GRAZIA USA - SPRING 2024

KACEY MUSGRAVES

Country Strong

SPRING IS

82/ KACEY AT THE BAT

Kacey Musgraves digs into a Deeper Well of feelings for her latest album, perhaps her most personal yet.

21/ LETTER FROM THE EDITOR

24/ CONTRIBUTORS

25/ MASTHEAD

26/ THE ENIGMA OF EXISTENCE

Turn your world upside down by engaging with art, books, lm and music.

32/ GAME CHANGERS

Meet the change agents who are blazing a new path and inspiring a better future by rede ning what it means to be successful.

40/ THE GREATS

A new season calls for a fresh beauty haul.

46/ SPRING IN FULL BLOOM

Now that the doldrums of winter are in the rearview, it’s time to let color thrive once again.

50/ SKIN IS IN

From the runway to the red carpet, spring’s hottest makeup trend looks past eyes and lips to focus on complexion perfection.

54/ HOT LIST

This season’s top ten most wanted.

64/ OH, SO PRETTY

Actress and friend of the house Diana Silvers shows the next iteration of Prada ne jewelry eternal gold - a new facet that introduces the Prada cut.

70/ THE QUEEN’S GAMBIT

When wearing even the most serious of jewelry, its best to keep it playful.

76/ JUST DANCE

Balletcore took center stage on the Spring/ Summer 2024 runways.

92/ INSTANT CLASSICS

Modernist design shines among the alluring archeological sites of Izmir, Turkey.

104/ THE RETURN OF A NEW YORK LEGEND

Prepare to fall in love again with Donna Karan New York and the GOAT capsule wardrobe, the Seven Easy Pieces.

112/ CLEAN SLATE

While white for spring might not be groundbreaking, it sure does look fresh.

120/ THE GO! TEAM

Get a kick out of this season’s most eclectic looks.

130/ MY MOON IS IN PRADA

Can astrology and mysticism save ailing fashion sales?

136/ CELESTIAL BODIES

Compete with the cosmos in spring’s most sparkling creations.

ON THE COVER

Versace top, pants, bra, briefs, and ring, Versace.com, necklace from Paumé Los Angeles, paumelosangeles.com.

Photography Nino Muñoz, styling J. Errico, hair

Giovanni Delgado. makeup Moani Lee, manicure Alex Jachno

Loewe sweater and jeans, loewe.com. Walter Van Beirendonck necklaces, waltervanbeirendonck.com. Hunter boots, hunter.com.

I HAVE LESS TIME FOR BULLSHIT

KACEY MUSGRAVES

142/ THE FUTURE OF DENIM

Jeans have come long way from their humble workwear origins. Now, in the hands of some of the world’s top designers, denim has taken a decidedly avant-garde turn.

156/ DESERT STORIES

Take to the dunes in dancing chi ons and the deepest of blacks to let your imagination run as free as wild horses.

168/ YOU MAY SAY I’M A DREAMER

At 24, Yara Shahidi is an awardwinning actress, style icon and activist.

174/ THE KIDS ARE ALL RIGHT

New York’s freshly minted class of Gen Z designers prove the future of fashion looks bright.

178/ PERSONAL HAVEN

A step inside Margherita Missoni’s stylish Italian home.

188/ GIANT STRIDES

Swizz Beatz and Alicia Keys’ landmark collection takes over the Brooklyn Museum’s Great Hall this spring.

196/ THERE’S A PLACE IF

In the bustling culinary landscape of New York City, a gastronomic revolution unfolds with the arrival of ve must-try dining destinations.

198/ A PRESTO

For all the cool cats.

Hermès top and skirt, hermes.com.

(GO WEST) LIFE IS PEACEFUL THERE (GO WEST) THERE IN THE OPEN AIR (GO WEST) WHERE THE SKIES ARE BLUE (GO WEST) THIS IS WHAT WE’RE GONNA DO!!!

Confession time: Growing up, I was never a country music fan. In the pre-internet days, your musical tastes telegraphed a lot about your personality and back then, my entire personality was The Smiths. Naturally, I knew about Dolly and Willie, but otherwise, I stayed in my lane.

Thankfully in our 21st century, remix culture, we’re not so singularly de ned. Lines between genres have long since been blurred. That said, I certainly didn’t have “country goes mainstream” on my 2024 bingo card, but here we are.

As Beyoncé’s Renaissance tour galloped its disco horse across the world last summer, she reminded us, that even though she “earned all this money but they never take the country out me.” To that end, her newest song post-tour, has made her the rst Black female artist to score a number-one hit on Billboard's Hot Country Songs chart. Super producer-turnedLouis Vuitton Men’s creative director, Pharrell Williams’ antennae also picked up the call of the wild west. This past January, for his Fall 2024 collection, Mr. Williams reclaimed cowboy culture for Black and native American people with his ode to Western wear. By reclaiming BIPOC’s place in Americana, both artists create space for their fanbase to feel represented in the county genre.

Now, with the zeitgeist tuned to this Western frequency, our cover star, the brilliant Kacey Musgraves, can ascend to her rightful place in the pantheon of mainstream pop culture, (pg. 82). Since her debut album in 2013, this thoughtful and talented singer-songwriter has been a force to be reckoned with in the world of country music, earning an impressive seven Grammy’s (and counting). On her latest album, Deeper Well, Musgraves continues to ex her musical muscles, carving her own unique path that transcends genres. It’s a profoundly personal o ering that could not come at a better time. More than ever before, ears, eyes and hearts are open and ready to be lled with exactly the kind of truthful tales Musgraves tells. Bonus points if they come with a twang.

Power couple Swizz Beats and Alicia Keys know a thing or two about sharing something personal in the hopes of opening minds (pg. 188). Through July 7 the couple’s private art collection, The Dean Collection, has been on view at the Brooklyn Museum. As owners of one of the world’s most important collections of African and African diasporic artists, they feel it’s their responsibility to share these works with the people. It is a rare treat to get a glimpse into such a massive and impressive, privately held collection. It is not to be missed.

So, seeing as how you’re sure to be in New York to catch this show, might GRAZIA USA suggest some hotspots for your pleasure? Casey Brennan rounds up the newest, not-tobe-missed meals the city has to o er, (pg. 196) while Alison Cohn dives into the fashion of New York City – past, present, and future. Not only does she give us the skinny from the Gen Z designers alighting NYFW, (pg. 172) but also heralds the return of a Seventh Avenue Icon: Donna Karan New York, (pg. 104).

Naturally, throughout our issue, we highlight the newest, sexiest, and most covetable beauty and fashion the spring season has to o er. So why don’t y’all, sit back, kick o your cowboy boots, and enjoy.

JOSEPH ERRICO EDITOR & CHIEF CREATIVE OFFICER

CONTRIBUTORS

ALISON S. COHN is a NYC-based style writer and former bunhead, who has been known to use her kitchen counter as an improvised ballet barre. Her work has been published in the Business of Fashion, Elle UK, Harper’s Bazaar, and the New York Times.

MARSHALL HEYMAN is a New York- based television writer and journalist. He’s usually reading a book on his Kindle and then listening to another one. People are always asking him what to read, stream or see on stage, and for good reason. Lately, he’s having a love a air with London. Dating apps make him crazy, so holler if you know a guy.

NINO MUÑOZ is a Chilean born celebrity and fashion photographer who has shot Hollywood's most celebrated artists. He lives between Los Angeles and New York City with his husband and three dogs.

GWEN FLAMBERG started her beauty career as a roller-skating hair model at age 14. The NYC native then went on to lead the beauty and fashion content at Us Weekly magazine, where she hosted the Glam Squad Con dential podcast. Her very extensive skincare routine has been featured on the Coveteur, Fashionista and, most recently, Goop.

Michael Kors Collection bag, michaelkors.com.

JOSEPH ERRICO EDITOR & CHIEF CREATIVE OFFICER

GIACOMO PASQUALINI CREATIVE DIRECTOR

CONTRIBUTORS

CASEY BRENNAN FEATURES EDITOR

ALISON S. COHN STYLE FEATURES EDITOR

SHELBY COMROE FASHION EDITOR

GWEN FLAMBERG BEAUTY EDITOR

ALYSSA HAAK COPY EDITOR

FARAN KRENTCIL STYLE EDITOR

MARSHALL HEYMAN COVER EDITOR

CYNTHIA MARTENS EDITOR AT LARGE

ANDREA VOLBRECHT PRODUCER

DIGITAL

JESSICA BAILEY INTERNATIONAL EDITORIAL DIRECTOR

KARLI POLIZIANI DIGITAL DIRECTOR

CARLA VANNI EDITORIAL ADVISOR

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UNFORGETTABLE e Spring 2024 Arts Agenda

STRANGER THINGS:

THE FIRST SHADOW

Phoenix Theatre

Charing Cross Road, London, UK thephoenixtheatre.co.uk

Through June 30

OF EXISTENCE The enigma The

OF EXISTENCE The enigma

Turn your world upside down by engaging with art, books, lm and music

WORDS

As sophisticated algorithms feed us news and imagery that con rm our biases, it’s gotten harder to keep a fresh perspective. News of declining enrollment in liberal arts courses at American colleges and universities – traditionally centered on fostering inquiry – comes as the need for critical thinking is greater than ever.

All the more reason to celebrate the arts: the visual, musical, theatrical and literary works that allow us, individually and collectively, to stop, observe, listen, think and feel. is spring, an array of fantastical exhibitions, lms, dance concerts and books promise to twist our sense of space and help us lose our bearings. Here, we present just a few.

When Luna Luna, the world’s rst amusement park dedicated to art, rst opened in Hamburg, Germany, in 1987, the fairground featured attractions such as a painted carousel by Keith Haring; Dalídom, a mirrored, geodesic

1601 East 6th St, Los Angeles, CA lunaluna.com

Through spring 2024

LUNA LUNA: FORGOTTEN FANTASY

CYNTHIA MARTENS

PHOTOS: MANUEL HARLAN, SABINA SARNITZ

De Young

Golden Gate Park, 50 Hagiwara Tea Garden Drive San Francisco, CA

www.famsf.org

March 16 – July 21

dome by Salvador Dalí; a wooden Ferris wheel by JeanMichel Basquiat; and

rough this spring, visitors can rediscover these and more whimsical treasures at “Luna Luna: Forgotten Fantasy,” held at a 60,000-square-feet warehouse exhibition space in Los Angeles. e original archway and Luna Luna sign – and lightbulbs! – by Sonia Delaunay connect two rooms lled with works guaranteed to disorient and inspire. Music is part of the experience, with Gregorian chants by Blue Chip Orchestra, compositions by Philip Glass and Miles Davis tunes echoing at various intervals. Daniel Spoerri’s Crap Chancellery, Rebecca Horn’s Love ermometer and André Heller’s Wedding Chapel, as well as works by Jim Whiting, Joseph Beuys and Monika GilSing, round out the space.

In Japan, the Tokyo Metropolitan Art Museum is hosting a solo exhibition – Metaphysical Journey of Giorgio De Chirico – displaying over 80 of the Italian artist and writer’s most celebrated works. “One must picture everything in the world as an enigma, not only the great questions one has always asked oneself, why was the world created, why we are born, live and die, for after all, as I have said, perhaps there is no reason in all of this. But rather to understand the enigma of things generally considered insigni cant,” De Chirico once mused. In Tokyo, visitors can contemplate

his “metaphysical paintings,” which captured the enigma of existence through puzzling landscapes.

Who said cinema is dead?

Alice Rohrwacher’s La Chimera, starring Josh O’Connor and Isabella Rosellini, is set for release in American theaters on March 29, having garnered positive reviews in Cannes last year. Set in the director’s native Tuscany in the 1980s, it tells the story of a band of robbers breaking into ancient Etruscan tombs. Rohrwacher, whose lms often play with magical realism, told e Hollywood Reporter that she cast an English speaker in the lead because “Being able to look with the eyes of a foreigner is maybe the best way to see ourselves.”

Some people raid tombs for the gold; others frequent cemeteries for more carnal reasons. Starting March 12, readers can dive into a rediscovered work by Gabriel García Márquez, the master of magical realism. Set in the Caribbean, “Until August” tells the sale of a married woman who takes a new lover with every visit to her mother’s grave. Marquez, who died in 2014, reportedly did not want this –his nal book – to be published, perhaps because he wrote it while experiencing dementia. But a decade after the Colombian author’s death, his sons decided to go ahead,

IRVING PENN

Right: Hippie Family (Kelley), San Francisco, 1967.

a glass labyrinth by Roy Lichtenstein.

CULTURAL OLYMPIAD AT THE MUSÉE D’ORSAY

Esplanade Valéry Giscard d’Estaing, Paris, France www.musee-orsay.fr

The Musée d’Orsay has invited a motley crew of dancers to perform surrounded by art Ensemble Les Apaches!

February 6 – 7

Running Josepha Madoki

April 28

Mourad Merzouki

June 8 – 9

UPSIDE DOWN

PH21 Photography Gallery

52 Ráday St., Budapest, Hundgary ph21gallery.com

February 10 – March 5

Left: Anne Tonion (Australia), Ostensible, 2023

Directed by Alice Rohrwacher

In theaters March 29

LA CHIMERA

Right: Film still featuring actors Luca Gargiullo, Melchiorre Pala, Vincenzo Nemolato, Ramona Fiorini, Josh O’ Connor and Giuliano Mantovani.

METAPHYSICAL JOURNEY OF GIORGIO DE CHIRICO

Tokyo Metropolitan Art Museum

8-36 Uenokoen, Taito City, Tokyo, Japan dechirico.exhibit.jp April 27 – August 29

1968,

spurred, they said, by a feeling that the work was “the result of our father’s last e ort to continue creating against all odds.”

Budapest – historically, a nineteenthcentury amalgamation of towns Buda, Obuda and Pest – is a major creative hub in central Europe. Make an appointment at the contemporary PH21 gallery in the Hungarian capital, steps from the Danube River, and check out “Upside down,” a photography exhibit showcasing images the wrong side up. e gallery regularly invites photographers to submit works to open calls, and this time, the curator’s choice is “Inverted rills” by Anda Marcu, a pigmented giclée showing the ghostly green outline of an amusement park.

In London’s West End, meanwhile, audiences can travel back to 1959 –“before the world turned upside down,” to be precise – with the cast of “Stranger ings: e First Shadow,” a play by Kate Trefry, the Du er Brothers and Jack orne, showing at the Phoenix eatre. Featuring many of the characters from the hit Net ix horror series and, we’re told, creepy special e ects, the show promises to keep the adrenaline owing.

Speaking of time travel, San Francisco’s De Young invites visitors to immerse themselves in the Summer of Love. e museum is hosting an exhibition this spring of 197 works by Irving Penn, the proli c artist and photographer best loved for his arresting fashion shots and portraiture. In 1967, Penn turned his lens on California counterculture, capturing hippies and Hells Angels, and some big-name musicians, along the way. e collection also includes portraits of stars such as Audrey Hepburn, Gianni Versace and Truman Capote.

Starting March 12, readers can dive into a rediscovered work by Gabriel García Márquez.

