WINTER 2024
The Winter 2024 Arts Agenda.
THERE'S A PLACE IF ...
Warm & welcoming: cozy winter dining destinations. 30
PRETTY SICK
Fashion’s new design fetish? Medical-grade items.
34 A CENTURY OF CHANEL MAKEUP
A brilliant new book taps into the symbolism behind the barrier-breaking designer’s ode to beauty.
40 THE GREATS
Now is not a time to play small. Bold moves for lips and scent, meant to make an entrance.
46 HOT LIST
This season’s top 10 most wanted.
56
SWEET DEVOTION
Indulge in candy-colored precious jewels because there’s always room for dessert!
62 NEW YORK DOLL
The multi-talented actress Natasha Lyonne couldn’t nd her place in Hollywood, so she created her own. 80 I JUST WANT THE BRIGHTNESS AND THE LIGHT
Seasonal musings from the mind of Joan Juliet Buck. 84 PUFF PIECE
Amp up your attire with supersized silhouettes and bring the drama to surrealist new heights.
98 PERFECT ILLUSION
Get swept up in the dream of Louis Vuitton’s Cruise 2025 collection.
108 SOFT SERVE
As Loro Piana turns 100, a new book explores how the Italian powerhouse conquered the world with super plush natural bers.
116 IT'S A WRAP
Bow down for some of the hottest looks in town
130 LIVE BEAUTIFUL
Dior Maison o ers an object lesson in how to make a house a home.
140 THE QUEEN OF ADRIARIC
Join the captivating Camila Coelho as she pairs the elegance of Max Mara’s Resort 2025 collection with the spellbinding beauty of Venice.
150 DEAD AGAIN
What happens when your favorite fashion brand shuts down?
154
OVER THE RAINBOW
Knitwear designer Henry Zankov is coloring outside the lines.
158 PATTERN PLAY
Throw the old rule book out the window and pair plaids with animal print for a fresh, spin on the classics.
186 SKY HIGH
Big Sky, Montana, receives an in ux of luxe, with agship ve-star hotels and private members clubs.
192 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.
198 A PRESTO!
Will the last one out get the light... And the bag!?
Loewe dress and shorts, Giuseppe Tella hat, Marc Jacobs shoes, Cartier jewelry.
From Left: Miu Miu sweater, shirt, miumiu.com. Emporio Armani jacket, skirt, armani.com. Lonchamp jacket, belt, longchamp.com. Ralph Lauren vest, pants, ralphlauren. com. Louis Vuitton coat, 866.VUITTON.
SOMEDAY AT CHRISTMAS MEN WOULD NOT HAVE FAILED HATE WILL BE GONE, AND LOVE WILL PREVAIL SOMEDAY IN A WORLD THAT WE CAN ALL START WITH HOPE IN EVERY HEART
As we all well know, “the best laid plans of mice and men often go awry.”
I think it started with the Yanks losing the World Series. Then, there was that vintage Galliano peacoat—the one I’d been tracking forever—lost to a more con dent shopper’s cart. But the real kicker? That was watching in slack-jawed horror as our country decided to elect a convicted felon. That was the one that really hurt. However, the show must go on, so soldier on we all shall. There is plenty to get excited about in this winter, particularly if you’re choosing to remain a person of culture, connection and taste.
On page 20 writer Cynthia Martens les her Global Arts Agenda for winter 2024/25. Contrary to what we might be feeling, across the globe the cognoscenti are collectively exploring themes of unity and understanding. Martens highlights exhibits in Tokyo and Shanghai, as well as installations in Florence and Berlin, where artists seek answers to our future by examining our past. Filmmakers Paolo Sorrentino and Francis Ford Coppola drop sweeping new epics, giving us all a reason to return to the cinema. And the ultimate ‘90s supernova band, Oasis, takes to the stage to reunite for a tour celebrating 30 years of “Wonderwall.” What a time to be alive!
Wonder is also in the air, if you make like Melinda Sheckells suggests and book a trip to ‘the new Aspen’ (pg 186). Big Sky, Montana, is your next bucket-list travel destination, designed for winter-lovers who also seek the personalized, 5-star creature comforts of luxe resorts. (Our country’s very rst One&Only resort, anyone? Sign me up!!) With Montana’s majestic mountains as your backdrop, Big Sky is the perfect place to recharge one’s batteries and celebrate the undeniable beauty of our vast nation.
And while on the topic of undeniable beauty, let’s talk for a moment about our cover star, the multi-hyphenate herself, Natasha Lyonne (pg 62). Is this the year that Lyonne gets gold? Her performance in Azazel Jacobs’ His Three Daughters is heartbreakingly real and utterly sublime. Like in all of Lyonne’s work, there is a vulnerability just below her tough exterior, which makes it impossible to look away when she is on screen. Lyonne sits down with her friend novelist Chris Bollen to talk about the process of becoming the artist she is—one who has produced, directed, written and starred in two of the most-watched streaming shows of the past years. A working actor since playing Opal on Pee-Wee’s Playhouse at seven years old, the “movie biz” is Lyonne’s territory. From indie teen-queen to now, she can do it all, so in typical NYC girl fashion, she’s surprised if you’re surprised about just how good she really is.
So, as this new year is upon us, it’s time to set new intentions and lay new plans. Like all New Year’s resolutions, some may work—most may not—but nothing should ever stop us from trying. We can nd inspiration in the fearless artists and creators of this world, whose work will keep us connected, even though uncertain times. Great art is born from shitty times, and now more than ever we need to speak out, be seen, and support creativity in all its forms. There is always hope for brighter, better days ahead. There must be.
JOSEPH ERRICO EDITOR &
CHIEF CREATIVE OFFICER
New York City native PATTI WILSON is a fashion stylist & consultant best known for her instinctive, provocative, and visionary style. She is one of the world’s most celebrated and respected stylists and a recipient of CFDA’s Fashion Media Award in honor of Eugenia Sheppard for decades of outstanding work with fashion publications.
CHRISTOPHER BOLLEN is a writer who lives in New York City. He contributes to several publications and he’s written six novels. His latest, Havoc , a thriller set in an old hotel on the Nile, is out by Harper in December 2024.
SHAZAM is a New York native whose work e ortlessly blurs the lines between art, fashion, and self-expression. As an artist, photographer, and model, Richie’s diverse talents shine through in everything they create, from captivating images that challenge the norms of beauty and identity to boundarypushing fashion moments.
WILLIAMS and SARA HIRAKAWA make up the photography duo, Williams + Hirakawa. They have spent the last 20 years shooting together in fashion and photographing the most celebrated personalities in Hollywood, music and sports. Their images are a true collaboration of both of their e orts. Mark and Sara currently reside in Los Angeles with their son, Eli, and dog, Zero
RICHIE
Louis Vuitton coat, 866.VUITTON.
JOSEPH ERRICO EDITOR & CHIEF CREATIVE OFFICER
GIACOMO PASQUALINI CREATIVE DIRECTOR
GWEN FLAMBERG BEAUTY DIRECTOR
CONTRIBUTORS
CHRISTOPHER BOLLEN COVER EDITOR
CASEY BRENNAN FEATURES EDITOR
JOAN JULIET BUCK CULTURAL CRITIC
ALISON S. COHN
STYLE FEATURES EDITOR
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ALYSSA HAAK COPY EDITOR
CYNTHIA MARTENS EDITOR AT LARGE
AMANDA PETERS EDITORIAL CONSULTANT
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HISTORY
in the MAKING
Understanding where we came from – collectively, and as individuals – is a perennial source of inspiration in the arts. This winter, allow your mind to travel in time.
LOVELY
ONE: A MEMOIR
By Ketanji Brown
WITH DONALD TRUMP’S REELECTION, the divisive U.S. political scene is poised to deliver ever more legal discord.
Stare decisis, the principle that interpreting past decisions, or precedent, should guide the resolution of new legal questions, is the core doctrine of the common law system.
Adherence to precedent provides stability; yet society changes, technology evolves, and sometimes the law is just wrong, created by fallible human beings who are creatures of their time. Progress requires reckoning with the past without allowing it to dictate the future.
When the Supreme Court reversed Roe v. Wade on June 24, 2022, Ketanji Brown Jackson hadn’t been sworn in yet. Her ceremony took place just six days later. What does Justice Jackson make of the decision, in which the Court’s majority spurned stare decisis and ruled that women do not have the constitutional right to terminate a pregnancy? And in her role on the
Court, how does Justice Jackson balance respect for the past with duty to the future?
e newly published Lovely One: A Memoir by Ketanji Brown Jackson is an opportunity to meet America’s rst Black female Supreme Court justice at a highly charged moment in politics, a welcome chance to see how one of the nation’s most in uential legal scholars – a former public defender who once dabbled in musical theater – thinks. In her memoir, she mentions nding inspiration in the Lin-Manuel Miranda lyrics from Hamilton, “But remember from here on in / History has its eyes on you,” and observes that her parents, who attended her swearing-in ceremony, came of age in the segregated South.
Diverse personal narratives allow us to make sense of shared history and our own. is winter, we’ve assembled a new list of artsy suggestions that will get your creative juices owing. e sound of the rolling tide, sometimes mu ed and sometimes
WORDS CYNTHIA MARTENS
Jackson
Published by Random House
A HISTORY OF THE WORLD IN TWELVE SHIPWRECKS
By David Gibbins
by St. Martin’s Press
“Unlike many archaeological sites, a wreck represents a single event in which most of the objects were in use at that time and can often be closely dated.”
DAVID GIBBINS
LIZZIE FITCH | RYAN TRECARTIN: IT WAIVES BACK Prada Aoyama Tokyo
5-2-6 Minami Aoyama, Minato-ku, Tokyo, Japan prada.com Through January 13, 2025
Published
Prada Rong Zhai
No.186, North Shaan Xi road, Jing’an District, Shanghai, China rongzhai.fondazioneprada.org
Through January 12, 2025
sharp, is ever-present in Parthenope, the latest lm by director Paolo Sorrentino. Parthenope, a mythological siren who, the story goes, drowned herself when she failed to seduce Odysseus, is also the original moniker for the city of Naples, where Sorrentino grew up. How much choice do we have in life, and to what extent is the die already cast, from the moment we are born into a name, a family, a society?
ere is always a bit of melancholy in Sorrentino lms; the director, known for his rich visuals, likes to explore splendor and decay, the passage of time and how a person’s sense of self evolves, all themes at the heart of e Great Beauty, Youth and the semi-autobiographical e Hand of God. Here, the director takes us on a ride through the turquoise waters of the Gulf of Naples, in which a young woman, played by Celeste
Dalla Porta, grapples with the power of her beauty and pursues a career in anthropology. ere are sweaty dance parties, cigarettes and sequins, but also a funeral procession that runs into a sanitation truck, a reference to the cholera outbreak of 1973. ere’s a lascivious cardinal painting his hair black, an aging drama coach who won’t show her face but longs to be kissed, a troubled young man who takes his own life. Everyone is waiting for a miracle, for the relic containing the blood of San Gennaro to liquify. Parthenope may not always make the best choices, but she asserts herself, turning down an a air with a wealthy playboy and choosing to have an abortion. In contrast, she sees a young man and woman from rival clans of organized crime forced to have sex in front of their families to cement a new alliance.
e lm was released in Italy last October after premiering at the Cannes lm festival, and reviews have been mixed (“troppo bello but mostly just troppo,” said e Hollywood Reporter) – all the more reason to see it for yourself.
Another lm dividing cinephiles is Francis Ford Coppola’s Megalopolis: A Fable, a sci- epic starring Adam Driver – whose character, Cesar Catilina, can pause time on command –and Giancarlo Esposito. Set in a city called New Rome that looks a lot like New York, the movie explores the tension between art, beauty and idealism, on the one hand, and business-as-usual on the other. Coppola had been tinkering with the idea for this lm for decades, and nally nanced the project by selling part of his wine business in California. Summing up his thoughts on the meaning of utopia in an interview with NPR, Coppola said he wanted audiences to have discussions and to ask themselves: “is the society we have the only one available to us?”
Art and artifacts are not just an expression of ideals or dreams for the future; they also provide a ladder con-
DISTANCE OF THE MOON BY SHUANG LI
reptas re, tem quibusant quatus pre porporest arumet faccum
necting the past to the present. In a fascinating new book, archeologist David Gibbins, who is also a professional diver, shares musings based on his exploration of shipwrecks around the world, observing that “unlike many archaeological sites, a wreck represents a single event in which most of the objects were in use at that time and can often be closely dated.” Moreover, the wrecks “provide access to individuals, and that allows us most clearly to empathise with the past.” In A History of the World in Twelve Shipwrecks, immerse yourself in the stories of a merchant from the time of Tutankhamun and the last survivor of a torpedoed ship that went down in the North Atlantic, among others.
Personal relationships forge our sense of who we are, and while modern tools make it easy to keep in touch – witness the prevalence of group chats – some argue that all these devices actually impede communication. at’s the position of Chinese artist Shuang Li, whose rst solo institutional exhibition, Distance of the Moon, relies on a combination of performance, sculpture and multimedia to explore the pitfalls of tech gadgetry. “All of the tools that were supposed to make communication easier – instant messengers, video calls, stickers – have lost their magic, and actually create more distance. Words seem to lose their meaning when sent digitally,” she said in a statement, noting that her exhibi-
There is always a bit of melancholy in Sorrentino films; the director [...] likes to explore splendor and ruin, the passage of time and how a person’s sense of self evolves
tion aimed to highlight “the shadows of technological ‘progress’.” e show, supported by Fondazione Prada and held at Prada Rong Zhai, a Jazz Age mansion in Shanghai, is open through January 12, 2025. Its title refers to a book by Italo Calvino, Cosmicomics, in which people regularly use ladders to climb to the moon and collect “moon milk” until suddenly gravity changes, pulling the moon away from Earth and dividing families.
Wonderwall has been streamed more than 2 billion times on Spotify, with a daily estimate of well over a million streams
Fondazione Prada is also promoting an exhibition in Tokyo. rough January 13, 2025, visitors to the sixth oor of the Prada Aoyama Tokyo can experience the rst Japanese solo show by American collaborative artists Fitch | Trecartin, Lizzie Fitch | Ryan Trecartin: It Waives Back e exhibition
builds on the artists’ 2019 “Whether Line” project, which merged lm, animation and sound and debuted at the foundation’s Milanese venue, a 20th century industrial distillery-turned-arts hub. In “It Waives Back,” Fitch and Trecartin re-examine footage from that initiative in a sweep-
ing new installation, two movies and a sculptural theatre with various gaming elements, exploring contrasting notions of physical and social boundaries: indoors and outdoors, viewer and participant, work and leisure.
In Florence, architecture rm Archea Associati developed an exhibition space on the foundations of a World War II-era bomb shelter. Called the “Rifugio Digitale,” or digital refuge, its interior is now entirely adorned with rectangular blue-green tiles, while the walls are mounted with 16 screens spanning the bunker’s 33 meters. Situated steps away from the Arno River, across from the Basilicata di Santa Croce, the Rifugio Digitale hosts cocktails and lectures, and serves as an ongoing photography exhibition – the perfect hideout from winter chill. rough January 5, stop by to see Aurelio Amendola for Michelangelo. e primacy of the informal, an examination of Amendola’s sensual, textured black-and-white photography of Michelangelo’s sculptures, including the recently restored Bandini Pietà, also known as e Deposition, depicting a dead Jesus Christ taken down from the cross, with the Virgin Mary, Mary Magdalene and a hooded gure whose identity is disputed.
e Berlin Wall came down on November 9, 1989, the rst major step toward a tumultuous German reuni cation. rough January 22, the C/O Berlin exhibition space at Amerika Haus, a cultural institution that opened in the aftermath of World War II, is presenting Dream On— Berlin, the 90s, a show featuring over 200 works by nine original members of the OSTKREUZ group. Founded in 1990 by a team of East Berlin photographers, OSTKREUZ is now recognized as one of the country’s leading photographic agencies. Sibylle Bergemann, Harald Hauswald, Ute Mahler, Werner Mahler, Annette Hauschild, omas Meyer, Jordis Antonia Schlösser, Anne Schönharting and Maurice Weiss all captured the social upheaval of those years and the emergence of a new city identity.
