternoon is hardly a consequence of the rain, though. “Man, it’s an everyday thing,” GoldLink says with a laugh. “I know everybody in this joint.” He leans in, his voice dropping to a murmur. “At this restaurant I’m actually recognized, so I don’t talk to people,” he clarifies. I ask him what that’s like. “It’s cool to be recognized, but it’s weird,” he says. “I’m never not working. And then all of a sudden people are like, ‘Yo, I heard you on this, on that, you’re everywhere.’ And you’re like, ‘Holy shit.’ You just kind of feel bigger.” Yet, to say that he has had simply a “big” couple of years is an understatement. D’Anthony Carlos first came on the scene as GoldLink in 2013, dropping a seismic mixtape the next year, The God Complex, which boasted a divine blend of house, kinetic rhymes, and effervescent beats that garnered him a fair share of believers. He followed up with 2015’s And After That, We Didn’t Talk, a dense and devastating album detailing fallout from a past relationship, and one that also showcased his talents for deftly weaving between R&B songcraft and bouncy raps. GoldLink’s canon is rooted in “future bounce,” a force he once described as “Montell Jordan’s ‘This Is How We Do It’ on crack.” With such an alluring sound, it’s no wonder that major labels quickly came knocking at his door (he signed with RCA last summer). He also has a preternatural ear for collaborations, and has forged gems with Kali Uchis, Kaytranada, and Isaiah Rashad. He seems nonplussed by the gravity of his accomplishments, though. Case in point: When I ask him about working with Rick Rubin, the legendary producer and record label exec who also served as the rapper’s mentor for his last album, he shrugs. “It’s not a big deal at this rate,” he says. “Honestly, right now, I’m just focusing on one thing at a time. And focusing on making that the greatest thing,” he continues, hinting at new material he’s working on. “That [way is] better, so you don’t skip any steps.” While GoldLink’s approach to rap has always been meticulous, it was initially driven by boredom. “Friends of mine used to just rap, and then I was just around,” he says. “That was it. I just picked it up because they were doing it. It was something to do, because there was nothing to do. So I just kind of stumbled into it by accident. I say it was divine intervention.” This self-proclaimed stumble quickly transformed into study, and he delved into the works of Edgar Allan Poe and KRS-One alike. “You can’t really consider yourself a master of something if you don’t study every facet of whatever ideology you’re going for,” he says between bites of a

burger and garlic fries. “So that’s really what I tried to do—to study every aspect of writing.” In song and in person, GoldLink is on and incisive, his mind operating a full step ahead. Throughout our lengthy lunch, he constantly bounces ideas off everyone at the table, from brainstorming unexpected venues for his upcoming concerts to envisioning a Chappelle’s Show-style sketch show. Over dessert, friend and fellow rapper Ciscero describes himself as “brash” in conversation. GoldLink looks up from his s’more skillet cookie. “‘Brash?’” he repeats, savoring the word. “‘Brash’ is a very pornographic word. I like that.” GoldLink wasn’t always this revelatory. During the God Complex era, he performed with a mask on. He points out that, around the same time, Kanye West and Sia were also shielding themselves onstage. “When you have the biggest superstars on Earth not showing their face, and you’re young, the best way to stand out is to not show your face,” he says. I tell him that I’d thought it was his way of protecting himself. “It was,” he admits. “I just wanted it to be more vulnerable toward the music.” He literally wears his vulnerability on his sleeve: Several times throughout our conversation, he takes out a tiny tube of Vaseline and rubs it on his elaborate, four-day-old tattoo depicting a budding flower on his right hand that curls into cherubs perched on his arm, a work in progress that pays homage to his “dead homies.” He doesn’t eschew tough subjects like lost friends, heartbreak, and racial tensions in his music, either. It sounds real, because it is real. “That’s where my head is: Make the greatest music possible,” he says. “For me, it’s all about the bigger picture. I’ll do what I have to do to convey it.” Though he’s mostly mum on what he’s working on currently, “Crew,” a soulful turn that he’ll later share with me, incorporates local collaborators Shy Glizzy and Brent Faiyaz, indicating that he’s been digging at his roots in the D.M.V. While the mysterious new work may signal a conceptual shift, it’s undoubtedly an extension of GoldLink’s world—a place where honesty, dancing, and humor co-exist in harmony. Look no further than the sultry video that GoldLink and Ciscero dropped last November for their funkified tour de force “Fall in Love,” featuring revelers at a ‘70s-era house party and inspired by Janet Jackson’s video for “Got Till It’s Gone.” While GoldLink admits he’s not a dancer himself, finding the fun in music and making people dance thrills him. “Basically, I wanted to re-create that vibe of when music was thriving,” he says of the video. “Everyone radiated, and I think that’s why it was such a good video. I was trying to re-create fun again.”