The Summer Olympics wouldn’t be a French affair without a side of arts and culture

e Summer Olympics wouldn’t be a French a air without a side of arts and culture. In the lead-up to the big Paris event, cities throughout France are participating in what the government has dubbed the “Cultural Olympiad” – a medley of artistic events, parades, workshops and more “at the crossroads between art, sport and the Olympic and Paralympic values.” For its part, the Musée d’Orsay is welcoming a motley crew of dancers to perform surrounded by art. On February 6 and 7, Ensemble Les Apaches!, a freerunning troupe led by director Julien Masmondet, invited newbies to join them on a liberating musical trek through the museum. On April 28, dancer and choreographer Josepha Madoki takes center stage for a waacking celebration in the museum’s grand ballroom. For the uninitiated, “waacking” is a disco-era form of street dance popularized in West Coast gay nightclubs –a close cousin of the NYC-born “voguing.” And on June 8 and 9, hip-hop choreographer Mourad Merzouki and his Compagnie Kä g dance company promise a glittering parade in the museum’s monumental nave. Merzouki, who attended circus school and began his career as an acrobat, frequently stresses the importance of breaking out of one’s comfort zone – a message we fully embrace.

Left: Return of Odysseus,

UNTIL AUGUST

CHANGERS Game

MEET THE CHANGE AGENTS WHO ARE BLAZING A NEW PATH AND INSPIRING A BETTER FUTURE BY REDEFINING WHAT IT MEANS TO BE SUCCESSFUL

EDITED BY CASEY BRENNAN

Josie Maran

An OG of the beauty industry, the model-turned-entrepreneur helped pave the way for clean beauty

Josie Maran had an unusual path to becoming a clean beauty entrepreneur. “I was always very eco-conscious, values that were installed in me by my parents growing up in California,” Maran tells GRAZIA USA. “I watched my mom struggle with chronic fatigue and my grandmother battle breast cancer and felt certain that the chemicals found in everyday products were making the people I loved sicker.”

e experience shaped Maran, who recalls growing up in a house that limited plastics and harsh chemicals. Maran’s real introduction to the beauty industry came early when she started modeling at age 12. “I was working on ad campaigns and editorials with top makeup artists,” says Maran. “I would always ask them if there were any green products that were chic and e ective enough to use on set – and the answer was always no. So, I set out to turn that no into a yes, which was how I started dreaming up my beauty brand.”

Fast forward to 2007, and Maran nally made that dream a reality, launching her eponymous line. With the company motto “luxury with a conscience” in mind, Maran created the brand; she was inspired after

discovering the hydrating, fortifying, and nourishing properties of argan oil. “ e mission was to create the rst earth-friendly beauty line that was also luxurious and in 2007, after three years of research and formulating and hard work, I did just that,” Maran explains. “I’m very exacting and methodical about the process. Whether it’s a new product that I’m launching or a new social campaign, I’ll examine every aspect of it and make sure it feels right to me. I try not to make assumptions based on how things have been done before. And I have an amazing team around me that helps make my dreams into reality.”

Since the brand’s inception, Maran and her team have grown the line to include Pro-Retinol Face and Body Creams, a Pineapple Enzyme Pore Clearing Cleanser, and the Whipped Argan Oil Face Butter along with makeup including an Argan Black Oil Mascara that nourishes and softens lashes, Argan Natural Volume Lip Gloss, and Argan Creamy Concealer Crayon. e products are sustainable and made with no synthetic fragrances, sulfates, or parabens; they are certi ed cruelty-free by PETA. e argan oil used in the products is harvested by women-led co-ops in Morocco using

the highest quality argan nuts from UNESCO-protected forests. e commitment to being earth-conscious is clear and this attention to detail has proved to be integral and key to the brand’s success. “Josie Maran was the rst clean beauty brand to launch at Sephora,” Maran boasts. “One of my favorite mantras is ‘progress over perfection.’ To me, the journey is more important than the destination. My journey is about nding joy in the everyday; it’s about self-acceptance and love and lifting up other people around me. It’s about embracing your real, raw self—feeling comfortable and con dent in your own skin.”

When deciding which new products to launch, Maran is inspired by solving a speci c problem she wants to solve. “I ask myself, what do I want this product to elicit?” Maran explains. “I always question why I’m making it, in terms of the human experience of it; I must have a good answer for those questions. I want to love and care for people and one way I can do that is through products that are good for you and good for the planet.”

Jimena Garcia

How the sought-after Chanel brow artist uses her art background to shape and create unforgettable faces

To say that Jimena Garcia is a brow whisperer is an understatement. With an impressive rolodex of A-list clients and studios in New York, Los Angeles and Paris, Garcia is so much more than a brow groomer. Garcia initially had a career in art history at e Metropolitan Museum and Parsons School of Design. at ne art background led to the study of people’s faces, and now Garcia uses her keen eye to create a natural and individual aesthetic for each client. Garcia is a bona de artist, avoiding trends and considering each individual visually and aesthetically to create a unique, “enhanced natural” look for each client.

“I studied art history and ne arts, developing an eye for aesthetics that naturally led me to appreciate the human face’s design — its balance, contrast, form, movement, and proportion,” Garcia tells GRAZIA USA. “With brows, I found my niche. My approach, rooted in my background in art history, focuses on enhancing each individual’s natural beauty. I consider details like facial structure and lifestyle to create custom brow treatments that amplify and align with the uniqueness of every client.”

Each appointment with Garcia begins with a discussion about brow goals, and then the artistry begins using a variety of techniques including waxing, tweezing and massage. e results are natural and transformative at the same time. (As a longtime client of Garcia, I can attest to this personally.)

So how did Garcia become one of the most in-demand brow artists in the world and the rst-ever Brow Artist for the House of Chanel?

“As an artist and entrepreneur, my journey didn’t start in a conventional sense,” Garcia says. “Being an artist is not just what I do; it’s a core part of who I am – a state of being.”

Garcia explains that she has always been an artist. “My upbringing, marked by being born in Sydney, Australia, to Colombian parents, raised in New York, nurtured this. My journey has been a labor of love, where commitment and passion intertwine.” What started as an exploration of talent and skills naturally evolved into a business. “It wasn’t a planned trajectory but an organic growth process, sprouting from the seeds of my artistic capabilities and nurtured by my entrepreneurial spirit,” says Garcia. “In my journey, both professionally

and personally, I adopt an approach that is deeply intuitive, guided by a sense of manifestation that is uniquely my own. is process doesn’t adhere to strict rules or practices. For me, manifestation is about staying in tune with my inner self, aligning with my needs, desires, and aspirations. It involves gaining clarity about what I want or envision for my future, and then trusting my instincts to guide me towards those goals.”

Now with a bicoastal presence – in New York City at her Soho studio and Atelier Beauté Chanel and in LA at Ricari Studios – along with seasonal pop-ups in Paris and Sag Harbor as well as regular trips to Colombia, Garcia is set to continue the growth trajectory. “Now, the plan is to expand this scope even further,” says Garcia. “My goal is to deeply engage with various beauty cultures and perspectives. I want to create tools and products that are not just innovative but are also inspired by the unique needs I encounter in di erent regions. is approach isn’t just about expansion; it’s about participating more actively in my industry and contributing meaningfully.”

How the HigherDOSE co-founder helped bring the infrared craze to the United States

ese days, social media is with ubiquitous posts from inside an infrared sauna. But that wasn’t always the case, at least not until HigherDOSE debuted in 2016. As the global wellness economy booms, the launch of HigherDOSE proved a harbinger of things to come. When Berlingeri and co-founder Katie Kaps joined forces to launch the brand nearly a decade ago, it was to ll a void. “I’ve always been passionate about innovation at the intersection of health and tech,” Berlingeri tells GRAZIA USA. “I modeled for years in my 20s but never felt passionate about fashion or photography.” Wellness piqued Berlingeri’s curiosity and she received a certi cation from the Institute for Integrative Nutrition. “From there, synchronicity happened after I tried all the latest spa technology — including infrared sauna — while traveling Europe,” says Berlingeri. Once back stateside, Berlingeri visited the only infrared sauna she could nd in New York.

“After trying it and feeling the bene ts, I knew I needed to do something with it and bring it to more people so they could feel the same,” Berlingeri shares.

“ at’s when I was introduced to Katie whose background was working

startups; after Katie tried it, she felt exactly the same. HigherDOSE was born from that moment of taking action on passion and inspiration.” Now dubbed as the “hottest wellness tech brand,” HigherDOSE — the “DOSE” stands for dopamine, oxytocin, serotonin, and endorphins — initially launched with a single location in New York City. e concept was a hit.

“ en we knew we needed to bring these bene ts to more people,” says Berlingeri, “ at’s when the idea for our infrared sauna blanket, our most popular product, came about.”

e success of the sauna blanket led to the development of additional athome products including the PEMF Mat and the Red Light Face Mask, each with unique technologies that help promote recovery, detoxi cation, and relaxation alike.

As the brand continues to grow and evolve, Berlingeri recognizes that being a founder — especially in the fast-changing tech and wellness sectors — is equal parts planning and going with the ow.

“Being entrepreneurial, you have to leave space for adaptability,” Berlingeri admits. “However, I also

nd road mapping long lead vision to be helpful, especially when developing new products. You have to create a foundational structure, while also allowing for spontaneity and exibility to consumer market demands.”

Right now, demand is driving the next stages of expansion for HigherDOSE. “Our plan involves venturing into the international market and bringing HigherDOSE to a global audience.” says Berlingeri. “We recognize the growing demand for holistic wellbeing and plan to launch more wellness retreats providing our customers with immersive and transformative experiences.”

As for staying recharged and inspired, Berlingeri is constantly seeking out others in the wellness space. “I’m constantly inspired by peers and personalities in the healing space,” she says. Spending time with her kids, taking hikes and shutting o her phone also help Berliongeri stay grounded.” I am conscious about having boundaries over my devices and switching o from them past 6 o’clock and focusing on my winddown routine,” she shares. “ at can include baths with our serotonin bath soak, reading, using our red-light face mask, sauna or PEMF mat.”

Dianna Cohen

e Crown A air founder is on a mission to help people realize their hair goals

For as long as she can remember, Crown A air founder Dianna Cohen has been passionate about hair care. “I’ve been subconsciously dreaming of Crown A air for years as a brand,” Cohen tells GRAZIA USA. “I’ve been the go-to friend for hair advice, rooted in my personal journey of nding selfassurance through caring for my own hair.”

It all began with a role as an intern and in editorial production at Into the Gloss in 2012, Cohen shares. “From there, I had the privilege of being an early employee or brand consultant at various high-growth consumer startups, such as Away, Outdoor Voices, Harry’s, Spring, and Tamara Mellon.”

So, it was only natural that Cohen, whose journey as an entrepreneur has been shaped by nearly a decade of experience in the consumer space, would go on to become a founder herself.

After talking to people about their personal hair goals and struggles, Cohen says, “It became clear that many people struggled to understand or appreciate their hair. I shared my knowledge through a Google doc, covering hair care for di erent types and textures and exploring how hair

re ects our culture and identities. Recognizing the need to bridge this gap, I founded Crown A air.”

e line, which debuted in 2020, touts itself as a “love letter to your hair” and is formulated using clean, ethically sourced, and sulfate- and paraben-free ingredients. Best-selling products include e Leave-In Conditioner, e Dry Shampoo, e Finishing Gel, and e Towel, made with a special micro ber wa e knit to use on vulnerable wet strands.

“Crown A air aims to bridge the gap, o ering not just products but also a supportive community for individuals to embrace and care for their hair,” says Cohen. “We’re in a new season and landscape in beauty and it’s just starting to feel like haircare is happening in the way that skin and color cosmetics have arrived. I’m excited to be at the forefront of that new narrative and conversation around ‘no makeup makeup’ haircare and at the intersection of clean, luxury, and innovation.”

As the brand continues to evolve and grow, Cohen makes sure to stay grounded in her own personal routines. “I’m a believer in the power of visualization,” she says. “Taking

time to close your eyes and visualize what’s ahead for you is how you manifest the future. I’m a very nimble and not nostalgic person, so as the world evolves, I’ll evolve with it.”

When it comes to having an idea, Cohen believes “you really just have to start in a small way. Just start and you’ll know right away as people respond to it. For me, it was a Google doc that kicked o the light bulb moment to realize the disconnect and disempowerment people feel with their hair.”

After failing to nd products she wanted to use as part of a daily ritual, Cohen set out to create them. “I started making samples of our rst four products, and I sent them to people with guidance on how to use them,” Cohen explains. “When the feedback came in and it was clear we had something viable to start executing on. Our goal is to transform the way people care for their hair at every touch point and ultimately their relationship to it. Hair is a major part of our identities and is a powerful act of self-care. Every day we aim to create excellent products that bring that sense of self-assurance and joy.”

Nina Compton

From Caribbean roots to culinary renown, the award-winning chef continues to nd inspiration from her childhood

Growing up on the Caribbean island of Saint Lucia, Nina Compton was in uenced by food. “Growing up, my mom and grandmother used to let me help them prepare meals on the weekends for our family, and that’s when I knew I wanted to be a chef,” Compton tells GRAZIA USA. She enrolled at the prestigious Culinary Institute of America in Upstate New York and took her rst steps toward realizing her longtime dreams of running a kitchen of her own.

“When I graduated from CIA, I had the opportunity to work under the incredible Chef Daniel Boulud [in New York],” Compton says. “I later moved to Miami, and in 2013, I lmed Top Chef in New Orleans.” Finishing as a runner-up and fan favorite on the cooking competition show, Compton gained national recognition — and the opportunity to open her very rst restaurant.

Making people happy and giving them an understanding of her upbringing through food, says Compton, “gives me joy and pushes me to continue my culinary journey.”

And quite a journey it has been.

“After the show, I fell in love with the city and decided to make the Crescent City my new home,” the chef shares.

“I am fortunate to have opened Compère Lapin in June 2015, and in March 2018, I opened my second restaurant, Bywater American Bistro.”

e latter was recently rebranded as BABs with a refreshed menu focused on pasta. Both highly acclaimed eateries catapulted Compton into the culinary limelight, earning her the title of the James Beard Awards’ “Best Chef: South.” At Compere Lapin (which translates to Brother Rabbit), the menu is an homage to Compton’s Caribbean roots along with her classical French training and vast experience with Italian cooking; standouts include the fried chicken with jerk honey butter, blackened pig ears, and conch chowder as well as an outstanding bread pudding dessert. BABs has a decidedly casual vibe and o ers a Wagyu beef lasagna, spaghetti carbonara with andouille and black tru es, and cavatelli with shrimp rundown sauce.

“I get inspired by seasons, traveling, or a dish from my childhood that I want to share with those who visit any of my restaurants,” says Compton. “I grew up eating curry and love any type, but curried goat is my favorite.” Another treasured dish is salt sh and ackee, a traditional Caribbean meal. “Even

though this is a Jamaican breakfast, we had a huge ackee tree in our backyard and once I realized what you could do with that fruit, I was hooked.”

Sharing the ingredients and dishes from her youth has continued to be a priority for Compton, who serves as a culinary ambassador for Saint Lucia. And as her journey continues, Compton continues to nd new ways to connect with people through food. “I hope to continue to travel and open more restaurants around the world,” says Compton. “I am currently working on a cookbook, which is a lot of work, but at the end of the day, it will be worth it to spread my continued love and pride of being from the Caribbean. Ideas are fun, but the work and execution to make them happen are so important. Otherwise, it’s just an idea. My journey was not an easy one, but with perseverance, guidance, and support, I was able to conquer every goal I had for myself.”