Speaking of walls, though report-
DREAM ON—BERLIN, THE 90S
C/O Berlin at Amerika-Haus Hardenbergstraße 22–24, 10623 Berlin, Germany co-berlin.org
Through January 22, 2025
edly not songwriter Noel Gallagher’s favorite Oasis ballad, Wonderwall, released in 1995 on the album What’s the Story, Morning Glory?, has been streamed more than 2 billion times on Spotify, with a daily estimate of well over a million streams. Something about those lyrics, with their winding roads and blinding lights, have made the song a Millennial touchstone. Fans of the Brit rock band, which split in 2009, rejoiced last summer at the announcement that Noel and Liam Gallagher are reuniting for a 2025 tour, including in various North American cities. “America. Oasis is coming. You have one last chance to prove that you loved us all along,” the duo said in a press statement. Take note: most dates are sold out, and the Ticketmaster pricing has been contentious. But even if you can’t attend a live concert, maybe it’s time to revisit the music. Whether that’s a trip down memory lane, or to a champagne supernova you never experienced, it’s worth the journey.
Through January 5,
AURELIO AMENDOLA FOR MICHELANGELO. THE PRIMACY OF THE INFORMAL
Rifugio Digitale—Via della Forance, 41, 50125 Florence, Italy rifugiodigitale.it
2025
THERE’S A PLACE
WARM & WELCOMING: COZY
WINTER DINING DESTINATIONS
Embrace the season with intimate eateries and inviting spaces from the Rockies to the Big Apple. Winter’s chill calls for inviting atmospheres, hearty meals, and memorable wine lists. is season, whether you’re unwinding by a re in Montana or indulging in intimate dining on NYC’s Upper West Village, here’s a list of places that make cold nights feel just right.
EDITED BY CASEY BRENNAN
THE EVERETT’S 8800, BIG SKY—Perched at 8,800 feet at Big Sky Resort, Everett’s 8800 o ers a rustic yet re ned dining experience accessible only by a scenic Ramcharger 8 chairlift. Its lodge-like ambiance, with a roaring replace and views of Lone Peak, captures Montana’s alpine beauty. The menu features classic American mountain fare with a sophisticated touch—signature dishes like bison chili and seared trout highlight local avors, for the perfect post-ski indulgence.
IF
IF
YOU WANT CHIC MOUNTAIN VIBES ...
THE LITTLE NELL & AJAX TAVERN, ASPEN—
LAVAUX WINE BAR, NEW YORK CITY—
Lavaux Wine Bar, located in Manhattan’s West Village, brings the charm of Switzerland’s Lavaux wine region to the city. Celebrating the UNESCOprotected terraced vineyards along Lake Geneva, Lavaux o ers a curated selection of rare Swiss wines that are di cult to nd elsewhere. The bar’s cozy, Alpine-inspired decor—with warm wood accents and ambient lighting—transports guests to the heart of Switzerland. Its menu of Alpine specialties, like creamy Swiss fondue, raclette, and artisanal charcuterie, is crafted to pair perfectly with the unique wines and warm up chilly evenings.
Nestled at the base of Aspen Mountain, The Little Nell’s AJAX Tavern is an iconic spot for high-end comfort food with breathtaking mountain views and cozy alpine vibes. This beloved restaurant combines upscale casual dining with a lively après-ski atmosphere, making it a must-visit in Aspen. Known for its legendary tru e fries and decadent wagyu burgers, AJAX Tavern is perfect for winding down after a day on the slopes or for gathering with friends and family thank to a unique blend of elegance and mountain charm right in the heart of Aspen.
IF YOU WANT TO WATCH THE CHEF ...
THE KITCHEN, JACKSON, WY—
At The Kitchen in Jackson, WY, guests are treated to an intimate dining experience with a minimalist design, making it a perfect culinary refuge on cold winter nights. The open kitchen allows guests to watch chefs prepare seasonal dishes crafted with local ingredients, ensuring freshness in every bite. The menu features creative o erings like Seared Scallops and Wild Mushroom Ramen, blending rustic avors with modern techniques. Known for its cozy, rustic-modern vibe, The Kitchen provides both warmth and sophistication, appealing to locals and visitors alike.
IF YOU WANT TO SIT FIRESIDE WITH A GLASS OF WINE ...
A.O.C. WINE BAR, LOS ANGELES—With locations in West Hollywood and Brentwood, A.O.C. Wine Bar o ers a distinctive California warmth in the heart of LA, blending farm-fresh ingredients with a wine list that will impress even the most discerning palates. At the WeHo outpost, the dimly lit, farmhouse-inspired space features a crackling replace, rustic wooden tables, and a cozy patio, with dishes like Spanish fried chicken and seasonal sides. With a lively yet intimate vibe, A.O.C. is perfect for that special winter night out in LA’s usually mild climate.
SICK PRETTY
Fashion’s new design fetish? Medical-grade items like Balenciaga hospital scrubs, Yoshitomo Nara BandAids, and bags designed to hold your IVF needles.
At a recent all-day press junket, a certain 40something actress traded her usual dainty Dior clutch for a long, thin Bottega Veneta Andiamo clutch. Woven in ne napa leather and featuring a gold clasp that resembled an old-school police whistle, the $2,950 bag was an au courant runway score—but that’s not why the TV star was toting it. “It’s the perfect shape,” said her stylist, an A-list fashion arbiter who swore me to anonymity, “to safely hold needles for Ozempic and IVF shots.”
Welcome to the era of medicalgrade couture, where status bags are covertly built to stash semaglutide, and runway labels use hospital-grade materials to create clinically cool looks. “I think it’s a reaction to all this ‘wellness’ messaging,” says Bridget Scanlan, the designer of KYT, a luxury handbag line made in Italy that creates pebbled leather handbags with pouches speci cally for insulin shots, Ozempic syringes, and IVF vials. “ ere’s nothing wrong with needing medication! Science saves lives. It’s cool to show that o .” As celebrity lifestyle platforms like Gwyneth Paltrow’s Goop and Kourtney Kardashian’s Poosh encourage their followers to seek healing through prettily packaged— and pretty expensive!—herbal tinctures and powders, more shoppers are pushing in the opposite direction, looking to sleek-up their allegiance to modern medicine through beautiful and conspicuous design.
To be sure, “hospital chic” isn’t
a new deal. In 2000, Miuccia Prada revamped a classic doctor’s bag in shiny spazzolato leather, along with the label’s chunk silver logo. e purse was so popular, it was resurrected twice by the brand. When Marc Jacobs debuted his Spring/Summer 2008 collection for Louis Vuitton, he transposed the artist Richard Prince’s Y2K-era “nurse” paintings (also used by Jacobs’s house band, Sonic Youth, for their 2004 album Sonic Nurse) onto his Paris runway, dressing 12 models including Naomi Campbell and Eva Herzigova in tidy red cross caps and sheer black surgical masks encrusted with beaded LV logos. And come 2020, runway brands from Collina Strada to Marine Serre and O -White made their own face masks while Chanel and LVMH loaned their textile machines to the French government for medical supply use.
Two years later, medical equipment had a new moment of fame thanks to designer Donatella Versace and creative director Kim Jones. While On their joint Fall/Winter 2022 runway for Fendace, an opulent onetime collaboration between Fendi and Versace, the designers sent nepofab model Lila Moss, then 21, down
“IT’S THE PERFECT SHAPE TO SAFELY HOLD NEEDLES FOR OZEMPIC AND IVF SHOTS.”
Above: Above: Lila Moss, and her glucose monitor, on Fendace’s September 2021 catwalk. Below: Bottega Veneta Andiamo Intrecciato clutch, $2,950.
NOTHING“THERE’SWRONG
WITH
SCIENCEMEDICATION!NEEDING SAVES LIVES. IT’S COOL TO SHOW THAT OFF.”
their Milan catwalk in a rococo-print one-piece swimsuit with bare legs and a similar insulin device. At the 2024 CFDA Awards in New York City, photographer and model Richie Shazam, 33, posed beside designer Kim Shui on the red carpet sporting an insulin pump for Type 1 diabetes on one arm and a Brandon Blackwood purse on another. “I thought about bedazzling it or painting it,” said Shazam, whose frequent collaborators include Chapell Roan and Charli XCX, along with Miu Miu, Ganni, and Valentino Beauty. “But you change them out every three days, so it’s not the most practical thing. Also, honestly? I think it looks cool and futuristic as-is. You do what’s best for your body. at’s chic as f-k.”
Today, the easiest way to look so chic it hurts is designer Band-Aids. Miu Miu’s current resort sandals were memorably shown with neon bandages swaddling model toes and heels on the
Paris runway. Stylist Lotta Volkova and her team used wholesale medical bandages cut to t each model’s feet, but you can dupe the e ects with a pack of neon adhesive gauze strips from Walmart. ( ey’re $7.50 a box— perhaps to o set the $925 rubber-andrope Miu Miu sandals they’re meant to complement.) “To give us Band-Aids that you can show o on the last day of fashion month is so sweet and kind,” Gigi Hadid gushed on Instagram after the show. “I love it.” If you’d rather tend to your paper cuts and blisters with a nod to Stella McCartney, head to the Museum of Modern Art in New York City, where you can buy packs of bandages featuring the same Yoshitomo Nara motifs as her Spring/ Summer 2023 catwalk collection. ey’re $12. Band-Aids went less literal for
Clockwise from left: Kaia Gerber in Ferragamo at the Toronto Film Festival; MM Objects marble and steel pillbox, $425; British nurses in uniforms by Christian Dior, 1971; a look from Ferragamo’s Spring/Summer 2025 collection.
“TO GIVE US BANDAIDS THAT YOU CAN SHOW OFF ON THE LAST DAY OF FASHION MONTH IS SO SWEET AND KIND.”
Spring/Summer 2025, but you could still spot them on the catwalks—and later, the red carpet. At Ferragamo, designer Maximilan Davis built “gauze” dresses and leggings made from the same stretchy fabric technology developed for surgical wound dressing in the 1940s. Kaia Gerber wore one of the looks to the Time 100 Gala in October; she also chose a more traditional interpretation of the trend—a vintage white Herve Leger bandage dress in hospital-bleached white—to the Toronto International Film Festival. It was rst worn by
her mother, Cindy Crawford, to the Academy Awards in 1993, eight years before the model was born. Olivier Rousteing also employed (literal) surgical dressing in his Spring/Summer 2022 collection, inspired by his own emergency surgery after a replace explosion covered his body in burns. “I’m unstoppable,” the designer told reporters backstage. “ is collection is an homage to that.”
e medical fashion ri s come as a shot of wry humor for some women with health challenges. “I actually love it when you see surgical stu being used as fashion inspiration,” says Los Angeles ad exec Michelle Moran, 39, “because that is literally my life right now.” A campaign producer for Sephora and Estee Lauder, Moran was diagnosed with thyroid cancer in 2022, and had several surgeries to clear the disease from her body. After dealing with a complicated after-care regime of countless pills, she asked her husband—a watch designer for Marc Jacobs and Michael Kors—to create a pillbox that “felt like a reward for getting healthy again, instead of a punishment for being ill.” He came up with a steel-and-black marble sculpture that Moran now keeps on her vanity table. e couple sells versions for $425 under the label MM Objects. “People come over and ask who the artist is,” says Moran. “I’m like, ‘It’s my immune system. She’s the designer. She made it!’”
Of course, like all fashion trends, the quest for clinical cool can hit the point of overdose. Witness Free People’s bizarre take on the ditsy oral romper craze started by Zimmermann and Sea New York. eir June 2024 version looked so much like a hospital gown, it went viral on TikTok. “I had this exact out t when I was in the hospital giving birth,” said blogger Virginia Taylor on the post. “But instead of $55, it cost me $20,000.”
About the cost of one of those Balmain surgical dressing gowns, TBH.
Clockwise from above: Miu Miu’s bandaged feet on their Spring/Summer 2024 runway; Moschino’s 2016 prescription pill bag by Jeremy Scott; a latex nurse by John Galliano at Christian Dior’s 2000 couture show.
A CENTURY OF CHANEL MAKEUP
Gwen Flamberg discovers a brilliant new book that taps into the symbolism behind the barrier-breaking designer’s ode to beauty
Gabrielle Chanel was never one to follow trends. Rather, she set them. And just as she created the quintessential little black dress, encouraged women to wear pants, and fashioned handbags out of woven tweed, Mademoiselle entered the makeup game in 1924 with loose powder, blush and a heavier pigmented, creamier lipstick formula than anything on the market. Housed in a distinctive ivory tube with a unique metal slide to advance the bullet, a color collection was born.
Indeed, like fragrance, which Chanel debuted in 1921 after commissioning perfumer Ernest Beaux to create a “new” oral which would become the ubiquitous Chanel No.5, the iconic designer believed that the art of maquillage could change one’s mood. “If you’re sad, if you’re disappointed in love, put on your makeup, give yourself some beauty care, put on lipstick and attack,” she famously said. Chanel: e Allure of Makeup, out now from ames and Hudson, aims to explore why.
e gorgeous co ee table book, a behemoth with 408 pages containing
Gabrielle Chanel photographed by George HoyningenHuene in 1939. Opposite page: The 2013 L’Eteì Papillon de Chanel collection captured by Richard Burbridge.
over 300 arresting archival images, takes a look back at the evolution of beauty at the French fashion house. Written by journalist Natasha A. Fraser, readers are taken on a journey that makes the case for Gabrielle Chanel as more than just a marketer, but a liberator of women. “She woke people up with her ‘life is not a dress rehearsal’ attitude,” notes Chanel’s global head of creative resources for fragrance & beauty, omas du Pré de Saint Maur.
Chapters unfold through color, a visual storytelling rich with symbolism and purpose. Of course, the shades include black, white, beige, red, pink, gold, and blue—signi cant because they exist, like talismans, throughout the history of the house.
It’s no surprise that most Chanel makeup, to this day, exists in high-shine black compacts and tubes. Mademoiselle chose to package the very rst blushers in the 1924 launch collection in round compacts of black enamel. e hue—or rather the non-hue, according to the designer—represented what we’d call today a vibe … and was, perhaps, the driving force of the brand. Because central to Chanel’s ethos was liberating women from frills and corsets and the candy-colored frocks of the time. Under Mademoiselle’s gaze, black shifted from a shade of mourning to one of undeniable elegance.
Another non-color beloved by Chanel was beige, inspired by trips to Deauville where the young designer experienced true love and later opened
“If you’re feeling sad, if you’re disappointed in love, put on lipstick and attack.”
