V109: Digital Edition

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Billboard artwork: Andy Warhol, Skull, 1976 © The Andy Warhol Foundation / ARS, photographed at The Andy Warhol Museum, Pittsburgh CALVIN KLEIN 205W39NYC Fall 2017: photographed May 2017, Mojave Desert, California

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Billboard artwork: Andy Warhol, Elvis 11 Times (Studio Type), 1963 © The Andy Warhol Foundation / ARS, photographed at The Andy Warhol Museum, Pittsburgh CALVIN KLEIN 205W39NYC Fall 2017: photographed May 2017, Mojave Desert, California

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FREJA BEHA ERICHSEN NEW YORK CITY APRIL 7TH 2017

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DISCOGRAPHY

86 THE LEGENDS Celebrate the legacies (and latest acts) of music heroes, from Chaka Khan and Gloria Estefan to the Velvet Underground

112 THE ALBUMS Photographers responsible for some of the most beloved and controversial album art divulge the fascinating backstory behind the shots

96 THE HEADLINERS Paul Carter captures this year’s unmissable fixtures on the festival circuit, like Lorde and the xx, in their element: completely owning the stage

114 V NEWS Must-know fashion updates: Selena Gomezdesigned bags, ‘90s nostalgia in shoe form, Raf Simons’s debut specs, and more

104 THE NEXT WAVE The fresh acts bucking convention and defying genres to tune into ASAP, such as Tommy Genesis and Jesse Jo Stark

117 GLAM SQUAD Sparkle and gleam in the stage-worthy beauty essentials of the season

106 THE SONGWRITERS The ultra-talented scribes penning the airwavedominating hits step into the spotlight and share their lyrical processes 108 THE ALL STARS The download on what 18 iconic V stars who’ve shifted the music paradigm have been up to lately

118 FALL CALENDAR September and October’s hottest tickets from MoMA to Nola in music, museums, and more 120 NEW GIRLS NEW LOOKS Get a first look at Fall’s biggest trends on a flurry of models breaking onto the scene

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SET LIST

126 LADY GAGA BY HEDI SLIMANE Celebrating the singer’s Joanne World Tour, author Tama Janowitz explores the heart and sound of the superstar musician

188 LIL PEEP BY MARIO TESTINO The tatted musician talks the influences behind emotional hip hop Styled by Nicola Formichetti

140 THE BOLD AND THE BEAUTIFUL BY MARIO TESTINO Hannah Ferguson and Duckie Thot illustrate the most eye-catching offerings of the season Styled by George Cortina

200 GAME CHANGERS BY NATHANIEL GOLDBERG Tune in to the 14 most riveting artists of the moment Styled by Michelle Cameron

156 THE WOW CLUB BY BRUCE WEBER Carolyn Murphy, Taylor Hill, and Grace Elizabeth revel in the best of Fall fashion Styled by Alex White

210 WOMEN IN BLACK BY MAX PAPENDIECK The favored silhouette of the season proves to be strikingly sculptural Styled by Ian Milan

178 KYLIE JENNER BY NICK KNIGHT While her every move is documented for her millions of followers, Jenner reveals a bit more for V’s lens Styled by Anna Trevelyan

220 BARE ESSENTIALS BY YVAN FABING Showstopping accessories that may make you forget clothes altogether this season Styled by Charlotte Stockdale and Katie Lyall

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MIC DROP

The marriage of music and fashion is quite the holy union. A great soundtrack is akin to a great collection: Both saliently capture a moment in time. Our annual Music Issue is a celebration of the sonic gems from the past, present, and future, showcasing over 60 incredible artists essential to the 2017 conversation. It’s hard to imagine the current state of music without talking about Lady Gaga, who kicked off the year with a high-flying, Emmy-nominated Super Bowl Halftime Show performance, went straight into filming Bradley Cooper’s upcoming remake of A Star Is Born, and has just embarked on her Joanne World Tour. Photographed by Hedi Slimane and in a poignant conversation with Tama Janowitz, it’s perhaps the most strippeddown we’ve ever seen or heard the superstar.

We’re delving deep into the artists dominating the airwaves this year as well as the rising stars you’re about to hear a lot more of. But first, we think it’s necessary to honor some of the heroes that paved the way for today’s talents—Chaka Khan, Gloria Estefan, and Shania Twain—and the exciting new projects on their dockets today.

There are also tributes to artists that’ve been pivotal on our playlists over the past few decades, like Fleetwood Mac and the Velvet Underground.

Next, Nathaniel Goldberg’s series captures the current wave of talented artists, including Banks, Charli XCX, Dua Lipa, Bleachers, Kacy Hill, Parson James, and Maggie Rogers. Plus, there’s a quartet of new names to know, from the Norwegian deep house/R&B duo behind Smerz to Jesse Jo Stark, who’s defining herself by her dreamy singer-songwriter sound this fall.

Beyond the tracks we can’t stop listening to on loop, check out the boldest fashion ideas on deck for Fall. Mario Testino and George Cortina capture the season’s strong and striking looks on Hannah Ferguson and Duckie Thot. Then, it’s off to Montauk with Bruce Weber, where a stellar troop of supermodels, including Grace Elizabeth, Taylor Hill, and Carolyn Murphy, ease into the best Fall looks. Kylie Jenner takes center stage for her first shoot with Nick Knight, flaunting her assets in gossamer dresses, beautifully styled by Anna Trevelyan. Testino and Nicola Formichetti plug into rapper Lil Peep’s brooding work and backstory. Finally, Yvan Fabing and Charlotte Stockdale make a captivating case for nude accessories. (Interpret that as you will.) For inspiring proof of how musicians and fashion designers drive the cultural zeitgeist forward, here are dozens of hitmakers changing what we listen to and what we wear, for the fall and well into the future. MR. V

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NOW ON VMAGAZINE.COM

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MOUTHPIECE KEREN WOLF

KYLIE BARES (ALMOST) ALL See how famed photographer Nick Knight captured the star for her most intimate shoot yet.

And in typical Jenner (and coincidentally Nick Knight) fashion, it was all documented on camera.

In an online exclusive, former French First Lady and supermodel Carla Bruni discusses her return to the studio and the release of a very romantic album of English-language covers.

DRESS GUCCI SUNGLASSES ALAIN MIKLI

TREND WATCH

SONIC TRAILBLAZERS

The season’s best and boldest fashion has arrived on Vmagazine.com.

Check out Fall’s roster of top trends and models you should know now.

Each week, go behind the music with exclusive new tracks, performance videos, and profiles of young guns like Kacy Hill, Banks, and Charli XCX as well as other boundary-pushing rising stars to look out for.

SOUNDS OF SEPTEMBER Hear V ’s curated playlists, featuring must-listen artists from the issue, plus profiles on the biggest names to know in music.

LANA DEL REY LUST FOR LIFE

THE XX I SEE YOU

DUA LIPA DUA LIPA

Clockwise from top left: Photography SHOWstudio; Photography Luca Repola; Photo Britta Pedersen/DPA/Alamy; Photography Robin Harper

TOP TOPSHOP

CARLA’S COVERS

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T H E LLEGE EG E NNDD S Celebrating iconic and trailblazing artists throughout music history.

CHAKA KHAN

GIVING CREDIT TO HER INFLUENCES AND BUILDING ON HER LEGACY OF EMPOWERMENT. PHOTOGRAPHY JUSTIN CAMPBELL

Chaka Khan’s raspy, soaring vocals reveal a woman who’s lived more than one lifetime throughout her 64 years. It’s no secret that the recent months have seen a number of incomprehensible losses in the realm of music and film. For Khan, born Yvette Marie Stevens, these hit especially close to home, but she’s come to terms with the experience. “Girl, it’s not really that new of a thing for me,” she says. “I’ve lost a lot of people I’ve loved in my time on the earth. I’ve lost a lot of real special friends the past few years, though.” One of those friends was the incomparable Prince. As she speaks of the Purple One and their time working together, there’s pure awe in her voice: “When we were on tour together, I would time it so I’d be there for his next guitar solo,” Khan remembers. “I just loved his guitar playing. He was amazing. He was a pure genius, but his guitar just took me to another place.”

Prince’s death last April also forced Khan to confront her own demons. She had been battling addiction to fentanyl, the painkiller that caused Prince’s overdose. Last July, Khan and sister Yvonne Stevens (aka Taka Boom) went into a rehabilitation program together to kick the habit. “I have a real healthy fix on life and death,” she adds. “Life is part of death, and death is part of life.” Though Prince is gone, she can still feel his presence in his songs: “[Music is] an expression that transcends every other form of expression on Earth,” she meditates.

With that sentiment, Khan seems at ease. And right now, she’s turned her focus to her legacy, at the core of which is empowering others. From her 1978 dance pop entrance with “I’m Every Woman” to her body positive single “I Love Myself” released this year, Khan has been preaching self-acceptance for almost 40 years.

“I was thinking about younger girls and body image, and [how they’re] not realizing, in my opinion, what true beauty is or true beauty emanates from, which is one’s character,” she says of her recent single. “It’s something from the inside out.” The song was born out of Khan wanting to see women thrive and be happy with who they are: “I just felt compelled to sing those words,” she explains tenderly.

Songwriting has been at the heart of Khan’s work throughout the years, something for which she gives credit to her love of folk singer Joni Mitchell. “She’s influenced me for a very long time,” notes Khan. “As I recall, I listened to her when I was still in high school, so she’s influenced me most of my life.” In fact, Khan remembers clearly how Mitchell’s album Hejira got her through a difficult tour she thought she might not be able to finish. “It’s lonely out here on the road sometimes,” she confesses. “I was going through some issues in my life. [Mitchell] really mellowed me out in a good way.”

Years later, Khan has become friends with Mitchell, to whom she refers as “one of the brightest people on the planet.” Mitchell has had such an effect on Khan that she’ll be releasing a record of all Mitchell covers. Though it may seem like an odd pairing, Khan thinks her style helps uncover aspects of Mitchell’s music that were there all along. “She makes the most conversational lyrics and there are so many amazing album cuts,” Khan says. “I’m still discovering stuff.

She doesn’t know that she’s kind of funky too—she’s got an understanding of rhythm that’s remarkable.”