Valentina De Santis

How the third-generation hotelier is transforming hospitality with her dedication and hands-on approach

As a child growing up in Lake Como, Valentina De Santis spent time with her grandfather in his o ce. But it wasn’t just any o ce; it was the o ce of the Grand Hotel Tremezzo, which her grandfather acquired in 1973 and which is still owned by the family. Like a modern-day Eloise, De Santis spent her formative years on property. Today, De Santis serves as the CEO and owner at Grand Hotel Tremezzo as well as Passalacqua and the Sheraton Lake Como. But her journey as an entrepreneur began long before she o cially joined the family business, “My journey actually began when I was just a child, without my even realizing it,” De Santis tells GRAZIA USA. “In a primary school essay about my future as a grown-up, I described myself sitting in my grandfather’s o ce managing hotels. It wasn’t until two decades later that I o cially joined the family business, in 2010 to be exact.”

is is when De Santis o cially immersed herself in the family business, helping to develop the sales and marketing strategy for the hotel. “But it was in my DNA right from the start,” says De Santis. “ is was a very special year for the hotel and my entire family, the centenary of the Grand

Hotel Tremezzo. A lot has changed since then: I moved from marketing manager to CEO, and the company keeps evolving, right through to adding Passalacqua in 2022. What never changes, however, is the passion. is is what I love most about my life and my journey – I don’t even like to call it a job, it is a labor of pure love and passion.”

For De Santis, her main source of inspiration, “the thing that made me the person I am today, is my family,” she shares. “Making the dream come true that my grandfather and my grandmother envisioned 50 years ago has been my greatest honor; it’s also the engine driving everything I do. I look to my mother as an inspiration in elegance, and my father in what it means to be an entrepreneur.”

De Santis continues: “I try to live by three core principles that inspire me every day: reverence for the past, the pursuit of bellezza, and an honest vision grounded in strong values. But there is inspiration in everything and everyone that surrounds me.”

De Santis’ latest project has proved to be a true testament to her vision and commitment: Passalacqua, which opened in 2022, is already topping lists as the best hotel in the world.

De Santis and her family purchased the former private estate on the lake in 2018 with an eye toward turning it into a resort. With only 24 rooms, Passalacqua — set on seven acres amid stunning terraced gardens — is the perfect mix of neoclassical elegance (Murano glass chandeliers, marble touches, and ta eta curtains) mixed with modern touches including a state-of-the-art tness center and spa, tennis courts and sta uniforms by Giuliva Heritage.

But none of this would be possible without De Santis and her unwavering dedication.

“I am a person who always has le mani in pasta, as we say in Italian, my hands literally wrist-deep in the dough,” says De Santis. “ is image is a good description of how I go about bringing ideas – and dreams – to life, because I’ve never been scared of getting my hands dirty. Clearly, it takes time to obtain the perfect result, and patience is a hard-won virtue, but I never stop investing energy and creativity until I achieve what I envisioned at the start. My motto is: ‘If you can dream it, you can do it’, and I intend to keep on dreaming and dreaming as long as I can.”

Robyn Blair Lazer

Welcome to Lazer’s colorful world of playful candy art

If you have spent any time scrolling on Instagram, it’s likely you have seen a piece of candy art from by robynblair.

e brainchild of Robyn Blair Lazer, the brand was born from a single piece of art the New Yorker-turnedMiamian made for herself. “At that time, I was living in an apartment in New York that was girlie,” says Lazer, who now resides in Miami with her husband and young daughter. “It was Dubble Bubble candy in resin with the text ‘In case of Emergency Break Glass’ in hot pink. “I hung the art, and it made me smile. And my whole business was born from that one piece.”

After her rst collection release in 2018, Lazer’s candy-centric works went viral. Collections that have followed include a selection of cinema candy — think Milk Duds, Twizzlers and Goobers — with ‘Movie Night’ written on top and ‘Hey Sweets’ accompanying an array of girlie-pink confections. ere are now candy dishes, brightly-hued gumball machines, wallpaper, cake serving sets — by robynblair is all about the sweeter things in life after all — and other custom art; Lazer also recently added another o ering: customizable ne art prints. “Clients had been asking for this,” Lazer shares.

“It allows for a lot more variety in price and sizing.”

Lazer has parlayed her unique vision into collaborations with iconic brands, including partnerships with Harry Winston and Bergdorf Goodman, where she served as artist-in-residence. Her artworks and sculptures capture the mood of the moment and just like Lazer’s own style and interests are constantly evolving so too are her eclectic pieces.

“I’ve always been creative, and have loved creating things,” says Lazer. “I was the one cutting my jeans and shirts to make them more my style. I had a vision and would bring that vision to life.”

With a background in fashion — Lazer helped designer Ronny Kobo start and build her eponymous label — gave Lazer the skills to run her own company. “I worked so closely with Ronny and that allowed me to learn about so many di erent aspects of the business.”

While Lazer had experience with management, the launch of by robynblair happened organically. “I just went for it,” says Lazer. “I’ve always been entrepreneurial and have had many business ideas that I mapped and none of those ever happened.

Meanwhile, with by robynblair, I just went for it and it was a total success. I believe in following your passion and not overthinking everything.”

at also goes for the evolution of the brand, which Lazer admits has changed since she became a mom. “While this started when I was single and in New York City, I am now in Miami with husband and daughter and my style has evolved – now I think about decorating my daughter’s room and my powder room and a new collection was borne from that,” says Lazer, referencing the Miami collection, which is comprised of prints, dishes, and wallpaper. “ e collection and brand has evolved just as my own style is always evolving.”

GREATS GREATS

A new season calls for a fresh beauty haul. Gwen Flamberg dishes on the most coveted glam goods to add to your arsenal now.

HAUTE LIPS

Sure to inspire envy (and confusion over your tax bracket), Prada’s rst product in its reincarnated beauty line, the Moisturizing Lip Balm, feels as lavish as it looks. And since it’s packed with soothing jojoba oil plus probiotics to restore barrier function, the luxe bullet makes fast work of dry akes — read: No more chapped lips ever. ($50, sephora.com)

HEAVEN SCENT

Picture it: After a long, sun-soaked morning wading in the cerulean waters of a secluded rocky cove, a return to your masseria around lunchtime is marked by wafts of tomato leaf, olive tree and deep, earthy patchouli. Maison Margiela REPLICA From the Garden is evocative of the low-key lavishness of It destination Puglia. Let a spritz transport you. ($165, sephora.com)

HIGH TIMES

If a rich-girl blowout is what you’re after, look no further than Rōz Root Lift Spray, created by celeb hairstylist Mara Roszak. (She used it on client Emma Stone all through awards season.) The eco-aerosol has rice water to lock in sleek shine while mushroom and radish roots nourish strands — but the best part is the touch of sandalwood fragrance that lingers. ($42, rozhair. com)

BRUSH WITH GREATNESS

Yes, it looks killer on your vanity, but La Bonne Brosse is more than just a pretty tool. Made to make the most of each hair type and texture, each of the four styles are fashioned from either boar or nylon bristles (or a combo of the two) to treat tresses at the root, stimulating the scalp for healthier hair growth. N.04 detangles locks — basically the most high-style wet brush you’ll ever nd. ($158, labonnebrosse.com)

SLICK PICK

Nothing signals a turn to longer, warmer days than a switch from velvet lipstick to a sheer, high-shine tint. Gucci’s Hydrating Plumping Lip Gloss (here in Virginia Fuschia) adds instant punch to your pout via a dose of moisture-attracting hyaluronic acid and just the right amount of pigment that seems to stick around without the slightest stickiness. ($42, sephora.com)

GLOW TIME

There’s no shortage of gently exfoliating PHA products on shelves, but Byroe’s Beet Glow Boosting Serum goes beyond decongesting pores for clarity. The tonic is powered by upcycled beetroot, containing antioxidant polyphenols to neutralize redness plus a blend of biomimetic peptides that plump cells. The result: leveled-up luminosity. ($92, byroe.com)

GOING UP

Sounds too good to be true but SickScience, a brand-new line, just launched ShapeShift V-Line Jaw De ning Serum, and it claims to reverse dreaded tech neck. How? Plant-based exosomes work to dissolve lipid droplets in fat cells, while regenerating cells to mega- rm skin from collarbones to the jawline, sculpting the chin and lifting jowls. ($58, sicksciencelabs.com)

NO SWEAT

If you, like me, didn’t have an unbelievably chic sweat solution on your 2024 bingo card, prepare to be delighted by Akt London Deodorant Balm. Created by two West End stage performers, the squeaky-clean cream uses a botanical blend to neutralize odor. Sc.03 The Onsen has notes of vetiver, lavender and zingy yuzu and comes in an earth-friendly aluminum tube. ($29, us.aktlondon.com)

BEAUTY

BRIGHT IDEA

Like a slick of liquid gold across lids, Lancôme Idôle Tint (here in Sunburst) imparts an instant richness and luminosity to your gaze — and it can be layered to create myriad e ects. A light sweep with the at side of the applicator adds a touch of sumptuous sparkle. Or, use the tip to draw an allout-glam cat-eye in one of seven gilded neutrals. ($30, nordstrom.com)

FAN OUT

Up, up, and away! When it comes to getting lashes that make a major statement, one needs a mascara with moxie. With a unique brush containing bristles of varying lengths in concert with a densely pigmented, uid formula, L’Oreal Paris Voluminous Panorama raises lashes while fanning them to epic proportions. No wonder it’s Kendall Jenner’s favorite. ($13, target.com)

OIL CHANGE

Think of U Beauty’s The SUPER Intensive Face Oil as quiet luxury in a bottle. The science-backed potion is the only piece you need to achieve complexion perfection, thanks to a hyaluronic acid-laced, whisper-light formula that not only seals in moisture, but actually deeply hydrates skin for a preternaturally smooth, glowy, ageless appearance. ($188, ubeauty.com)

FEELING FLUSH

Who doesn’t long for that what-haveyou-been-up-to getaway glow following a weekend in Aspen or Anguilla? Well, No.1 de Chanel Lip and Cheek Balm (here in Vibrant Coral) may not come with a business class plane ticket, but tapped across cheeks and the bridge of your nose, the nourishing color balm instantly recreates that relaxed (and happy!) vibe. ($48, chanel.com)

SPRING IN FULL BLOOM

Now that the doldrums of winter are in the rearview, it’s time to let color thrive once again.

PHOTOGRAPHY JETTE STOLTE PRODUCTION KAROLINA HERING

MAKE-UP LENA VENOS AND CHRISTOPH HAESE USING YVES SAINT

LAURENT BEAUTY STYLING DENIZ YAMAN

FEELING THE BLUES HAS NEVER LOOKED SO FINE

From the runway to the red carpet, spring’s hottest makeup trend looks past eyes and lips to focus on complexion perfection. Gwen Flamberg investigates exactly how to get the hypernatural glow of the moment.

SKIN IS IN

Taylor Swift 2024 Golden Globes

IT ALL STARTED WITH THE CLEAN GIRL AESTHETIC

.

Suddenly, even those who heretofore wouldn’t dare leave the house without a full face were leaning into lip balm and a dab of moisturizer. Blame TikTok.

en Pamela Anderson, she of the sharply penciled brows, over-lined lips and heavy foundation, hit Paris fashion week sans makeup. Sitting in an unstructured oral frock front row at Victoria Beckham’s Spring 2024 show, the Baywatch alum’s decision to go completely bare broke the internet. e less-is-more vibe blurred into Awards Season. At the Golden Globes, Hunter Schafer accessorized a wispy, blush Prada gown with subtle washes of watercolor-pink on lips and cheeks. Ayo Edibiri teamed full brows with neutral hues. Margot Robbie,

arguably the star of the season, put a fresh spin on Hollywood glam by pairing a glossy rosewood pout with sheer bronzer that let her skin shine through. ere was nary a statement red lip in sight.

By the 2024 Haute Couture shows, the message was clear — crystal clear. At Schiaparelli, creative director Daniel Roseberry sent models down the runway sporting a nextlevel luminosity, and barely any other color on the face. Maquillage genius Pat McGrath took it a step further for Maison Margiela, transforming the catwalk into a house of dolls, with skin that could pass for actual porcelain. ere was such a frenzy

From left: Dior Forever Glow Star Filter, $55, and Dior Forever Glow Maximizer, $45, dior.com

Dior Spring/Summer 2024

Haute Couture

ONCE YOU GET A BIT MORE MATURE AND YOU START GETTING SOME LINES, YOU WANT TO HAVE A MORE EASYGOING LOOK

over the look, she took to Instagram in the following days to teach a master class.

At Dior, Peter Philips, the French fashion house’s creative and image director for Dior Makeup, o set coolgirl black kohl eyeliner with softly glowing, uniform skin for a look that’s e ortlessly chic without being overly precious. He used the brand’s Forever Glow foundation formula without additional highlighting or contouring, but for us mere mortals, customizing the complexion is key to getting that preternatural, heightened radiance. Matte shimmer may sound like an oxymoron, but it’s the layering of textures that creates this illusion of dewy skin without appearing overly shiny.

To help women take the guesswork out of getting the look and maximizing their glow, Philips created three new companions to the Dior Forever Glow line, so one can enhance the foundation, which has a “second skin, buttery nish,” he says. Brand new o erings include Star Filter, Glow Maximizer and Natural Bronzer.

e Star Filter’s 10 shades are laced with pearl essence to impart a hint of sheen and imperceptible brightness — think: the Paris lter IRL. How and where you apply it is up to you and can be ne-tuned to the occasion. “You can wear it under foundation as a primer kind of thing,” Philips advises. Or add a drop of the subtly shimmering tint to your makeup to boost glow. “To help sculpt the face, apply strategically to the parts where you want to add shine,” says the guru. Goofproof spots: High points like cheekbones, brow bones, across the

Guerlain Terracotta Concealer, $47, Guerlain.com

Ayo Edibiri 2024 Golden Globes

Victoria Beckham Beauty Refect Highlighting Stick, $42, victoriabeckhambeauty. com

Christian Louboutin

Le Fluid foundation, $77, nordstrom.com

bridge of your nose and the cupid’s bow above the top lip.

For even more intense sparkle, the second piece in the line — Glow Maximizers — come in six higher pigmented shades like pink and peach to add color. e formula “is nice on the cheeks or even on your eyelids,” explains Philips, who recommends dabbing on lids before shadow to boost luminosity, which heightens your overall glow.

How you choose to customize the look dictates application technique. For strategically placed shimmer, the best applicator to use is your ngers; body heat will help melt the product into your skin. Blending with a small brush, advises Philips, marries the edges of varying textures seamlessly. Finally, sweep a bit of bronzing powder along the sides of the face “to frame your glow,” says the pro.

Of course, as with all good things, there is a caveat. Since light-re ective pigments can act like a spotlight, drawing attention to that which you may prefer to hide, avoid applying shimmer near blemishes or scars. For these areas, use a sponge to press on a touch of matte powder. But resist the

urge to use it all over to avoid a at nish. “With a matte nish, it’s like a painting,” Philips says. “Once you get a bit more mature and you start getting some lines, you want to have a more easygoing look,” he explains.

Perhaps the best thing about this trend is that it isn’t really a trend at all. e look is in nitely wearable, “and that’s why I think glow will always stay,” Philips says. Because, at the end of the day, a gorgeous, radiant complexion is less about makeup than it is about recreating that fresh, healthy vibe — that elusive you-onlybetter golden ring — that projects instant con dence.

Glo Illuminating Primer, $42, dermstore.com

Dior Forever Glow Natural Bronzer, $55, dior.com

Jean Paul Gautier by Simone Rocha SS 2024

Chanel SS 2024 Couture Show

EDITED BY SHELBY COMROE

1/ CAT EYE COOL is season’s top ten most wanted

GUESS EYEWEAR, $85, GUESS.COM.