— GABRIELLE CHANEL
The book contains a multitude of chic campaign images through the years, including for red lipstick featuring Patricia Van Ryckeghem in 1987 shot by Karim Sadli (above, left) and an ad for Rouge à lèvres from 1962 (above). Opposite page, clockwise from top left: Lily-Rose Depp, La Pausa de Chanel, 2022 by Karim Sadli; Liu Wen, 2020 by Trunk Xu; Blesnya Minher, Rouge Allure L’Extrait Rouge Excessive, 2022 by Mario Sorrenti; Mona Tougaard, Fall/Winter 2022 by Tim Elkaim; Gisele Bündchen, Les Beiges 2016 by Mario Testino; Anna Ewers, Rouge Allure L’Extrait Beige Brut, 2022 by Mario Sorrenti; Akon Changkou, Fall/Winter Rouge Allure Instinct, 2022 by Tim Elkaim; Vittoria Ceretti, Rouge Allure Velvet La Comète, 1992 by Sølve Sundsbø; Lily-Rose Depp, Rouge Coco Lip Blush, 2018 by Patrick Demarchelier; Malgosia Bela, Les Noir Obscurs, 2009 by Sølve Sundsbø.
her rst fashion shop in 1912. She even had the suede couch in her atelier dyed to match the sand at low tide in the seaside town. As Fraser writes, “With her taste and enthusiasm, Mademoiselle turned a supporting-role color into a lead.” Ahead of her time, she developed a you-only-better skintint uid in 1927, and a groundbreaking group of bronzing products, Collection Tan pour l’Été, in 1932, the erstwhile mother of the no-makeup makeup movement.
e opulence of gold shows up as threads in fantasy tweed fabrications, on the coromandel screens in her 31 rue Cambon apartment (of which she had eight!) and, of course, in makeup meant to accent eyes. e famous Leo once said, “I was born in the month of August. My good luck charm is gold.” From 1924 on, gold was used in makeup packaging.
Of every chapter, perhaps the one that re ects the import of Chanel’s impact on beauty is the one focused on red. She couldn’t launch lipstick in 1924 without having a red shade,
her signature. is look is now revered as the ubiquitous French Girl beauty. And it’s no accident that the brand’s iconic true-red is called Pirate, re ecting the renegade power of its founder.
Also a delight to discover: A history of makeup muses, from Mme herself to Vanessa Paradis, Kristen Stewart, Whitney Peak, Gisele Bündchen, and, current face of Chanel No.5, Margot Robbie in imagery shot by iconic photographers from Horst P. Horst to Mario Testino and Inez and Vinoodh.
Flip through the pages and the evolving imprint of each makeup creator through the years becomes clear—from Dominique Moncourtois in 1969 to today’s wildly unbound Cometes Collective, who are redening what classic means for a legacy brand.
Books exist in print to both mirror the past and inspire the future; e journey of e Allure of Makeup ($175, thamesandhudsonusa.com) arms women with the agency to create their own look, their own destiny.
“She woke people up with her ‘life is not a dress rehearsal’ attitude.”
— THOMAS DU PRÉ DE SAINT MAUR
A graphic display of the 2023 Collection Holiday photographed by Guido Moca co. Opposite page: The brand’s wildly popular Le Vernis in Ballerina, also depicted by Guido Moca co.
The
LIPS AND FRAGRANCES
Now is not a time to play small. Gwen Flamberg suggests bold moves for lips and scent, meant to make an entrance
PHOTOGRAPHY VIVI SUTHATHIP CREATIVE DIRECTION NUNTAPORN MUNKIT
1-SLEEPING BEAUTY
Slather on Femmue’s Lip
Sleeping Mask before hitting the sheets and wake up to a smooth, plush pout thanks to moisture-attracting squalane and anti-in ammatory rose. ($22, femmue.com)
2-SLOUGH STUFF
A unique blend of olive pit powder, sugar, and plant enzymes in Furtuna Skin’s Triple Olive Lip Polish gently lifts akes while softening super delicate skin. Pair it with the brand’s olive oil-packed Olive Lip Butter Balm. ($45 each, furtunaskin.com)
Lip balms_the season of kissing calls for a preternaturally soft, smooth pout
3-FRESH PICK
Undeniably chic to pull out of your purse for an after-lunch swipe, Byredo’s Flavoured Lip Balm leaves a lingering hint of breath-freshening mint to keep one covered from mistletoe moments to Valentine’s Day and beyond. ($55, byredo.com)
4-WARM UP
The updated formula of Dior’s wildly popular Lip Glow (here in #001 Pink) locks in moisture with cherry blossom oil while eosin reacts to one’s pH, adapting a custom color. For the rst time, some shades in the line have a warm-toned, rather than cool, e ect. ($40, dior.com)
_a deeply saturated slick of lush color spells
5-LIKE VELVET
Designed to be applied straight from the tube in a single swipe, Dolce & Gabbana’s My Comfy Matte formula, here in MY 1004, leaves lips swathed in a blurring coat enriched with softening Sicilian avocado extract. ($45, dolceandgabbana.com)
6-‘70S CHIC
Hedi Slimane’s disco-era vibe lives on in Le Rouge Celine in 01 Rouge Triomphe, the rst beauty drop from the French fashion house, which debuted just after the famed creative director’s exit. The re llable gold faceted case is to-die-for. ($75, celine.com)
7-ON THE DARK SIDE
Deeply nourishing, thanks to a cocktail of meadowfoam, camellia, and pomegranate seed oils, Tom Ford’s Runway Lip Color in Unzip packs a powerful black cherry punch that lasts and lasts and lasts. ($62, tomfordbeauty.com)
8-COLOR IN
The new pencil collection from Hèrmes, Trait d’Hèrmes, has 16 shades of highly pigmented lip liners—including Rose Jaipur—that can de ne shape and impart a full pout of stayput color that looks luxe and feels weightless. ($50 each, hermes.com)
1-SEXIER SIDE
Not your typical oral. Dark and rich with a hint of petrichor, Radical Rose Extrait de Parfum from Matiere Premiere is redolent of a very speci c crop of rose centifolia from Grasse tempered by Croatian immortelle blossoms. ($390, neimanmarcus.com)
2-MEMORABLE DATE
The latest from Victoria Beckham Beauty, 21:50 Rêverie, recalls an inspiring moment during a hyper-romantic dinner with husband David set in a Javanese rice eld strewn with vanilla vines. ($200, victoriabeckhambeauty.com)
3-VIRTUAL VACATION
Meant to evoke the sensual warmth of a day under the Mediterranean sun (the name means “sunburn”), notes of bergamot mingle with sexy orange blossom in Bottega Veneta’s Colpo di Sole. ($450, bottegaveneta.com)
4-EARTH ANGEL
Balmain creative director Olivier Rousteing updated Vent Vert— originally created in 1947 —with herbaceous basil and g leaf, airy mandarin and a heady dose of jasmine to create a gender neutral, decidedly modern spritz. ($260, balmainbeauty.com)
EDITED BY SHELBY COMROE
THE STATEMENT COAT
PRADA COAT, $4,500, PRADA.COM.
The Prada Aspen coat o ers a chic and elevated approach to winter dressing, with its warm honey faux-fur that delivers both style and comfort. Its streamlined silhouette is elevated by re ned details, including the signature suede triangle logo at the back and gleaming gold buttons that add a festive hint of shine. Sophisticated yet cozy, this coat is a standout choice for any cold-weather wardrobe.
SCULPTURAL SHOULDER
THE HOTTEST HUE
SAINT LAURENT BY ANTHONY VACCARELLO LOAFERS, $1,200, YSL.COM.
Saint Laurent’s classic loafers get a versatile update with a sleek, collapsible heel that transforms them into slippers. In a rich, fashion-forward burgundy—the color of the season—these loafers are a chic way to step into the trending hue. Crafted in Italy from glossy eel leather, they feature ruching at the toe and the iconic gold plaque at the penny slot, giving a subtle nod to the brand’s heritage.
COZY CARDIGAN
ALANUI CARDIGAN, $3,465, ALANUI.IT.
Alanui’s bandana jacquard cardigan o ers a rich blend of luxury and bohemian air, crafted from 100% cashmere in a double jacquard knit. Its signature bandana pattern and relaxed t capture Alanui’s artisanal spirit, while details like the two-tone tie belt and fringed edges add texture and movement. Cozy and distinctive, this cardigan combines warmth with a free-spirited design, perfect for winter layering.
HERE FOR SHEER
SIMONE ROCHA EMBELLISHED TULLE MIDI DRESS, $1,845, SIMONEROCHA.COM.
Simone Rocha brings her signature mix of romance and innovative fabric design to this sheer sheath dress, creating a look that feels timeless yet refreshingly modern. Crystal embellishments add a touch of sparkle, while carefully positioned darts give the straightcut silhouette a attering shape. This piece captures Rocha’s knack for blending feminine charm with a touch of edge.
PURE FIRE
JADE RUZZO DRUM HEAD COLLAR IN OPAL, $16,800, JADERUZZO.COM.
This one-of-a-kind Jade Ruzzo Opal Drum Head Collar is a stunning example of understated elegance. Crafted in 18-karat yellow gold, the minimalist design draws the eye directly to the opal centerpiece. The simplicity of the collar creates a clean, modern frame that allows the opal’s vibrant, ery colors to truly shine. Set in a delicate gold bezel, the opal’s iridescent hues—ranging from warm oranges and reds to ashes of cool blues and greens—take center stage, creating an almost ethereal e ect that feels both timeless and contemporary. Hand- nished in New York City, this piece balances boldness and re nement, making it an artful statement that showcases the natural beauty of the opal without any distractions.
RADIANT RENEWAL
LANCÔME GÉNIFIQUE ULTIMATE, $135, LANCOME-USA.COM.
Lancôme’s Géni que Ultimate is a cutting-edge serum designed to accelerate skin recovery and repair with its hero ingredient, Beta-Glucan-CM, known for enhancing the skin’s moisture barrier and boosting cell renewal. Developed through biotechnology for sustainability, this formula also includes hyaluronic acid and licorice extract for added hydration and tone improvement. Clinical results reveal smoother, more resilient skin within one week, with ne lines visibly reduced after one bottle. The re llable, eco-conscious packaging further enhances its appeal, while the Lancôme Skin Screen technology o ers a personalized visualization of the product’s impact on individual skin.
GOLDEN PRECISION
PANERAI LUMINOR DUE TUTTOORO, $41,200, PANERAI.COM.
The Panerai Luminor Due TuttoOro is a re ned blend of luxury and precision. Crafted from polished Panerai Goldtech, a unique alloy enriched with copper and platinum, its 42mm case and matching bracelet debut as a rst for the Luminor Due collection. The white sun-brushed dial features luminous Arabic numerals, a date aperture at 3 o’clock, and a small seconds sub-dial at 9 o’clock. Powered by the P.900 calibre, it o ers a three-day power reserve and water resistance up to 5 bar.
Indulge in candy-colored precious jewels because there’s always room for dessert!
Tiffany&C0
Ti any & Co. Jean Schblumberger by Ti any Bird on a Rock Brooch in 18k gold and platinum with green tourmaline, pink sapphire, and diamonds, ti any.com.
Roberto Coin
Roberto Coin Garden ring in 18k yellow gold with tsavorite and golden quartz, robertocoin.com.
Van Cleef & Arpels
VanCleef & Arpels Bagatelle earrings in yellow gold with rubies, sapphires, and diamonds, vancleefarpels.com.
Bvlgari
Bvlgari Divas’ Dream Earrings in 18k white gold with sapphires and diamonds, bulgari.com.
Cartier
Cartier High Jewellery Ring in platinum with sapphire and diamonds, cartier.com.
Doll NewYork
e multi-talented actress Natasha Lyonne couldn’t nd her place in Hollywood, so she created her own
WORDS CHRISTOPHER BOLLEN PHOTOGRAPHY RICHIE SHAZAM
STYLING PATTI WILSON
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WWhat is one of Natasha Lyonne’s biggest fantasies?
“To be a wall ower! e quiet mysterious woman in the corner who’s almost on the verge of disappearing. at’s always been my f–ing fantasy!” Unfortunately, the role of wall ower was never in the cards for the 45-yearold actress—not by nature or by nurture. It’s worth noting that she mentions this dream of going under the radar at 10 p.m. on a Saturday night wearing a sparkly poly-knit gray-andwhite two-piece pajama set with ru ed sleeves and bell-bottom cu s that she bought o Instagram because it reminded her of the wardrobe of her dead Hungarian grandmother. Add to it, her signature lion’s mane of red-orange hair—a style more wild ower than wallower—and pepper it with arguably the most idiosyncratic voice working in lm today—coarse as Manhattan concrete, electric as a
the entire downtown Manhattan grid.
Lyonne needs every ounce of energy for the armada of projects she’s taken on. She’s currently lming the second season of her hit comedy-mystery show Poker Face, where she serves as producer, star, and sometimes director (her lead role in season one as the streetsmart human-lie detector Charlie Cale earned her a nomination for Lead Actress in a Comedy Series at last year’s Emmys). Her latest lm, director Azazel Jacob’s gloriously wrenching indie drama, His ree Daughters, about three incompatible sisters gathering in their father’s downtown New York apartment for his nal days, was released this past September and is garnering award-season chatter for Lyonne in her unforgettable turn as the volatile black sheep. Lyonne also has a slew of upcoming projects in the
usually swirls around some just-discovered ingenue in a blockbuster lm franchise. Only Lyonne, all 5’3” of her, has been in the bright, sometimes harsh lights of the entertainment industry almost as soon as she could walk.
No one who’s heard Lyonne speak will be shocked to learn she was born in New York City. Encouraged by her parents—Lyonne describes the encouragement more like “being raised by wolves that turned into Lord of the Flies”—she began working in commercials at age six and landed a gig on Pee-Wee’s Playhouse at seven. Lyonne, however, is quick to cast aside any claims of being a famous pre-adolescent. “Whenever I see Macaulay Culkin or Drew Barrymore, there’s an immediate bond between us,” she says, “but I always remind them, ‘You guys were childhood stars. I was a childhood character actor.’
“I’VE BEEN ACTING FOR 40 YEARS. I’M A 360-MOVIE MACHINE. I’M MR. MOVIEFONE OVER HERE.”
short burst of microphone interference—and you’ve got a woman who is so far from disappearing in a corner that you almost wonder how a human could be any more alive and awake to the moment. Her wit is so sharp and quick, always on, always running, you get the sense her energy could feed
works (including the next installment in the Marvel Fantastic Four universe). And it’s nearly impossible to drive through Los Angeles or clomp around New York City without seeing Lyonne as a fashion muse for brands like Warby Parker and Maison Schiaparelli. is urry of attention
I was not the face of Home Alone or E.T. Which is to say all the money I made as a kid did not result in a Lamborghini, or a Lambo, which is all I wanted. My situation was very di erent than theirs.” As her family’s de facto breadwinner, Lyonne worked steadily from six to 16, when she was cast
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in Woody Allen’s musical comedy Everyone Says I Love You. For some, landing an Allen lm would be the con rmation that she was on the right path, but Lyonne felt like she was coming to the end of that whole part of her life. “I associated acting with child’s play,” she recalls. “Like drinking a glass of Minute Maid and saying delicious over and over again. at was my parent’s dream and I had conquered it.” She went to college at NYU’s Tisch School of the Arts, studying lm and philosophy, already thinking of a bigger-picture, cerebral career as a writer-director in line with the contemplative arthouse masterpieces of Allen or Ingmar Bergman. Acting, however, didn’t give up on Lyonne so easily. Projects kept coming. While she might not have been a child star, she certainly became one in her late teens, with de ning performanc-
2000s. Eventually drugs took their toll, drained her savings, and wiped the opportunities dry. Eventually she found rehab and more than anything, a desire and determination to stay alive. Because Lyonne almost didn’t survive her 20s. “I’m very grateful to this sort of fucked-up origin story,” she says, looking back on those dark years, “because so much blossomed from that. Without that sort of dysfunction, what story would I have to tell?” By the late aughts, Lyonne had found sobriety and her feet, but her starry-eyed ingenue days were over, Hollywood not being much of a forgiving place for second chances and false starts. “Honestly for a while, I didn’t think I’d go back to acting,” she admits. “I thought I’d become a social worker. I was annoyed I didn’t have the education to go work for NASA.”