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A Private Odyssey on humans become machines, rapper aristophanes shrouds her personal testimony with out-of-this-world musicality. by alexandra pollard. photographed by lin xiu wei

Aristophanes’s stage name came to her in a dream. Before that night, the Taiwanese rapper, born Pan Wei Ju, felt no great kinship with ancient Greek playwrights. She still doesn’t, really. But a man, whose face she’s since forgotten, appeared to her and asked her to spell out “Aristophanes,” and she awoke with the overwhelming feeling that she should adopt the historic writer’s name. “He didn’t ask me in the dream to use that name,” she explains over Skype from her home in Taipei. “I just felt like I wanted to.” Under this name, she began uploading her urgent raps over glitchy beats to SoundCloud, where they quickly caught the attention of Grimes. Their subsequent collaboration, “Scream,” from Grimes’s 2010 album Art Angels, introduced the world to Aristophanes’s intoxicating style of rapping—somewhat playful, somewhat sinister, lyrically impenetrable to many of its listeners (especially those who don’t understand Mandarin), and yet somehow crystal clear in its intent. Nearly two years later, her debut album, Humans Become Machines, set for release on February 24, reinforces her approach. The record exists on as many different musical planes as its otherworldly song titles suggest. “Planet of Evolution” injects brass bursts into its spacey soundscapes, as the vocals escalate into a frenzy. On “SpaceBird,” she raps through a languid haze over psychedelic instrumentals. But the songs take on terrestrial subjects in their lyrics, such as gender, capitalism, and sexuality. She approaches them with a sideways glance, anxious to avoid offering up a self-serving polemic in place of actual art. She’s wary, too, of reducing a person’s identity down to a single marker, because to do so “means you just take part of somebody,” Aristophanes says. “You can’t take one part out of a human being and use that, because a whole person is complicated. [They] mean so many things. So I will imagine a friend and put them in a certain space or a certain time. I invite them to my song.” Aristophanes envisions her mother, too, when she seeks inspiration— though her mom isn’t exactly aware of her influence. Neither of her parents, in fact, have any idea that their daughter, a former creative writing teacher, is even a rapper. So what do they think it is that she does? “Er, I

think they just don’t discuss that,” she replies. Still, her mother impacts Aristophanes’s lyrics because of how much motherhood—whether the reality of it or the prospect of it—affects a woman’s life. “As a feminist I want to discuss this,” she says. “I don’t have a good relationship with my mother, so sometimes I don’t like to write about this, but I need to, so I can say, ‘OK, I’ve escaped from my mother so everything’s fine. Let’s pretend that never happened.’” She might not have much of a relationship with her parents, but Aristophanes has the formidable support of her friends. They are the audience for whom she’s most anxious to play her new music—particularly “Stop,” the album closer, which she created with Arcade Fire’s Will Butler. It’s the most musically unsettling of the lot. At its climax (and a rare moment on the album in which English is spoken), she and Butler half-whisper the word “stop” repeatedly, as she breathes in time with the music. The song’s subject matter comes as a sudden punctuation mark to our conversation, tumbling from Aristophanes’s mouth after she’s spent several minutes skirting around it. It was inspired by a scene from 2001: A Space Odyssey, she says at first, launching into a shot-by-shot account of one of the film’s pivotal scenes before trailing off and starting again. “It’s a song about rape,” she says finally. “I have this kind of experience, and it’s really hard for me to just say it. The reason I wrote this song is because... there are so many girls around me that have that kind of experience. I just feel like I need to say something, via my song.” She continues, emboldened now by having said it out loud. “When I recorded this song, it’s like there was a demon and they grabbed me, and I was so emotional. I was so angry, full of fear. After, I was still shaking, but when I heard it, I thought, ‘Wow, I have never made anything like this. I just shared a really special part of me.’ I don’t know if it’s appropriate to say I’m proud of that, but to me it’s really special.” It’s absolutely appropriate, I assure her. She smiles. “That’s cool. Even if it’s not easy, I’m happy that I made that song.” When it comes to telling her own story and exorcising her demons, Aristophanes’s music isn’t a mere glance—it’s a full-on stare.





illustrated by kelly abeln.