With producer Eve Nelson, Khan went for deep cuts on her forthcoming cover record: songs that touched on love and life and resonated personally with Khan.

Together, producer and legendary musician crafted a beautiful tribute.

But the Mitchell cover record isn’t the only thing Khan is plotting. In fact, it’s only one of the things she’s working on. Along with Raphael Saadiq, Khan is focused on a full-length of originals. “I’m working with a few remixers [and doing] some dance stuff,” she explains. She’s also set on memorializing Prince with her own tribute, alluding to something involving the record they made together, Come 2 My House.

For Khan, Prince will always be a big part of her life and career. And Khan isn’t slowing down anytime soon—she’s having too much of a good time to even consider the possibility. “I’m a busy lady, I’m a creative,” attests Khan. “Creating is fun.” Good thing we’ll be along for the ride. ILANA KAPLAN

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CHAKA WEARS COAT FENDI PHOTOGRAPHED IN LOS ANGELES, 2017.

FASHION KENNY P. PAUL MAKEUP AND HAIR GEORGE ROBERT FULLERN MANICURE SARAH CHUE USING CHANEL LE VERNIS (EXCLUSIVE ARTISTS MANAGEMENT) PHOTO ASSISTANT MAT DUNSTAN STYLIST ASSISTANT SARAH SALINAS LOCATION QUIXOTE STUDIOS

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THE LEGENDS

PAT CLEVELAND BOOGIES DOWN AT THE BOÎTE, CLAD IN STUDIO 54 JEANS (YES, THE CLUB HAD A SHORTLIVED DENIM LINE).

STEVIE WONDER AND TEDDY PENDERGRASS JAMMING TOGETHER AT A PRIVATE PARTY FOR STEVIE’S ASSISTANT.

STUDIO 54

IAN SCHRAGER, COFOUNDER OF THE ICONIC HOTSPOT, TALKS WITH SUPERMODEL AND CLUB REGULAR PAT CLEVELAND IN ADVANCE OF HIS NEW TOME WITH RIZZOLI. PAT CLEVELAND You set up such a beautiful paradise for all of us. Tell me: How did that all start?

IAN SCHRAGER It might have had something to do with my parents—they always threw great parties. I was coming of age in the 1970s when sexual mores were changing and “anything goes” was in the air.

PC You met Steve [Rubell] in college, and he was the more outgoing, crazy guy and you were the responsible Cancerian, right?

IS Exactly. Steve was a guy who really loved people. I think you gotta love something if you’re gonna be good at it, and he really loved people.

PC You created things that encapsulated music and sexuality. It just exploded into this amazing club. I can’t imagine something so important to the history of New York just being born. Do you remember that?

IS I was probably shell-shocked because we were trying to open in six weeks and had a burst of energy. I remember Steve made me go buy a suit so I had something to wear. I guess we both had the same goal in mind of people coming into a place and feeling absolutely protected, allowing them to feel absolutely free.

That freedom made Studio unforgettable.

PC Absolutely! Everybody had a chance to express

their true nature. You never felt like you didn’t belong, except at the door [laughs], with that no-entry policy.

IS It was a circus! Everyone thought that what we were doing was very elitist, but we never thought that. If you have a party at your house, you invite people you think are going to get along, you sit somebody who’s talkative next to somebody who’s not talkative. That’s all we were trying to do there, but it got misunderstood. We didn’t want somebody like you feeling like you couldn’t come in and dance by yourself without getting bothered and hit on by a lot of guys.

PC You did very well with that. You hosted a zillion theme parties. Was there a theme party that you loved the most?

IS I used to like the Halloween party—I think those predated the Village parade. They were so freewheeling.

PC And don’t forget the boys without shirts in roller skates! Whose idea was that? [laughs] IS That happened kind of spontaneously!

PC Sometimes I walk past [Studio]. What does it feel like when you walk past the old building?

IS I haven’t walked by in a long time. I’m always looking forward, not back. I did the book because I wanted my children to know [about Studio] and to set the

record straight. I’m just amazed that after 40 years, young people talk about two seminal cultural events: Woodstock and Studio. It’s a phenomenon.

PC People need some sort of gathering place like that.

Your places! PUBLIC Hotel, man. I walked through that lobby, I saw those young people, and thought, “Oh my God, I’m in the future.” I got that feeling, that 54 feeling.

IS Studio was mostly focused on dancing, and it was very underground music, music for dancing, born in the nightclub. The music now is kind of different. We had a lot of performances at Studio. Stevie Wonder once threw a party there for his secretary, and he came in and jammed with Teddy Pendergrass, Stephen Stills, and Stephanie Mills, who was from The Wiz. He came in and we played “Signed, Sealed, Delivered” on the loudspeaker. It was incredible. Whenever a music person was in the house, we would always play one of their songs for the crowd.

PC Oh, it was a scream! Stevie was up on a platform. I remember singing happy birthday to Steve Rubell just before Stevie Wonder’s performance. Everybody was blown away. And you could dance!

STUDIO 54 IS OUT SEPTEMBER 5 FROM RIZZOLI IAN SCHRAGER OPENED PUBLIC NEW YORK IN JUNE 2017

This page, clockwise from left: (All images courtesy Rizzoli) Photography Roxanne Lowit; Photography DNR/Nick Machalaba; Photography Russell C Turiak

GRACE JONES’S NUMEROUS PERFORMANCES HELPED SET THE SPOT’S ELECTRIFYING ENERGY.

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THE LEGENDS

SHANIA TWAIN PHOTOGRAPHED IN MIAMI, 2017.

SHANIA TWAIN

THE COUNTRY SINGER RELEASES HER FIRST ALBUM IN 15 YEARS. PHOTOGRAPHY MERT ALAS AND MARCUS PIGGOTT

“I really benefited from owning that suffering and saying to myself, I’m never going to trust again, I’m never going to love again, I’m never going to get married again. And I really meant it in that moment,” says Shania Twain. “I think once you’re able to take that on as your reality, only then will you evolve through it.

I would never apologize for feeling sorry for myself— sometimes you need to.”

That’s how Twain began to piece her world back together after her creative cohort and husband of 14 years, producer Robert “Mutt” Lange, was allegedly having an affair with her best friend Marie-Anne Thiébaud. It blindsided Twain back in 2008 and has dominated her narrative over the past decade, punctuated by this nice little kicker: Twain fell in love with Marie-Anne’s ex, wedding Frédéric Thiébaud in 2011.

Though she doesn’t let this experience define her, Twain is unflinching in communicating her struggle, whether in her 2011 memoir, From This Moment On, or the songs on Now, her first album since 2002.

It’s certainly not difficult to read between the lines: On “Poor Me,” she sings, “I wish I never saw it, the secret in his eyes, poor me, he never told me how

long, I’d been living in the dark.” But Twain is careful Much of Twain’s life has been characterized by to counter every emotional piano ballad with trium- surmounting adversity to achieve success. Raised phant confessionals—from the reggae-tinged coun- in Ontario, Canada, Twain grew up in a home where try of first single “Swinging with My Eyes Closed,” food and money were often scarce. Her mother batto “Life’s About to Get Good” and the peppy “You tled depression and her stepfather’s temper was Can’t Buy Love.” often violent. Twain lost both in a car crash when she Truthfully, it’s a wonder that this record came about was 21, becoming a de facto parent for her younger at all. In 2004, Twain took a break from the spotlight, siblings. Despite this, Twain went on to make an indelostensibly to dedicate herself to raising her son Eja. ible mark on music. She was one of the first to blur By that point, however, Twain was already suffering the lines between country and pop, paving a path from chronic fatigue brought on by Lyme disease. In for those like Taylor Swift and Kelsea Ballerini. She the intervening years, the illness would atrophy her ruffled feathers with her exposed midriff, shifting 90 vocal chords, but never once did she stop writing. “I million records in the process. “I didn’t realize a bare grieved singing for sure and I missed it for many years, belly button would be so taboo within the country but I also just started to accept that maybe it would music industry,” she remembers. never happen again and I had to cling to the thing I Twain’s favorite look—corset, top hat, thigh-highs, could do, which was writing music,” explains Twain. white shirt—comes from one of her defining hits, Later, she began to work on the nerve damage that “Man! I Feel Like a Woman.” She explains, “It’s a good was constricting her vocal chords. This galvanized the statement of a strong woman, but also a little tongue singer to hit the road in 2015 for an extensive North in cheek.” Reminded that the cover of Now finds Twain American tour, her first in 11 years. Twain billed it as in leopard print, a nod to her 1997 smash “That Don’t her final jaunt, but her swiftly advancing recovery sur- Impress Me Much,” the 52-year-old laughs, “There are prised her and she decided to lay down a fifth record. some things I don’t want to outgrow.” KIM TAYLOR BENNETT

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THE LEGENDS

ANDY WARHOL WITH ASSOCIATE GERARD MALANGA AND MEMBERS OF THE VELVET UNDERGROUND, NEW YORK CITY, CIRCA 1966.

LEFT TO RIGHT: JOHN CALE, GERARD MALANGA, NICO (1938–1988), AND ANDY WARHOL (1928–1987).

THE VELVET UNDERGROUND How does a forward-thinking band look back? The in two-tone yellow and black against a stark white Velvet Underground—icons of early experimental background—is now widely regarded as one of the rock—sees its debut album turn 50 this year, and most influential albums in pop history. It ranks 13 on founding member John Cale will commemorate it Rolling Stone’s list of the 500 greatest albums of all with a pair of concerts at the Brooklyn Academy of time, and NPR included it in their collection of the 100 Music in November. Accompanied by members of the most important American musical works of the 20th Wordless Music Orchestra and special guests, Cale century, just to name a few of the many accolades it’s will play The Velvet Underground & Nico in full, in the collected in the five decades since its recording. city where it all began.