Lyonne’s current fan base
Chloë, how good she is.” (Flash forward a decade, and Sevigny would make cameos in both of Lyonne’s hit television shows.) It was Sevigny who recommended Lyonne to director Mike Leigh when he was casting the 2008 New York stage production of his play Two ousand Years. “I got very serious about it,” she says. “I watched every Mike Leigh movie, read everything, got the full British accent going, lived a block from the theater so I could just be there every day obsessively.” Lyonne is the kind of actor who enters the mouth of the beast, heart and mind. When she takes a part, she’s fully invested, and like the best actors, some of who she is melds with the character, tting together like a bolt in a lock.
Other early o erings were hardly so creative or glamorous (or even nancially compensating). “I did a Michael Madson movie
marked the U-turn was her role as the tough-talking junkie on the long-running prison drama Orange Is the New Black. e role of Nicky allowed her a showcase to prove her acting chops and create a character not just of wicker comic one-liners but of careful complexity and emotional depth. It also, tellingly, was a show that was primarily made by women. With the success of Orange, Lyonne was back, really back, and yet it was also a totally new Natasha Lyonne, a career designed on her own terms and in her own making. She wouldn’t just act out the lines written for her. She’d control the page they were written on. Lyonne went from performer to ringleader, actress to multi-hyphenate mogul.
“SOMETIMES I LOOK AT THE AMOUNT OF WORK I’M DOING,
AND I’M LIKE, DO I HAVE GAMBLING DEBTS I’M NOT AWARE OF?”
es in Slums of Beverly Hills, American Pie, and But I’m a Cheerleader. In her early 20s, Lyonne had reached her ingenue moment, a gorgeous, gregarious actress with a dazzling talent. Opportunities abounded. What could go wrong?
Dates get hazy in addiction-land. How and when did Lyonne’s demons begin to overwhelm her life? Probably in the early to mid-
might be enormous, but it’s her friend base that’s been a constant of her life—many of whom are fellow New Yorkers in the arts—and she leaned on these solid friendships to get her through the uncertain years after getting clean. “Chloë swept me up and took care of me,” Lyonne says, of one of her most treasured and valuable friendships with actress Chloë Sevigny. “ at’s just
where I had to y myself to Atlanta and bring my own clothes,” she recalls, referencing the forgettable backwoods torture horror Outrage: Born in Terror. “ ey knew I was on a level that I couldn’t argue the terms.” Little by little, part by part, Lyonne remade a name for herself, rebuilding the house that had spectacularly blazed to ash. Without question, the job that
Back in the present, where she’s wearing the Las Vegas-y dead-grandmother sparkly pajama set, Lyonne is keeping her eye on the time. She needs to leave soon for the taping of Saturday Night Live. Many of her friends are part of the cast for this episode—including Maya Rudolph, with whom she began her production company Animal Pictures in 2018. (Rudolph eventually split o to explore other projects.) It’s going to be a late night—even later than usual because the clocks are turning back for daylight
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savings, and Lyonne has a packed day tomorrow, packed week really, with all the lming, packed eternity ahead of her. But a late night is music to Lyonne’s ears. She’s always been a night owl. In her younger days, that predilection meant bars or clubs or friends’ crash-pad apartments, staying up to watch the dawn shu e over the East River. at post-midnight urge to stay up is still a part of her routine a decade and a half into sobriety. She rarely falls asleep before 3 a.m. When she has an early call time on Poker Face, she’ll put herself to bed at 10 and just lie there, sleeplessly in the dark. “I’ll read a book, do my crosswords, play Wordle or Spelling Bee. I’ll meditate. But I won’t fall asleep. I can fall asleep at 2 in the afternoon, no problem. But 10 p.m.? Forget it. It’s 3 a.m. now and I have to be up by 5, and now I’m in trouble because I can’t even
work—so much riding on these slender shoulders— she shakes her head. She’d be up until 3 a.m. in a convent with nothing to do the next day. And really, all of the multiple hat-wearing is a prison of her own making. “Sometimes I look at the amount of work I’m doing, and I’m like, do I have gambling debts I’m not aware of? Am I paying child support that I don’t know about? Why am I working this hard? Who’s this for?”
It’s a fair question, but it’s also all the work that excites her, allows her roller-coaster mind to nd a track and make incredible thrill rides on the screen.
But why do these projects matter so much more to her than the ones she was making the rst time around? In reply she o ers up anecdote from her childhood auditioning days. “I didn’t get the role of Curly Sue [in the 1991 lm about a con-artist drifter and a
start to nish, did manifest with her 2019 Netix hit show Russian Doll, which she created, wrote, produced, co-directed, and starred. “It was a radical tectonic shift because people understood it came from me.” It was pure Natasha Lyonne, a smart, tough, vulnerable night urchin wandering around Manhattan’s East Village, trying to solve the point—or purposelessness—of her own existence while the last day of her life (in season one) recurs on in nite loop. e brilliant metaphysical acid trip lasted for two seasons, much of it involving night shoots lmed in the blocks around her own apartment. (Lyonne was obviously in heaven.) She hopes Russian Doll will continue on in some capacity, using Twin Peaks as a model, sparking future lms or follow-up seasons.
If there is a similarity between Russian Doll and
usual tendency of actors to disappear and hide their weak spots.. is approach has become something of a staple of Lyonne’s process: bringing friends on board, making the set or writer’s room into a community of like-minded souls. (Sevigny isn’t the only actor who overlaps on both shows.)
We’ve already talked about how important Lyonne’s crew of New York friends is to her, and the community she’s created in her work life isn’t all that di erent. “I love my family,” she says. “I love being with friends and getting things made together. I was just thinking in the shower this morning, trying to be Zen, trying to be George Harrison before going to the set, how lucky I am for each and every one of them.” e Lyonne adopted family is forever expanding. One of her biggest collaborators in recent years is Glass Onion director and producer
“I’M VERY GRATEFUL TO THIS SORT OF FUCKED-UP ORIGIN STORY, BECAUSE SO MUCH BLOSSOMED FROM THAT.”
call in an order for co ee because no one delivers in that window.” In Lyonne’s dream world (one that really is conducive to New York City), nothing should happen in the mornings. “My biggest goal as an actor is to never work in summer because I have too much hair. And to never work before noon.”
When asked if it’s the intense pressure of all the
curly-haired redhead orphan]. I was devastated at the time. But looking back, I realize that I was never going to get that role, even though I was perfect for it. Same with Annie. e only way I’m going to get to play Annie is if I write Annie. en everyone will be like, holy shit, she’s Annie!” at claiming of her own character by creating it herself, all talent and ambition from
Poker Face—aside from the lead—it’s the feeling that arises in each show that the rotating collection of actors are coming together to work on something strange and unique. In other words, they’re each a piece of art rather than a quick means of paying the rent. ere’s the sense of something personal on the line with these projects, an act of vulnerability and sharing rather than the
Rian Johnson, who helped bring Poker Face to life. “I met Natasha through my wife [Karina Longworth, creator of the popular Hollywood podcast You Must Remember is]. It was during the time that Russian Doll came out and I just had a laser-focus of wanting to work with this person,” Johnson says. “Russian Doll was the rst thing Natasha had done
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that she’d completely crafted for herself, and I couldn’t take my eyes o her on the screen. ere was an intelligence and magnetism, and something as singular about her performance as about Peter Falk [star of the late 1960s and ’70s detective show Columbo].” Soon Poker Face came into being, something of a joint e ort between star and creator. “We both love getting our hands dirty. It might look very ri y as a show, but it’s incredibly crafted, and it takes a lot of work. It’s especially intense to be the lead where you’re carrying every single episode.”
If Poker Face is an homage to the star-studded-cameo days of Columbo, the lm His ree Daughters harkens back to another of Lyonne’s favorite genres: the intimate independent lm. Lyonne is something of an indie lm fanatic of the old-school writer-director vein, which has become something of an endangered species in the American cinema landscape. Jacobs wrote the script with Lyonne in mind for the thorny, chain-smoking character, and it didn’t take much convincing to get her to agree. Part of the appeal was not simply the talent quotient of her costars (Elizabeth Olsen and Carrie Coon), but Jacobs’s personal, hands-on approach. “ at was a real Lower East Side apartment we lmed in. I think Jacobs pasted up iers looking for the perfect apartment himself. Az is the last analog lmmaker. He hand-delivered the scripts. at’s what
made working on it so incredible. We all synched up for 17 days and made a little family out of it.” Beware of complimenting Lyonne on her performance. Don’t lead with something like, “Gosh, that was unexpected from you. I always think of you as a comedian, but to be able to punch heavyweight in a drama? Wow.” Lyonne is an autodidact, meaning she doesn’t have formal training, but she has a life of experience in the trenches. “I am at a weird point in my career,” she says. “I’ve been acting for 40 years. I’m a 360-movie machine. I’m Mr. Moviefone over here. So, when people say, ‘God, she’s never been better. Who knew she could do that?’ I’m like, ‘Are you guys insulting me? Why are you surprised?’ I’ve been doing this the whole time. Bring me a script by Merchant Ivory if you don’t believe me! I just don’t get those opportunities, so I have to make them.”
It’s time to go. Lyonne slips into the bathroom and reappears in a black tank top and a black leather miniskirt with black tights and boots. She’s changed out of the pajamas. She suggests coming by the set of Poker Face, climbs into a waiting SUV and drives north into a loud New York Saturday night. ree days later, on a soundstage located on the edge of Greenpoint, Brooklyn, shooting for season two of Poker Face is underway. Two monitors o set catch the camera’s POV of a pivotal scene starring Lyonne and one of her seasoned
guest stars. is scene is just one of six that will be shot that day. First, they do their blocking and rehearsals, and a few takes later they’re rolling. e camera homes in on Lyonne’s face. It’s a movie-star face, dynamic and bewitching with a universe of subtle messages being conveyed in every dart of the eyes and twitch of the mouth. e scene is repeated for a few more takes, and Lyonne’s artistry is on full display—o ering subtle variations on her character’s inner turmoil even when she isn’t speaking any lines. Again, again, again, and that’s a wrap.
Two hours later there’s a break, and Lyonne is back in her dressing room, a large white o ce-like space with a comfortable sofa. She’s on her phone, texting back and forth with the casting director about actors for future episodes. During this short lunch, she’s also scheduled for a meeting with a rep from the show’s L.A. production company to go over scheduling before she has to get ready for the lming of her next scene. When asked how she handles “all this”— the acting in front of the screen, all the producing work behind it, the expectations and the artistry and the meetings, and even still managing a personal life, she pauses, slumps back on the sofa, and in a moment of solemnity before she dissolves into laughter, quotes Stormzy, quoting Shakespeare. “Heavy is the weight that wears the crown. OK, get out of here. See you later.”
Seasonal musings from the mind of our resident cultural critic. WITH JOAN JULIET BUCK I DON’T WANT I JUST WANT TO LOOK RICH
I wore the new diamond necklace
today and ran errands around the village with 62 identical brilliant-cut stones snaking down the front of a sturdy old cashmere crewneck. e plain ribbon style of the necklace is known either as tennis or rivière. I prefer a river, any river, to a sport I’ve never mastered, so I’ll go with rivière e opera-length 18 inches of the rivière make it too long to be visible under the sweater, so it has to be worn balls-out. And it was.
My other diamond necklace, bought on Lexington Avenue in 2021, has a more elaborate design of 30 stones pearcut into rigid frozen teardrops, 15 headed east and the other 15 headed west to meet in a central but inconclusive confrontation, not pointy-tip-to-pointy-tip, but ass-to-ass. e Lexington Avenue necklace is shorter, which allows it to twinkle enticingly at a neckline, a suggestion rather than a declaration.
Today, I wore the declaration. Strangers smiled at the improbable river of diamonds, and I smiled back. e necklace and I brightened the atmosphere everywhere we went, which in turn brightened me, and I basked in this shared delight until I made my very rst visit to the craft shop. e owner, polite but strangely cautious, appeared to think I was out of my mind, wearing old clothes and a diamond necklace in the middle of the day.
I’m not the only woman in Saugerties to do this.
e other one complements her dia-
mond necklace with glass skin makeup and furry lashes to work the checkout counter at the supermarket.
e rst time I saw her, my reaction was incomprehension. I’m used to bearded boys with eyeliner and torn shnets, nose rings have become standard, blue hair a cliché, tattoos banal. But the sight of a middle-aged woman wearing well-chosen bling and cutting-edge professional makeup to work a checkout counter was so gloriously bold and joyful that I was alarmed. At rst, I suspected she might be unhinged, but the beams from the stones on her necklace and bracelet looked so positive and had such humor that I realized that it’s a public service to jolt the status quo by spreading enchantment.
So there I was at the Saugerties Antiques Center, the last remaining cave of marvels where I go to stare at oddities and treasures and discuss matters of proportion with the owner Dan Seldin. I like to tell him things like “at a certain age, it’s best to give up showy bracelets so as not to draw attention to your hands, and to wear something bright near the face.”
I reached for the necklace of 62 fake diamonds, the diamond rivière, and tried it on. e stones are not graduated, a style that always looks as careful-creepy as a circle pin from the ‘50s. ey’re all the same size, a long straight line as disciplined as the necklace I’d run through my hands at Ti any’s years ago, before an event for Paloma Picasso, who was launching her own line. Paloma, her rst husband Rafael, his best friend Javier, my rst husband John, Tina Chow, André Leon Talley, and I were all young and delighted to be given the run of Ti any’s. e sta indulged our excitement, and I was told “of course you can try on that rivière,” as someone
handed me the bright exible 18 inches of real round diamonds; not the Elsa Peretti diamonds-by-the-yard lite version, but a serious little freight train of closely ranged carats. I had weighed the necklace in my hands and tried it on, but very fast, as if trespassing in a garden at night, and then handed it back before I’d even looked at myself. Too much money, too much responsibility.
Years later, a good friend was given an almost identical necklace by her husband. A long, plain, austere line of emerald-cut diamonds, it was so well-pedigreed and so expensive that it in amed the shyness she’d fought all her life. She wore it so discreetly hidden that you could barely see it, and when my eye caught a little glimmer from the rectangular stones, they looked too narrow, a little punishing, not at all fun.
of rapture and transcendence to signal approval. Diana Vreeland’s word was divine, Beatrix Miller said ravishing, Julie Britt wanted inspiration, and in France, nothing would do but sublime, a word spelled the same way in French and English. ( is was before erce and sick and dead and bussin’ and BDE and GOAT.
Diana Vreeland’s word was divine, Beatrix Miller said ravishing, Julie Britt wanted inspiration, and in France, nothing would do but sublime
I believe it cost a fortune.
e one I tried on at the Saugerties Antiques Center was the price of a dinner for two.
“It looks real,” said Dan Seldin.
“I don’t want to look rich, I don’t want to excite envy, I just want the brightness and the light,” I said. “I don’t want it to look real.”
Fashion feeds on fantasy, and fantasy, by de nition, is not real. e great fashion magazine editors used the vocabulary
Before the French honored the age of grunge by replacing sublime with destroy.)
e truth is so simple: Our eyes need to be fed with beauty, our brains respond to harmony. Humans need shapes, colors, and sounds to come at them in certain proportions. Harmony makes sounds into music, and it doesn’t only come from art, but from everything. Harmony is aesthetics and grace; some argue that it is God.