How to Murder Your Life Cat Marnell Simon & Schuster

It had been a very long time since I’d read a book that left me truly shook. That was before Cat Marnell’s new memoir, How to Murder Your Life, landed on my desk. I suppose I could most aptly describe this work as the literary love child of Keith Richards’s Life and Dirty Blonde: The Diaries of Courtney Love. Sure, Marnell has never toured the world or performed on stage in front of hordes of screaming fans, but it’s hard not to compare her past to these rock stars’ stories. In the end, it’s all made up of the same core ingredients: drugs, loss, isolation, and tainted glamour. If you’re unfamiliar with Marnell’s work, I suggest reading some of her now-iconic stories on Jane Pratt’s online magazine xoJane. (Personal favorites include: “Pillhead Beauty: The Product I Learned About From My Shrink Dad That I Don’t Even Talk to Anymore”; “Worst Beauty Editor in the World: I Snorted a Line of Bath Salts in the Office Today Edition”; and “How To: Make Your Bed Smell Really, Really Sexy Before You Have Sex in It.”) Basically, Marnell was the first roguish, vulgarity-touting party girl of an anti-beauty editor in the otherwise conservative beauty world—someone who preferred to talk about which matte lipsticks were best to wear while you’re giving a blowjob than which shades were new for the season. This persona, however, was sustained by a thinly veiled addiction problem that soon came to dominate her life. The book opens on a cringeworthy anecdote about a beauty PR event at Cirque du Soleil that goes horribly wrong for Marnell. It fittingly sets the tone: You will cringe throughout this entire book—her knack for inducing the reader’s discomfort as a storytelling tool is unmatched. The tales Marnell recounts are train wrecks you can’t tear yourself away from, and she knows it. After this squirmy introduction, the memoir’s arc then rewinds back to the beginning, to Marnell’s bizarro childhood in a ritzy D.C. suburb, which is a pretty classic case of “poor little rich girl” syndrome gone awry, but in the juiciest and most fascinating of ways. We then follow her through her years at a Gossip Girl-esque New England prep school, the birthplace of her substance abuse problems. There, she goes through life in a Ritalin daze that only escalates. And what does a blossoming drug addict with dreams of working for a magazine do? Move to New York City, duh! We next accompany Marnell through stints of interning in the beauty departments of Glamour, Teen Vogue, Lucky, and yes, even NYLON, until she finally

lands her dream job as the associate beauty editor at Lucky—and immediately continues the self-sabotage. Condé Nast Cat spends her days organizing the beauty closet at Lucky and dutifully assisting legendary beauty director Jean Godfrey-June. Party Girl Cat spends her nights boozing and doing drugs alongside the graffiti artists and downtown junkies of the NYC underworld until the wee hours of the morning. The irony of a pill-popping, skin-picking, matted-hair, insomniac, bulimic beauty editor writing about which products will make you your happiest, healthiest, and glowiest self is jarring to say the least. Eventually Marnell ends up in Silver Hill rehab (the same place Edie Sedgwick went, appropriately). But her sobriety is short-lived, and she continues to spiral out of control until she finally leaves her beloved job at Lucky. Ultimately, she lands at xoJane as the beauty director, a job she snagged after the company announced: “We’re looking for a health writer—but so far all of the applicants have been too…healthy. Does anyone know of an unhealthy health writer?” Bingo! It takes further rehab to end up where she is today: back on her feet and back in the game. It’s not all rainbows and butterflies—she’s still battling her addictions, but in an improved way. Overall, there are some more positive stories sprinkled in between the madness of this memoir— but there’s also an immense amount of darkness for Marnell: not showing up to work for days, hallucinating about killing mice, being emotionally and mentally manipulated by a guy, and taking every drug under the sun to keep her awake and make her pass out in a vicious cycle. Yet, in typical Marnell style, she weaves self-deprecating hum dor throughout, wittily incorporating obscure pop-culture references and often-inappropriate jokes. To be clear: Marnell’s drug-fueled background and behavior is not to be endorsed or glamorized—and that’s not what this book is about, or what makes it interesting. Rather, it offers an inside look into the life of a legendary and troubled figure in New York’s media world and, honestly, emphasizes her struggle more than anything else. As a reader, I can’t help but rally for Marnell and give her props for having the courage to write such an honest memoir. Even in the book’s darkest moments, some light still shines through. It just might be glaring from her BlackBerry at 4 a.m. while she’s lost in an amphetamine dream. JADE TAYLOR