This is a huge departure from the initial reception “It’s really about how I can pay back New York,” Cale of the album, which was a certified commercial flop. says by phone from his Southern California studio, Due to its controversial-for-the-time lyrics about sex where he has taken a pause from recording new mate- and drugs, record stores banned it, prominent radio rial. “It’s really what New York has given me, [from] stations refused to spin it, and magazines declined to when I came [from Wales] in ‘63 to what it is now.” carry advertisements for it. A lawsuit over the back Cale is the only surviving founder of the band, out- cover art, featuring an unauthorized image of actor living Lou Reed (d. 2013), Sterling Morrison (d. 1995), Eric Emerson, caused a temporary halt in distribution. and Angus MacLise (d. 1979), as well as Nico (d. 1988), “The subject matter we were dealing with—everyone the German fashion model injected into the group by misunderstood it because they wanted to,” Cale notes. band manager Andy Warhol. “It doesn’t really become A slow-burn acceptance was somewhat anticipated, mine anymore,” Cale, now 75, says of performing the perhaps even intended, by the band. “We created a ceralbum. “It becomes mine only in the sense that I’ve tain difficulty in understanding [the material], but we never chosen who should be involved in it.” wanted to bury it,” Cale explains. “We just wanted to “The Banana Album”—nicknamed as such for make sure that the people who were working hard enough its Warhol-designed cover art depicting the fruit to understand what was there were the right people.”

Even the “right” people took some time to warm up to the band’s unique sound. In Legs McNeil and Gillian McCain’s oral history Please Kill Me: The Uncensored Oral History of Punk, Iggy Pop recalls his first listen.

As he remembers, “I just hated the sound. You know, ‘How could anybody make a record that sounds like such a piece of shit? This is disgusting!’ Then about six months later it hit me. ‘Oh my god. WOW! This is just a fucking great record!’…The sound was so cheap and yet so good.”

“One thing we were smart about is that we left enough room for people to really develop it,” Cale muses. “Getting to the point was really important to us, and you can state that any number of times and people will still misunderstand you. Room for interpretation is sometimes the bane of your existence.”

If nothing else, the story of recording The Velvet Underground & Nico is one of artistic integrity and sticking to your guns, even if Warhol pushes a European model on your proto-punk band. “When you create something, you want to be proud of it,” Cale says. “And when you’re proud of it, you have all kinds of instances where it comes back and suddenly pays off for you. And you don’t know when that is.” NICOLA FUMO

Photo Herve Gloaguen/Gamma-Rapho/Getty Images

JOHN CALE PAYS TRIBUTE TO THEIR DEBUT ON ITS 50TH ANNIVERSARY.

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FLEETWOOD MAC

FORTY YEARS LATER, JUST ABOUT EVERYONE STILL LOVES RUMOURS. My husband and I had been married for a while before we felt ready to unite our vinyl record collections. We are each a little snooty about what we consider our respective superior tastes, which tend toward oldschool indie rock and punk: the Clash, the Buzzcocks, and X for me, and the Pixies, Fugazi, and Devo for him. Who would have thought that one of the very few duplicate albums in our merged collection would be Fleetwood Mac’s 1977 supernova, Rumours?

What is it about that album? That it’s a beautifully crafted California-baked rock record doesn’t explain a fan base that extends far beyond those who favor the arena-rock musical idiom. Over the decades since Rumours’s release, among those who have lined up to cover its songs are Hole (“Gold Dust Woman”), Tonic (“Second Hand News”), and Letters to Cleo (“Dreams”).

Could it be that there’s something a little bit punk rock about Rumours and the band that made it?

Fleetwood Mac didn’t start out that way. It was an English blues outfit that formed in the late ‘60s and was enjoying some success when its guitarist quit in ‘74. The stranded members—keyboardist Christine McVie; her bass player husband, John McVie; and drummer Mick Fleetwood—recruited a Californian, Lindsey Buckingham, to fill the guitarist slot. Buckingham accepted the job on the condition that the band also accommodate his singer-songwriter girlfriend, Stevie Nicks, with whom he

had released an album whose sales weren’t boosted by even the comely pair’s naked cover shot. This new configuration of Fleetwood Mac put out a self-titled record with its share of jewels—especially Nicks’s “Landslide,” later covered with worshipful fidelity by the Smashing Pumpkins—but it was Rumours that won the Grammy for Album of the Year, in ‘78.

That the engine driving Rumours was Fleetwood Mac’s interpersonal turmoil has been exhaustively reported, but here it is again: During the year that the band worked on the album, Mick Fleetwood and his wife were splitting up, Nicks and Buckingham’s relationship imploded, and Christine and John McVie’s marriage cratered. Everyone in the band was apoplectic about something, and brought this to the recording studio along with their rolling papers and Heinekens. Buckingham wrote the seething “Go Your Own Way” about Nicks, which made her mad. Christine McVie did not write the exultant “You Make Loving Fun” about John McVie, which made him mad. The result of all this embattlement is one of the best selling albums of all time.

While there’s nothing punk about Rumours’s sound (you’ll have to go to Tusk, its somewhat notorious follow-up, for that), the record has fine moments of experimentation, like the broken glass and caterwauling that flesh out “Gold Dust Woman,” Nicks’s spookycelestial soundscape. Another distinguishing feature:

When Fleetwood Mac made Rumours, two of its five members and two of its three lead singer–songwriters were female. As music journalist Caroline Coon has pointed out, punk was the first cultural movement in which women could participate equally with men. In Rumours’s day, a chick singer in a mainstream rock band was a curiosity. Two chick singers who wrote songs, one of whom played an instrument? Yikes.

Of course, the punkest thing about Fleetwood Mac has always been Nicks, and as Rumours climbed the charts, more and more young women tried out her witchy-waif persona, feather earrings flying with every imitative Stevie twirl. Nicks’s crocheted drapery and hippie fringe conspired with her black platform boots and surface gloom to wink at anyone with a healthy skepticism of “normal.”

I suspect that Fleetwood Mac speaks to the secret punk in every hippie and the closet hippie in every punk. Fleetwood Mac even speaks to my 16-yearold daughter. My husband surprised her with tickets to see the band in concert a couple of years ago, and since it was her birthday, he bought her a tour shirt. When I was my daughter’s age, I wouldn’t have advertised that I liked Fleetwood Mac: What would the Clash, the Buzzcocks, and X have thought of me?

Only now do I understand that they probably loved Fleetwood Mac, too. NELL BERAM

Photo Pictorial Press Ltd/Alamy

LEFT TO RIGHT: LINDSEY BUCKINGHAM, CHRISTINE McVIE, MICK FLEETWOOD, STEVIE NICKS, AND JOHN McVIE POSE FOR A PORTRAIT CIRCA 1977.

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THE LEGENDS

GLORIA ESTEFAN

GLORIA ESTEFAN ON HER GET ON YOUR FEET WORLD TOUR IN THE NETHERLANDS, 1989.

“I’d see these big, giant men crying, and it made me really happy,” Gloria Estefan admits over the phone from her house in Miami. “Because I saw it really moving people, and that’s a beautiful thing.” Estefan is talking about her Broadway show, On Your Feet!, which has run for over two years now. In October, it will embark on a North American tour and a corresponding one in the Netherlands. The critically acclaimed show, which was nominated for a Tony Award, stages the story of the lives of Estefan and her musician husband Emilio.

“To me, the prime objective of the show is to take the audience on an emotional journey that has its ups and downs,” Estefan explains. The ups include becoming an international phenomenon at the age of 28 with “Conga,” which remains her signature song; 100 million albums sold; 38 number one hits on the Billboard charts; performances at the Super Bowl Halftime Show and the Vatican; and more.

Downs include a severe accident in 1990 when a truck hit Estefan’s tour bus. She broke her vertebra, and her husband and nine-year-old son, Nayid, were hospitalized. Another low, one that the public knew nothing about until On Your Feet!, was the two-year silence between Estefan and her mother. “Nobody knew it had ever happened. I took my sister on the road and [my mother] got so upset. She said she’d never speak to me again...She felt that she had been abandoned, but I knew I had to take my sister with me or she’d have gotten into a lot of trouble.”

Her relationship with her own daughter, Emily, brings a new level of excitement to Estefan’s voice. It sounds as if she’s beaming when talking about Emily’s budding career. “Honestly, not because she’s my kid, to me she’s like Prince or Stevie Wonder.” Emily’s debut album, Take Whatever You Want, demonstrated the rising star’s musical talents, ranging from drums and guitar to a voice that, as her mother puts it, sounds like “it’s full of soul and wise beyond her years.”

Estefan herself has a new album coming out in 2018, this time infusing a Brazilian influence into rerecorded versions of her classics. It’s clear that her work and strong sense of family are crucial to her good spirits.

“Do you have relationships that fill your life so that you have a balance of work and love? Can you control your destiny? To me, that’s the measure of success. That’s the measure of happiness.” MATHIAS ROSENZWEIG

Photo Michel Linssen/Redferns/Getty

THE STORY OF AN ILLUSTRIOUS LIFE GOES ON TOUR.

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AMII STEWART

Photo Keystone Pictures USA/Alamy Stock Photo

THE DISCO STAR’S FOUR DECADES IN ITALY HAVEN’T JUST BEEN A CHIANTI AND PASTA-FUELED IDYLL. Amii Stewart shimmied onto the disco scene in the late 1970s in dramatic headpieces and outré outfits. The D.C. native trained professionally as a dancer before arriving in London in the late ‘70s, where she starred in and helped choreograph a Broadway show on the West End. After seeing the show in ‘77, a record producer approached her and asked if she wanted to record.

The next year, she released “Knock On Wood,” her hit cover of Eddie Floyd’s 1966 song.

Her gloriously out-there costumes were created by a woman named Miranda in the English countryside: “Everyone would ask who did my costumes, and I wasn’t giving that name up for anything in the world!” Her fantastical looks and hefty headpieces were pioneering at the time. “Cher stole some of my stuff—I came first and she came after,” Stewart says. “But I thought it was the greatest compliment ever, so I wasn’t mad; I was quite pleased.”

Her disco career lasted for a few brief, raucous years. “There were these huge shows, with Tina Turner, Sylvester, Sting and the Police, Boney M., everyone was there—backstage was like a big party, we were so happy to see each other,” Stewart recalls. However, she disliked the genre’s reliance on covers, like her successful version of the Doors’ “Light My Fire.” As she explains, “I didn’t want to get stuck in the disco scene. When you’re labeled like that and the fad is no longer there, you die along with the fad. I didn’t want that to happen to me.”

Stewart’s quest for her next act led her to an Italian record label that offered her carte blanche musically.