Everyone needs beauty.
Even those who fear museums love sunsets.
e laws of harmony set out by Euclid around 300 B.C.E apply to geometry, mathematics, music, art, nature— what can be heard and what can be seen. For the scienti c, it’s the golden ratio of 1.618. Never mind that ratio—I can never get my head around mathematical concepts, but all you have to do is look at the diagrams that express this golden ratio to recognize things you have seen, including the layouts of magazines.
And what the golden ratio tells us is that musical notes, colors, and shapes that connect in its unique, speci c way— 1.618—have the power to make people happy.
worked in precious metals. You can still buy his joyous designs, some of which date back to the ‘60s, made exactly as they rst were.
e golden ratio means you can calibrate the world around you to produce harmony and become an instrument of joy.
at joy is separate from price and pedigree, because it belongs to the vast and magni cent world of play.
ere’s a reason it’s called costume jewelry: It’s made to dress up in. It does not try to convince you it’s real but invites you to come in and have fun.
e greatest designer of costume jewelry was Kenneth Jay Lane, who died in 2017. His career spanned some 50 years, and though he was beloved by designers, they wanted him for his style, not for a re ection of theirs. He created in every mode and material, from glass beads for a traveling version of Marella Agnelli’s ropes of rubies and emeralds, to big fake pearls for Barbara Bush, to Berber coin belts, Byzantine crosses, Maltese crosses, Catholic crosses, Moroccan fringes, Art Deco hard angles, enameled bracelets, mythological beasts—and everything he made hewed to a central harmony, whether it was from his own imagination or nicely borrowed from those who
e book he did for Harry Abrams in 1996 was called Faking It and printed in Japan, so the photographs are perfectly reproduced.
That joy is separate from price and pedigree, because it belongs to the vast and magnificent world of play
e stories he tells about movie stars and socialites have aged well, because the faker tells the truth, and two stories about Babe Paley show his appreciation of glitter and his respect for the real thing. Babe Paley, who was portrayed by Naomi Watts on TV this year in Capote Vs. e Swans, was the stylish and fabulously wealthy wife of the head of CBS, Bill Paley.
Kenneth Jay Lane writes about going to dinner at her house to see that “one arm was covered with skinny rhinestone bangles that she had bought for a dollar each at Alexander’s.” e look, he writes, “was smashing.” On the other hand, when he realized she had brought “three of the most magni cent Pre-Columbian gold pectorals” he’d ever seen into his showroom to be strung up into a necklace, he sent them back to her and asked her to please never do that again.
e master of fakes knew that you don’t interfere with the real, the precious, the historic.
Clockwise from top left: arti cial pearl chains; Former First Lady Barbara Bush; Nan Kempner and Kenneth Jay Lane; Pink diamond 3D render; The Vitruvian Man by Leonardo da Vinci; Swarovski Creative director Giovanna Battaglia.
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LIU LIJUN, JUL DOWERK (DOT MANAGEMENT).
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SOFT SERVE
As Loro Piana turns 100, a new book explores how the Italian powerhouse conquered the world with super plush natural fibers
WORDS ALISON S. COHN
Spring/Summer 2023 campaign. Opposite page: The Loro Piana family in Porto no
Clockwise from left: Pietro Loro Piana; An antique hand-operated loom that is still used to create accessories; Pier Luigi Loro Piana and Sergio Loro Piana checking wool bales.
PHOTOS: COURTESY OF LORO PIANA
Loro Piana: Master of Fibres, a new co ee table book from Assouline’s Ultimate Collection, charts Loro Piana’s remarkable path to becoming the quiet luxury jewel in the LVMH triregnum that it is today. Published to coincide with the centennial of Italian entrepreneur Pietro Loro Piana founding a textile mill in a picturesque Piedmont valley where clear mountain streams were perfect for washing wool, it’s based on interviews with multiple generations of the Loro Piana family. Featuring color plates hand-tipped on art quality paper and a clamshell case covered in Loro Piana Tela Sergio fabric crafted from cotton and linen, the 196-page tome traverses the globe from the snowy peaks of the Andes to the sandy
“Loro Piana has always been about touch—you can understand it when you feel it between your fingers.”
—NICHOLAS FOULKES
Filmmaker Luc Jacquet shooting a Loro Piana documentary short in
expanse of the Gobi Desert to unspool the story of the Italian powerhouse’s never-ending quest for unparalleled natural bers.
e author, historian Nicholas Foulkes, is an expert on social history and material culture as well as a Loro Piana devotee. In the book’s introduction he likens the experience of purchasing his rst Loro Piana quilted gilet a number of years ago at the Breakers in Palm Beach to having “undergone a conversion.” He’s now something of a cashmere evangelist. “Loro Piana has always been about touch—you can understand it when you feel it between your ngers,” says Foulkes. “ e quality reveals itself over time. I have worn Loro Piana garments from 20 years ago and they remain exceptional. It is just like picking up and opening a book and returning
Above:
Inner Mongolia
“We started to give our customers solutions to be elegant in SaintTropez, in Gstaad, in the Hamptons.”
—LUISA LORO PIANA
to that book over the years. A solid thing.” e hand-bound volume is a testament to Loro Piana’s unrivaled savoir-faire—quite literally, as it clocks in at 20 pounds.
Since spring 2023 when Gwyneth Paltrow’s Park City ski trial, So a Richie Grainge’s Hôtel du Cap nuptials, and the nal season of Succession began supplying the TikTok mill with fertile one-percenter grist that featured lots of unintentional Loro Piana product placements, the Quarona, Italy-based brand has become the unholy obsession of aspirational dressers everywhere. On social media you’ll nd Gen Z’s paeans to such niche items as Summer
Fall/Winter 2016 campaign. Above: White sole shoe campaign
PHOTOS: COURTESY OF LORO PIANA
Walk suede loafers with distinctive white soles (originally designed to leave no marks on wooden boat decks) and vicuña T-shirts made with the same soft and gossamer-light ber spun from the eece of a small mountain-dwelling camelid once favored by Incan emperors. For the rst time ever a Loro Piana product—a baseball cap like the one worn on TV by Kendall Roy—cracked the top 10 on Lyst’s Hottest Products list last year.
As Master of Fibres makes clear, being “hot” was never really part of the plan for Loro Piano. e house was perfectly content to y under the radar. (Cheeky ads literally used the phrase now trending on TikTok, “if you know, you know.”) In fact, for much of its history, Loro Piana didn’t
“First and foremost Loro Piana is derived from nature and processed like the finest champagne.”
—PIER LUIGI LORO PIANA
even make clothing: It supplied top quality wool and cashmere fabrics to European and American luxury labels including Giorgio Armani, Versace, Yves Saint Laurent, Dior, Donna Karan, and Ralph Lauren.
at began to change in the 1980s, when the rm created its rst wearable product, the fringed Grande Unita cashmere scarf available in 30 di erent hues. en, at the 1992 Olympics Loro Piana out tted the Italian equestrian team with e Horsey, a jacket with a notched zip ap that allows it to fold gracefully when seated, and had a bona de hit on its hands. “People were asking, ‘What can we put under the Horsey jacket?’” recalls Luisa Loro Piana in the text. “So we said, ‘Let’s produce some sweaters.’ en people said, ‘We want some trousers. Can you suggest trousers that we can wear with the Horsey jacket?’” ereafter the brand o ered “solutions to be elegant and comfortable in Saint-Tropez, in Gstaad, in the Hamptons.”
Key to Loro Piana’s continued success is its legacy of material innovation and an ability to source the “rarest and most recondite bers,” says Foulkes.
In 1979, the mill transformed a lightweight worsted fabric originally used for clerical vestments into the stu of luxury fashion by looking beyond the mountains of northern Italy to a sheep bred halfway around the world in Tasmania whose wool can be spun into a thread so ne that a single pound would stretch for 136 miles. Loro Piana’s “excellences” as the brand calls its most exalted fabrics have since grown to include vicuña form Peru (1994), the down-like eece combed from baby goats in the Inner Mongolia region of China known as baby cashmere (2008), and Gift of Kings merino wool from Australia and New Zealand that at just 12 microns is less than one- fth the diameter of a human hair (2015).
“First and foremost Loro Piana is derived from nature and processed
PHOTOS: COURTESY OF LORO PIANA
like the nest champagne,” says deputy chairman Pier Luigi Loro Piana. In 2013, the same year LVMH acquired an 80 percent stake in Loro Piana, the house also began looking to renewable plant-based ber sources, including a fabric woven in Myanmar from the stems of lotus owers. Lotus plants are perennial and can be harvested multiple times in a year, making them a low environmental impact material, but the weaving process is labor intensive—a single jacket requires 6,500 stems—and the generations-old skill was endangered until Loro Piana began guaranteeing a steady demand for this artisanal craft. And through linen grown in France and Belgium, Loro Piana has also made a major investment in a sustainable ber that requires less water and pesticides than other crops thanks to cultivation without irrigation. As brands have become increasingly aware of their carbon footprint, Loro Piana’s abstention from synthetic materials for a century seems nearly prophetic.
A look from the Fall/Winter 2024 collection featuring a vicuña doublebreasted coat, jacket, pants, and scarf.
Right: A vicuña in Peru. Opposite page
The cotton and linen fabric covered clamshell case of Loro Piana: Master of Fibres; The newly reopened Loro Piana Los Angeles agship.
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Live Beautiful
Dior Maison offers an object lesson in how to make a house a home
WORDS ALISON S. COHN
Christian Dior’s Provençal chateau, La Colle Noire. Opposite page: Dior Maison artistic director Cordelia de Castellane
“Living in a house which does not suit you is like wearing someone else’s clothes,” wrote Christian Dior in his autobiography Dior by Dior. Fortunately for his clients, in 1947— the same year he showed his visionary New Look collection—the Parisian couturier opened a boutique called Coli chets (French for “trinkets”) on the ground oor of his haute couture salons at 30 Avenue Montaigne that sold owers, letter holders, and mirrors for dressing one’s home, alongside scarves and jewelry. Long before other maisons pivoted to homewares—a trend only accelerated by the hybrid work schedule many now follow post-pandemic—Dior’s décor o ering expanded to include such varied objects as candlesticks, spice boxes, earthenware, incense burners, vases, frames, and garden lamps that might help make a woman’s home feel like a re ection of her personal aesthetic.
Dior’s founder intended Coli -
chets to feel like an 18th-century curio shop with a modern sensibility. His artist friend Christian Bérard proposed elegant toile de Jouy wallpaper and also suggested tucking monogrammed hatboxes on top of cupboards and in odd corners. “It was an inspiration,” wrote Dior. “ e seeming casualness brought the whole place to life.” And indeed, Dior’s belief that a home should be both “lived in, and livable in,” as he said of his own country house in Milly-la-Forêt, permeated each of the homes he decorated in the 1950s, from his Louis XVI townhouse in Paris’s 16th arrondissement to his Provençal chateau, La Colle Noire. It’s that same mission that now drives Cordelia de Castellane, artistic director since 2013 of Dior’s homeware division, now known as Dior Maison. De Castellane, who is also the artistic director of Baby Dior, started her career in fashion at Chanel and Emanuel Ungaro, before launching a childrenswear line, CdeC, in 2006 and brings an intuitive touch to homewares.
“Living in a house which does not suit you is like wearing someone else’s clothes.”
—CHRISTIAN DIOR
Christian Dior’s rst store, Coli chets
“Designing childrenswear collections was a natural choice for me, as I’m a mother of four,” she says. “I never planned to do decoration. I’ve always been creative and passionate about design and collecting homeware while decorating my house and so it just came naturally to me. Life is full of surprises.”
A cousin of Dior’s artistic director of jewelry, Victoire de Castellane, she is a consummate European aristo: Raised between Paris and Gstaad, her family name is that of one of France’s oldest dynasties, while her mother, interior decorator Atalanta de Castella-
ne, is the daughter of a former Greek ambassador. Yet despite this posh upbringing, de Castellane’s interiors philosophy is refreshingly unpretentious. A cultivated yet homey spirit infuses each of her homes—a Saint-Germaindes-Près apartment, a country house 45 minutes north of Paris, and a Swiss chalet—that she shares with her husband and children.
Whether entertaining or for everyday meals, seasonal owers like roses, peonies, and dahlias are de Castellane’s centerpiece. “I love all of my owers, and all of them are my guests of honor,” she says. De Castellane’s personal
glassware collection includes hand-engraved fern-pattern water glasses she designed for Dior Maison, Bohemian crystal, Murano tumblers, family heirlooms, and ea market nds—and she loves mixing all of them together. To keep everything from looking too re ned and meticulous, she has been known to lay a table with textiles she picked up on holiday in Madagascar or her grandmother’s old sheets. She loves dying and hand painting vintage tablecloths, which sometimes form the basis for new patterns in her Dior Maison collections.
Another thing de Castellane has
A star motif at La Colle Noire.
Left: Beehive wallpaper and duvet in Catherine Dior’s bedroom at La Colle Noire
Dior Maison Le Gris-Gris de Monsier Dior rose tea service and the blossom-covered summer salon at La Colle Noire
Dior Maison Le Gris-Gris de Monsieur Dior bee dinner service
Dior Maison Le Gris-Gris de Monsieur Dior clover lunch service and the verdant allée at La Colle Noire
Dior Maison Le Gris-Gris de Monsieur Dior star breakfast service and a celestial lamp at La Colle Noire
A festive holiday table set with 24-carat goldnished red cannage plates from the Dior Maison Le Noël de Monsieur Dior collection
PHOTOS: © LAORA QUEYRAS
Le
Elegant glass candleholders, embroidered napkins, and crystal glassware from the Dior
collection— and a few velvet bows—add the perfect nishing touch. For information on all Dior Maison products, call 800-929-DIOR.
“My table will have a mix of vintage pieces and local pieces, with my Dior Maison Cannage red plates.”
—CORDELIA DE CASTELLANE
scored from ea markets: an extensive collection of vintage Dior dishes including her favorite Ginori plates from the 1970s, a Porte-bonheur design featuring a star made of owers, and a lily of the valley pattern comprising sprigs of the lucky charm the maison’s founder often carried in his pocket or wore pinned to the lapel of his jacket. She intends for her Dior Maison pieces to be future heirlooms, and many of her designs—like her own lily of the valley pattern rendered in a toile de Jouy style—ri on such gris-gris beloved by Dior’s founder.
For her Spring/Summer 2025 Les Gris-Gris de Monsieur Dior collection inspired by La Colle Noire, de Castellane designed four services, each highlighting one of Dior’s talismans through pieces like plates, tea and cof-
fee sets, a tray, and a trinket bowl. For breakfast, there’s a blue star pattern like the heavenly body Dior spotted in 1946 en route to a meeting with his future nancial backer and which features prominently on lampshades, armchairs, and moldings in his chateau. For lunch, there’s a green four-leaf clover design like the universal emblem of good fortune Dior always kept within reach, and which one might nd on the verdant grounds. For tea, there’s a pink rose motif taking cues from the charming bloom that adorn walls and folding screens in his summer salon and perfume his garden. And for dinner, there’s a yellow bee design inspired by the beehive printed wallpaper and duvet in Dior’s sister Catherine’s bedroom.