The NYLON Field Guide to

when you grow up in new york city, copping food and drink at the local bodega is a defining part of your childhood (right next to mastering the subway before hitting puberty). and for new york transplants, becoming literate in the most iconic bodega offerings is a rite of passage that comes only with time. so here, we present a quick reference guide to the quintessential items at the city’s signature corner stores. by keryce chelsi henry. illustrated by sarah julson




It’s the holy grail of bodega sandwiches: hearty breakfast, hangover healer, source of eternal life. The combo is simple—a roll with bacon nestled atop American cheese that’s melted on scrambled eggs—and such a staple in the native New Yorker’s diet that we order it with one breathless word: “Baconeggandcheese.”

Haters will say it’s a knockoff of the Philly cheesesteak, but they’re just jealous. The two sandwiches do contain similar ingredients, however the chopped cheese is made with the more democratic chopped-up hamburger meat instead of steak, and is topped with lettuce and tomato. The most authentic versions of the hero are exclusive to parts of the Bronx, Spanish Harlem, and Queens, so you may have to go on a hunt for the real thing.

It’s pretty self-explanatory—a roll with butter on it. It typically goes for a dollar. Hey, times are tough.



What’s better than a honey bun? A honey bun with a weird, wet frosting, of course! (But really: when it comes to bodegas, we don’t want none unless you’ve got buns, hon.)

If you can get past how inconvenient it is to eat sunflower seeds (so much spitting), David brand is made for you—even its smallest package has, like, 700 seeds. Get the ranch flavor for extra street cred and a casual boost to your blood pressure.

Bodega offerings are a major indicator of New York City’s demographic makeup. Plantain chips, for example, are a clear example of the city’s large Caribbean population—and the fact that frying anything to a nearcrisp makes for a damn good snack.

If you’re a true New Yorker, one of your fondest childhood memories is sitting on your stoop in the summer, biting into a Mr. Freeze pop, and having the sides of your mouth sliced by the plastic with paper-cut-like incisions. Nothing adds to a popsicle experience quite like the taste of your own blood.


This cookie brand comes in packs of three, and in two core flavors: chocolate chip and butter crunch (name a better duo—we’ll wait). While they’re typically given out in New York City public schools, you can find them in most bodegas to satisfy your nostalgia craving.

Don’t be fooled by the plastic wrap and seemingly generous use of the word “gourmet”: These pound cakes are everything. The marble flavor, with its magical ratio of yellow and chocolate cake, is especially a treat. Pro tip: Cakes with creepy condensation in the packaging are usually delicious.


Things come and go, but the price of Arizona Iced Tea is forever. You can keep it classic with the lemon iced tea or pretend to be healthy with the ginseng-andhoney-flavored green tea, but if it costs you more than the 99 cents advertised on the can, you’re getting scammed.

Urban legend has it that these carbonated drinks were laced with a chemical that would sterilize African-American men (really, Wikipedia it), but that never seems to stop anyone from treating themselves to a good ol’ 50-cent Island Punch Finisher or Champagne Kola.

On days when you want to evoke the adrenaline rush of drinking illegally distributed liquor, à la Prohibition, dive into the freezer of your nearest bodega and grab one of the nondescript clear plastic bottles filled with brightly colored liquid. Drink a couple of these fruity, boozy, under-thetable beverages to pregame a summer barbecue and it’ll be the best party you’ll never remember.

This malt liquor is the beverage of choice for people who imbibe from paper bags in the street to avoid public drinking charges.

Say you crave the anticapitalist feel of a drink that’s practically devoid of branding, but don’t want to sacrifice your liver. Drop that Nutcracker and get yourself a Little Hug instead. It’s the small, clear plastic jug that’s shaped like a barrel and contains a neon-fluorescent liquid (offered in a range of fruit flavors) that we’re pretty sure isn’t toxic.