“They gave me full artistic control over my career,” Stewart relates. “Italy was the only country that didn’t look at my skin color and say, ‘You have to sing rhythm and blues, or soul, or jazz.’” She moved to Italy in the early ‘80s and met her husband five years later. It’s difficult for Stewart to imagine how her career would’ve panned out had she stayed stateside: “In America in the ‘70s and ‘80s, you had to be labeled something in order for a record company to feel comfortable marketing you,” Stewart points out. “Only after Whitney Houston was it possible for a black woman [in the U.S.] to just say, ‘You know what, I’m gonna do it all.’”

Stewart’s made good on the promise of artistic freedom that initially lured her to Italy: She’s done modern operas, musicals, TV shows, and has worked with luminaries like famed Spaghetti Western composer Ennio Morricone and Life Is Beautiful composer Nicola Piovani. “If you’re not doing something in America, people tend to think that you’ve fallen off the face of the earth,” she says. “But in fact, I’ve been incredibly busy my whole life.”

Currently, Stewart is part of a jazz trio, an R&B quartet, and 30-piece orchestra. This summer, she staged a concert touring Italy dedicated to disco’s greatest hits.

There’s been interest in bringing it to Europe and even stateside, though she’d need to reacquaint herself with U.S. audiences: “We’re filming [the show] and putting it online, so people will go, ‘Oh, holy hell! She’s not a grandmother, sitting in her rocking chair.’”

She has another throwback project coming in 2018, timed to the 40th anniversary of “Knock On Wood.”

“I’m doing a show all about my music and what I’ve done in the last 40 years—it’s incredibly eclectic,” Stewart says. She occasionally visits the States, but she’s never thought of moving back. “I’m just traveling the world, singing my songs, and it’s a wonderful feeling to be able to do that after all of these years.”

ALEXANDRA ILYASHOV

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THE HEADLINERS Music’s buzziest luminaries shine bright on summer’s sold-out stages, and the crowd goes wild. Photographer Paul Carter captures the action exclusively for V.

LORDE

LATEST RELEASE: MELODRAMA (2017) NUMBER ONE TRACK TO DATE: “ROYALS” (2013) WHERE TO CATCH HER NEXT: SEPTEMBER 27 AT ALEXANDRA PALACE, LONDON 96 VMAGAZINE.COM

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THE HEADLINERS

THE ATOMICS

LATEST RELEASE: “VOULEZ VOUS” (2017) NUMBER ONE TRACK TO DATE: “LET’S LIVE FOR TODAY” (2017) YOU’LL LOVE THE ATOMICS IF YOU LIKE: SYNEAD, VHS COLLECTION, THE BEACH BOYS

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GRGRACE RACEMITCHELL MITCHELL

LATEST RELEASE: “COME BACK FOR YOU” (2017) NUMBER ONE TRACK TO DATE: “NOLO” (2015) YOU’LL LOVE GRACE MITCHELL IF YOU LIKE: VÉRITÉ, PRINZE GEORGE, EZA GRACE WEARS JACKET GUCCI

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THE HEADLINERS

JUSTICE

LATEST RELEASE: WOMAN (2016) NUMBER ONE TRACK TO DATE: “D.A.N.C.E.” (2007) WHERE TO CATCH THEM NEXT: SEPTEMBER 1 AT HOME FESTIVAL IN TREVISO, ITALY

KENDRICK LAMAR LATEST RELEASE: DAMN. (2017) NUMBER ONE TRACK TO DATE: “HUMBLE.” (2017) WHERE TO CATCH HIM NEXT: SEPTEMBER 2 AT AMERICANAIRLINES ARENA IN MIAMI

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BISHOP BRIGGS

LATEST RELEASE: “THE WAY I DO (ACOUSTIC)” (2017) NUMBER ONE TRACK TO DATE: “RIVER” (2016) WHERE TO CATCH HER NEXT: SEPTEMBER 9 AT BUZZ BEACH BALL IN KANSAS CITY, MISSOURI

NAO

LATEST RELEASE: FOR ALL WE KNOW: THE REMIXES (2017) NUMBER ONE TRACK TO DATE: “BAD BLOOD” (2015) YOU’LL LOVE NAO IF YOU LIKE: SEVDALIZA, H.E.R., ABRA

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THE HEADLINERS

HINDS

LATEST RELEASE: LEAVE ME ALONE (2016) NUMBER ONE TRACK TO DATE: “GARDEN” (2015) WHERE TO CATCH THEM NEXT: SEPTEMBER 2 AT MTV’S GIBRALTAR CALLING MUSIC FESTIVAL IN GIBRALTAR

CRYSTAL CASTLES

LATEST RELEASE: AMNESTY (I) (2016) NUMBER ONE TRACK TO DATE: “VANISHED” (2008) WHERE TO CATCH THEM NEXT: SEPTEMBER 28 AT ROYALE NIGHTCLUB IN BOSTON

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LOCAL NATIVES

LATEST RELEASE: “THE ONLY HEIRS” (2017) NUMBER ONE TRACK TO DATE: “WIDE EYES” (2009) WHERE TO CATCH THEM NEXT: OCTOBER 11 AT THE HOLLYWOOD BOWL IN LOS ANGELES

THE XX

LATEST RELEASE: I SEE YOU (DELUXE BOX SET) (2017) NUMBER ONE TRACK TO DATE: “INTRO” (2009) WHERE TO CATCH THEM NEXT: OCTOBER 21 AT LIVE OUT FESTIVAL IN MONTERREY, MEXICO

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TOMMY GENESIS

QUIÑ WEARS CLOTHING CHANEL JEWELRY HER OWN

The Vancouver native only began rapping two years ago, though her interest in music started early: her mom taught her piano at a young age, leading to five group stints.

“I always try to stay within a pack, but I forget I’m not a wolf; I’m like a lone tiger,” Genesis says. Her solo sound—sultry lyrics with trap-inflected beats—is a work in progress. “I made up the term ‘fetish rap,’ and now I’m sick of it, to be honest,” she explains. Genesis also has dabbled in fashion: She performed at Miu Miu’s Cruise show in July and starred in Calvin Klein’s Fall 2016 campaign. Her new album will drop by the end of the year. “I still write everything myself,” Genesis asserts. “Only now, I mean everything I say. It comes from a place of empowerment. I feel like making music that will mean something to me in one year, in five years, in 10 years.”

TOMMY GENESIS WEARS CLOTHING AND HAT EMPORIO ARMANI SHOES SAINT LAURENT

BY ANTHONY VACCARELLO

THE TH E NNEXT EXT WAVEE WAV

These rising stars have genre-defying sounds and the ambition to make it big. We’re all ears.

PHOTOGRAPHY OLIVIA MALONE FASHION ALEXANDRA CRONAN TEXT ALEXANDRA ILYASHOV

QUIÑ

Quiñ (full name: Bianca Leonor Quiñones) has been singing in choirs since age four, but it took many years and experiences for her to fully come out of her shell.

After getting her heart broken at 19 and living alone for the first time, she started writing music and reflected on her vocal skills. “I made a bet with myself,” she says.

“Every opportunity that made me feel uncomfortable when it came to singing or sharing my art, I would just do it.” Nowadays, she’s making “fantasy soul music,” inspired by a formative-years soundtrack of Celine Dion, Beyoncé, Barbra Streisand, and Janet Jackson. Quiñ’s first album, Galactica, came out last year. This summer, she played Afropunk in Brooklyn and her second album, Dreamgirl, drops this fall.

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JESSE JO WEARS CLOTHING AND SHOES BALMAIN

SMERZ

Henriette Motzfeldt and Catharina Stoltenberg met in their Norwegian high school.

During a post-grad gap year, they moved to Denmark, took music classes, and started writing songs together. Three years ago, it actually started to seem like a legitimate career pursuit. But Stoltenberg reveals that “it never felt like a serious decision, we’re still a bit surprised.” Sonically, the two lean towards “R&B melodies with a club element,” explains Motzfeldt, citing Alicia Keys, Beyoncé, and Rihanna, plus a more recent interest in electronica, as influences. They recently signed with XL Recordings, and now count Adele, Radiohead, and M.I.A. among their labelmates.

“It’s important for us to be able to just make whatever we feel like, whether that’s pop or straight-up club music,” Stoltenberg affirms. Their second EP is due out this fall.

HENRIETTE WEARS DRESS CHANEL EARRINGS HER OWN

Makeup Silver Bramham using Chanel (Art Department) Hair Maranda using Oribe (Lowe & Co.) Digital technician Dustin Edwards (Factory Digital)Photo assistant Brook Keegan Stylist assistant Britt Lucas Location Hubble Studio

CATHARINA WEARS CLOTHING KENZO

JESSE JO STARK

Raised on a diet of Merle Haggard, Fleetwood Mac, and the Clash, the L.A.-bred musician’s sound has evolved into “dreamy singer-songwriter, more alternative rock.”

Lana Del Rey’s sister, Chuck Grant, directed the singer’s video for her spring single, “April Flowers.” Stark explains, “Chuck got the weirdness of what I wanted to do.”

Stark has always been involved with fashion, too: her parents founded Chrome Hearts, the clothing and accessories line. She even helped out close pal Bella Hadid with her capsule collection for the brand. “It’s hard to mix friendship and work, but we did a really good job,” she says. This fall, Stark will release her first EP. In July, she opened for Guns N’ Roses in Prague—a bucket list item for plenty of musicians.

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THEH E SONGWRITERS SONGG W RI TE Meet the masters at work behind music’s most well-known hits.

JUSTIN TRANTER

“BAD LIAR” BY SELENA GOMEZ; “BAD AT LOVE” BY HALSEY; “KISSING STRANGERS” BY DNCE; “ISSUES” BY JULIA MICHAELS; “WHEN A WOMAN” BY SHAKIRA; “SLUMBER PARTY” AND “DO YOU WANNA COME OVER” BY BRITNEY SPEARS; “MAKE ME LIKE YOU” AND “USED TO LOVE YOU” BY GWEN STEFANI

EMILY WARREN

“NEW RULES” BY DUA LIPA; “STAY TOGETHER” BY NOAH CYRUS; “THE ONE,” “DON’T SAY,” “MY TYPE,” “WAKE UP ALONE,” AND “DON’T LET ME DOWN”

BY THE CHAINSMOKERS; “NO LIE” BY SEAN PAUL

“I was a baby musical theater queen and I was getting super frustrated that the songs for boys weren’t dramatic or fabulous enough. So I figured, Why not try and write my own? One time, while watching something about LGBTQ activist Marsha P. Johnson, the lyric ‘you’ll remember me for centuries’ came into my head. That lyric birthed the Fall Out Boy song ‘Centuries,’ which was my first big song and also the biggest sports anthem of that year. It felt like some sort of poetic justice that makes me very proud. I hope [the songwriting industry] becomes more diverse. It’s still very white, straight, cis male dominated. More diversity would be better for humans and for music. Also, I’m still waiting for Stevie Nicks to write a musical with me. Until that happens, I’m nothing.”