Another prominent motif in de
Castellane’s Dior Maison collections is cannage, the signature stitching seen on many of Dior’s leather goods, which borrows the geometrical pattern of squares and diagonals from the caned back Napoleon III chairs Dior kept in his couture salons. Her Le Noël de Monsieur Dior line highlights a Limoges dinner service with a mesh of 24-carat gold subtly matched with festive red, green, or blue, complemented by elegant glass candleholders, embroidered napkins, crystal glassware, bespoke tablecloths, and hand-painted vases. “ is season, I will spend the holidays in the mountains,” says de Castellane. “My table will have a mix of vintage pieces and local pieces, with my Dior Maison Cannage red plates from Le Noël de Monsieur Dior collection.” Sounds ever so cozy.
Maison
Noël de Monsieur Dior
of Adriatic The Queen
Join the captivating Camila Coelho as she pairs the elegance of Max Mara’s Resort 25 collection with the spellbinding beauty of Venice.
PHOTOGRAPHY ROBERTA KRASNIG STYLING J. ERRICO
Max Mara dress, shoes,
Max Mara top, shorts, shoes, bag, us.maxmara.com.
HAIR
What happens when your favorite fashion brand shuts down? It becomes a zombie label you can still buy online and wear IRL — even if the original designer never knows it.
When Camilla Morton can’t sleep, she searches on Google for pants. “Not just any pants,” says the London-based author and fashion consultant. “Daryl K low-rise black leather pants from 1995. I am obsessed with nding the perfect pair. But of course, you can’t just pop ‘round to Barneys anymore to purchase them. at label doesn’t really exist anymore. And, of course,” she sighs, “neither does Barneys.”
Morton is one of the “can you believe it?” British cool guard whose closet is crammed with archival Dior and Givenchy, all cribbed from her years as John Galliano’s o cial assistant and uno cial inner-beast wrangler. She remains BFFs — best fashion friends — with French luxury executives, Los Angeles movie stars, and members of the U.K. royal family. In other words, Morton does not need more designer clothes (“Yes, ne, I have too many already!” she admits with a small hoot) but the Daryl K pants remain lodged in her mind, a Roman Empire of soft black lambskin and a super-tight tush. “I could never nd them in London, and this was before online shopping,” she explains. “ ey’re like a ghost of what I always wanted to wear.”
But ghosts are fully dead. e Daryl K pants in question are more like zombies — deceased from the runways and buried from retail racks, but still living on eBay, albeit for $600. ey join a line of coveted clothes from long-defunct labels like Christopher Kane, Isaac Mizrahi, Imitation of Christ, Luella, and Todd Oldham that continue to have life even after their brands have died. “You used to have to buy everything up when a label closed,” says Morton. “But now, it’s like anytime my Gen X friends and I have a vivid memory of an item of clothing, we can go buy it straightaway.”
“Zombie fashion brands are de ni-
tely a thing,” says Liana Satenstein, the vintage expert and shopping writer. Satenstein’s celebrity closet sales and YouTube segments on fashion history have brought pieces from long-dormant brands like Opening Ceremony and Todd Oldham back into the spotlight, thanks to style icons like Chloë Sevigny. e rising demand for zombie fashion brands speaks to dual shopping trends: Y2K nostalgia fueled by both Gen X wistfulness and Gen Z TikTok content, along with a growing interest in sustainable fashion and its emphasis on secondhand shopping. Because of these movements, savvy shoppers are increasingly seeing old clothes as in-the-know collectibles instead of over-and-done out ts from the past. And since the early 2000s were the rst time digital photography helped anybody — and everybody — take pictures at a fashion show, there’s
DarylK Spring/Summer 1998
more searchable, shareable content for these clothes, which makes them even more in demand once they hit social media.
“Nine out of 10 times, when you see a Sienna Miller picture from the early 2000s, she’s wearing something from Matthew Williamson,” says Irish writer Freya Drohan. “But I was still a school kid when that happened. I couldn’t a ord them then. I can now, and the old dresses are seared into my brain!” Today, Drohan nds those boho- ounce gowns on eBay and the RealReal for under $100 and wears them on the New York City gala circuit. “ ey’re a hit,” she con rms.
Of course, not all zombie fashion brands can be scored for 90% o . After the buzzy vintage boutique James Veloria hosted a Todd Oldham pop-up shop in their Chinatown HQ in 2021, the brand’s Google searches spiked… and so did prices. Oldham famously shuttered his namesake line in 1999 after a decade of gasp-worthy pieces like mosaic-print trench coats
Thakoon Spring/Summer2017
and beaded skirt sets that mimic the pattern of tie-dye. A year later, Oldham’s runway nds go for $300 to $5,000 on resale sites like eBay and 1st Dibs, where cataloging pieces from the ’90s design phenom alongside antique furniture and Sotheby’s-worthy modern art helps position the clothes as historically signi cant instead of just old.
at pedigree of “cool girl history” is a driving force behind TikTok’s embrace of vintage fashion hauls, and Gen Z’s hunt-it-down obsession with long lost labels. On a recent Friday morning in Manhattan, 22-year-old interior design intern Jane Lewis scrolled through the RealReal searching for Marc by Marc Jacobs, the LVMHbacked di usion line that operated from 2001 through 2015 and helped oat Jacobs’s quirk-fueled aesthetic from rari ed runways into streets and wealthy suburban school hallways. “I still look at old runway photos of that stu ,” said Lewis. “It feels like it’s from another time in New York that I’ll never know.” When Marc by Marc Jacobs rst hit the tiny Bleecker Street boutique that became a downtown hangout, Lewis wasn’t born yet. (I’ll give you a minute to recover before continuing your read…)
Heatherette
ZOMBIE FASHION BRANDS ARE DEFINITELY A
THING
Today, the Parsons School of Design senior and her friends often search for the brand’s pieces online. “But we’re most interested in the ones that say ‘Marc Jacobs’ with the ‘Jacobs’ in gray on the label, instead of the ones that say ‘Marc by Marc Jacobs.’” e earliest pieces, says Lewis, are “cooler” than the later items because fewer pieces were produced, and they were done so “with Marc Jacobs himself right there.” Other zombie fashion brands getting scooped up by college kids? “Anything from Sex and the City, because it’s on Net ix right now, so we’re all watching it,” said Chloe Plasse, 19, a student from Los Angeles who recently discovered Tracy Feith’s uttery bias-cut skirts, thanks to Carrie Bradshaw’s date night looks circa 2001. “And I look for Brock Collection all the time on eBay. I know LuellaBartley
running a fashion brand is hard, but it’s like why did that have to shut down? It was so cute.’”
Both Plasse and Morton say they’ve seen friends hunting for old pieces from Topshop Unique, the fast fashion brand of the early aughts that counted Kate Moss, Christopher Kane, and J.W. Anderson as collaborators. “ e blazers are still so good!” exclaims Drohan. And though high-quality design is one way to ensure “zombie” brands achieve longevity, the cheaper synthetic materials used by brands like Topshop have actually helped with durability. Polyester, after all, never really fades.
For designers themselves, the feeling of seeing their old stu walking through the world anew remains fun but also surreal. “I’m excited to know people still think about them,” says Daryl Kerrigan, the Irish-born, Brooklyn-based designer who created the Daryl K pants that Morton still tries to hunt down on sleepless nights. “Seeing the pants in the wild is always funny, though, because so many people tried to copy what we did. Knowing nothing compares to the original makes me glad I still kept a few of the old pairs. You know, for fashion emergencies.”
Over the
RAINBOW
Knitwear designer Henry Zankov is coloring outside the lines
WORDS ALISON S. COHN
Henry Zankov’s world is lled with color. When we meet at the knitwear maven’s live-work space in Brooklyn’s Carroll Gardens neighborhood a few days after he scooped the 2024 American Emerging Designer of the Year award at the Council of Fashion Designers of America Awards, the art- lled apartment is covered end to end with peonies. On the dining room table there is a particularly striking arrangement of Coral Charms in the process of transforming from cerise to orange that matches a Tina Vaia striped totem candlestick and color coded stack of co ee table books placed nearby in recessed shelving beside rainbow glassware.
On the walls, a framed sheet of Ellsworth Kelly color eld postage stamps hangs catty corner to a Gabriel Feld collage made from strips of masking tape in primary shades. And then of course, there are the clothes: Overstu ed racks that take up over half the dining room are lled with Fall/Winter 2024 colorblock merino wool sweaters and viscose maxi dresses in vivid combinations of pistachio and amethyst or persimmon, citrine, and dahlia; compact knit tube skirts that look as though they were dipped in matcha; and a wool tunic with scarf-like tie details in an intense shade of ruby that the 43-year-old designer characterizes as “crazy” red. Taken together, the fall palette is undeniably vibrant, and yet there’s
Henry Zankov. Opposite page: Fall/ Winter 2024.
still something a little bit somber about it. Even the most exuberant pieces are tempered with stripes of anthracite or graphite melange. Zankov drew inspiration for the collection from Memphis Group co-founder Nathalie Du Pasquier’s textiles and decor pieces. “ ere are a lot of really bright colors in her compositions and then all of a sudden there’ll be some weird brown or gray or some faded seafoam green,” he explains. Maybe there’s also a hint of Russian melancholy. Zankov immigrated to Teaneck, New Jersey, from St. Pe-
take the bus home to New Jersey and I’m like, ‘ at’s Donna Karen, wow!’” Fast forward to after college at FIT, where he specialized in knitwear, and he would spend ve years on the design team at Donna Karan and DKNY. Over the next decade, he went on to work for Edun, the sustainable fashion brand founded by Bono, and DVF before launching his eponymous label in 2019.
At Zankov, he prioritizes environmental and social welfare but doesn’t love the term sustainability. “It’s more about being mindful of
“I love when things are not supposed to work together and there’s tension.”
tersburg when he was nine, and you could easily imagine a modern day Anna Karenina heading to Lincoln Center in his persimmon and coordinating fringed shawl made from shredded alpaca tape yarn.
As a child, Zankov loved sketching airplanes and building models with his engineer father. American cable television was a revelation. “In the Soviet Union there were like four channels,” he says. Zankov got hooked on fashion programs like Jeanne Beker’s FashionTelevision and Style with Elsa Klensch and from then on it was dresses. As a high school student at Solomon Schechter, he ran with an alternative crowd and on weekends would travel into the city to visit Soho piercing shops and try on Diesel and Walter Van Beirendonck looks at Antique Boutique.
During that period Zankov enrolled in a sewing class at the Fashion Institute of Technology and still remembers the rst time he spotted one of his heroes in the esh in the wilds of Seventh Avenue: “We were walking back to Port Authority to
our processes and the choices that we make,” Zankov says. He sources wool and mohair from small farms and ranches that meet strict standards for animal welfare and land management. And he supports local artisans through special projects like a capsule collection sold at Bergdorf Goodman made in collaboration with female immigrants from Russia and Georgia. “We ship the yarn from Italy to their homes in Sheepshead Bay,” he says. e o ering features three ecruand-black pom pom pieces: a V-neck cardigan, a sleeveless maxi dress, and a high-waisted maxi skirt.
Zankov may have just won a big industry award, but he’s not big on competition with his contemporaries. He consults on knitwear for Christopher John Rogers (who used to be his assistant at DVF) and he’s close friends with Rachel Scott of Diotima; the two share a sales agent and even held several of their early presentations together. “ is newer generation of designers wants to help each other out,” he says. “We all call and text each other about anything
and everything.” All have now won the CFDA Emerging Designer award, with Rogers and Scott going on to claim the CFDA American Womenswear Designer of Year prize in 2021 and 2024, respectively, so it seems there’s more than enough accolades to go around.
at sort of rebellious attitude and questioning of industry norms was on full display at Zankov’s Kim Gordon-inspired Spring/Summer 2025 presentation, held on a pickleball court in midtown Manhattan. Zankov experimented with new woven materials like windowpane check intarsias and vichy linen to create unlikely combinations of textures. “I love when things are not supposed to work together and there’s tension,” he says of a classic pointelle cardigan rendered in shocking pink wool and iridescent sequins that was paired with grass green wrinkled cotton basketball shorts. “ e mood was us in high school, cutting class to go smoke cigarettes in the Dunkin Donuts parking lot,” he says. “I wanted the models to go into this preppy space and fuck it up a little bit.”
This page: Spring/Summer 2025. Opposite page: Bergdorf Goodman artisan capsule.
PATTERN PLAY
THROW THE OLD RULE BOOK OUT THE WINDOW AND PAIR PLAIDS WITH ANIMAL PRINT FOR A FRESH, SPIN ON THE CLASSICS
PHOTOGRAPHY WILLIAMS + HIRAKAWA
STYLING SANTA BEVACQUA
Maison Kitsuné sweater, skirt, maisonkitsune.com; stylist’s own tights; Patou earrings, patou.com; Maje shoes, us.maje.com.
Moschino blazer, moschino. com; Balenciaga shirt, dress, balenciaga.com; Hue tights, hue.com; Prada shoes, prada. com; stylist’s own gloves.
Sportmax coat, us.sportmax.com; Antonio Marras shirt, pants, antoniomarras.com; Maje shoes, us.maje.com.
FASHION
Dolce & Gabbana coat, dolcegabbana.com; Patou sweater, patou.com; Burberry skirt, boots, burberry.com; stylist’s own scarf and cap.
Dior jacket, skirt, socks, boots, 800-929-DIOR; Scanlan Theodore sweater, scanlantheodore.com; stylist’s own gloves.
Gucci top, necklace, gucci.com; Scanlan Theodore sweater, scanlantheodore.com; Coach skirt, coach.com; tHue tights, hue.com; Sandro shoes, us.sandro.com.
Gucci jacket, gucci.com; Blumarine top, blumarine. com; Self-Portrait skirt, selfportrait.com; Gallo socks, gallo1927.com; Sandro shoes, us.sandro.com.
Vivetta jacket, top, skirt, vivetta.com; Stylist’s own tights; Prada shoes, prada.com
Louis Vuitton blazer, 866-VUITTON; Moschino shirt, moschino.com; Alexander McQueen pants, coat, alexandermcqueen.com; Maje shoes, us.maje.com.
Yohji Yamamoto jacket, theshopyohjiyamamoto.com; Essentiel Antwerp sweater, essentiel-antwerp.com.
FASHION
Scanlan Theodore jacket, scanlantheodore.com; Maison Kitsuné sweater, maisonkitsune.com.
Kilian Kerner shirt, tie, pants, kilian-kerner.de; Marc Jacobs top, marcjacobs. com; GIABORGHINI shoes, giaborghini.it.
God’s True Cashmere shirts worn as headwrap, godstruecashmere.com; Versace jacket, versace.com.
Gucci jacket, gucci.com; God’s True Cashmere shirt, godstruecashmere.com; Stylist’s Own tights, Sandro shoes, us.sandro.com.
CHEF
You can’t go wrong when choosing between all the tasty looks designers are serving up this season
On Left: Dior dress, boots, 800-929-DIOR; Ralph Lauren earrings, ralphlauren.com; Middle: Ferragamo dress, ferragamo.com; Dior shoes, 800-929-DIOR; On Right: Dior top, skirt, shoes,
Dior dress, shoes, 800-929-DIOR.
Louis Vuitton dress, gloves, boots, 866-VUITTON.
Louis Vuitton jacket, skirt, 866-VUITTON.
Dolce & Gabbana jacket, top, shorts, dolcegabbana.com; Saint Laurent by Anthony Vaccarello shoes, ysl.com.
Ferragamo dress, ferragamo.com; Moschino bag, clutch, moschino.com.
HAIR ZAC LEE, MARCUS
CHUAH MAKEUP RAE
SEOK, CRYSTAL FONG
STYLING ASSISTANTS
SARAH CHONG, LORRAINE CHAI
PHOTOGRAPHY
ASSISTANTS MAX ONG, ZI XIN MODEL RITA
SURAYA, SUGANYA, CHYII
CHENG / THE MODELS
LAB KL; TOMEK, NICOLE / WU MODELS; DAVY / ICON MODEL
Prada top, skirt, prada. com; Saint Laurent by Anthony Vaccarello shoes, ysl.com.