Dua Lipa Not too long ago, Dua Lipa was a starry-eyed teenager with a smoldering voice and a bright idea: Inspired by an insatiable craving to spread her wings like her idol Nelly Furtado, the London-born singer left home at age 15 in the hope of becoming a star. Since then, the 21-year-old has landed a deal with Warner Bros. Records, worked with revered industry vets including Andrew Wyatt and Emile Haynie, and released charttopping singles that showcase the grayed storytelling and glittery sound that define her brand of dark pop. As a vital sign of the current state of pop music, Lipa is ready to unfurl her most intimate and unpretentious thoughts about her whirlwind life on her eponymous debut album, due out this spring. “I think once the album comes out people will understand me,” she says. “I always wanted to be honest [with my music] and I’ve done just that.” Inspired by the romantic undertones threaded throughout her songs, we asked Lipa to curate a Valentine’s Day playlist—but instead of focusing on a significant other, this soundtrack celebrates the fact that your special someone can be you. ASHLEY MONAÉ


“O-M-G, this song is amazing. It’s the first one that came to mind [for this playlist], actually. When this came out I was very young, but I still connected with it. There was something that made me instantly feel good. While it seems like a sad song on the surface, it’s actually very positive, in the sense that it tears down insecurities and builds self-acceptance.” “W H E R E I S T H E L O V E?,” B L A C K E Y E D P E A S

“R A I S E Y O U R G L A S S,” P I N K

“I’m a big fan of Pink’s and have always loved the honesty in her music. There’s something so empowering about her words. It’s such a perfect song for misfits and people who are quite a bit different, and proud to be that way.” “ S H A K E I T O U T,” F L O R E N C E + T H E M A C HI N E

“It’s a feel-good song. It makes people get loose and forget about things, especially the negativity that might be affecting them.” “F E E L IN G M Y SE L F,” N IC K I MI N AJ F T. B E Y O N C É

“It’s empowering as fuck! [Laughs] I always feel super badass just listening and singing along. These two female artists collaborating represents so much power, and I love the fact that they’re flaunting the fact that they know they’re hot.”


“I love that there’s a political statement [in this song] about all the different things going on in the world, instead of an isolated personal experience.” “H O L L AB A CK G I R L ,” G W E N S T E F A N I

“There’s so much sassiness and confidence and attitude on this song, which is definitely warranted when it comes to taking a stand against being a side chick, because that kind of treatment is never OK.” “B O R N T HI S WA Y ,” L A D Y G A G A

“I wish I wrote this song. There’s something so magical about it. It flows so well to the point that it feels like it was created in one of those sessions where something happens so naturally that a song literally writes itself. I love Gaga and the fact that her music is for everyone and makes us all feel like a part of something.”


Life Without Sound Cloud Nothings Carpark Records


Sonos Flagship Store 101 Greene Street, NYC

Sonos specializes in sleek home speaker systems, and at their first flagship store in New York’s SoHo neighborhood, customers are invited in for a listening party. The 4,200-square-foot space features seven mini houses designed by Partners & Spade where guests can chill out on ottomans and experience a sampling of Sonos products. Inside, different sections of the rooms are designated as the kitchen, living room, or study, and bookshelves are brimming with artist biographies and histories of recorded music. One of the rooms even includes Thurston Moore’s collection of rare cassette tapes. Every room is equipped with an iPad, on which shoppers can create custom playlists of their favorite tunes on Tidal, Spotify, or Apple Music, all behind soundproof glass doors. The rest of the space is something of

a musical shrine, incorporating vintage zines such as New York Rocker and the East Village Eye and a portrait of A Tribe Called Quest created by artist Richard Prince. At the far end of the store is an art installation composed of 279 Sonos speakers, dubbed the Wall of Sound. The ambience has attracted artists such as rapper Vince Staples and legendary hip-hop trio De La Soul, who have both thrown parties at the store, offering attendees advanced listens of their latest albums. Y7 Studio, known for combining high-intensity yoga with hi-fi beats, held a class there in October. From the wireless speakers that punctuate the ceiling to the glossy concrete floors, the Sonos store is an audiovisual experience that looks as good as it sounds. NATHAN DILLER

If punk is what you’re after, Cloud Nothings’ latest, Life Without Sound, has you covered. It may not be as frenetic a journey as the Cleveland, Ohio foursome’s last record, 2014’s soaring and severe Here and Nowhere Else, but, hey, at least your vocal chords can rest easy with all the screaming you won’t be doing. This time around, it’s Dylan Baldi’s singing that takes center stage (which isn’t to say he doesn’t scream on the record—he does, plenty, but now with the refinement of someone who believes that the abyss will eventually shout back). The band’s sound is also brighter, meaning that whatever “terror in the mind” that haunted them must be almost reconciled. Personal inner turmoil still reigns supreme, but this time around Cloud Nothings are searching for answers on a larger, more astral plane. “I believe in something bigger/ But what I can’t articulate,” Baldi shrieks on the album’s closing number, “Realize My Fate,” an ode to the fear of a meaningless life. And, as the guitars and percussion swell into a cacophonous barrage of noise, he shouts, “I find it hard to realize my fate.” It’s a cathartic climax for these newly minted existentialists, but one that is now reluctantly being accepted by everyone who grew up with MySpace and Teenage angst, however, never really goes away—if anything, Life Without Sound makes a case for it broadening into something less egotistical and more spiritual. “I want a life, that’s all I need lately,” Baldi sings on “Modern Act.” Don’t we all. HAYDEN MANDERS



claire morgan, if you go down to the woods today, 2014. image courtesy of galerie karsten greve, cologne, paris.