These sunglasses reimagine the classic cat-eye shape with a contemporary air, featuring an elegant tortoise shell pattern that’s beautifully highlighted by delicate gold accents. The cat-eye silhouette, known for its upward sweep at the temples, not only adds a touch of vintage glamor but also brings a modern edge to your look. This iconic design, combined with the sophisticated palette, ensures these sunglasses will elevate any spring out t.

2/ HEAVY METAL

GIVENCHY VOYOU – MEDIUM CHAIN BAG, PRICE UPON REQUEST, GIVENCHY.COM.

Spring 2024 heralds the arrival of Givenchy’s newest addition to the handbag family, the Voyou Chain. This bag, a fresh twist on the original Voyou, combines everyday functionality with a touch of luxury. It features a distinctive chain strap that transitions from ne to boldly graduated links, complementing its semi-structured silhouette. Crafted from a selection of materials including classic leather and innovative denim, it’s designed for versatility, shifting e ortlessly from a shoulder bag to a crossbody. With its spacious interior and adjustable ‘V’ straps, the Voyou Chain embodies chic practicality with an edge.

BIG SHOES TO FILL 3

GUCCI ANCORA SIGNORIA HEELS, $1,100, GUCCI.COM

Sabato De Sarno’s debut for Gucci was nothing short of exciting. He was appointed by Kering to blend Gucci’s heritage with new fashion authority. De Sarno, introduced a collection focusing on minimalist designs, sharp cuts, and notable absence of the eccentricity marking Gucci’s recent years. The debut emphasized basics with a nod to Tom Ford’s era, showcasing sleek, sexy silhouettes and re ned updates to classic accessories. These sexy slingback heels in sleek patent leather stood out as a must have from the collection.

4/ IN THE TRENCHES

SAINT LAURENT BY ANTHONY VACCARELLO LONG COAT, $6,250, YSL.COM.

Spring’s uctuating temperatures call for versatile outerwear, making a high-quality trench coat essential. Saint Laurent’s version reimagines this classic with a contemporary twist, featuring a deep chocolate shade and elongated silhouette for a blend of modernity and drama, ideal for the season’s transitional wardrobe. What sets this trench apart is its incredible versatility. If you’re looking to make a statement, you can style it as it was on the show runway: paired with cream-colored trousers that contrast beautifully with the coat’s dark hue, leather gloves for a touch of sophistication, chunky bangles for some personality, and bold gold earrings that catch the eye. This ensemble screams high fashion and is sure to turn heads. On the ip side, this trench coat is not just for the times you want to dress up. It works just as well for a more relaxed, everyday look. Imagine wearing it over a simple out t like your favorite pair of blue jeans, a crisp white T-shirt for a classic touch, a cozy black sweater for those cooler spring days, and a pair of comfortable ballet ats. This way, the trench coat brings a sophisticated edge to a casual out t, proving that it can easily dial up the style on a laid-back day as well.

5/ AN EVERLASTING ICON

LOUIS VUITTON SUNSET HANDBAG, $2,970, LOUISVUITTON.COM

Almost 20 years since the iconic Monogram Denim rst hit the scene in 2005, Louis Vuitton is bridging back the classics with the LV Remix Collection. When the brand rst introduced denim it was groundbreaking, the combination of the timeless monogram and denim has been solidi ed in fashion history. The bags from the denim collection in the early 2000s instantly became iconic, they capture the essence of the style of the era. With the LV Remix Collection, Louis Vuitton is honing in on the nostalgia while still keeping things fresh. The Sunset Handbag is among the collection. The house is bringing back designs from the original collection as well as introducing fresh pieces like the Croissant MM bag.

THESECRET WEAPON 6

This satin skirt is set to become far more than a mere garment hanging in your wardrobe; think of it as your secret fashion weapon. Its unmatched versatility means it’s the perfect go-to piece for those last-minute invitations, regardless of the dress code. Boasting both sophistication and a sleek design, this skirt seamlessly ts any time of day. For a laid-back yet e ortlessly stylish daytime look, pair it with a casual T-shirt and moto boots. Then, as the evening calls, elevate your out t with an elegant top and towering pumps, transitioning smoothly into a night-time ensemble that’s as chic as it is simple.

DOROTHEE SCHUMACHER SATIN SKIRT, $770, DOROTHEE-SCHUMACHER.COM.

7/ LIQUID GOLD

RALPH LAUREN COLLECTION GOLD FOIL DRESS, $3,490, RALPHLAUREN.COM.

Witnessing this dress glide down the runway was breathtaking; its luxurious fabric shimmered like liquid gold on the model, embodying the opulence of a bygone era reminiscent of Studio 54’s vibrant nights. Perfect for summer weddings, this metallic lurex dress will be the star of the show. When it comes to styling, there’s a spectrum of possibilities. For a nod to its 70s feel, channel your inner Bianca Jagger with towering platform sandals and a sleek cu bracelet, embracing the era’s iconic air. Alternatively, for a Grecian twist, lace-up sandals paired with a bohemian braided hairstyle and vintage-inspired accessories can o er a completely di erent vibe, softening the dress’s boldness with a touch of romanticism.But the versatility of this dress doesn’t end with the warmer months. Transitioning into winter, it pairs beautifully with sleek black satin pumps and a luxurious fur (or faux fur, according to preference) stole.

8/ SHINE BRIGHT LIKE A CRYSTAL

SWAROVSKI MATRIX TENNIS NECKLACE, $300, SWAROVSKI.COM.

SWAROVSKI’s Matrix collection perfectly embodies the blend of versatility and elegance, crafted to seamlessly carry you from the daytime hustle to the nighttime sparkle. The collection is brimming with an array of candycolored pendants, rings, earrings, tennis necklaces, and bracelets. Among the treasures of this collection, the yellow tennis necklace emerges as a true standout. Its bright yellow hue is a bold twist on the classic white crystal, yet it remains just as wearable. Whether it’s layered with other necklaces to create a casual yet cool vibe with a simple T-shirt and jeans, or worn solo with a little black dress for a cocktail party, this necklace can truly be worn in any situation. The cherry on top? Priced at $300 this necklace o ers the opulent look and feel of highend jewelry without the lofty price tag, ensuring that you can enjoy a touch of luxury every day. Whether you’re dressing up for a special occasion or adding a bit of shine to your everyday look, this necklace from the Matrix collection is versatile and stylish

9/ AN ICON REIMAGINED

DIOR XL LADY D-SIRE HANDBAG, $7,100, 800 929 DIOR.

Presented at the Dior Spring/Summer 2024 fashion show, the Lady D-Sire reimagines the classic elegance of the Lady Dior bag. This piece stands as a tribute to the Ateliers’ artistic fervor, showcasing its distinctive charm in various iterations, including a textured taurillon leather. The design marries boldness with uniqueness, featuring clever elements like foldable handles and an adjustable strap that cater to diverse styling preferences. Embellished with the iconic “D, I, O, R” letter charms in an exquisite gold hue, the bag is available in a palette of colors including black, dark brandy, and powder beige, and in four sizes ranging from small to extra-large, making it a versatile choice for any wardrobe.

10 FEEL THE HEAT

MESSIKA FIERY COLLECTION DIAMOND EARRINGS IN PINK GOLD, $3,060, MESSIKA.COM.

Messika’s Fiery Collection reimagines timeless elegance with a modern air. At the heart of this collection, Valérie Messika’s signature pear-cut diamonds are magni cently framed by the sharp, teardrop shape of radiant gold further enhanced by a sparkling pavé setting. We love the earrings in pink gold as they are perfect for those seeking a twist on the classic, o ering more than the simplicity of basic diamond studs with their distinctive wow factor. The collection encourages a playful approach to styling, with an array of pieces in pink, yellow, and white gold, alongside a variety of carat sizes, designed to create the perfect personalized stack. Whether worn individually for a subtle hint of glamor or combined for a bold statement, the Fiery Collection promises versatility and sophistication.

Oh, so pretty

FASHION

This page: Prada Eternal Gold pendant earrings in yellow gold and laboratory-grown diamonds, Prada Eternal Gold snake ring in white gold and laboratory-grown diamonds, prada.com. Opposite pge: Prada Eternal Gold ring in white gold with laboratorygrown diamond, Prada Eternal Gold snake bracelet in white gold and laboratory-grown diamonds, prada.com.

ACTRESS AND FRIEND OF THE HOUSE DIANA SILVERS SHOWS THE NEXT ITERATION OF PRADA FINE JEWELRY ETERNAL GOLD - A NEW FACET THAT INTRODUCES THE PRADA CUT.

ALL CLOTHING AND ACCESSORIES THROUGHOUT BY PRADA, PRADA.COM.

FASHION

Prada Fine Jewelry

Eternal Gold chain necklace in yellow gold and laboratorygrown diamonds, prada.com.

Prada Eternal Gold snake bracelet in yellow gold and laboratory-grown diamonds, Prada Eternal Gold snake bracelet in yellow gold and diamonds, prada.com.

Prada Eternal Gold single pendant earring in yellow gold and laboratory-grown diamonds, prada.com.

Prada Eternal Gold snake bracelet in yellow gold and laboratory-grown diamonds, Prada Eternal Gold snake ring in white gold and laboratory-grown diamonds, prada.com.

Queen’s GAMBIT The

When wearing even the most serious of jewelry, its best to keep it playful.

PHOTOGRAPHY VLADIMIR MARTÍ CREATIVE DIRECTION DANÉ STOJANOVIC

FASHION

This page: Dior Rose des Vents Necklace in Yellow Gold with Diamonds and Mother-of-Pearl, dior.com.

Opposite page: Bulgari Cabochon Rose Gold Ring, bulgari.com.

Messika So Move Pavé Earrings in Pink Gold, So Move Pavé Bracelet in Pink Gold, messika.com.

Chaumet Joséphine Aigrette Pendant in White Gold with Diamonds, chaumet.com.

FASHION

Chanel Fine Jewelry Coco Crush Bracelets Quilted Motif in Beige and Yellow Gold, (800) 550-0005.

KACEY AT THE BAT

Kacey Musgraves digs into a Deeper Well of feelings for her latest album, perhaps her most personal yet.

WORDS MARSHALL HEYMAN PHOTOGRAPHY NINO MUÑOZ STYLING J. ERRICO

In “Follow Your Arrow,” one of Kacey Musgraves’ most well-known songs from her 2013 album breakout album Same Trailer Di erent Park, she sings about the impossibility of pleasing everyone all the time. “You’re damned if you do, and you’re damned if you don’t/So you might as well just do whatever you want.”

In the refrain, Musgraves continues to o er more sound advice. She tells us to “make lots of noise,” to “kiss lots of boys” or “kiss lots of girls (if that’s something you’re into).” “Roll up a joint, or don’t,” she says. e only imperative is that you “follow your arrow wherever it points.”

If there’s one thing you can say about the Texasborn singer-songwriter, Musgraves certainly follows her own arrow and beats to her own banjo. at comes up in so many aspects of Musgraves’ life and personality. She believes in UFOs and is afraid of being abducted by aliens. She’s had, she says, “at least four di erent sightings, though there have de nitely been more than that.” One of her unusual guilty pleasures: egg rolls from the fast-food chain Jack in the Box. And yes, she has won yodeling national championships.

Musgraves’ unique individuality has earned her a loyal fan base, even outside of the Country genre. It has also garnered her seven Grammy Awards, including one this year for “I Remember

Everything,” a song she sang with Zach Bryan. Side note: Musgraves recorded “I Remember Everything” with an angry sore throat. “In the moment I was frustrated because I couldn’t tap into my normal tone,” she recalls. An immediate trip from the studio to her doctor’s o ce con rmed that she did, indeed, have strep.

A Grammy for a song recorded while su ering with strep throat? at’s pretty impressive for anyone, let alone a woman who was awarded seventh runner-up, in 2007, on the fth season of the reality competition show Nashville Star. (Miranda Lambert didn’t win either when she competed on season one. She nished in third place, though.)

Most recently, Musgraves’ arrow pointed her up to New York City where she recorded her latest album Deeper Well, out now.

“I had never gone to another destination to create music,” Musgraves says, on a mid-February Zoom video call from Nashville where it had snowed the night before. She’s lived in Tennessee since 2008. It’s where she’s written and recorded all her recent albums. “I really love the city,” Musgraves adds. “It’s a sweet place to live.”

Musgrave didn’t feel a lot of pressure to complete a new record. She’d released her fth studio album, Star-Crossed, in 2021, after 2018’s Golden Hour swept the Grammys. “But I was craving something a

bit di erent energy-wise. Interesting things can come out when you’re away from home,” she says. “I kept feeling this pull towards New York. I’ve always wanted the true New York City experience.”

Musgraves thought, what if she spent some time in downtown Manhattan, amongst the sights, the smells and the sounds? What if she recorded at the famous (and infamous) Electric Lady Studios in the Village, where Jimi Hendrix, the Rolling Stones, Blondie, David Bowie, and the Clash all had recorded some music? What might she come up with? Musgraves wasn’t sure.

“But I found it really inspiring,” she says. “I was pleasantly surprised at how natural it was to create there.”

e result is Deeper Well, perhaps Musgraves’ most personal collection yet. A more natural folk sound, she says, emerged while she was working in the biggest city in the world. “I really tapped into this rootsy side of myself. ere’s a conundrum there that’s interesting for such a maximalist city with so much mood and electricity,” she says. “I found a really good negative space in the songs.”

While Star-Crossed was about a speci c relationship, Deeper Well, Musgraves says, is a more mature work that shares her observations on the intricacies of life.

“I would say that at 35, where I’m at now, I’ve learned so much since my last record. I de nitely know myself better,” Musgraves says. “I’ve thought so much about what love looks like to me. Why do I choose the people I keep choosing? What is the lesson there? Will I keep making the same choices over and over again? Will I take the information I’ve learned and apply it to the next situation? ”

ere are a lot of ruminations on Deeper Well about “the other side, about where do we go when we die?” Musgraves continues. “How much control do we have? Is there something pushing things along? Why are people su ering so much?”

Ultimately, she explains, writing and recording the new record made her realize something incredibly important: “I have less time for bullshit.”

Musgraves grew up in Golden, Texas, a town 80 miles east of Dallas. It’s a small place on the Texan map. In the year 2000, when Musgraves was 12, Golden had a population of 156. One of its more signi cant claims to fame is an annual Sweet Potato Festival that has taken place on the fourth Saturday in October since 1982.

e daughter of an artist (her mom) and the owner of a small printing press (her dad), Musgraves has spoken about being born six weeks prematurely. at’s not the only thing she did early and precociously. She also started writing songs at a young age. Her rst

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Kacey’s own necklaces.

e ort, “Notice Me,” which she wrote at the age of eight, ended up having a particularly prescient title. By 12, she was learning how to play the guitar and became one half of a kids’ country music duo called Texas Two Bits.

At 14, Musgraves sang the national anthem during the 2002 Winter Olympics. She also released her rst solo album, funded by her family. At 18, not long after moving to Austin, she made her debut on Nashville Star. Five years later, she released “Merry Go ‘Round,” her rst solo single on Mercury Nashville. It was about the tedious, booze- lled, God-fearing treadmill of what it’s like to live in a small town in America, like, one assumes, Golden.

Even today, Musgraves remains close to her family. She and her younger sister, Kelly, a photographer, constantly discuss their obsession with estate sales.

ey use an app that tells you what estate sales are happening in a given week in a 10-mile radius. In general, Kelly makes it to more estate sales than Kacey does, so her success ratio at nding treasures tends to be on the higher side.