“My parents were really set on my brother and I taking piano lessons. When I was in eighth grade, my dad encouraged me to record an EP. By ninth grade, I’d started a band that played all over New York City. Then, when I got to college, I started going into writing sessions with other people and signed my publishing deal my junior year. The most unbelievable songwriting session I’ve had was probably with ‘Don’t Let Me Down.’ It sparked an incredible creative and personal relationship I now have with the Chainsmokers, which lead to more songs, features, and ultimately them asking me to go on tour with them. I was already getting the itch to start releasing my own music and performing again, so the experience of touring arenas with them for two months was invaluable. It’s entirely possible that the audience for my solo stuff ends up being completely different from the one for the Chainsmokers, but peoples’ tastes are pretty fluid nowadays and I love the idea of being able to create a body of work that’s ultimately got a little something for everyone.”

This spread, clockwise from top left: Photography Robin Harper; Photography Becky Fluke; Photography Guy Lowndes; Photography @bawwse; Photography David O’Donohue

INTERVIEWS IAN DAVID MONROE

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HILLARY LINDSEY

“A-YO,” “GRIGIO GIRLS,” “MILLION REASONS” BY LADY GAGA; “GIRL CRUSH” BY LITTLE BIG TOWN; “BLUE AIN’T YOUR COLOR” BY KEITH URBAN; “WHEN I LOOK AT YOU”

BY MILEY CYRUS; “DIRTY LAUNDRY” AND “SMOKE BREAK” BY CARRIE UNDERWOOD “I was at the Grammys last year because I wrote a song called ‘Girl Crush’ with my two friends in Little Big Town. They had performed, and Gaga walked right past me. I was on the main floor because we were also nominated for Song of the Year. My dad was my date and he was like, ‘That’s Lady Gaga. You need to stop her and say hey.’ I’m like, ‘Gaga doesn’t know who the hell I am.’ So, she walked on by. Later, there I was talking to her on the phone. She’s like, ‘I’d love for you to come over [to my house]. I’ve got a pool we can sit by.’ I was more nervous on the drive over than anything, but once I actually walked into the house and sat down with her, it was just like an instant old friends [connection]. It was the strangest thing.

And that’s where ‘Million Reasons’ came from, just from a conversation that we were having. It was just two songwriters sitting down: She was on the piano and I was on the guitar. I had just had my baby like seven months [earlier], so I was out there [writing] with my breast pump. I mean, I would literally be pumping in front of her with a guitar in a big black shawl. It was hilarious. It really was like one of the most honest, really real cowrites I’ve had in a long time. It was such a rush—it took me a couple of days to come down from it.”

KID HARPOON

“SWEET CREATURE” AND “CAROLINA” BY HARRY STYLES; “ROSES” BY SHAWN MENDES; “METEORITE,” ”DESIRE,” “WORSHIP,” “GOLD,” “TAKE SHELTER” BY YEARS & YEARS; “HOME” BY AURORA; “WHAT KIND OF MAN,” “SHIP TO WRECK,” “MAKE UP YOUR MIND,” “OVER THE LOVE,” AND “SHAKE IT OUT” BY FLORENCE + THE MACHINE; “WAIT IN LINE” AND “COLLIDE” BY JAMES BAY; “DESIRE” AND “WILDEST MOMENTS” BY JESSIE WARE

STARRAH

“NEEDED ME” BY RIHANNA; “REGRET IN YOUR TEARS” AND “NO FRAUDS”

BY NICKI MINAJ; “NOW OR NEVER” BY HALSEY; “PICK UP THE PHONE”

BY TRAVIS SCOTT; “SWISH SWISH” BY KATY PERRY; “FEELS” AND “HEATSTROKE” BY CALVIN HARRIS; “FAKE LOVE” BY DRAKE

“I have been writing poetry since I was 13, and I graduated from poetry to songs shortly after. My first big songwriting moment came with Rihanna’s ‘Needed Me.’ I wrote more than 100 songs for her—not during the creation of the Anti album, but before I even knew that I’d have the opportunity to write for her. So, to see what it became was something really special to me. I would love for the behind-thescenes heroes to get their proper credit. Especially in the urban community, writers are almost shunned for their contributions to music. The reality is if one part of a machine stops working, the whole thing stops. Engineers, producers, writers, artists, managers, et cetera. We’re a team.”

“I started playing guitar when I was nine and was totally obsessed. It was all I did, and I think I wrote my first songs when I was 12 or 13. I’m constantly trying to better myself, to the point where I give myself a really hard time.

One of the worst things I do [when writing] is that when something isn’t working, I obsess about it and try harder to fix it. But with Harry Styles’s ‘Sweet Creature,’ I started playing a riff, he started singing, and, honestly, I can’t remember much after that because it happened so quickly. We wrote and recorded the whole thing in about two hours. Somehow the whole demo made it through his whole album process virtually untouched to the end— vocals, everything. It’s a real achievement for me, but also a testament to Harry’s conviction on this record. For me, the goal isn’t to survive by writing something that fits with what’s on radio; it’s to create something really special and unique. If that ends up being a big song, that’s great, but it’s not the be-all and end-all. You have to be prepared to fail and be in an environment that lets you do that without worrying about it.”

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BRITNEY SPEARS | V100 Since entering the pop canon about 20 years ago, Britney’s released a formidable string of hits and videos. In 2016, she dropped her ninth album, Glory.

She’s also had a Vegas residency for four years, Piece of Me, which has generated a cool $100 million and comes to a close on December 31. Piece Of Me isn’t Britney’s only must-see show; she’s also put on an eye-catching athome runway performance for her 17 million Instagram followers. Gimme more! After all, it’s her prerogative.

THE ALL STARS For nearly two decades, V has shone a spotlight on some of music’s most iconic artists.

Here, we hit repeat and catch up on our greatest hits. TEXT ALEXANDRA ILYASHOV

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Previous page: Britney Spears (V100), Photography Mario Testino Fashion Robbie Spencer; This page: Mariah Carey (V39), Photography Karl Lagerfeld Fashion Brian Molloy

MARIAH CAREY | V39 The beloved diva is a proud mother of six-year-old twins. (Fun fact: she and then husband Nick Cannon played a live version of Carey’s “Fantasy” during the C-section birth). In 2016, she got engaged—with a massive 35k rock—to billionaire James Packer, but called it quits a few months later. That same year, she insured her legs and vocal chords for $70 million. Her twoyear Vegas residency wrapped in July, which was followed by a two-month All The Hits tour with Lionel Richie.

Carey lives a fabulous, made-for-TV existence: Her eight-part docuseries, Mariah’s World, debuted late last year, and there’s a forthcoming Starz drama about her life. Keep shining, Mariah!

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RIHANNA | V95

BEYONCÉ | V56

MADONNA | V89

How do you follow the buzziest release of 2016? Bey’s big drop this year had nothing to do with music (though she contributed to Jay-Z’s 4:44): She gave birth to twins Sir and Rumi in June. In 2018, she will headline Coachella, so maybe book those flights now.

The Queen of Pop released Rebel Heart in 2015. On the family front, she adopted twins from Malawi in February, where she opened a pediatric surgery center named after her 11-year-old daughter Mercy James.

She’s also recently bought a dream palace in Portugal.

SAM SMITH | V93

TROYE SIVAN | V103

MILEY CYRUS | V91

It’s been a long hiatus since the smash success of his 2014 debut, In The Lonely Hour, but new tunes should be out shortly: The British singer worked on tracks with Timbaland this spring. Word has it that he’s (finally) dropping a new album this fall.

The Aussie singer who got his start on YouTube debuted his latest hit, with British DJ Martin Garrix, “There For You,” at Coachella this year, and there’s word that Sivan may have a big project in 2017. Aside from his music, Sivan has been a vocal LGBTQ activist.

The ex-Disney star debuted a mellow new sound with a fresh track, “Malibu,” in May. It’s a far cry from 2014’s Bangerz and 2015’s Miley Cyrus & Her Dead Petz, her project with the Flaming Lips’ Wayne Coyne. A new album is on the way, likely rolling out this fall.

SELENA GOMEZ | V94

GWEN STEFANI | V52

FKA TWIGS | V93

The pop star dropped a sultry track with Gucci Mane, “Fetish,” in July, after the May release of her Talking Heads-sampling hit “Bad Liar.” We’ve heard that she may have a new album on the way—and it’ll be in the vein of her summer singles’ evolved sound.

Last year’s This Is What the Truth Feels Like saw a number of hits for Gwen. She’s taken a break from judging on The Voice to jump back into the studio, aiming to release new music this year. A mom to three boys, she created a Nick Jr. show, Kuu Kuu Harajuku.

She’s released a string of singles since her 2014 album, LP1, but there isn’t a next record in the pipeline (yet).

In January, the British singer and dancer scored a Nike campaign. Off-duty, she and Robert Pattinson got engaged in 2015, wedding date TBD.

Last year’s top-selling Anti, RiRi’s 8th album, raked in six Grammy noms (no wins, alas). She showed two seasons of her Fenty Puma line in Paris and returns to NYFW in September. In 2018, catch her on screen in Ocean’s 8.