Claire Morgan Gets the Spotlight in Nashville we spoke to the artist about her exhibition opening on february 10. by austen tosone “I hope it’s not too big for the room,” Claire Morgan says with a laugh, describing her massive sculpture, If you go down to the woods today. It will in fact occupy an entire gallery for her upcoming show, “Stop Me Feeling,” debuting this month at the Frist Center in Nashville. The U.K.-based artist’s works have been shown in group showcases in Miami and New York,


but this display, which includes two small sculptures, two drawings, one painting, and the aforementioned installation, will be her first solo exhibition in the United States—and will (probably) fit in the space. Morgan’s intricate sculptures tend to play with optics and are designed to look different from every angle, requiring the viewer’s effort to unpack the narrative of the piece. Doing so requires a methodical process, which includes the creation of mathematical, layered drawings as blueprints. “Once I’ve figured out an idea, the process of making the sculptures, in particular, is very climate-controlled, and quite clinical and factory-like, actually,” Morgan says. “It has to

claire morgan images, clockwise from top left: full of grace, 2015; within you without you, 2015; the air that we breathe, 2014; now i am become death, the destroyer of worlds, 2016. all courtesy of galerie karsten greve, cologne, paris.

be, because they’re so precise and complicated—it’s not really possible to diverge from the original idea in the process of making the things and so everything is completely planned out on layers of tracing paper.” The artist’s drawings, on the other hand, have less structure, allowing for more freedom in their creation. “The drawings I do, and particularly the canvases, are completely the opposite and are quite spontaneous,” says Morgan, who finds a way to maintain her systematic style while retaining artistic freedom. “The two sides of the practice are starting to diverge from each other, but also complement each other in terms of me having some kind of balance in myself and the way I’m working,” she says. Like many contemporary artists, Morgan incorporates unconventional materials into her works, such as seeds, insects, polyethylene (commonly found in plastic shopping bags), and taxidermied animals. Trinita Kennedy, curator of the exhibition at the Frist Center, assures that Morgan’s approach to taxidermy is ethical: “She only uses animals that have already died—that have been hit by cars or killed by pest control—so in that sense they’re found objects.” Through this method, and her art as a whole, Morgan seeks to transform the way we think about mortal-

ity. “It’s about life and death,” she says of her exhibition. “Sometimes, whenever people look at the death aspect of it, they find it quite negative or morbid in some way, and I find that really difficult because that’s kind of missing the point of it.” Nature, too, plays into the underlying themes of Morgan’s exhibition. In fact, the artist derives much of her inspiration from being outside. “Quite often I find that it’s difficult to get started in the studio. If I go outside and do something other than trying to think of new ideas, then usually something more productive comes out of that,” she says. Her method of mixing elements of the natural world with polyethylene not only serves the purpose of presenting an unexpected combination of materials, but also symbolizes our impact on the environment. “I hope the exhibition encourages people to think about their relationship with nature, and how we’re all part of one planet,” says Kennedy. Morgan also has high hopes for the impact of the exhibition on its viewers. “I want people to make some kind of connection with the work,” she says. “So I suppose that would be desirable if people kind of reacted in a way that was open to the work, rather than making assumptions about it.”



On the Come-Up everything about jude demorest, from her new television show to her steely ambition, points to a star being born. by daniel barna

Is Star’s desire for fame something you experienced growing up?

Star and I are both from the hood, so I can relate to her desire to overcome her upbringing and to not end up as a statistic, which is something a lot of people from the inner city can relate to.

thought of it not working out. But to my family and everybody else it was completely crazy. The show portrays the industry as being pretty ruthless. Has that been your experience so far?