And for her most recent trip to the Grammys, Musgraves brought her 86-year-old grandmother Barbara as her date. (Fans also know Barbara from her appearance on e Kacey Musgraves Christmas Show.) Kacey and Barbara are a regular and dynamic duo on the social circuit, especially since Musgraves split from her husband, singer-songwriter Ruston Kelly, in 2020 after a four-year marriage.

“Gran” is the perfect date, Musgraves says. “Actually, she kind of loves famous people.” At the Grammys, Barbara was particularly excited, for instance, to spy Meryl Streep.

“In a situation like [the Grammys], you can get tunnel vision,” she adds. “Having someone who’s really deeply rooted in your world, who doesn’t get to experience it regularly, helps you stop and appreciate what’s happening around you.”

Musgraves has been the belle of that ball several times over. “I’ve already won more [Grammys] than I could ever imagine,” she says. Still, each time she picks up a new one, “it doesn’t not feel amazing. It’s a great honor. It will never not be a massive honor to be recognized for something you’ve really put your heart into, but it’s also something you can’t fully live and die by. ere’s no way you can predict what’s going to be popular.”

One of the later tracks on Deeper Well is a bouncy love song called “Anime Eyes.” “When I look at you, I’m always looking through anime eyes,” Musgraves sings to an unknown someone. “A million little stars, bursting into hearts in anime eyes.”

Despite the requited feelings she seems to have

discovered in this relationship, Musgraves still emphasizes the sadness that it takes to get there. “Made it through the tears to see a Miyazaki sky, now it’s you and I and we’re ying.”

Musgraves has loved anime—especially the work of Japanese animator Hayao Miyazaki—since she was little. When she was seven, her dad brought home a VHS copy of My Neighbor Totoro, about two little girls in a small town, grieving for their unwell mother, who encounter spirits in the forest.

“I was just so mysti ed by that tape,” Musgraves recalls. “I’d just watch it over and over again.”

A few years ago, Musgraves voiced a character in the English dub of Miyazaki’s Earwig and the Witch “It was a massive bucket list thing to me,” she says. She was equally enchanted by Miyazaki’s most recent lm, e Boy and the Heron, which, she admits, she went on some Miyazaki Reddit pages to try to understand.

“I don’t think [ e Boy and the Heron] was intended to be spelled out super clearly. I’m not sure we’re supposed to get it,” Musgraves says of the lm, though she could be equally talking about life in general. “I like that though, in a world where there’s not much mystery left. I kind of appreciate that. Still, I deeply want to know what the intent was.”

Musgraves appreciates Miyazaki’s genius. He shows animals, situations, and circumstances that are beautiful but also grotesque. She likes how his lms reveal an enchanting, nostalgic bittersweetness. at they live in a melancholy space.

Musgraves often lives in the melancholy, too. “For better or worse, I can spot the melancholy in every situation, even the good ones.” She admits she’s particularly agile at making a song “instantly sound sadder than it actually is.” For example, take her recent cover of Bob Marley’s “ ree Little Birds.” ere’s a soft plaintiveness to her assurance that “Every little thing is gonna be all right.”

Melancholy is one of the multitude colors in her “creative coloring bin.” “It’s always around in the background and in the foreground,” she says. “I even have a song about it.” at would be “Happy and Sad” from Golden Hour.

“I’m the kinda person who starts getting kind of nervous when I’m having the time of my life,” she sings on that track. “Is there a word for the way that I’m feeling tonight? Happy and sad at the same time. You got me smiling with tears in my eyes.”

“It can be easy for me to say in a situation, ‘ is is such a great moment, but it’s also about to be over,’” Musgraves re ects. “Life goes by so quickly, and the passage of time just fucks me up.”

To that end, Musgraves says her current motto is: “If it’s not a fucking ‘Hell Yes’ across the board, then

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it’s a ‘Hell No.’ ere’s not really time and energy for middle ground.” e essence of Deeper Well, she explains, is that transactional, super cial interactions are only that. “A whole day of small talk is really exhausting. It’s one dimensional,” she explains. “I need substance with people, history with people. It feels good to be seen, even if it’s by a small amount of people. As I get older, I realize I crave emotional depth. It feels good to be known.”

Musgraves says that she’s always on the road for self improvement. She’s not super into regular therapy sessions, but she’ll go in for a tune-up on occasion. She reads tidbits of self-help books. She takes meditation courses, goes on retreats. “I seek a lot of counsel with my own friends, my genuinely amazing female friends,” she says. “I’m lucky that I have people in my life that are truthful.”

On the new track “Sway,” Musgraves ruminates

THE PASSAGE OF TIME JUST FUCKS ME UP

about her anxiety: “Most of the time, the thoughts in my mind keep me running. Show me a place I can just think of nothing.” Maybe one day, she sings, “I’ll learn how to sway.”

“I can be a bit of a control freak,” Musgrave admits. Swaying, Musgrave explains, is the opposite of “bending and breaking. It’s about moving with the ow versus rigidly holding on.”

We’d all be better o , she thinks, if we could just sway more. “I’m probably at my most happy when I’m not trying to control as much.”

It’s bittersweet, even melancholy, for Musgraves to release a record into the world.

Producing an album like Deeper Well is a satisfying and therapeutic process, Musgraves says “You’re recording a record with your friends. You talk about life and order food and create and laugh, and when that’s done, it’s as if summer camp’s over,” she says.

First, there’s the anxiety of surrendering to its completion, “letting go from the process of pushing

it out the door,” she says. “ ere’s always can I make this better? Can I tighten this up? Could we have added a song? But there’s that ‘Kacey, we have to put the pencil down’ moment. A deadline can be good for creatives. You can overwork a project to death.”

Before a new album drops, Musgraves says, “It’s still in the womb. It’s yours. It’s in such a sweet spot. It’s shielded from outside opinion.” As soon as Deeper Well comes out, it will belong to everyone else, too. Going out and promoting a record, entering the cycle of facing her public, tends to be a challenge for Musgraves. Still, there’s nothing to be scared of “as long as you protect your own boundaries,” she says.

“But I’m really a homebody,” Musgrave continues. “In my daily life, I spend a lot of time with my dog by the replace and my small group of friends.”

In the last year, Musgraves adds, she’s become something of a reader, something of which she’s particularly proud. She read e Nightingale, by Kristin Hannah, whose length intimidated her. “But I got through it,” Musgraves says. “I fucking did it.” She’s also read a lot of Augusten Burroughs, some Mary Karr (a fellow Texan), and a bit of the late Nora Ephron, whose writings inspired the new song “Dinner With Friends.”

Musgraves was particularly struck by a list of things Ephron made that she would miss when she was gone. Among them were mostly simple: Wa es. Bacon. Butter. Coming over the bridge to Manhattan. Pride and Prejudice. And, yes, dinner with friends “in cities where none of us lives.”

Musgraves has taken to keeping her own similar list. ings that are on it, so far, include: Cooking, which Musgraves has gotten into lately, including a “lot of yummy veggies” and perfecting a ribeye steak. Her air fryer. A good television show to binge watch. Meditating or practicing yoga with someone else. e occasional glass of wine with a friend. Estate sales. e estate sale, especially, brings up some of Musgraves’ innate melancholy. Going to one makes her think about “all those souvenirs from trips, all the personal things at the end of our life.” What do those objects mean when “they’re on a table for ve dollars and a stranger deems if it’s a good sale or not.”

But it’s in disentangling those complexities that she nds her inspiration. From “the moments between moments.” From “being awake and tuned in and really appreciating the small things,” she says. “From arguments and tiny realizations.” From “going through changes.”

Basically, from life, Musgraves explains.

“It’s all beautiful and terrifying at the same time,” she says.

justdance!

New York City Ballet’s India Bradley models for Rachel Antonoff PHOTOS:

Balletcore took center stage on the Spring/Summer 2024 runways

WORDS ALISON S. COHN

TikTok fashion trends typically come and go in a ash. But #balletcore has surprising legs, trending on the social media platform since late 2022 and racking up more than 1.4 billion views. And now it’s also one of the biggest Spring/Summer 2024 runway trends. Dance was all over the collections, from New York City Ballet principal dancer Tiler Peck closing Adeam en pointe during New York Fashion Week in September to Chanel’s pink and white aquarelle dreamscape of a haute couture collection in Paris as the season’s coda some four months later. Ballet ats were utterly ubiquitous, seen in a very e Red Shoes shade of crimson at Rachel Antono , Palomo

Spain, and Akris, and updated with crystal-embellishment at Loewe, embossed bows at Marni, and thin gold anklets at Fendi. Satin pointe shoe ribbons featured prominently at Simone Rocha’s own show held in a rehearsal space at the English National Ballet and at her encore performance as the guest designer of Jean Paul Gaultier haute couture.

On TikTok, balletcore videos typically show dancewear worn by non-dancers, but one of the most interesting things about balletcore IRL is just how many labels used professional dancers in their shows.

“She’s a great role model for many,” says Adeam designer Hanako Maeda, of her decision to cast Peck, a dancer

with unparalleled musicality and more than 700k followers across social channels. “It’s nice when ballet and fashion intersect,” re ects Peck, who says she was able to perform pirouettes and chaîné turns clad in clouds of Adeam’s white tulle placed on stretch jersey just as easily as she would in a tutu on stage. “I think that a reason why designers are excited to work with dancers is because they get to see their clothes in a di erent range of movement.”

In London, Patrick McDowell enlisted Rambert Dance Company members to perform excerpts from the campy Frederick Ashton ballet A Tragedy of Fashion in upcycled vintage costumes. In Milan, Tobe Nwigwe’s

New York City Ballet’s Tiler Peck closes Adeam

Dior

Miu Miu

Simone Rocha

Alainpaul

Moschino

Black Angels Collective dances at Moncler x Pharrell Williams

Mugler

Sandy Liang

Chanel Haute Couture

Carolina Herrera

Rambert Dance Company dancers perform at Patrick McDowell

Marie Adam-Leenaerdt

Victoria Beckham

Conner Ives

Black Angels Collective posed in graceful arabesque formations wearing ski goggles and mint green pu ers with custom matching tiered tulle pants at Moncler x Pharrell Williams, while Royal Ballet resident choreographer Wayne McGregor staged a riotously fun tutu-clad section of Moschino’s 40th anniversary show. In Paris, FKA Twigs and four dancers performed hard-hitting synchronized movements in nude matching sets at Valentino and choreographer Sidi Larbi Cherkaoui created a new work for bionic pop artist Viktoria Modesta to dance in a rhinestone-embellished spike prosthetic at Christian Louboutin.

According to Patricia Mears, deputy director of the Museum at FIT and author of Ballerina: Fashion’s Modern Muse, high fashion’s current embrace of balletcore—and ballet dancers themselves—harkens back to two earlier periods of balletomania. “Ballerinas were rock stars,” says Mears. “People would camp out two weeks in advance to see Margot Fonteyn and Rudolf Nureyev—it was like getting tickets to a Taylor Swift concert.”

From the 1930s to the 1950s, couturiers such as Charles James, Elsa Schiaparelli, Pierre Balmain, and Christian Dior created costumes for ballerinas to wear on stage. (Chanel artistic director Virginie Viard’s Spring/ Summer 2024 show notes alluded to Gabrielle Chanel’s costume designs for the 1924 Ballet Russes production of the Bronislava Nijinska ballet Le Train Bleu, an early example of such a fashion x dance collaboration.) ey also designed romantic tutu-inspired gowns featuring boned bodices and voluminous tulle skirts that ballerinas wore to galas and modeled in fashion magazine editorials. en in the 1970s and 1980s, rehearsal leotards from the dancewear brand Danskin and bodysuits by Donna Karan New

York paired with wrap skirts became popular club and street attire as balletomanes tried to to approximate the lithe modern look of Gelsey Kirkland.

Some timeless styles in the Spring/Summer 2024 collections wouldn’t look so out of place in the last century, like Carolina Herrera’s pleated bustier and midi skirt in white nylon tulle, Marie Adam-Leenaerdt’s sleek and minimal bodysuits and matching skirts, or Alainpaul’s pinchfront camisole leotards worn with rehearsal trousers. McDowell, Victoria Beckham, Nensi Dojaka, and Supriya Lele were among the designers who showed leotards sans pants.

ere’s a certain playfulness to the way designers today remix performance codes of the 1950s (corsets, tutus, and owy chi on dance dresses) and rehearsal codes of the 1970s (leotards, leg warmers, wrap cardigans, and warm-up pants), such as Dior’s sheer tulle dresses worn over dance briefs or Mugler’s blazerbodysuit hybrids sprouting wisps of chi on. is season’s iteration of the Miu Miu micromini, skirts so short they might as well be called Miu-tus, were paired somewhat anomalously with polo shirts. Other Spring/ Summer 2024 looks reference ballet even more obliquely, like a Sandy Liang miniskirt worn with ballet pink tights rolled up to the knees, the way an o -duty dancer might, or a Conner Ives white swan/black swan Escherstyle printed skirt donned by TikTokfavorite model of the moment Alex Consani in his lookbook.

“Maybe we’re entering a third era of balletomania,” muses Mears. “Many of these designers seem to be breaking some of the strict ballet vocabulary. It’s like a bricolage of ballet through the eyes of young people who are very active on social media and very image savvy.”

Ballerinas were rock stars

Patricia Mears

PHOTO: VALERIO MEZZANOTTI

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Modernist design shines among the alluring archeological sites of Izmir, Turkey

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The return of a New York

Poreheniat volupta temqui

Amber Valletta, Fall/Winter 1998

Cindy Crawford, Spring/Summer 1992

Liya Kebede Fall/Winter 2002

PREPARE TO FALL IN LOVE AGAIN WITH DONNA KARAN NEW YORK AND THE GOAT CAPSULE WARDROBE, THE SEVEN EASY PIECES

WORDS

ALISON S. COHN

Carolyn Murphy, Fall/Winter 1996

Karlie Kloss, Fall/Winter 2010

Linda Evangelista, Spring/Summer 1991

DDonna Karan New York is back to remind us that long before fashion Substacks gave tips for curating the perfect capsule wardrobe and investing in fewer better things as a more sustainable approach to style, there were the Seven Easy Pieces. Trailblazing designer Donna Karan wrote the book on streamlined yet alluring minimal looks that stand the test of time with her debut Fall/Winter 1985 show where she introduced seven clothing archetypes that went on to practically de ne the New York woman of the nineties and early aughts: the bodysuit, the wrap skirt, the pencil pant, the tailored blazer, the wrap jacket, the trench coat, and the sequined bottom. Reimagined by the studio team at a more democratic price point for the brand’s Spring/Summer 2024 relaunch collection available at Nordstrom, Macy’s, and on donnakaran.com, these core essentials form the basis of a system of dressing that feels as strikingly original today as it did nearly four decades ago.

Our design mission was perfection, not quantity,” Karan recalled in her 2015 memoir, My Journey. “Whatever the piece, it had to be perfect, the only one of that kind you’d need.”

When Karan founded Donna Karan New York at age 36, her brand’s purpose wasn’t explicitly environmental, although its design ethos chimes with our current climate aware sensibilities. She was a designer, a CEO, and a mother who dreamed of a chic and easy day-to-night edit

Donna Karan with models, Spring/ Summer 1986

Amber Valletta, Shalom

Harlow, Linda Evangelista, and Liya Kebede at the Spring/ Summer 2024 campaign shoot

She would try to instill this confdence in us, but once you were wearing her clothes you didn’t need it.