This page, clockwise from top: Rihanna (V95), Photography Steven Klein Fashion Carlyne Cerf de Dudzeele; Beyoncé (V56), Photography Bruce Weber Fashion Deborah Watson; Madonna (V89), Photography Steven Klein Fashion Arianne Phillips; Miley Cyrus (V91), Photography Karl Lagerfeld Fashion Carlyne Cerf de Dudzeele; FKA Twigs (V93), Photography Inez & Vinoodh Fashion Karen Clarkson; Gwen Stefani (V52), Photography Mert and Marcus Fashion Andrea Lieberman; Selena Gomez (V94), Photography Inez & Vinoodh Fashion Carlyne Cerf de Dudzeele; Sam Smith (V93), Photography Inez & Vinoodh Fashion Mel Ottenberg; Troye Sivan (V103), Photography Mario Testino Fashion Paul Cavaco

THE ALL STARS

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This page, clockwise from top left: Lana Del Rey (V97), Photography Steven Klein Fashion Mel Ottenberg; Grace Jones (V57), Photography Jean-Paul Goude Fashion Alex Aikiu; Ariana Grande (V88), Photography Tom Munro Fashion Carlyne Cerf de Dudzeele; Katy Perry (V89), Photography Steven Klein Fashion Arianne Phillips; Kylie Minogue (V16), Photography Mario Testino Fashion William Baker; Justin Bieber (V75), Photography Inez & Vinoodh Fashion Nicola Formichetti Jennifer Lopez (V76), Photography Mario Testino Fashion Carine Roitfeld; Grimes (V104), Photography Inez & Vinoodh Fashion Jay Massacret; Kesha (V77), Photography Inez & Vinoodh Fashion Carlyne Cerf de Dudzeele

LANA DEL REY | V97

GRACE JONES | V57

ARIANA GRANDE | V88

GRIMES | V104

KESHA | V77

KATY PERRY | V89

JENNIFER LOPEZ | V76

JUSTIN BIEBER | V75

KYLIE MINOGUE | V16

The sultry singer’s fifth album, Lust For Life, dropped in July and she may put out an album of 25 unreleased songs soon. She played a surprise show in London in July, and other one-off shows are on deck, plus festival appearances like Lollapalooza in Paris.

The edgy producer-singer released Art Angels in 2015, her follow-up to 2012’s Visions. Her trippy video for her track with Janelle Monáe, “Venus Fly,” came out in February. This summer, she created her own synth soundpack with sound equipment company Roli.

In July, J.Lo dropped a new single, “Ni Tú Ni Yo.” Next, Lopez stars in an HBO film on late drug lord Griselda Blanco. She’s also worked on two rom coms—Second Act and Mothers I’d Like to...—and her NBC police drama, Shades of Blue, was renewed for a third season.

The star’s influence shows no signs of waning: In October, there’s a two-day symposium devoted to her career at Scotland’s Edinburgh College of Art. Jones released a memoir in 2015, and later this year, a docbiopic about her, The Musical of My Life, will premiere.

It’s been a big summer for Kesha: In July, she dropped “Woman,” an empowering anthem from her new album, Rainbow—which came out last month—that’s the culmination of a complex creative (and personal) journey for the singer. She’s currently on tour in Japan.

Bieber’s remix of Daddy Yankee and Luis Fonsi’s “Despacito” dropped in April, subsequently making history as the most streamed song ever. Over the summer, he sang on another chart-topper, DJ Khaled’s “I’m the One.”

The songstress organized a massive Manchester benefit concert on June 4th, bringing together major stars after the harrowing attack at her show in the U.K. city on May 22. This September, Grande takes her insane range on tour in Asia.

Witness, Katy Perry’s first album in four years, came out in June and her massive 43-stop tour kicks off this month. She also debuted her own shoe line in February, including a style named after Hillary Clinton, who then wore her namesake kicks.

The Aussie superstar is reportedly hard at work on a country-inflected album in Nashville. This summer, she celebrated the 30th anniversary of her first single, “Locomotion,” and the track is just as infectious as when it dropped three decades ago.

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T HE A L BU M S Image makers share the illustrious stories behind some of the most impactful album art.

THE SLITS, CUT (1979)

BJÖRK, DEBUT (1993)

BOW WOW WOW, SEE JUNGLE! (1981)

PRINCE, LOVESEXY (1988)

THE CRANBERRIES, BURY THE HATCHET (1999)

HOLE, LIVE THROUGH THIS (1994)

Album covers often inspire the fashion industry, but it’s not just the clothing that’s mood board-worthy. Crossing lines—between photography and pornography, art and ad, or even bad and good—keeps a cover feeling new and titillating.

Pennie Smith, responsible for the Clash’s London Calling cover, recalls how spontaneity led to the sensational Slits’ Cut album cover. Lead singer Ari Up’s idea was “tribal,” so the band marked their faces with lipstick—which Smith deemed silly.

“Somebody had just watered the rose bed and I said, ‘Why not do it for real, get well mucked up?’ Ari just dove in and the others followed.” Reportedly, the band’s label wasn’t thrilled that the all-woman punk band was wearing nothing but loincloths and mud, but that never flustered Smith. “It wasn’t done with provocative intent; it was just Ari being bonkers as usual,” Smith explains.

Fashion photographer Jean-Baptiste Mondino, known for his music videos for everyone from Madonna to David Bowie, also shot covers, like Björk’s Debut and Prince’s Lovesexy. He underscores the longevity factor: “The artist or the band will have to live with it all their life, so it’d better be good.” A contentious album cover can boost sales, but in the 1970s and ‘80s, it could hinder visibility. Lovesexy was, in some countries, too sexy, and the record was banned from many stores (though, ironically, the Sistine Chapel inspired the cover concept). “It was bad news. Some people couldn’t get hold of the record to listen to it,” recalls Mondino. “There was no YouTube or Amazon back then.”

For Andy Earl, who has shot album covers for Johnny Cash, Pink Floyd, and the Cranberries, his first was the most controversial: Bow Wow Wow’s See Jungle! See

Jungle! Go Join Your Gang Yeah, City All Over! Go Ape Crazy!, art directed by Sex Pistols creator Malcolm McLaren and inspired by Édouard Manet’s 1863 impressionist painting Le Déjeuner sur l’herbe. “The boys in the band were dressed in Vivienne Westwood’s first collection, and Malcolm persuaded [lead singer] Annabella [Lwin] to take her clothes off,” Earl recalls. “We had to be quick with the photographs as we surprised a group of schoolchildren and their teacher on a nature walk. When the police visited after a complaint from Annabella’s mother, I realized Annabella was 14, and they confiscated the images. Well, most of them.” The image inspired outrage and the record label refused to pay for the shoot, but it ultimately worked out, at least for Earl: “Malcolm negotiated a ridiculous fee with the record company that allowed me to buy my first professional camera and flash equipment,” Earl says.

“So, I have Malcolm to thank for setting me up for a career shooting album covers.”

Though it wasn’t banned, there’s a similar raw, vulnerable quality to Hole’s Live Through This cover, featuring model Leilani Bishop as a smudged-up beauty queen. Ellen von Unwerth, then known for her black-and-white Guess ads, was an odd choice for an album cynical about Hollywood and fashion. “I talked a lot with Courtney Love about the concept,” von Unwerth recalls. “We shared an obsession with the movie Carrie, so we decided to recreate the crucial scene.” The result captures a ‘90s tension—a commercial image challenging the notion of a woman’s commercial value—and von Unwerth sees the shot as “iconic of the time.” Perhaps a perfectly preserved glimpse into a certain era is, after all, what ultimately makes for a memorable album cover.

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8/1/17 11:12 AM

V NNEWE W S

ON SPEC

View this season through Raf Simons’s eyes. Well, sort of: The Belgian designer’s inaugural collection for Calvin Klein was undoubtedly a home run, and he’s only just getting started with his fresh interpretation of the classic American brand. Unsurprisingly, Simons’s first range of sunglasses are just as exciting as his debut offerings. Architectural silhouettes, interesting play with negative space, and bold color blocking lend an artful touch to the sleek frames. DEVIN BARRETT

CALVIN KLEIN 205W39NYC TOP ROW AND BOTTOM LEFT: DECO CURVED BROW BAR SUNGLASSES, BOTTOM RIGHT: WINDOW PANE SUNGLASSES (BOTH STYLES $450, CALVINKLEIN.US) PHOTOGRAPHY THERESE ALDGARD

This spread, clockwise from bottom left: Courtesy Karl Lagerfeld; Courtesy Gucci; Courtesy Jeremy Scott; Photography Erik Torstensson, Courtesy Frame Denim

A rundown of Fall fashion intel, from major milestones to must-have collaborations.

BAG CHECK Karl Lagerfeld’s new Karl Ikonik collection draws inspiration from the creative legend’s instantly recognizable aesthetic: gleaming white ponytail, black sunglasses, white collared shirt, black tie. (You know the look.) From T-shirts, hats, and gloves to bags, wallets, and even an umbrella, these accessories and ready-to-wear are imbued with Karl Lagerfeld’s cool cachet. In fact, each piece features emoji-style artwork of Lagerfeld himself. Take the Karl trolley suitcase, featuring Lagerfeld’s oversize signature above the stitched portrait of that beloved figure. It’s the perfect size for carrying on the plane, but will also set your luggage apart from that endless stream of boring black suitcases at the baggage claim. KARLY ALDERFER

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LIVING LAVISHLY

YOUNG IN SPIRIT

Although Cartier’s Tank watch celebrates its 100th anniversary this year, the watch has a remarkably contemporary feel. The not-quite-square, notquite-rectangular shape of the Tank has unisex appeal, and an eclectic roster of fans have loved and worn the timeless piece, including Andy Warhol, Yves Saint Laurent, Catherine Deneuve, and Princess Diana. In celebration of the style’s centennial, Cartier has released four updated variations, including the particularly dazzling Louis Cartier version, set with brilliant-cut diamonds. DB

CARTIER TANK LOUIS CARTIER WATCH ($19,500, AVAILABLE AT CARTIER BOUTIQUES) PHOTOGRAPHY THERESE ALDGARD

This autumn, Alessandro Michele’s eclectic dreamscape for Gucci extends beyond fashion.

Come September, the Italian house is offering a wide range of products to outfit your home in some of the brand’s treasured motifs. As Michele sees it, the line is simply another way to “dress” in Gucci.

(Agreed.) While your Dionysus handbag might already serve as striking tabletop decor, the brand’s new vibrant metal trays and patterned porcelain add a romantic jolt of color.

The decor range isn’t limited to small objects; Michele’s critically adored runway collections are reimagined in a slew of brightly hued folding screens and lacquered chairs.