Sky High
Big Sky, Montana, receives an in ux of luxe, with agship ve-star hotels and private members clubs.
WORDS MELINDA SHECKELLS
Theories abound about why Montana is known as the “Big Sky” state. Some say the wide-open sky appears in nite as the horizon sits low against long, endless roads. Others attribute it to the land’s limitless possibilities, which embody the frontier spirit—explorers venturing into unknown territory with a sense of adventure, resilience and freedom.
Big Sky, the southwestern Montana ski town, takes its name from this Western lore and has, in turn, created some of its own. Many regard the resort with more than 5,850 acres of skiable slopes and and ights from 20 airports/19 cities (to nearby Bozeman airport) as one of the best ski destinations in America, while others who have fallen under its spell try to keep it as their best-kept secret.
With a population of little more than 3,500 people, Big Sky is a study in contrasts: new luxury resorts and 100-year-old guest ranches, private members clubs and divey saloons, celebrities and cowboys, high-tech adventures and low-key ski vibes; and Yellowstone, the national park, and the ctional Dutton Ranch from TV’s Yellowstone.
“Big Sky has evolved over the years from a hidden mountain town to a world-renowned destination— y shing on the Gallatin River, hiking, horseback riding, and other outdoor adventures,” says Jason Liebman, co-founder and chief investment ocer of Auric Road, proprietors of Lone Mountain Ranch. “ e clientele has shifted … this trend mirrors the broader movement of high-net-worth individuals seeking unique, upscale moun-
AURIC ROOM 1915 AT LONE MOUNTAIN RANCH
Auric Room 1915 at Lone Mountain Ranch represents a new luxurious chapter in Big Sky’s history. Accessible via a hidden door, discover an opulently appointed supper club with plush banquettes and an intimate bar. The cocktails and caviar ow.
“If you are looking for the purity of skiing and nature or the beauty of just being somewhere that touches your heart and soul, this is the perfect place.”
tain experiences.”
In 2014, Liebman and Paul Makarechian bought the historic ranch built in 1915 with visions of transforming it into a luxury guest ranch. e result is 25 private log cabins within 148 acres of untamed wilderness and 53 miles of pristine cross-country ski trails.
To meet the demands of the many part-time money-is-no-object residents and the skyrocketing number of guests ocking to this unassuming destination, Lone Mountain Ranch recently unveiled the Auric Room 1915 social supper club. Members and guests can access it through a hidden door. Inside, the ambiance takes you from a rustic log cabin charm down the rabbit hole into a Prohibition-era speakeasy.
Eric Cheong of N45 Projects (an Ace Hotel Group alum) designed Auric Room as a series of intimate vignettes.
e antiques, dark and moody walls, custom wallpaper, banquettes and cabinets create the feeling of a hidden saloon where cowboys, cattlemen, and railroad barons frolic alongside starlets, ingenues, and grand dames.
e special touches also create their own character: barware sourced from Hermès - Saint-Louis, custom china from Bernardaud and silver from Christo e. Bespoke commissioned art from local artists and custom lamp shades tell the story of Montana and its treasured wildlife, and a collection of curated Montana artifacts circa 1915 are on display. e sta wears designs from Emmy Award-winning costume designer Janie Bryant, who out tted the Yellowstone series prequels.
On the plate, Auric Room bears many distinctions to appease discerning palates. It is the rst certi ed Kobe
Beef Purveyor in Montana. Enjoy the simple pleasures of a cup of tomato soup and tru e grilled cheese sandwich, or walk on the wild side with Bison Milanese, Wagyu beef katsu sandos and an opulent Caviar presentation. Rare whiskies and antique scotch complete the vibe, as does one of Montana’s most extensive wine collections.
“All who enter are bound by a shared love for Montana and embody the spirit of cowboy kindness,” says Liebman of the cell phone-free environment. To become a member, you must have a home in Montana, spend at least two months of the year there, and be committed to the Big Sky community. Continuing to embrace Lone Mountain Ranch’s pioneering spirit, the Auric Room’s rst-year members are gifted a custom belt buckle in Montana tradition.
LONE MOUNTAIN RANCH
Lone Mountain Ranch reaches the pinnacle of rustic-luxe with cowboy-chic cabins and a winter-time Sleigh Ride dinner that locals and guests adore.
Located six miles from Lone Mountain Ranch, the Big Sky resort is the epicenter of development. Brad Niva, CEO of Big Sky Chamber of Commerce and Visit Big Sky, says that for many years, Big Sky primarily attracted Montanans to “the closest thing they would be to a European skiing experience in the United States.” en came those who were outpriced by Aspen and Vail and wanted to get in early on a mountain second home.
“We are a fantastic destination that is still very undiscovered. But at the same time, if someone wants to purchase a home here or be a part of the community, there’s an opportunity,” Niva says.
Beyond vacation homeownership, the main key to tourism success is offering hotel rooms. While Big Sky has more than 1,200 vacation rentals, it only has about 600 hotel rooms. “We haven’t been able to keep up with the demand for lodging,” he says. at, however, is all changing. Niva says three new hotels are under development in the Big Sky Town Center over the next ve years, and other major hotel brands are scouting in the area. On the horizon, One&Only Resorts picked Big Sky for its rst U.S. location in Moonlight Basin, opening in 2025. e One&Only Ski Lodge debuts this
winter with restaurants and a gondola.
“ is is a blank canvas, and we’re starting to develop great o erings because of ease of access and it’s still undiscovered. However, we are restricted in growth long term as national forests surround us,” Niva says, noting that as of now, Big Sky is only about half developed.
Centrally located within Big Sky’s 3,530-acre Spanish Peaks enclave, Montage Big Sky opened in 2021 and changed the hospitality landscape with 186 guestrooms, suites and residences. It features six restaurants, including the northern Italian Cortina; Backast, a ski-in/ski-out après venue located slope side, serving craft cocktails and Asian-inspired cuisine; and the Beartooth gastropub and recreation room with a bowling alley.
For the one percent who love the
MONTAGE
Montage Big Sky introduced the comforts of luxury lodging to Big Sky visitors, including a spa, six restaurants and a stunning great room for apres-ski niceties.
destination and simply cannot leave without taking a piece of home, the ski-in-ski-out Montage Mountain Homes, with ve and six bedrooms, are complete. ese 15 properties nestle among Douglas Firs Engelmann Spruces and have panoramic vistas of the Spanish Peaks. A bonus with homeownership is access to Spanish Peaks Mountain Club (operated by Montage), one of three of Big Sky’s illustrious private clubs, including the celeb-favored Yellowstone Club and Moonlight Basin.
“ ey can live anywhere, and they’re willing to spend tens of millions of dollars to buy a home to have the Big Sky experience,” says Montage Big Sky General Manager Victorio Gonzalez, who opened the resort and has been with the brand since the beginning. “ ere’s a brightness and moder-
nity to the buildings. e architectural styles, the utilization of materials, light, interior design, architectural design— it’s not what you see in many ski destinations around the world.”
When Gonzalez meets people who might be new to Big Sky, he always imparts this wisdom.
“I tell everybody, from the bottom of my heart, I think this place is stunningly beautiful. You need to come and see it, and either it will speak to you or not. ey’ve been to Vail, Aspen, Whistler, Jackson Hole, and Park City, and they’re looking for something new. Big Sky is a di erent experience than the busy, high-end retail, nightlife-driven ski towns,” he says. “If you are looking for the purity of skiing and nature or the beauty of just being somewhere that touches your heart and soul, this is the perfect place.”
ONE&ONLY MOONLIGHT BASIN
One&Only Moonlight Basin, opening in 2025, will have 73 guest rooms and suites in the main lodge, 19 guest cabins, an exclusive residential community of private homes and the rst U.S. Chenot Spa.
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
How the FoundRae’s BETH HUTCHENS built a brand around self-discovery and symbolism.
BETH HUTCHENS HAS MADE A CAREER out of transformation and resilience. From her early days co-founding the iconic fashion brand Rebecca Taylor to launching FoundRae, her ne jewelry line that resonates on a deeply personal level, Hutchens embodies a commitment to self-discovery and authenticity. FoundRae is more than just jewelry; it’s a language crafted from symbols that speak to universal aspirations like strength, love, and resilience. Hutchens’ path to entrepreneurship began at just 23, with the launch of Rebecca Taylor, with the line’s namesake as her co-founder. “We just wanted to be in fashion,” she recalls, describing the dream that started with no business plan and a modest $40,000 investment. That rst venture was scrappy and challenging, demanding all she had and more. “Every decision was crucial; if something didn’t work, it could mean the end of the business,” she explains. But there was freedom in that struggle. With a team of mostly women, and a shared dedication to building something together, Hutchens felt fortunate. Yet, after 20 years, she began to feel incomplete. That restlessness, that desire for something more profound, would lead her to FoundRae.
At its core, FoundRae — founded in 2015 — was about wholeness and self-expression. “I needed this, and I believed others might, too,” Hutchens says. Starting with symbols she felt drawn to—universal designs that transcended any one culture or religion—Hutchens began to craft a visual language. She wanted symbols that were inclusive, for everyone; each design is carefully chosen. “Symbols are like alphabets,” she says, “and I put them together in a way that is uniquely FoundRae.”
Books and words are a constant source of inspiration for Hutchens. She writes the copy for each symbol herself, hoping to reach people on both conscious and unconscious levels. “Symbols resonate with the unconscious, while language reaches the conscious mind,” she explains.
When asked about mentors, Hutchens doesn’t single out one person. Instead, she sees mentorship as a mosaic of in uences. “An ideal mentor is a compilation of everyone who’s crossed your path and embodies qualities you value,” she re ects. It’s a testament to her deep respect for the individual journeys that weave into her own story.
FoundRae began small, just Hutchens and two others, with all the hands-on grit of a startup. She handled everything, from designing to FedEx trips, and even operated out of her living room for a time. But as demand grew, so did the brand. After nine years, FoundRae has expanded to stores in NYC, Miami and Los Angeles each representing not just a business venture but a sanctuary of creativity and shared values. “Building stores has been incredibly creative,” she says, proud of the team she now relies on, especially her CEO, who allows her to focus on the aspects of the business she loves most.
Today, FoundRae has a loyal following — including A-listers like Gwyneth Paltrow, Taylor Swift and Kaia Gerber — and a reputation as a luxury brand that’s as meaningful as it is beautiful. For Hutchens, this journey is about evolving while staying true to herself. “I’ve learned that I can still operate in a heartfelt way, even as the business grows,” she says, grateful for the creative collective she’s nurtured along the way. FoundRae is a brand, but it’s also a belief: that jewelry can be both beautiful and deeply personal, a modern armor for those who seek to live authentically.
How Jamaican immigrant DR. ROSEMARIE INGLETON went from renowned dermatologist to skincare visionary.
DR. ROSEMARIE INGLETON is a Jamaican immigrant who de ed barriers to become a leading dermatologist. Today, she’s celebrated not only in dermatology but also as the founder of the thriving skincare line, Rose Ingleton MD. Her inspiring journey from ambitious physician to in uential entrepreneur highlights grit, passion, and self-belief, re ecting a life spent transforming challenges into triumphs.
Ingleton’s path began with a leap of faith, moving to the U.S. as a teenager determined to pursue medicine. Initially unsure about dermatology, her interest was piqued just before graduating from medical school. She had to navigate this highly competitive eld without mentors but achieved a landmark accomplishment by becoming the rst Black dermatologist to complete her residency program.
Her professional life took another turn after working in a suburban dermatology group, where she quickly realized she wanted a di erent practice model. “I did not enjoy working in that structure,” she remembers. Unfazed, she took a bold step, establishing her own practice in New York’s Soho neighborhood. “I had no prior business experience but decided to step out on the entrepreneurial road,” she explains. Her practice grew rapidly, and she eventually moved to a larger space to meet patient demand.
Her drive to innovate continued with the launch of Rose Ingleton MD. “The line was created because clinical skincare lines didn’t re ect my diverse patient base or meet their needs,” she says. Now, her products are accessible online and at major retailers like Sephora and Thirteen Lune, as it’s her mission to make inclusive skincare accessible.
Balancing her thriving dermatology practice with her skincare line is no small feat, but her small, dedicated team provides crucial support. “It’s a challenging juggle, but I’m doing it,” she says. Her interactions with patients provide inspiration, as she nds joy in seeing their clinical results. She also recharges by spending time at her Hudson Valley cottage or in Jamaica, both of which o er re ection and peace.
Ingleton emphasizes the importance of planning in her journey. “I think things through before acting,” she notes, using a Moleskine notebook to outline her ideas. With the help of trusted advisors, she tackled the legal and logistical steps of launching her line. “These advisors guided me through forming the company, feasibility studies, and identifying labs,” she says.
Her journey has been lled with rewarding moments, from her rst Vogue feature to an Allure Best of Beauty Award. She’s embraced social media, reaching a global audience on TikTok. “It’s incredible that I can share my expertise with so many people worldwide,” she re ects. Being recognized by fans on her travels is a humbling experience that brings unexpected joy.
Looking ahead, Dr. Ingleton is focused on expanding her product line. Her latest launch, the FutureBright Dark Spot Vitamin C serum, debuted in October 2024, and an exciting new product is set to debut in spring 2025, though details remain under wraps. “We’re investing in clinical trials to uphold our commitment to inclusivity,” she says.
From her pioneering accomplishments to her dedication to diversity in skincare, Dr. Rose Ingleton embodies resilience, vision, and the power of pursuing one’s dreams. Through Rose Ingleton MD, she’s not just crafting products; she’s rede ning what inclusive skincare looks like, one meaningful breakthrough at a time.
Meet TORI ROBINSON and LEAH O’MALLEY, the women behind Boys Lie, a brand that channels heartbreak into empowerment and resilience with every piece.
IN A WORLD WHERE FASHION AND BEAUTY brands often play it safe, Boys Lie founders Tori Robinson and Leah O’Malley took a di erent route—one fueled by raw emotion following tough breakups (from a pair of best friends!). Today, they helm a bold, empowering brand that speaks to those who have felt the sting of heartbreak and the relief of self-rediscovery. Boys Lie’s story began in 2018 when the two friends combined their unique skills and vision to launch Boys Lie. Robinson had gained hands-on experience with her family’s private-label cosmetics company, and O’Malley, who worked in sales at Yelp, initially lauched with a cosmetics line, using a $250,000 loan from family and friends. The brand name, born from mutual support during the painful time post-split from their exes, became a powerful mantra. In 2019, they pivoted to a streetwear label, transforming Boys Lie into the viral, community-driven brand it is today. What began as a healing mantra between friends—”Boys Lie”—soon grew into a rallying cry for resilience. “The drive behind Boys Lie has been consistent since day one,” the founders tell GRAZIA USA. “Even on tough days, we wholeheartedly believe in everything we’ve built.” Now, Boys Lie is more than a brand; it’s a platform for self-expression and healing, embodied through every piece they design. Building Boys Lie wasn’t without challenges. Moving from Radnor, Pennsylvania, to Los Angeles, they faced the often-ruthless landscape of the fashion industry. “We trusted people who didn’t have our best interests at heart, leading to hard but invaluable lessons about ourselves and the business,” they admit. Rather than seeking formal mentors, they embraced advice from all directions, sometimes nding the best insights from those outside their industry.