LINDA EVANGELISTA

that merged masculine and feminine attributes and multitasked as e ortlessly as she did. Eleven years prior, Karan had become chief designer of Anne Klein a week after giving birth to her daughter, Gabby, and that experience informed her vision of modular wardrobe building blocks that worked like fashion arithmetic.

e foundation for every Donna Karan New York look was—and still is—a sleek bodysuit inspired by Karan’s love of yoga and dance, either a sensuous white body blouse with a notch collar and cu s that nods to a woman wearing an oversize men’s shirt or slightly utilitarian black matte jersey. Tie on a wrap skirt over the latter, add a wide contoured belt over the waistband, and you have a minimal luxe dress. Try the same styling trick with pull-on

pencil pants, and the total look is a jumpsuit. Add a tailored blazer and the sum is a feminine power suit. Heading to an event straight from the o ce? Sub a sequined maxi skirt or pants plus some oversized gold jewelry to get a glamorously low-key take on evening wear.

e bodysuit can also be worn solo, perhaps with a belt and tights à la the Spring/Summer 1986 runway styling, lest Fashion Tok think Kendall Jenner invented the no pants look. A polished wrap jacket and a classic trench coat round out the o ering. Most pieces are black, in Karan’s words, “the color that does it all.” For thirty years, until Karan stepped down in 2015 to focus on philanthropic initiatives, these seven core silhouettes were endlessly re ned and recombined season after season. Karan added

7

pieceseasy

Wear-forever styles introduced in Donna Karan New York’s Fall/Winter 1985 debut—reimagined for now.

1/ THE BODYSUIT

2/ THE SEQUINED BOTTOM

3/ THE WRAP JACKET

6/ THE TAILORED BLAZER

7/ THE PENCIL PANT

5/ THE WRAP SKIRT

4/ THE TRENCH COAT

more great styles like draped tunics and cold shoulder tops to the rotation over the years, but the Seven Easy Pieces remain the absolute essentials.

“She has always been this sort of ultimate New York power woman juggling everything: the glamor, the chaos, the fast pace of fashion,” says Trey Laird, founder and chief creative o cer of Team Laird and Karan’s longtime head of in-house creative services, who came back to work on the Donna Karan New York Spring/Summer 2024 campaign. “Every major designer in America in the 1980s—Calvin, Ralph, Oscar, Bill Blass—was a man and so I just remember being captivated by Donna and her energy.”

e Donna Karan New York campaigns showcasing strong women that Karan and Laird dreamed up together with legendary photographers throughout the 1990s and early 2000s were nothing short of iconic, from Herb Ritts’ Modern Souls (Spring/Summer 1995), a black-and-white portrait series of friends of the brand including Isabella Rossellini and Diana and Tracee Ellis Ross, to Mikael Jansson’s Urban Warrior (Fall/Winter 2001), a cinematic travelogue shot at a tented camp in the Moroccan desert featuring Amber Valletta and Jeremy Irons.

Among Laird’s favorites is Peter Lindbergh’s e Art of the Body (Fall/Winter 1996) starring Demi Moore in a backless gold devoré velvet gown with her then-husband Bruce Willis. “Demi and Bruce were like the Beyoncé and Jay-Z of the time,” Laird recalls. “We shot their doubles on an airplane tarmac in Idaho. ey both touched down, Peter set up a black seamless in the airplane hanger, we got the shot, and then Demi ew o to the set of G.I. Jane and Bruce went back to whatever action movie he was lming.” It was but one chapter in the dress’s epic journey, which began with Carolyn Murphy walking it down the runway and continues in the permanent collection of the Metropolitan Museum of Art’s Costume Institute.

Photographed by Annie Leibovitz, the relaunch campaign is an intergenerational group portrait bringing together eight of the famous faces who have walked for Donna Karan New York over the years: Valletta, Murphy, Linda Evangelista, Cindy Crawford, Shalom Harlow, Liya Kebede, Karlie Kloss, and Imaan Hammam. It’s titled In Women We Trust, a callback to Lindbergh’s indelible Spring/Summer 1992 campaign of the same name depicting Rosemary McGrotha being sworn in as the rst female president in Karan’s signature suiting that marries menswear tropes like an authoritative shoulder and strong lapel with a sculpted torso hugging the curves of a woman’s body. is was a full 24 years before Karan’s close friend Hillary Clinton’s historic presidential run, although she did design the fabulous cold shoulder gown for Clinton’s rst state dinner as First Lady in 1993.

“It was like putting on your armor,” says Crawford, of wearing Karan’s designs . “It made you feel empowered. You felt badass.” Evangelista fondly recalls pep talks that Karan would give before fashion shows. “She would try to instill this con dence in us, but once you were wearing her clothes you didn’t need it,” she says.

If before Donna Karan New York o ered a timeless system of dressing for customers of a certain tax bracket, today the collection, which is priced between $159 for a jumpsuit with a sculptural belt and $599 for a large leather hobo bag and is available in sizes 2 to 16, o ers the chance for more women to experience the magic. A belted lightweight trench and a tie waist faux wrap skirt feature luxe gold-tone details, nodding to Karan’s love of statement jewelry. A double-breasted blazer with a nipped in waist and a belted wrap jacket with a attering V-neckline hug in all the right places, pairing e ortless with streamlined, straight leg pants for a very 2024 take on return to o ce dressing. And of course, a button-up bodysuit with a crisp stand collar still provides the perfect re ned base layer.

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While white for spring might not be groundbreaking, it sure does look fresh.

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HAIR DAVID

MODELS XIA

YUANCEN, SASHA WODNIY, BAO, HUANG JING, HUANG YUCHEN, SUN YIQIAN, KENNYA, TOMA, DING XINDI

PRODUCER

ASHLEY LEE CASTING EKI

ASSISTANT OF STYLING DAHAI, SHASHA, XIAOFU, QUINTELLA, KAOLA

ASSISTANT OF PRODUCER: SHUANG-MOU DESIGN HE WE

Gucci jacket, vest, trousers, gucci.com.

MY MOON IS IN PRADA

Can astrology and mysticism save ailing fashion sales? Faran Krentcil manifests some answers.

At the start of the Spring 2024 runway shows, a calamity: Mercury was retrograde, and the cosmic e ects of astrology’s most dreaded season were proving their might. Among the casualties were a Paris robbery that swiped 50 Balmain showroom samples, a PETA catwalk crasher at Gucci in Milan, and a New York tra c jam so bad, it kept Marc Jacobs from arriving at the Proenza Schouler show before the lights dimmed. He watched the nale through a window outside.

“ at week, I was wearing a dress by a new designer I was so excited about,” says Chloe King, the fashion market and editorial director at Neiman Marcus. “But as I was getting out of my car before a show, I heard a giant rip. e

Dior Couture 2006

PHOTOS: GETTY

seam split right at my rear end, and I had to tie my blazer around my waist so I wouldn’t ash the street-style photographers. … Now I check to see if Mercury is retrograde during any of the big fashion weeks. en I pack a backup dress in the car, just in case.”

King isn’t the only one using the stars to guide her style, especially during crucial fashion moments. Designers like Joseph Altuzarra, Daniel Roseberry at Schiaparelli, and Kim Jones at Fendi have been astronomically astrological in recent collections, embroidering constellations into their knitwear and eveningwear the way Morgan le Fay stitched spells into King Arthur’s scabbard before he hit the battle eld. “Fashion week is a kind of war, after all,” winked writer Katharine Zarrella after emerging from the Fforme show in New York, where designer Paul Helbers instructed his models to circle the audience in a kind of cashmere-swathed mandala. “And it’s such a precarious business. We need all the mystical protection we can get.”

Fashion’s reliance on magical energy goes back many moons. In 1938, Elsa Schiaparelli created her famous Zodiac Collection, inspired by star signs on the ceiling of Versailles. By the late 1940s, Christian Dior counted a mysterious Parisian astrologer named Madame Delahaye as part of his atelier, consulting her for all major business and personal decisions. ( e current Apple TV+ series e New Look opens with a scene of Dior, played by Ben Mendelsohn, paralyzed with fear after peering at his tarot cards.) In 1946, Dior began his couture atelier after stepping on a metal star charm on the street outside his studio and taking it as a sign from the universe; star charms still famously dangle from Miss Lady Dior handbags today. As “ e Age of Aquarius” blared on pop radio stations in the ’60s, actual Aquarian runes were scrawled across a Harper’s Bazaar “Cult of the Zodiac” photo shoot by Hiro Wakabayashi. Yves Saint Laurent’s printed horoscope dresses for his Rive Gauche line in 1976 and 1982 were so popular, they were eventually reincarnated in Saint Laurent’s 2018 collection. e year 1998 brought Jean Paul Gaultier’s famous zodiac knitwear collection, which transposed Art Nouveau astrology posters onto cardigans and slip dresses.

In 2006, John Galliano’s couture show for

Dior was entirely based on astrology signs, and featured Heidi Klum hauling an embroidered Leo tapestry down the runway along with Jessica Stam in a crab-claw crown (really) with a coral bodice cinching her waist. “ e evolution of astrological art moves parallel with our own progressive growth as humans,” writes Jessica Hundley in her book, e Library of Esoterica. “Each generation nds its own connection to the cosmos within art and imagination, expressing individual experience through astrology’s universal language.” And in fashion, that language becomes a commercial selling point, too.

Take Lingua Franca’s spring zodiac embroidery crewnecks, starting at $520, which sold out in every colorway before designer Rachel Hruska was able to restock. ( ough if you’re craving a moss green Pisces sweater, tough luck—that one’s gone for good.) Fendi’s silk astrology trousers, $1,100, disappeared so fast from Cettire that $69 dupes now crowd the fast-fashion racks. And unlike almost every other contemporary fashion collection, Zimmermann’s Celestial Zodiac collection of 2022 is actually more expensive via resale sites than it was in stores, with the starry lace dress that closed the show commanding over $3,500 on Poshmark and $2,000 via eBay. (It originally retailed for $1,400.)

But just adorning oneself with astrological symbols is not the same as protecting oneself from cosmic throes, says astrologer Ophira Edut of the AstroTwins, who forecasts regularly for ELLE.com. “If there’s an astrological event like Mercury Retrograde, you want to think about what it means,” she told me, when I asked if my fashion choices should be steered by the heavens. “ at period is all about re ection, so it seems like a great opportunity to go back into your closet, pull out some archival looks, or some great drop-waist tailoring that’s an homage to the past.”

Writer and in uencer Chrissy Rutherford, who works regularly with the astrologer Rebecca Gordon, agreed that she wasn’t wearing Loewe’s famous sh-print denim or even shnet stockings from CVS, just because Pisces season is happening during the February runways. “However, I will say that the Uranus in Taurus transit has inspired me to think more deeply

PHOTOS: GETTY

USTRANSIT HAS INSPIRED ME TO THINK

ORE DEEPLYABOUTMYSTYLE,

ChrissyRutherford

Zimmermann

Schiaparelli cape (1938)

Lingua Franca crewneck

Nicole Kidman wearing Sarah Burton at the Met Gala 2016

Meyer

LAPIS IS GREAT FOR REVEALING DEEPERINNERTRUTHS

Jennifer Meyer

,

AND DIAMONDS ARE THEULTIMATEFORLOVEAND CLARITY

Jennifer

Evil Eye charm

Altuzarra Pegasus constellation Fall 2024

Gucci’s Cosmogonie show 2023

about my style, my appearance, and how I’m presenting myself,” she admits. “Taurus is ruled by Venus, which is associated with beauty, romance, and luxury. … Also, Friday is the day of the week associated with Venus. I have an old Céline button-down shirt that has a rose on the chest, so I call it my Venus shirt, and it’s my favorite thing to wear on Fridays.”

Designer Karen Erickson of the jewelry line Erickson Beamon doesn’t choose her clothes according to the stars, but she does curate her boardroom accordingly. “I opened my business when I was really young,” she explains. “I kept noticing that the same people in the same positions made the same mistakes. I started asking people their zodiac signs, and I’d realize di erent people did better work with di erent signs. For instance, a Cancer can’t collect money; they’re too emotional.” In the ‘90s, Erickson

Jennifer Aniston and Meghan Markle, suggests harnessing the power of crystals, metals, and stones for energetic protection during tricky times. “Turquoise is very protective while traveling,” she says. “Lapis is great for revealing deeper inner truths, and diamonds are the ultimate for love and clarity.” Meyer also cites numerology as a way to tap into mystical currents. “I particularly love the number 13,” she says, “To show that anything you believe in can be lucky.”

Taylor Swift would doubtless agree—as would Chrissie Miller. e Warby Parker creative director and co-founder of beloved Naughty Aughties line Sophomore NYC is also the daughter of renowned astrologer Susan Miller. “Growing up, I’d watch my mom advise so many designers about when to do runway shows and release new collections based on their

I started asking people their zodiac signs, and I’d realize different people did better work with different signs. For instance, a Cancer can’t collect money

would make her answering machine message a weekly zodiac forecast. She stopped after 9/11, when her astrological advice included the phrase, “Time is running out; you need to decide if you’re an agent for good or you want to repeat the same mistakes and tragedies.”

“People freaked out, obviously,” says Erickson, “But look, the moon can control tides. If the moon runs the ocean, why wouldn’t it also run our bodies? We’re made of water, even if we’re not a water sign!”

(Erickson is an Aquarius, which is, she is quick to remind me, “actually an air sign.”)

To align her body with celestial energies, Erickson says she uses metals, stones, and color vibrations as part of powerful dressing. “I believe inanimate objects hold a tremendous amount of power. e energy we put into the things around us a ects everything. If you go to court, you’re supposed to wear navy blue.

at’s what my Kabbalistic astrology teacher told me, and I won my case.”

California designer Jennifer Meyer, whose evil eye charms adorn the throats of stars like

charts,” she says. “But when it’s your mom, you don’t always listen. You kind of rebel. I remember one fashion week, I was wearing these huge Prada heels, and my mom said, ‘Chrissy, be careful with your ankles, it’s not a good time for balance in your chart.’ Of course I ignored her, and of course I fell and twisted my ankle. … But I skipped a party to go out to dinner that night, because I wasn’t feeling great, and that’s how I ended up hanging out with my now-husband. So sometimes, when you think you’ve been cursed by the stars, it’s actually the opposite!”

And then there are those who think astrology is a lot like a Jonathan Anderson stint at Louis Vuitton: Fun to discuss, but totally imaginary. “I’ve had a lot of great luck this year and I’ve never looked at a horoscope,” says Lauren Chan, the model who sold her womenswear company Hening and landed a Sports Illustrated swimsuit spread, all in the span of six months. “I get it,” she shrugged at the 3.1 Phillip Lim show during New York Fashion Week. “But as far as I’m concerned, Mercury is in Gatorade.”

PHOTOS: GETTY

Celestial Bodies

Compete with the cosmos in spring’s most sparkling creations.

PHOTOGRAPHY FOUAD TADROS STYLING LAURA JANE BROWN

Moschino top, shorts, earrings, gloves, sandals, moschino.com.

Pierre Mantoux tights, pierremantoux.com.

Sportmax dress, us.sportmax.com.

INEDEN headpiece, ineden.eu.

Missoni dress, missoni. com. INEDEN choker, ineden.eu.

Versace dress, earring, bracelet, versace.com.

Gucci dress, gucci.com.

Giorgio Armani bandeau, skirt, trousers, armani.com. INEDEN necklace, ineden.eu.

MODEL ANASTASIA HAIR IVAN KUZ MAKE UP MABS

Jeans have come long way from their humble workwear origins. Now, in the hands of some of the world’s top designers, denim has taken a decidedly avant-garde turn

PHOTOGRAPHY

JIMMY FONTAINE STYLING KAREN LEVITT AT ART DEPARTMENT

THE FUTURE OF DENIM

On Left: MSGM jacket, shirt, shop-msgm.com. Paumé Los Angeles earrings, paumelosangeles.com.