Cushions emblazoned with Gucci iconography, such as red kingsnakes and the words “Blind for Love,” are playfully plush. Statement-making wallpaper is the cherry on top. DB

GUCCI LACQUERED CHAIR ($2,500, GUCCI.COM)

FREEZE FRAME

Ahead of the brand’s five-year anniversary, It Girl-approved jeans label Frame Denim is opening their first store in New York City the first week of September.

Situated on Greene Street in SoHo, the matte white walls and stone floors give the spot an industrial vibe. A 26-foot long aluminum table, crafted in the founders’ home country of Sweden, anchors the downtown New York space. The store will also showcase Frame’s ad campaigns alongside abstract landscapes and polaroids, creating a galleryesque setting in which to display the brand’s must-have pieces. ADAIR SMITH

51 GREENE STREET, NYC (FRAME-STORE.COM)

TOTAL THROWBACK

Looking to engage in a little nostalgia? Steve Madden is transporting us to the ‘90s with the Made in the USA collection. The shoes give a contemporary twist to those Steve Madden styles that defined a decade. Even better, they’re all handcrafted in Steve Madden’s Long Island City factory and finished off with touches like hand-painted art. One up all those cool girls from high school with your very own pair of flatform slides. Steve Madden’s bringing them back again, this time in white or black leather with horizontal stripes on the soles. Or, get the Baby Spice look with a set of white platform boots, just as rad as the ones you begged your mom for not all that long ago. Pick your ‘90s idol then grab one of these styles at select Steve Madden stores, including their Times Square pop-up location. KA

STEVE MADDEN MADE IN THE USA FOXY BOOT ($229.95, AVAILABLE AT STEVE MADDEN’S TIMES SQUARE STORE) PHOTOGRAPHY THERESE ALDGARD

VIVA AVANT GARDE

Jeremy Scott celebrates 20 years of rebellious fashion this Fall with an exclusive capsule collection filled with iconic designs, including cheeky phrases like “Keep Fashion Weird” and “Viva Avant Garde”—the latter phrase pays homage to the designer’s 1999 ad campaign. An archival photograph of Scott sporting the original “Viva Avant Garde” shirt, alongside models Mary Anne Fletcher, Marleen, Devon Aoki, and Zora Starr, appears on T-shirts and hoodies. The collection takes inspiration from the brand’s colorful branding and offers #TBT-worthy tees, sweatshirts, sweaters, crewnecks, and denim jackets. The items will be available in September, following Scott’s Spring/Summer 2018 runway show during New York Fashion Week. AS

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V NEWS

STAR WATTAGE Selena Gomez has a good thing going with and the English translation of her Arabic tattoo, Coach. Since becoming a brand ambassa- “Love yourself first,” are etched on numerous dor, she’s worn a custom gown by the label pieces. The collab was an empowering experito the Met Gala, fronted a campaign, and now, ence for Gomez: “It’s really great to have some she’s designed a limited-edition range of ver- influence and some control when you’re working satile bags and accessories with the classic with a brand,” she says. “Having control is someAmerican leather brand, called Coach x Selena thing that’s important to me as a woman and Gomez. There’s a double-handled bag dubbed as a businessperson. What they represent as a the Selena Grace, as well as wristlets, ID cases, brand is something I can embody.” The capsule and heart and star-shaped bag charms. The 11 is obviously “Fetish”-worthy for any Selenators pieces are available in Selena Red, Selena White, out there, but the designs hold appeal even if and Selena Black Cherry. Personal touches are you’re not a superfan. ALEXANDRA ILYASHOV threaded throughout the collection: The Selena Grace includes a quote from the pop star (“To be COACH X SELENA GOMEZ SELENA GRACE BAG ($395, COACH.COM) you is to be strong”), while the singer’s signature PHOTOGRAPHY THERESE ALDGARD

ITALIAN JOB

Charles and Ray Eames made an indelible impression on the design world, most famously with their timelessly sleek works of art masquerading as chairs. But there’s so much more than just iconic seating, as evidenced by “An Eames Celebration,” a new retrospective at the Vitra Design Museum in Weil am Rhein, Germany, running from September 30th to February 27th, 2018.

Hugo Boss is toasting all things Eames by supporting the exhibit’s run and throwing an event in Berlin in its honor on October 4th. “Partnerships with cultural institutions such as the Vitra Design Museum spur creativity within our company—especially in our collections,” says Ingo Wilts, Hugo Boss’s chief brand officer. Even if you won’t be in Germany anytime soon, you can nab a piece of the pair-up: a limited-edition collection of accessories, comprised of a tote, portfolio bag, clutch, and card case, each featuring a striking geometric print, culled from the Eames’ “Kite Drawings.” AI

HUGO BOSS LIMITEDEDITION BAG INSPIRED

BY EAMES ($1,045, HUGOBOSS.COM)

Specs label Oliver Peoples paired up with Sant Ambroeus, the Milanese chainlet of enduringly cool, pink awning-trimmed cafés, on two limitededition iterations of Oliver Peoples’ classic M-4 style. The shades are inspired by Sant Ambroeus’s palette: rose gold frames with a pale blue lens and yellow gold frames with coral lens. The styles are now available at Oliver Peoples’ four NYC locations and online. Now your sunnies can match the elegant surroundings on your next cappuccino run. AI

OLIVER PEOPLES X SANT AMBROEUS M-4 SUNGLASSES ($490, OLIVERPEOPLES.COM)

WITH THE BAND Giuseppe Zanotti is well-established in the music scene: He’s collaborated with acts like Jennifer Lopez and Zayn. His latest drop, the Backstage Capsule Collection, celebrates the music crowd. There’s a midtop sneaker as well as a sculptural wedge heel, both of which are meant to channel the pre-show adrenaline rush at a concert. “Music has always been one of my main sources of inspiration,” Zanotti says. “With this capsule collection, I wanted to create something

unique that combines the street-style vibe with an extremely sophisticated technique.” That technique is called flocking, a soft-to-the-touch, velvet-esque finish. A hot pink hue launched in June and four additional colorways come out in September. AI

GIUSEPPE ZANOTTI THE UNFINISHED MIDTOP SNEAKER ($825, GIUSEPPEZANOTTIDESIGN.COM) PHOTOGRAPHY THERESE ALDGARD

Clockwise from top right: Charles and Ray Eames, cut-paper collage for a kite design, 1950 © 2017 Eames Office, LLC, Courtesy BOSS; Courtesy BOSS; Courtesy Oliver Peoples

EAMES DREAM

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BEAUTY

An illuminating complex made of silk and pearl proteins lends an insta-glow.

CLÉ DE PEAU BEAUTÉ LE SÉRUM ($330 FOR 40 ML, CLEDEPEAUBEAUTE.COM)

The color kills and the packaging is as polished as a stiletto.

Tom Ford’s latest fragrance is sexy, smoky, and nicotine free.

TOM FORD TOBACCO OUD INTENSE ($310 FOR 50 ML, TOMFORD.COM)

CHRISTIAN LOUBOUTIN NAIL COLOUR IN BOLIDONNA ($50, CHRISTIAN LOUBOUTIN.COM)

Go big or go home with a sultry ruby lip.

TOM FORD LIPSTICK IN AFTER DARK ($54, TOMFORD.COM)

We’re obsessed with the holographic eye adorning Rossy de Palma’s MAC collaboration.

Prop stylist Angela Campos (Bernstein & Andriulli)

ROSSY DE PALMA X MAC EYE SHADOW X 2 IN MY MOON ($22, MACCOSMETICS.COM)

GLAM SQUAD

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Switch from boring black liner to a more festive rose gold.

TARTE TARTEIST PRO LIMITED-EDITION GLITTER LINER IN ROSE GOLD ($19, TARTECOSMETICS.COM)

Unleash your inner dancing queen with disco-ready beauty gems.

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“EXPEDITION: FASHION FROM THE EXTREME”

Dealing with acute weather conditions isn’t so bad when you’ve got a gold Tommy Hilfiger parka or Norma Kamali’s revolutionary “sleeping bag coat.” This new exhibit at the Museum at FIT is packed with 70 pieces from designers like Madame Grès, Jean Paul Gaultier, and Charles James. Each of the ensembles is inspired by a different severe climate, be it the Arctic, the Serengeti, or outer space. EMMA BLANCHARD

JANET JACKSON REBOOTS TOUR

“EXPEDITION: FASHION FROM THE EXTREME” RUNS SEPTEMBER 15 TO JANUARY 6, 2018 AT THE MUSEUM AT FIT IN NEW YORK CITY

After a yearlong break from music, the Grammy Award winner and legendary dancer is coming back with a North American jaunt. It'll be a continuation of the singer’s Unbreakable tour, featuring a mix of favorites from her latest album, her biggest hits, and an assortment of the socially aware tracks she’s released over her career. ADAIR SMITH

JANET JACKSON’S STATE OF THE WORLD TOUR RUNS SEPTEMBER 7–DECEMBER 17

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A TRIBE CALLED QUEST REACHES BESTIVAL

Hip hop pioneers A Tribe Called Quest are set to perform their final U.K. show ever on the third day of Bestival. After the group’s 18-year hiatus, they reunited following the death of founding member Phife Dawg, producing a new album as a memorial to him. Now, the band is coming back together for the festival, hosted in Bestival’s new home, the Lulworth Estate in Dorset. Other headliners of the four-day extravaganza include the xx, DJ Shadow, Pet Shop Boys, and more. In addition to checking out the acts, enjoy the yoga and spin classes, not to mention the world’s biggest bouncy castle. AS

BESTIVAL RUNS SEPTEMBER 7–10 AT THE LUWORTH ESTATE IN DORSET, ENGLAND

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THE MAN WHO FELL TO EARTH

To commemorate the 40th anniversary of cultfavorite film The Man Who Fell to Earth, Taschen is releasing a book of the same name filled with behind-the-scenes images of late glam rock legend David Bowie in the film’s lead role as an ethereal space traveler. The collection’s stills and candids come with an essay on the film’s lasting impact. It's a must-have for any Bowie (or sci-fi) fan. CHRISTINA CACOURIS

DAVID BOWIE: THE MAN WHO FELL TO EARTH IS OUT SEPTEMBER 21 FROM TASCHEN

This spread, clockwise from top left: Janet Jackson (V28), Photography Inez & Vinoodh Fashion Beat Bolliger; Photography John Cowan, © The John Cowan Archive; A-POC Le Feu by Issey Miyake and Dai Fujiwara from the Issey Miyake S/S 1999 collection, Photography Yasuaki Yoshinaga, Courtesy A-POC Le Feu, S/S 1999 Issey Miyake Paris Collection; Courtesy Asthmatic Kitty Records; Rae Sremmurd, Photography Charles Reagan Hackleman, Courtesy Voodoo Fest; Photograph © Juergen Teller, Courtesy Rizzoli; Courtesy Taschen; Photography Ben Walsh, Courtesy Bestival

SEPTEMBER

Janet Jackson relaunches her North American tour, MoMA opens its first fashion exhibition in seven decades, and the season’s most anticipated festivals and releases.