Yeah, and that’s the cool thing about it. Unlike shows like Empire or Nashville, it’s so much more about not making it, about how dark the music industry can get, and it’s 100 percent been my experience. Lee often asks, “Is it realistic? Is it really this dark?” I’m just like, “You can’t go too dark in this industry.” It’s just a crazy place. The show deals with gender and identity in a very honest way. Is that something you’re proud of?

I’m extremely proud of it. The whole reason that I wanted to be an actress or be a songwriter, or do any of the other things that I wanted to do, is because I wanted to tell people’s stories who should be heard. I’m proud that maybe somebody will watch this and feel like, “Oh, I’m not alone. That girl lives it. I’ll be fine.” Working with people like Queen Latifah, Naomi Campbell, and Lenny Kravitz, do you ever feel overwhelmed?

When you were growing up in Detroit, did any of this seem possible to you?

Hollywood was like Willy Wonka’s chocolate factory. It wasn’t real, it wasn’t somewhere you’d go. That’s not your life plan. But for me, I was always delusional. As a teenager when I came to L.A., I just never


I wish I could say yes, because I feel like that would be a better answer, but no. I’ve never felt like I don’t belong. I feel like, finally. I’ve been doing this all my life, and while I do get absolutely shook when I have to do scenes with Naomi, Lenny, and Queen, I know this is where I’m meant to be.

illustrated by liz riccardi.

Lee Daniels—the visionary mind behind Fox’s wildly addictive ratings juggernaut Empire—auditioned a lot of actresses in his nationwide search for Star, the title character in his new behind-the-curtains showbiz soap, this time chronicling the rise of an Atlantabased girl group. Jude Demorest—a little-known polymath whose previous claim to fame was a co-writing credit on Fifth Harmony’s 2016 earworm “Work From Home”—auditioned “10 or 11 times” before Daniels told her that she had won the coveted role. Much like her character, the 24-year-old Demorest left home at a young age in pursuit of stardom, and did everything from backup dancing to singing other people’s demos while chasing that elusive big break. But while Star has a long way to go before she finally makes it (we’re guessing season three at least), Jude Demorest is about to blow up.


Director Amma Asante hit it big in 2013 with Belle, her period drama about a mixed-race woman fighting for her place among the aristocracy in 18th-century England. Her follow-up, A United Kingdom, is another gorgeously mounted story that succeeds at being both educational and urgent. Asante opens the film with office worker Ruth Williams (Rosamund Pike) and dashing flirt Seretse Khama (David Oyelowo) meeting cute at a missionary dance in London circa the late 1940s. As played by Pike and Oyelowo, the pair’s chemistry crackles, a match of both intellect and good looks. Of course, their union doesn’t jibe with Williams’s upper-crusty parents, despite the fact that their daughter’s suitor is in fact a prince of Bechuanaland (then a British protectorate, now the republic of Botswana). They only see color (her father goes so far as to disown her), as do the people of his colony, who are horrified when he returns to his homeland, freshly married with his blonde bride in tow. More dangerous than his citizens, however, are the colonial authorities, led by Alistair Canning (a smarmy Jack Davenport), who’ll stop at seemingly nothing to break up the happy couple in a bid to not offend apartheid South Africa, which shares a border. Ruth and Seretse’s plight is undeniably harrowing: For a long stretch of the film, they’re forced apart, with Seretse exiled off to London, while Ruth is forced to remain in Africa. Even as A United Kingdom veers into geopolitical territory, with Seretse going up against Labour prime minister Clement Attlee, who’s stridently loyal to South Africa, Asante wisely keeps the emotional stakes as her main point of focus. She’s a deft juggler of multiple threads—but no matter how vast the narrative, her characters come first. As Ruth, Pike delivers a performance in sharp contrast to her cold and calculated Oscar-nominated work in Gone Girl. A United Kingdom proves she can play warm and resilient just as expertly. Oyelowo matches her in their tender scenes together, and is bracingly forceful when the story calls for it, in a way that recalls his towering performance as Martin Luther King Jr. in Selma. Together they root Ruth and Seretse’s battle in wholly sincere terms that strike a universal chord. NIGEL M. SMITH