On Right: Louis Vuitton jacket, earrings, bag, 866. VUITTON. Vex Latex top, vexclothing.com.

On Left: Louis Vuitton jacket, shorts, sneakers, 866. VUITTON. Paumé Los Angeles earrings, paumelosangeles.com. On Right: Ahluwalia jacket, shirt, jeans, ahluwalia.world. Commando top, wearcommando.com. Cruize at Paume Los Angeles necklace, paumelosangeles.com. Paumé Los Angeles earrings, paumelosangeles.com. Jimmy Choo shoes, jimmychoo.com.

Moschino jeans dress, top, moschino.com. Paumé Los Angeles earrings, paumelosangeles.com.

Chris Donovan shoes, chrisdonovanfootwear.com.

FASHION

On left: Gucci jacket, jeans, gucci.com. LaPointe dress, shoplapointe.com. Paumé Los Angeles earrings, belt, paumelosangeles.com.

Chris Donovan shoes, chrisdonovanfootwear.com. On Right: Red September jacket, redseptemberdesign.com. Norma Kamali top, normakamali.com. Fendi jeans, sneakers, fendi.com. Paumé Los Angeles earrings, paumelosangeles.com. Natasha Morgan visor, natashamorgannyc.com.

Shirt, choker, paumelosangeles.com. Brielle top, brielleo cielle.com. AKNVAS skirts, anknvas.com. GCDS pantaboots, gcds.com. Alexander McQueen earrings, alexandermcqueen.com. Isly NYC sunglasses, isly.nyc.

Alexander McQueen jacket, shorts, alexandermcqueen.com. Paumé Los Angeles earrings, paumelosangeles.com.

On Left: LaQuan Smith jacket, jeans, laquansmith.com. Sami Miro Vintage corset, samimirovintage.com. Paumé Los Angeles earrings, paumelosangeles.com. Chris Donovan shoes, chrisdonovanfootwear.com. Perrin Paris clutch, perrinparis.com. On Right: David Koma jacket, skirt, davidkoma.com. Fleur du Mal corset, eurdumal.com. Paumé Los Angeles earrings, paumelosangeles.com. Christian Louboutin shoes, christianlouboutin.com.

Mrs. Keepa top, mrskeepa.com.

Stella McCartney jeans, stellamccartney.com. Paumé Los Angeles earrings, necklace, paumelosangeles.com.

Alexis Bittar bracelets, alexisbittar.com.

Robert Wun jacket, top, jeans, robertwun.com. Paumé Los Angeles earrings, paumelosangeles.com. Christian Louboutin shoes, christianlouboutin.com.

FASHION

Mrs. Keepa dress, mrskeepa.com. Paumé Los Angeles earrings, paumelosangeles.com. Givenchy boots, givenchy.com.

HAIR JENNI IVA

WIMMERSTEDT

MAKE UP THEO

KOGAN AT ART

DEPARTMENT

MANICURE

MICHINA KOIDE AT ART DEPARTMENT

MODELS AMILNA AND YSAUNNY AT SOCIETY

SET DESIGN LANA

BOY AT ART

DEPARTMENT

PRODUCTION

RUBY BIRNS

AT ROWAN

PRODUCTIONS

PHOTO ASSISTANT GREG

AUNE AND TIANNA

GROELLY STYLIST ASSISTANTS

CHARDONNAY

TAYLOR AND COURTNEY

BLACKWELL

STUDIO BROOKLYN

GRAIN

PHOTOS

RETOUCHING

RITA MINISSI

On Left: Norma Kamali jacket, skirt, normakamali.com. Commando top, wearcommando.com.

On Right: Norma Kamali shirt, overalls, normakamali.com. Paumé Los Angeles earrings, paumelosangeles.com.

Alberta Ferretti dress, earrings, sandals, albertaferretti.com.

Take to the dunes in dancing chi ons and the deepest of blacks to let your imagination run as free as wild horses.

PHOTOGRAPHY GREG ADAMSKI STYLING SEHER KHAN

desert STORIES

Moncler coat, jacket, skirt, moncler.com. Paola Grande Gioielli earrings, rings, paolagrandegioielli.com.

Emporio Armani top, shorts, armani.com.

Paola Grande Gioielli necklace, broach, bracelet, paolagrandegioielli.com.

Antonio Marras dress, antoniomarras.com.

Paola Grande Gioielli bracelet, paolagrandegioielli.com.

Etro bodysuit, skirt, shoes, etro.com.

Tod’s jacket, skirt, gloves, tods.com.

Ferragamo top and trousers, ferragamo.com.

Ermanno Scervino dress, ermannoscervino.com.

FASHION

Dsquared2 dress, boots, dsquared2.com.

MODEL MARIA

LUISA DESIDERIO MAKE-UP KALINA KOCEMBA

YOU MAY SAY I’M A DREAMER

At 24, Yara Shahidi is an award-winning actress, style icon and activist. Here, she talks about her career path, her fears of failure and the importance of never sacri cing your dreams. If she made it, she tells Grazia, it’s because so many women before her worked hard – and their tenacity gave her the courage not to give up.

WORDS FEDERICA VOLPE PHOTOGRAPHY YU TSAI STYLING ORETTA CORBELLI MAKEUP KELTA MOORE HAIR SHERRIANN COLE

ALL CLOTHING AND ACCESSORIES THROUGHOUT MAX MARA, US.MAXMARA.COM.

ALL JEWELRY THROUGHOUT CARTIER, CARTIER.COM.

Yara Shahidi turned 24 on February 10. She is a model and leading actress on series such as Black-ish and the spin-o Grown-ish, as well as a producer, style icon and tireless activist for many social causes. ese remarkable achievements led Maria Giulia Prezioso Maramotti to present Shahidi with the Face of the Future Award at the ftieth Women in Film Gala, held in Los Angeles.

e young woman’s commitment to social justice has been evident from the time she decided to enroll at Harvard University in 2018 (she graduated in 2022). She makes herself heard both in her work and in her choice of causes to ght for.

“I think many artists – especially those of us who experience the condition of being women, people of color, immigrants, people who are gender nonconforming – we know that whatever form our art takes, our participation in this eld depends partly on our acceptance of the responsibility to show our true selves. I’ve always worked, and I think my entire career is the result of love, but also being loved,” she tells us.

She started acting at a very young age, then decided to start studying again. “I studied and worked at the same time, and as hard as it was, I was glad to do it and everyone on set was accepting. It’s challenging to study and work. And young people often get discouraged by this exhausting crossroads,” she says. “ ere’s such pressure that it seems impossible to pursue both goals at the same time. I’m grateful to those who helped me gure out how to make both choices work. I want to tell everyone that no dream is too big.”

While discussing your background, at a certain point you said something that caught my attention: “I was having a hard time understanding where exactly my work was taking me.” What did you mean by that?

“I needed school to add something new to my life. Working on the same show for so long creates an all-consuming routine, so that sometimes I stopped thinking about my mission as an artist, about what gets me excited. It felt like I was taking this experience for granted and not being very curious about the future. College helped me discover a potential that I could use in shows that address social issues. I think school made me appreciate my career even more.”

On social issues, you have always made your voice heard. Have you ever been afraid of putting yourself out there?

“If I think of a woman like the actress Jane Fonda, who risked her career to ght for major causes, I think I have had the bene t of generations of women who came before me and for whom the

I THINK SCHOOL MADE ME APPRECIATE MY CAREER EVEN MORE

stakes were high. By the time I came along, there was more of a culture of taking risks. Today, the risks aren’t the same, but people continue to push against boundaries, to take their art and ideas forward, and this creates a sense of community. My rst tattoo was the number 63 for the March on Washington in 1963. It always reminds me of the people who risked their lives for a world that I bene t from today.”

You are thew new Max Mara Face of the Future. What does that mean to you?

“It’s very moving. I love the brand and what it represents. I entered the entertainment industry at a time when it was anything but perfect, but I still was lucky enough to work on sets where I saw women directors, screenwriters and executives. at would not have been possible without an association such as Women in Film that ghts for an equitable entertainment industry and helped my dream of becoming an artist come true.”

People have called you an activist, but it’s a word you don’t necessarily apply to yourself. Why not?

“I prefer ‘advocate.’ I like it, I think it perfectly captures what I do. My goal is to be in sync with the movements happening in our communities and to amplify those voices. I am not an organizer, I don’t create situations or protests, but I truly hope to keep having an impact, to make myself useful to important causes.”

Translated from the Italian by Cynthia Martens

From left: Grace Ling, Tanner Fletcher, Advisry, Dauphinette

THE KIDS ARE ALL RIGHT

WITH THEIR CLIMATEORIENTATION AND UNBRIDLED SENSE OF POSSIBILITY, NEW YORK’S FRESHLY MINTED CLASS OF GEN Z DESIGNERS PROVE THE FUTURE OF FASHION LOOKS BRIGHT.

WORDS ALISON S. COHN

ADVISRY

KEITH HERRON, 23

Keith Herron may be barely out of his teens, but the Sacramento-born, New York-based designer’s Over-the-Rainbow-themed runway show attended by rappers Dave East and Smino during New York Fashion Week in September marked Advisry’s 10th year in business. Herron started the streetwearmeets-tailoring label as a 13-year-old hypebeast obsessed with 1990s BBC Ice Cream, Bape, and Supreme when his mom declined his request for pocket money to purchase vintage grails he was coveting. “She told me, ‘Rather than investing in someone else’s brand, you should invest in your own,’” Herron recalls. “Five minutes later I went on my laptop and started designing.” Herron moved to New York to study lm at Fordham University but dropped out a year and half in to focus on his label full time. He only produces one collection per year and makes everything out of deadstock, a climate-centered approach he credits to taking AP Environmental Science in high school. “I learned a lot from that class about the e ects that we’ve had on the environment and how to prevent certain measures from ruining this place,” he says. Working with leftover fabric presents a unique set of challenges, but with constraints comes creativity. “Often it’s, ‘Dang, we’re out of pink tweed, what do we do?’” says Herron, pointing to a dickie that was originally supposed to be a dress. “We cut it completely in half and paired it with a collared shirt and pleated khaki shorts. It made for this kind of masculine-meets-feminine look that was just really cute to me.”

PHOTOS: LAUNCHMETRICS, SELWYN TUNGOL, FUJIO EMURA, VICTORIA HUERTA, AMIR HOSSAIN

TANNER FLETCHER

TANNER RICHIE AND FLETCHER KASELL, 26

Bow-festooned label Tanner Fletcher—now stocked at Nordstrom, Ssense, and Shopbop— began as a pandemic-era side hustle when Tanner Richie and Fletcher Kasell’s post-grad employment plans fell through. The couple met as freshman roommates at the University of Minnesota before transferring to LIM College, where Richie studied interior design and Kasell, fashion merchandising. They channeled their love of home decor and thrifting into making their now-signature sheet shirts out of a trove of crisp cotton poplin Dior bedding from the 1960s, still in its original packaging. “It’s about sharing that thrifting mindset that you can always treasures that are already out there,” says Kassel of the label’s eco-minded ethos. Sometimes the “out there” is their own slightly cluttered East Williamsburg combined home and studio space. For their beauty pageant-inspired Spring/ Summer 2024 runway debut, Richie dreamed up a statement-making ivory gown for former Miss Universe R’Bonney Nola, who closed the show, that was fashioned entirely from ru excess lace trims and silk charmeuse fabric left over from production runs of blouses, button covers, and blazer linings. The same technique was also applied to a suit, a crop top, and a tunic. “Future heirlooms are what we like to call these pieces,” says Richie.

GRACE LING

GRACE LING, 27

Leave it to the architect of a certain white stretch-jersey bumster maxi skirt suspended from the neck and waist by slim cords that Jennifer Lopez wore to perform on The Tonight Show Starring Jimmy Fallon in 2022 to make zero-waste design somehow seem, well, sexy. Singapore-born, New York-based designer Grace Ling uses CAD, CGI, and 3D-printing technology to calculate exactly how much fabric and metal is needed to create her signature skin-baring looks. “I was drawn to the idea of being able to create things without having to waste all of this time and materials,” says Ling, likening her design process to architectural modeling. For her Spring/Summer 2024 runway debut, Ling recut the J.Lo look—which also features a cropped leather blazer—in black to illustrate that good design never goes out of style. The Parsons- and Central Saint Martins-trained designer also developed a 3D dégradé novelty knit that that fades from opaque to sheer to create the illusion of censored bars and proved she’s a dab hand at tailoring with a pair of perfectly cut high-waisted trousers and an expertly engineered bralette held in place by a slim, aero aluminum bar. “I like to say sustainability is a design process, not necessarily an end product,” says Ling.

SUSTAINABILITY IS A DESIGN PROCESS, NOT NECESSARILY AN END PRODUCT Grace Ling

DAUPHINETTE

OLIVIA CHENG, 25

“The reason that there’s always Kermit green cashmere at Dauphinette, regardless of the season, is because I bought out this big lot of deadstock from a local mill a couple of years ago and I’m still not done with it,” says designer Olivia Cheng, explaining the presence of of heavier materials in her Spring/Summer 2024 collection. “Waste not, want not” and “one man’s trash is another man’s treasure” are old-timey credos that this Gen Z designer can get behind. “I just have buckets of random things lying around my studio,” she says. Raised in suburban Chicago, Cheng launched what she calls the “Happiest Brand on Earth” in 2018 with $2,000 and a capsule of reworked vintage coats while she was still a business major at New York University. In a few short years she’s seen her resin-preserved ower chainmail exhibited at the Metropolitan Museum of Art’s Costume Institute, opened a store on Bleecker Street, and done a J.Crew collaboration. Upcycling almost doesn’t seem an adequate term to describe the wildly inventive bricolage looks in her new collection that repurpose items that might otherwise be discarded, like a cashmere coat dripping with vintage cameos, broken jewelry, brooches, seashells, porcupine quills, and a crocheted potholder or a shift dress made from 200 matchbooks quilted into clear PVC. “I don’t think people realize how many strange and wonderful items you can nd on eBay,” says Cheng.

PHOTOS: SELWYN TUNGOL, LAUNCHMETRICS, YANRAN XIONG

PERSONAL HAVEN

A step inside Margherita Missoni’s stylish Italian home

PRODUCTION ALICE IDA

PHOTOGRAPHY VALENTINA SOMMARIVA WORDS CASEY BRENNAN

The living room features a oneof-a-kind Missoni Home carpet paired with vintage furniture including a sofa in Rubelli velvet.

MARGHERITA MISSONI’S HOME, designed by architect Aldo Cibic, re ects her distinctive style, characterized by intuition and emotional connections. Located in Varese, about an hour outside of Milan, the home is a pure labor of love for Missoni: as she curated the space herself, imbuing it with personal history and cherished pieces collected over the years. “I had no interior designer working on it,” Missoni tells GRAZIA USA. “It was just me.” Artisans like Pictalab and furniture maker Mauro Mori contributed to the

home’s unique ambiance, alongside renowned brands such as Svenskt Tenn for wallpapers and fabrics. “I bought several pieces at galleria Luisa Delle Piane and galleria Rossana Orlandi,” says Missoni.

e eclectic yet cohesive style of Missoni’s home is a testament to her diverse in uences and global experiences. “My home’s style is very intuitive and emotionally based,” she shares. “Most objects have a history with me and I have been moving them from house to house, around the world through the years.”

e plexiglass shelves crafted by Andrea Branzi stand out as beloved pieces, adding both functionality and aesthetic appeal to the home’s design narrative. Among her favorite spaces is the bathroom, reminiscent of her grandmother’s Milanese apartment by Piero Portaluppi, adorned with striking yellow and black marble. In every corner, Margherita Missoni’s home stands as a testament to her unique vision and deeply personal journey, encapsulating a lifetime of cherished memories and global in uences.