Their shared vision of intentionality is evident in Boys Lie’s planning process. “Every piece we design is meticulously mapped out months or even a full year in advance,” they explain, highlighting their commitment to creating impactful, cohesive collections that resonate with their audience. The journey from concept to reality was mapped out with simple tools: a pen and paper. This old-school approach allowed them to outline every aspect of their vision, culminating in a business plan that captured their highest aspirations. Each milestone, from seeing Gigi Hadid wear their ‘GOODBYE’ set to being recognized in Forbes’ 30 Under 30, rea rms their brand’s reach and impact. “We wanted to empower people to wear their hearts on their sleeves, and that’s what sets us apart,” Robinson and O’Malley say..
With an A-list following that includes Kylie Jenner, Zendaya, and Ariana Grande, Boys Lie has become more than a eeting trend. The brand has grown organically, boasting partnerships with Revolve, PacSun, Urban Out tters, and exclusive collections for Forbes and Uber. In 2022, Boys Lie reached $8 million in revenue, a testament to its authentic, community-driven approach.
In addition to fashion, the brand’s podcast invites listeners to share their own “boys lie” stories, fostering a community of empathy and resilience. Each episode provides encouragement and connection, amplifying the brand’s core ethos.
As Robinson and O’Malley look ahead, they’re keeping their next steps under wraps. “We have several exciting projects in the works that we can’t wait to share.”
Trubar founder ERICA GROUSSMAN is redefining the wellness snack market with a brand built on nutrition and empowerment.
ERICA GROUSSMAN’S PATH TO TRUBAR wasn’t conventional. “My entrepreneurial journey began at a young age,” she tells GRAZIA USA. “I was that kid who organized bake sales and crafted jewelry to sell.” This early creativity led her rst into real estate and then interior design, where she built her own rm. However, her passion for wellness ultimately led her to create Trubar.
Inspired by her mother’s experiences with restrictive diets, Groussman envisioned a snack that tasted as good as it was healthy. “I wanted a product that not only tasted great but was genuinely nutritious,” she explains. Today, Trubar o ers indulgent yet wholesome avors like Whole Lotta Macchiato; Oh, Oh Cookie Dough; Smother Fudge Peanut Butter; Daydreaming About Donuts; It’s Mint to Be Chip; and Get in My Belly PB & Jelly.
Starting Trubar was a major shift for Groussman. Initially, she took a step back, allowing others to manage day-to-day operations. However, when challenges arose, she felt compelled to return and refocus the brand. “It was about taking charge, realigning the brand with my vision, and transforming it into something that re ected my values of health, taste, and community,” she says. Her decision to fully immerse herself in the brand helped shape Trubar into the successful business it is today. Groussman’s inspiration comes from both personal and professional sources. “Watching my kids enjoy healthy food is a constant reminder of why I do what I do,” she says. Beyond her family, her motivation extends to her team and the loyal Trubar community. “The feedback from our customers about how Trubar makes them feel is incredibly motivating,” she shares. Staying current with food trends and health research, she nds that each new insight brings opportunities to innovate and improve. Support from her husband has been instrumental to her journey, particularly as she’s scaled Trubar. With his encouragement, she navigated the business’s complexities and learned to trust her instincts. “He has pushed me to grow in ways I never imagined, always being my biggest cheerleader,” she re ects. “His insights and encouragement have been invaluable, helping me to build both my con dence and the strength to take Trubar to new heights.”
While Groussman sets ambitious goals (“I like to have a roadmap.”), she also values exibility (“I also remain open to changes in the market.”) Her adaptability has allowed her to respond to shifts in the industry and re ne her vision. “Entrepreneurship is unpredictable,” she adds. “Being exible allows me to adapt to new ideas and pivot when necessary.”
One of her most de ning career moments was Trubar’s rst major order from Target. “Seeing Trubar on the shelves was surreal. It reminded me of how far we’d come and all the hard work it took to get there,” she says. With limited resources, Groussman even repacked the bars herself to ful ll the order. This memory fuels her dedication and gratitude. Looking forward, Groussman envisions expanding Trubar’s reach and rede ning healthy snacks. “I see so much potential for growth and want to continue pushing the boundaries of what healthy snacks can be,” she says. With a passion for wellness, she plans to explore collaborations that empower others to lead healthier lives. “Ultimately, I hope my journey inspires others to embrace balance, avor, and good nutrition.”
For Erica Groussman, Trubar represents more than just snacks—it’s a community rooted in wellness and shared values. Her journey requires following her passion, embracing change, and building a legacy that inspires others to live well.
Powerhouse fashion and philanthropy icon MARY ALICE STEPHENSON is transforming lives and changing the fashion landscape through her unique blend of style and purpose.
IN
A WORLD WHERE GLAMOUR and giving back rarely intersect, Mary Alice Stephenson has mastered the art of merging these worlds seamlessly. An esteemed fashion industry leader, stylist, and humanitarian, Stephenson is recognized not only for her impressive work with high-pro le celebrities and global brands but also for her groundbreaking nonpro t, Glam4Good. Through this initiative, she proves how style can serve as a force for positive social impact, empowering countless individuals along the way. “Glam4Good isn’t just about providing makeovers,” Stephenson explains. “It’s about instilling a sense of dignity and self-worth in people who have gone through life’s hardest moments.” By providing clothing, personal care essentials, and con dence-boosting experiences to those in need, Glam4Good addresses a wide spectrum of social causes, from supporting cancer survivors and abuse victims to aiding veterans and disaster survivors.
Stephenson’s illustrious career started in New York City, where her passion for fashion quickly led to editorial roles at top publications, including Harper’s Bazaar and Allure. Her impeccable eye for style, coupled with her deep understanding of the industry, made her one of the most sought-after stylists in the business. She’s dressed icons such as Oprah Winfrey, Sarah Jessica Parker, and Michelle Obama, an experience she regards as both humbling and exhilarating. But despite her impressive client list and accolades, Stephenson’s ultimate goal was always to give back. “I love fashion, but I wanted to nd a way to use it as a tool to help others,” she says. “It’s about using what you love to make a di erence.”
Glam4Good’s impact has been undeniable. In collaboration with brands like Hanes and Saks Fifth Avenue, the organization has delivered millions of dollars in clothing and essential goods to those who need it most. During the COVID-19 pandemic, Glam4Good launched several initiatives, including care packages for frontline workers and essential items for struggling families. “Fashion often gets a reputation for being super cial, but it has the power to uplift people and help them feel seen,” she shares.
Stephenson’s tireless work has not only earned her respect but also a loyal community of supporters. Her authenticity and commitment to service resonate in every project she undertakes. “I get to wake up every day and ght for change in a way that is true to who I am,” she says. “I think that’s what success really looks like.”
But Stephenson isn’t resting on her laurels. She’s actively working to expand Glam4Good’s reach, aiming to provide even more resources to underserved communities. “The work is never done. There are so many people who need hope, a helping hand, and a sense that they matter,” she says passionately.
For aspiring changemakers, Stephenson has straightforward advice: “Find your passion, and align it with a purpose. When you’re doing something meaningful, people will support you, doors will open, and you’ll be able to make a real impact.”
Mary Alice Stephenson exempli es a new kind of fashion leader—one who uses in uence as a vehicle for empathy and action. Her path, both inspiring and unconventional, blazes a new trail for those who want to be a force for good in a glamorous world. In her own words, “Everyone deserves to feel beautiful, valued, and loved. If I can help make that a reality, then I know I’m doing what I was meant to do.”
Through Glam4Good, she reminds us that style isn’t just about the clothes we wear but the way we show up for others. And with each life touched, Stephenson solidi es her place as one of the true game changers of our time.
Tacha founder VICKY TSAI is creating a legacy of beauty and intention.
IN THE BEAUTY WORLD, few names resonate like Tatcha, the luxury skincare line inspired by timeless Japanese rituals. At its helm is Vicky Tsai, an entrepreneur who has turned her personal journey of healing and discovery into a global mission for change. Tsai’s story is not just about beauty; it’s about resilience, purpose, and a relentless commitment to making the world better, especially for women and girls.
Her career arc took an unexpected turn in her early 30s. “I had a decade of corporate work behind me,” Tsai shares. “On paper, it was impressive, but inside, I felt unful lled. I realized that despite the glittering resume, it just didn’t t me.” The breaking point came when Tsai faced severe acute dermatitis that left her face covered in painful blisters. “I was pregnant and hooked on steroids for my skin, but nothing worked,” she says. One day, she made a life-changing decision: “I quit my job without a plan. I just said, ‘I choose happiness.’”
This leap of faith led Tsai to Japan, where she encountered a simpler, gentler approach to skincare. She discovered blotting papers used by geishas and kabuki actors, known for their awless skin. “I met a geisha, and we spoke for hours. I was blown away by her presence, her artistry,” Tsai recalls. “Using these rituals changed my skin in eight weeks, and it healed completely.” Returning home, she couldn’t nd anything like the products she’d encountered in Japan. This marked the beginning of Tatcha. “What started as an Etsy-sized business grew into a company dedicated to healing skin and spirit. Japan taught me that beauty and life could be harmonious.”
Since its founding, Tatcha has expanded beyond skincare, embodying Tsai’s broader mission: empowering girls through education. From the beginning, a portion of Tatcha’s revenue has gone to Room to Read, a nonpro t focused on girls’ education. “When I launched Tatcha, my daughter was born the same day as our rst blotting papers,” Tsai says. “She’s my inspiration, and my goal has always been to create a world where every girl has the chance to learn and thrive.”
To date, Tatcha has funded over 10 million days of school through Room to Read, which o ers more than just academic support. “The organization also teaches life skills—how to manage stress, prevent abuse, nd role models, even nancial literacy,” Tsai explains. “It’s so much more than reading and writing. It’s about survival and self-worth.” Tatcha’s contributions go directly to Room to Read’s Girls’ Education Program, providing resources such as transportation, school supplies, uniforms, and mentorship through social mobilizers who guide girls in understanding their rights and life choices. This intentional support has helped Room to Read move closer to its goal of educating over 45 million children globally by 2025.
Yet Tsai’s success hasn’t come without sacri ces. “My husband, Brad, and I went nine years without a salary and worked out of my mom’s garage,” she reveals. Today, Tatcha ranks in the top 1% of corporations, donating a percentage of revenue—not pro t—to Room to Read. “We couldn’t wait until we were pro table. Supporting these girls was too important,” she says.
With an eye toward the future, Tsai is deeply inspired by her mentor, Erin Ganju, the CEO of Room to Read: “Erin is just a few years older and came from a similar corporate background. She’s been a condante and a role model in navigating women’s leadership.”
Most recently, Tatcha has introduced a new Brightening Collection that reimagines Vitamin C skincare to deliver rmer, brighter skin without the irritation often associated with traditional formulas. Developed by the Tatcha Institute in Tokyo, the collection features a time-release Vitamin C that stays stable and e ective on the skin for 12 hours, with clinical studies showing signi cant improvements in skin brightness and rmness within a week. The collection includes the Brightening Serum and the Brightening Eye Cream, both available through Tatcha and Sephora and designed to provide fast, gentle results through key ingredients like Japanese plum, ferulic acid, and a Pro-Glutathione Antioxidant Booster. When asked what comes next, Tsai’s vision is clear. “There’s so much to tackle, and as a mother, I feel both hope and sadness for the world we’re leaving our children,” she admits. “But girls’ education is the fulcrum for change. We have the tools to end illiteracy in our lifetime. I’m willing to dedicate my life to it.” Through Tatcha, Vicky Tsai reminds us that beauty is more than skin deep—it’s a force for change.
“Having material goods isn’t a ex,” she says. “Being part of ending illiteracy, that’s a ex. My purpose has always been to help women see their own power. Anyone can be a changemaker. It’s not about being a ‘nice-to-have’—it’s the norm I hope to inspire.”
For Tsai, every purchase of a Tatcha product isn’t just a step toward awless skin; it’s a step toward a brighter, more educated future for girls around the world.
A
look at the process of visionary CARISA JANES behind Hourglass Cosmetics.
IN AN INDUSTRY SATURATED WITH BRANDS, Carisa Janes is rede ning luxury beauty and setting herself apart with an unwavering commitment to ethics and sustainability. Her journey into beauty began at her grandmother’s vanity, where she rst experienced the transformative power of colors and textures. “I grew up with a passion for beauty and fashion,” Janes says, recalling how her fascination with beauty products began. These early experiences would lay the foundation for her pioneering brand, Hourglass Cosmetics. Janes’s entrepreneurial drive is inspired by her father’s business acumen, sparking her dream to create a brand of her own. “My journey into the industry began at Urban Decay, where I was one of the rst few employees,” she explains, recalling her tenure at the iconic indie brand that was a pioneer in clean beauty. This role o ered invaluable insights into the beauty world and strengthened her passion for cosmetics. “It was at Urban Decay that I realized how impactful a brand could be—not just in product, but in shaping culture and inspiring consumers.” This experience ultimately led her to establish Hourglass, a brand with a purpose extending beyond beauty. Hourglass products showcase Janes’s unique creative approach, drawing from many disciplines. “Art, music, fashion, and even people spark my creativity. I’ve always been drawn to brands and designers who rede ne their industries,” she shares. Janes believes in the power of art to “unlock new ideas and perspectives,” and this focus on emotional resonance shapes Hourglass’s aesthetic—classic, sophisticated, yet bold.
Without formal mentors, Janes’s career has been in uenced by enduring brands that remain relevant without skimping on values. “I most admire the brands that continue to stay relevant without compromising their integrity, even after decades,” she re ects. This philosophy of integrity de nes her work at Hourglass, where innovation and ethics go hand in hand. Hourglass made headlines with its creation of Red 0, a vegan alternative to carmine—a red pigment typically derived from crushed insects. “Developing Red 0 was a labor of love and a representation of our commitment to creating ethical and innovative products,” she explains.
Janes’s approach to business blends vision with adaptability. She has a clear end goal but allows exibility, relying on her team for support. “I can see the ending, but I rely on my team to help map out the path to get there,” she notes, re ecting her balanced leadership style. When launching new products, she combines instinct with consumer demand. “I start with a creative vision I’m passionate about, believing that if it resonates with me, it will resonate with others,” she says. This instinct has driven Hourglass to push boundaries and seamlessly transition from idea to execution. Looking to the future, Janes is motivated to keep innovating. “I just want to keep going. As long as I have new ideas that excite me, it’s simple. It’s really just about enjoying the ride,” she shares. With an unwavering commitment to artistry and ethics, Carisa Janes is not only changing the beauty landscape but setting a new standard for creating with integrity and impact. Hourglass Cosmetics stands as a testament to her belief that luxury and ethics can coexist, shaping a more conscious future for beauty.
A PRESTO!
Will The Last One Out Get
The Light... And The Bag!?
PHOTOGRAPHY STEFANO SCIUTO
STYLING ANNA CASTAN
For the Louis Vuitton Cruise 2025 collection, presented this past spring in Barcelona’s Park Güell, Artistic Director Nicolas Ghesquière found inspiration in the Art Nouveau movement for his latest iteration of the now iconic Petite Malle. Crafted from a mix of Monogram canvas and smooth leather, the Cruise 2025 version, part of the recently created LV Acanto line, features its usual polished gold-toned hardware but now reimagined with naturalistic styling – a subtle nod to both Antoni Gaudi’s Modernisme design of the park as well as the Louis Vuitton family home in Asnières. Signature details, like the quintessential S-clasp, are molded and reworked by hand to create an alluring antique nish. The overall e ect is both modern and retro and makes for an instant classic.
Petite Malle, $8,800, available at select Louis Vuitton stores, 866.VUITTON, louisvuitton.com