James Baldwin’s essential texts defined an era of black American writing, but for veteran filmmaker Raoul Peck, it was a lesserknown work that led to the genesis of his latest documentary, I Am Not Your Negro. In his final years before a premature death from stomach cancer, Baldwin set about writing Remember This House, an exploration of the parallel lives of Martin Luther King Jr., Medgar Evers, and Malcolm X—all three of whom were murdered by white men. This unfinished manuscript serves as the blueprint for Peck’s film, which stitches together evocative footage from the civil rights era, video of Baldwin’s own speeches, and stills from the late ‘50s to the present day. In letting Baldwin’s text (as narrated by Samuel L. Jackson) do the talking, Peck highlights the power and eloquence of his language, as well as the enduring relevance of his critique. Baldwin’s discussion of media culture and its shaping of racial narratives is as insightful now as it was 50 years ago, but it is Peck’s choice to marry Baldwin’s words to contemporary images that makes for the most chilling viewing. The juxtaposition of lines such as “You watch the corpses of your brothers and sisters pile up around you” with photos of Tamir Rice, Trayvon Martin, and other young black victims forces the viewer to confront how little has changed since the civil rights era. In the wake of an emboldened far right and an upswing in racially motivated hate crimes, it’s particularly skincrawling to see shots of white people brandishing swastika-emblazoned flags and white-power placards that are disturbingly similar to current post-election news footage. But beyond its searing institutional critique, the film is also a bittersweet document of historical black culture. Footage of 1960s Harlem shows a bustling hub filled with glamorous and beautiful characters, evocatively illustrating the hope and pride inherent in such lines as “When a dark face opens, the light seems to go everywhere,” while video of Dr. King and Malcolm X in conversation underscores the plurality of efforts to smash racist structures, despite their apparent conflicts. Nonetheless, I Am Not Your Negro is not an easy film to watch, and should leave all but the most insensitive American viewers with feelings of immense fury and discomfort with the country in which they live. The magnificence of Baldwin’s language and astuteness of his arguments, however, make it a ride worth taking. NOAH JACKSON


VOODOO MUSIC + ARTS EXPERIENCE Thanks to its annual Voodoo fest, New Orleans always does Halloween proud. (Would you expect otherwise?) This year’s three-day event brought the bold and beautiful out to play. After all, when you’re attending a music festival in the Big Easy during Halloweekend, why wouldn’t you do away with all festival style rules and dive full-force into costume mode? A sense of black magic filled the air as festivalgoers outfitted as cats, troll dolls, Power Rangers, and more got down to sets by The Pretty Reckless, Arcade Fire, Chairlift, and G-Eazy, who really got into character with his Joker-inspired getup. NOLA, we can’t wait to be back next year! Photographed by Hunter Holder


UNICEF NEXT GENERATION MASQUERADE BALL This year’s UNICEF Next Generation Masquerade Ball took place at L.A.’s iconic Clifton’s Cafeteria. Notable attendees included Whitney Port, Julianne Hough, and MS MR’s Max Hershenow. During the event, Cold War Kids previewed unreleased songs while the crowd mixed, mingled, and danced amid the Wes Anderson-themed wonderland, all in the name of doing good. Photographed by Tommaso Boddi and Phillip Faraone


NYLON X BURTON GIRLS SHOPPING NIGHT Winter in New York City can go from cinematic to bleak in, well, a New York minute. This year might just be the exception, though, because Burton’s latest collection actually has us excited for the chillier months. To celebrate, we took over the brand’s SoHo store for a bash hosted by NYLON style director Dani Stahl, who got a firsthand look at how Burton snowboards are created for our November 2016 issue. Partygoers (including Jeff Koons) were treated to House Beer and Kim Crawford Wines. DJs Pebbles and May Kwok could not have asked for a better crowd, who turned it out on the makeshift dance floor. Plus, one lucky guest won a NYLON x Burton snowboard designed by Dani herself! Photographed by Nina Westervelt


photographed by anairam.

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Cupid Shuffle stock up on these sweet finds. packed by dani stahl. photographed by will anderson

bag, $1,230, les petits joueurs; mini bag, $350, les petits joueurs

headphones, $200, beats by dr. dre; pop eau de parfum, $72 for 1.6 fl. oz., stella mccartney; shoe, $885, charlotte olympia; sunglasses, $400, givenchy; watch, $60, swatch; watch, $75, swatch; breakfast at tiffany’s nail lacquer collection in apartment for two, $10, opi; holiday brush set, $30 for 4 brushes, sonia kashuk; studded kiss lipstick in nayeon, $21, kat von d; liptensity lipstick in ambrosial, $21, m.a.c cosmetics; volum’ express the falsies push up drama mascara, $9.50, maybelline; love flush long-lasting 16-hour blush, $26, too faced; dress, $675, hvn by harley viera-newton.



Nylon - Feb 2017  

Nylon - February 2017