Missoni’s home o ers stunning views of Lake Varese.

A Roberto Monsani cabinet frames the wall while a Paul Evans rug adds a touch of air.

The dining room was painted by PictaLab Milano and is out tted with chairs designed by Josef Frank for Svensk Tenn.

FEATURE

The o ce features a Venini chandelier along with art by Caroline Walker.

Bold colors and designs are juxtaposed with subdued hues throughout the home; a Gilles Bensimon portrait (right) hangs in the living room and the master bedroom (bottom, right) is minimalist while the closet (bottom, left) features playful accents.

MACCAPANI!

FURTHER CREATING BEAUTY IN HER WORLD,

Margherita Missoni has launched a new collection — Maccapani, a nod to her middle name, her father’s surname — and it’s everything we hoped it would be. “ e idea behind Maccapani is to create a wardrobe that goes beyond seasons and trends, as well as anachronistic categories like evening wear or sportswear,” Missoni tells GRAZIA USA of the line.”

It’s a tight collection of dynamic, nonchalant essentials that are easy to accessorize, personalize and transform. You can wear Maccapani from the morning at work to the evening at the party.”

Missoni was able to hone her skills during her time as creative director for M Missoni, a younger and more playful o shoot of the Missoni brand founded by her grandparents in 1953.

While toiling at that line, Missoni learned how to tailor her style to t within a certain box; with Maccapani, her true self is shining through.

“Prior to this, I’ve only worked adapting my taste to other brands, including Missoni, but not exclusively,” she says.” I always adapted my vision to an existing brand, which I love, but it’s very di erent from putting out my own vision, which is the case of Maccapani.”

Maccapani, she continues “represents a side of me not many know about, a side that has always been slightly hidden. While everyone always had a colorful and owery idea of me – of mind, spirit, and aesthetics, on the other hand, Maccapani is all about being authentic.”

From sleek tops to owing trousers, every garment is designed to celebrate the diversity of feminine form,

while incorporating elements of sustainability and environmental consciousness.

is mindful approach extends to the versatility of the collection, o ering dynamic essentials that can be e ortlessly accessorized and personalized to suit individual tastes. Maccapani is not just clothing; it’s a statement of identity, a testament to the ever-evolving nature of style and self-expression.

“Initially it was important to give a sense of disruption; a message of discontinuity with what I was doing before and what everyone expected from me,” says Missoni. “With Maccapani, I want women to feel comfortable and con dent dressing at any age; women should be able to showcase their bodies because they are happy to and not out of fear of a reaction or to create a response.”

Margherita Missoni Maccapani

PHOTOS: THE DEAN COLLECTION, COURTESY OF SWIZZ BEATZ AND ALICIA KEYS. © TOYIN OJIH ODUTOLA.

JACK SHAINMAN GALLERY, NEW YORK. (PHOTO: JOSHUA WHITE / JWPICTURES.COM)

© JAMEL SHABAZZ. (PHOTO: GLENN STEIGELMAN)

Giant STRIDES

Swizz Beatz and Alicia Keys’ landmark collection of contemporary art by African and African diasporic artists takes over the Brooklyn Museum’s Great Hall this spring

WORDS ALISON S. COHN

Rap and R&B power couple Kasseem Dean, known professionally as Swizz Beatz, and Alicia Keys are noted collectors of sound systems, BMX bikes, Grammys, and Recording Industry Association of America certi cations. e superproducer, who has made hits for Beyoncé, Jay-Z, DMX, and Drake, and the chart-topping singersongwriter own speaker columns that once belonged to Kool Herc, vintage Dynos in every color of the rainbow, 16 gilded gramophones, and countless framed platinum records between them. But over the past 25 years, the Bronx- and Manhattan-born musicians have also quietly assembled the Dean Collection, one of the world’s most important collections of contemporary art by African and African diasporic artists. For the rst time ever, a selection of over 100 of these works by 38 artists including Jean-Michel Basquiat, Kehinde Wiley, Amy Sherald, and Nick Cave—plus some of the Deans’ other

Right: Jamel Shabazz, A Mother’s Love, Brooklyn, NYC, 1980.

Opposite page: Toyin Ojih Odutola, Paris Apartment, 2016–17.

collectibles—is on view to the public at the Brooklyn Museum through July 7 in an exhibition titled “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys.”

While private collectors often loan a piece or two to museum surveys, it’s quite unusual to see a thematic exhibition on the scale of “Giants” featuring works borrowed from a single family. ere’s a certain voyeuristic frisson upon entering the show in the museum’s Great Hall where you’ll nd a number of pictures culled from the walls of Razor House, the Deans’ art- lled modernist home high above the cli s of La Jolla, California, that may have served as inspiration for Tony Stark’s residence in the Iron Man lms. “ ey want to have beautiful things in their home that represent their culture, but they very much see themselves as stewards of the work and recognize that it’s so important to have objects that are part of the Dean Collection out in the world,” says Kimberli Gant, curator of modern and contemporary art at the Brooklyn Museum. Or as Keys puts it in the exhibition intro, “One of the most important things that we’ll talk about is ‘by the artists, for the artists, with the people.’”

e newly blank walls at Razor House include two in the trophy property’s piano room behind and opposite the Steinway Baby Grand that Keys received as a gift from her record label when she was rst signed as a teenager. ese were previously occupied by Paris Apartment, a vibrant charcoal portrait in which Toyin Ojih Odutola captures the luminosity of Black skin through meticulously layered marks, and a majestic gurative collage of African artifacts, sheet music, book pages, and plants by Radcli e Bailey titled Conductor e

scale of many of the works on loan is massive. ere’s a 7’9” tall Nick Cave Soundsuit fashioned from buttons and bugle beads and Derrick Adams’ Floater 74, an ebullient 25-foot long polyptych featuring Black swimmers on amingo oats that ordinarily lls an entire wall in Razor House’s formal dining room and family room across from panoramic windows looking out on an in nity pool and the Paci c.

For Gant, the window into celebrity culture that Giants o ers is an opportunity to entice new visitors to the Brooklyn Museum. “Maybe they’re just here because they’re very curious about what the Deans have on their walls and they wouldn’t know Barkley L. Hendricks from Tschabalala Self, or maybe they kind

of know of Amy Sherald because they heard that she did Madame Obama’s portrait but aren’t aware that she does these other paintings celebrating dirt bike culture,” Gant says. Once they’re through the door, it’s a chance to o er a kind of Black Art History 101 tracing a lineage of visionary artists from the mid-twentieth century to the present.

e exhibition title speaks to the colossal size of the Dean Collection itself—it now comprises more than 1,000 pieces—as well as the Deans’ philosophy of collecting. “‘Giants’ is so important because the artists are giants and the works that [visitors are] going to see are giant oversized works on purpose,” Swizz Beatz says. “When they come in here they say,

Nick Cave, Soundsuit, 2016

PHOTOS: THE DEAN COLLECTION, COURTESY OF SWIZZ BEATZ AND ALICIA KEYS. © NICK CAVE. COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK. (PHOTO: JOSHUA WHITE / JWPICTURES.COM)

© LYNETTE YIADOM-BOAKYE. COURTESY OF THE ARTIST, JACK SHAINMAN GALLERY, NEW YORK AND CORVI-MORA, LONDON. (PHOTO: GLENN STEIGELMAN) © AMY SHERALD. COURTESY OF AMY SHERALD AND HAUSER & WIRTH. (PHOTO: JOSEPH HYDE)

ONE OF THE MOST IMPORTANT THINGS THAT WE’LL TALK ABOUT IS ‘BY THE ARTISTS, FOR THE ARTISTS, WITH THE PEOPLE.’

Alicia Keys

Above: Lynette Yiadom-Boakye, Stone Arabesque, 2018.

Below: Amy Sherald, Deliverance, 2022.

PHOTO: THE DEAN COLLECTION, COURTESY OF SWIZZ BEATZ AND ALICIA KEYS. © KEHINDE WILEY. (PHOTO: GLENN STEIGELMAN)

THE TITLE ‘GIANTS’ IS SO IMPORTANT BECAUSE THE ARTISTS ARE GIANTS AND THE WORKS THAT [VISITORS ARE] GOING TO SEE ARE GIANT OVERSIZED WORKS.

Swizz Beatz

Kehinde Wiley, Femme piquée par un serpent, 2008.

Left: Derrick Adams, Woman in Grayscale (Alicia) [left]and Man in Grayscale (Swizz) [right], 2017.

Below: Gordon Parks, Untitled, Miami, Florida, 1970,

‘Wow, somebody that looked like me painted something so amazing and at this magnitude.” To underscore that point, the word “giants” is repeated in each of the three section names.

e rst, On the Shoulders of Giants, honors path-breaking artists like Basquiat, Malick Sidibé, and Lorna Simpson whose work celebrates Black self-presentation and pride. Works on view include 12 prints by street-style pioneer Jamel Shabazz, who photographed stylish denizens of pre-gentri ed Brooklyn while working a day job as a corrections o cer in the 1980s, and 18 from the estate of Life magazine’s rst Black sta photographer, Gordon Parks, including portraits of Civil Rights leaders and boxing champion Muhammad Ali.

Next, Giant Conversations looks at the impact of canon-expanding contemporary art that calls out systemic racism and celebrates Blackness. is section juxtaposes charged works that address police brutality and the prison-industrial complex with pieces that celebrate Black joy and leisure. Here, Cave’s Soundsuit—a sort of fantastical protective shield that masks a person’s racial identity—is placed directly in front of Adams’ monumental Floater 74 claiming space for community, connection, and everyday pleasure. Nearby there’s another multi-panel work, Lynette Yiadom-Boakye’s Stone Arabesque, a gorgeous character study of a Black ballerina.

e last room, Giant Presence, features even bigger works, including Arthur Jafa’s 8-foot-tall tire sculpture Big Wheel and Wiley’s 25-foot-long canvas Femme piquée par un serpent recontextualizing a 19th-century marble sculpture by Auguste Clésinger of a violently contorted nude among a bed of owers as a young Black man.

e exhibition opens with an introduction to Dean and Keys’ creative lives, and features new

portraits of the couple by Wiley as well as an Adams diptych, Man and Woman in Greyscale, that the museum commissioned in 2017 when the couple was honored at the annual Brooklyn Artists Ball fundraiser. e exhibition design is structured to give visitors the experience of living with these works as the Deans do. Bang & Olufsen speakers pipe a chill Marvin Gaye playlist throughout the show, there are rich jewel tone accent walls, and in place of typical wood museum benches, cozy seating areas feature plush sofas and armchairs in neutral tones from CB2’s Black in Design Collective. “I want to remind our visitors that you don’t have to only see great works of art in a museum and gallery,” says Gant. “You can buy work that you love and have it in your home and be with it every day and enjoy it and share it with friends and family.” Even if it’s just a print, poster, or postcard from the museum gift shop.

“I WANT TO REMIND OUR VISITORS THAT YOU DON’T HAVE TO ONLY SEE GREAT WORKS OF ART IN A MUSEUM OR GALLERY.”

Kimberli Gant

Radcli e Bailey, Conductor, 2016

THERE’S A PLACE

In the bustling culinary landscape of New York City, a gastronomic revolution unfolds with the arrival of ve musttry dining destinations: From Roscioli’s artisanal Roman delights to Noksu’s fusion creations (and o -the-beatenpath location), Torrisi’s timeless yet bold Italian specialties, Sartiano’s subterranean glamour and Cafe Carmellini’s cozy charm, these are the spots to try now in NYC.

EDITED BY CASEY BRENNAN

IF YOU’RE CRAVING MOM’S

SUNDAY SAUCE WITH A SCENE…

SARTIANO’S . Come for the food, stay for the celeb sightings. Located in the lower level of The Mercer hotel — the former Mercer Kitchen space — Sartiano’s has become a hotspot since opening last May, thanks to Tuscan dishes like the incredible 12-layer white Lasagna with black tru e and a perfectly tender and juicy Chicken Marsala created by James Beard Award-winning chef Alfred Portale and a crowd curated by Scott Sartiano, the mastermind behind member club Zero Bond. 99 Prince Street; sartianos.com

IF YOU WANT AN OLD SCHOOL NYC EXPERIENCE...

CAFÉ CARMELLINI

Located in a former Renaissance-style mansion, Café Carmellini harkens back to a time of decadent glamour. After opening downtown favorites including Locanda Verde, Lafayette, The Dutch and Carne Mare, among others, Chef Andrew Carmellini goes back to his ne-dining roots with a menu featuring Italian and French-in uenced dishes along with an 1,800-bottle wine list served in a Gilded Age style dining room that channels Old New York. 250 Fifth Avenue; cafecarmellini.com

IF YOU WANT AN “ONLY IN NYC” CULINARY ADVENTURE…

and

ROSCIOLI NYC.

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TORRISI BAR & RESTAURANT

new addition to the Soho dining scene. The original location in Rome has been drawing dedicated customers for over 50 years but this downtown outpost is already receiving accolades for dishes including must-try meatballs, pasta with cacao e Pepe, Carbonara and al Amatriciana and a selection of Burrata dishes. 43 MacDougal Street, New York, NY; rosciolinyc.com IF YOU MANAGE TO

When the original Torrisi debuted as a Nolita sandwich shop in 2009, it was the beginning of what would become hospitality behemoth Major Food Group (Carbone, ZZ’s). Now, Torrisi Bar & Restaurant is back, at the iconic Puck Building and just steps from the OG location, but as a refreshed concept with a revamped eclectic Italian menu. While reservations are tough to come by, guests who make it inside the buzzy dining room are treated to dishes like the Linguine in a Pink Manhattan Clam Sauce, Duck a la Mulberry and — a nod to the original — Sliced Boars Head on Rye. 275 Mulberry Street; torrisinyc.com

N Ō KSU. A Korean ne dining gem in the Herald Square subway station Nōksu is the epitome of New York City ingenuity The brainchild of chef Dae Kim, guests descend the stairway to the restaurant — a former barbershop and newsstand —

are treated to a sublime tasting menu featuring BBQ Squab, Venison with chanterelles and foie gras and Chef Kim’s legendary Mackerel, aged for two days in vinegar and poached in vinegar oil. 49 West 32nd Street; noksunyc.com

It

get

than this

PRESTO! A

For All The Cool Cats

First introduced for as part of the Louis Vuitton Cruise 2024 collection, this seasonal edition of the Nano Alma bag has got us purring with desire. Created in soft lambskin with a quilted ‘Malletage’ pattern, highlighted by subtle shading, it evokes the crisscross lining of a Louis Vuitton trunk. Artistic Director, Nicolas Ghesquière, reimagined this limited edition, colorful interpretation in ‘Lagoon Blue’, inspired by the astonishing interiors of Borromeo palace, in Isola Bella, where the collection was rst shown. A miniature replica of the iconic Alma bag, this piece o ers versatility thanks to its handles, chain, and removable, adjustable leather strap. Be sure to score one quickly before they scurry away for good.

Louis Vuitton Nano Alma Handbag, $3,350, 866.VUITTON

PHOTOGRAPHY AVANT RAI STYLING ANNA CASTAN