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OCTOBER

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“ITEMS: IS FASHION MODERN?”

SUFJAN’S GIFT

Lo-fi mainstay Sufjan Stevens’s 2015 album Carrie & Lowell marked a return to sparse instrumentation after several albums of experimenting with electronic sounds. The Greatest Gift Mixtape compiles cutting-floor gems from Carrie & Lowell and two remixes by rising indie rocker Helado Negro.

Aside from the collaborative effort Planetarium, this is Sufjan Stevens’s first release of the year. Hopefully, it’s an indication that a full-length original is coming soon. E.R. PULGAR

THE GREATEST GIFT MIXTAPE IS OUT OCTOBER 20 FROM ASTHMATIC KITTY

The Museum of Modern Art is putting on its first fashion-themed exhibition in over 70 years, finally embracing apparel as a modern art form. With a mix of historical relics and contemporary trends, “Items: Is Fashion Modern?” will explore the relationship between clothing and culture, politics, labor, economy, and technology, aiming to reshape the way we view fashion as a means of communication and artistic expression. CC

“ITEMS: IS FASHION MODERN?” RUNS OCTOBER 1 TO JANUARY 28, 2018 AT THE MUSEUM OF MODERN ART IN NEW YORK CITY

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New Orleans’s quintessential music and arts festival will be headlined by Kendrick Lamar, the Killers, and LCD Soundsystem this year, and the lineup also includes the likes of Kehlani and Post Malone. But it’s more than just great tunes; it’s a full-on immersive experience, complete with art installations and a marketplace where visitors can buy handcrafted goods from local artisans. The annual event is also a great excuse to get really dressed up: It takes place Halloween weekend, so festivalgoers tend to show up in elaborate costumes. AS

VOODOO MUSIC + ARTS EXPERIENCE RUNS OCTOBER 27–29 IN NEW ORLEANS

Lou Stoppard, editor of Nick Knight’s SHOWstudio, has compiled a musthave tome illustrating some of fashion’s greatest pairings. In the book, titled Fashion Together: Fashion’s Most Extraordinary Duos on the Art of Collaboration, Stoppard explores an intriguing range of partnerships, revealing the creative process of such luminaries as Inez & Vinoodh, Marc Jacobs and Katie Grand, Jonathan Anderson and Benjamin Bruno, Vivienne Westwood and Andreas Kronthaler, and a profusion of other boldface names. Alongside the intimate interviews are never-before-seen photographs, sketches, handwritten notes, and fashion editorials that detail each duo’s prolific work. DEVIN BARRETT

FASHION TOGETHER IS OUT OCTOBER 17 FROM RIZZOLI

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It’s time to turn up the volume on the powerful intersection of music and fashion. Lady Gaga gets real in an intimate shoot with Hedi Slimane and an interview with Tama Janowitz. Plus, see the highlights of the season showcased on the supermodels of the moment in stories with Mario Testino and Bruce Weber, today’s pioneering musicians lensed by Nathaniel Goldberg, and the sheer glory of Kylie Jenner shot by Nick Knight.

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Almost a year after the release of Joanne, one of today’s most visionary performers goes on tour.

Sitting down with famed Slaves of New York author Tama Janowitz, Lady Gaga reveals the family origins behind her fifth studio album while offering a glimpse into the private life of a music legend.

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keep seeing this girl. It’s in a dream. In the dream I’m playing at an amphitheater, outdoors, and beyond the seats there’s a field in back—it’s the cheap tickets. That’s where the girl is sitting, dressed in a Hanes sweatshirt, wearing her mom’s rolled-up jeans. She has three babies, two are running around her. There’s a cigarette in her hand, a glass of Pinot Grigio. She’s got on a lot of jewelry, mostly fake, but she also has on one heirloom piece. This girl is singing every word and she thinks, How is it possible that Lady Gaga understands how I feel? That girl— it’s me. She’s the one I’m writing to. With Joanne, I wanted to reach people, I wanted to bring all parts of the country together through this record.” —Lady Gaga As a reader of a “celebrity profile,” I want the dirt, the gossip. I want to know what makes someone tick. I want to delve deep and get at the heart of who they are. When the chance to interview Lady Gaga came up, I was curious to understand the source of her drive.

Where did all that energy, enthusiasm, and ambition come from?

My youth was spent in a New York reigned over by Andy Warhol, so I know a thing or two about superstars. Warhol would have loved Gaga. Had she been on the scene in the 1980s, Andy would have gone out with her every night, happy to take her places, to dinner, to art world events—someone to travel and spend time with. He would have been painting her portrait and collaborating on projects with her. Both Catholic, creative, ambitious, not nasty or grandiose—both lonely and both wanting to see the planet, explore, and grab the world. He would have been full of admiration for her.

There’s always a buzz of excitement surrounding Gaga, and when I mention I will interview her, everyone from my 21-year-old daughter to my middle-aged friends instantly knows who she is. Even where I live—upstate New York, Schuyler County, where the usual radio stations are turned to country—Gaga’s instantly identifiable voice can be heard in Walmart. The people I know may not be listening to her, but everyone sure knows who she is. How has this happened? Gaga is barely over 30 and the world has become a place separated into small categories of personal interest. She has, in 10 short years, seemingly melted into the global consciousness. And as she readies for her upcoming Joanne World Tour from August to December in support of the album of the same name she released almost a year ago, Gaga is as much at the forefront of pop music as ever.

The build-up before meeting her is dizzyingly complex. In the days leading up to the interview, numerous calls arrive: One moment the interview may take place on the 22nd, then the 23rd, and finally the 24th. The on-set time will be in the morning, then the afternoon, and on the date itself the shoot is moved from AM to PM, from five, then

six, and so on. When I finally get the call to come to set, it comes with the caveat that the interview time will have to be pushed further back. Gaga, I’m told by one of her handlers, has decided to shoot a low-key video for one of her songs from Joanne. I wonder to myself, After a full day on set—endlessly exhausting!—which Gaga will I meet?

Those who have achieved this level of success have often entered zombiehood, frozen in a space reserved for those who inhabit a glazed-over world of flashbulbs and handlers, unable to trust anyone outside other “equally important” celebrity acquaintances or their immediate entourage—P.R. companies who notify the press of the arrival and departure times of their flights, handlers, secretaries, stylists, people around whom they can act natural. These are their friends, all of whom are getting paid. They’ve been followed, photographed, maligned, sneered at, trashed, and they have had to develop a steel coat of armor. They are in a bubble.

Even when I’ve gone to the homes of major celebrities to conduct interviews, the person will often have no interest, and perhaps no skill, in showing themselves as anything other than a well-rehearsed, inhuman star. By the time the public has gnawed off their shell, it seems there is nothing left inside to give.

When I arrive at the studio, there is a phalanx of people: bodyguards, car drivers, studio employees. Then there’s an inner sanctum of magazine staff, and beyond that, surrounding the temple altar, are the lighting and sound guys, photographer, and stylists—with Lady Gaga at the center of it all, the nucleus around which a million frantic atoms spin, forever in orbit, held steadfast by some mysterious gravitational pull. She’s got a guitar and she’s strumming it casually, unable to get the F chord right. All the while, she’s fussed over by makeup artists and stylists making various adjustments to the clothes hanging off her body.

There she is, Lady Gaga, the larger-than-life star, unbelievably tiny and luminously beautiful as she smiles and waves hello to me. She has more than $200 million to her name and has met, or so it seems, everyone on the planet. And yet, in that moment, in her cut-off jeans, white T-shirt, and cowboy boots, she appears to be just another person. Of course, it’s an illusion, because she is anything but. Even when stripped of all the heavy makeup, the enormous shoes, and costumes, even after a 12-hour day of what must have been hard, unending work, she’s encased in her own sparkling magic.

I’m expecting someone ferociously ambitious, a petulant commander-in-chief, a force of nature that must achieve and succeed with such intensity that you can feel or sense it in the person. But from behind the lights and various rigs, watching it all unfold, the Gaga before me seems almost blithely unaware of the frenzy around her. She’s just sitting there, childlike and waifish. A man tunes her guitar and returns it. One of Gaga’s breasts is exposed, pressed against the guitar’s back. She’s beautiful in a wistful way.

And while there is no denying that her vocal talent has propelled her to the heights she has achieved, it’s that mysterious quality, the one we all yearn to brush up against, that has provided the fuel for her rocket ride to fame’s outer limits.

She launches into a song. It’s from her most recent album, Joanne, which is vaguely... country-western-ish. It’s very pleasing: the simple chords, the sad, plaintive singing.

She’s clearly experienced sincere sadness and it comes out in the way she sings. I’m usually appalled at phony “artistic” emotion, but I’m not getting that sense at all. I sit on a barstool, watching—and waiting.

Hours pass. I wander into the other rooms. I’ve been waited on by her assistant, her manager. They’ve procured champagne to tide me over and sent out for a bottle of Pinot Grigio (which is what I’ve requested). Apart from Gaga’s flickering light, you can

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feel, after such a long day, that the energy in the studio has begun to fade like a dying bonfire. By the time she’s done with a last-minute decision to record a song, alone, acoustic, it’s after 10 PM. The staff disappears. She bops around the studio, grabbing a hat and sunglasses for the picture of both of us I need so desperately to impress my friends with—particularly my 21-year-old (my status has gone up in big percentages by my meeting her). Gaga is dressed casually, but is practically naked, her tiny shorts revealing her plump derrière, her T-shirt cut so high that her breasts are exposed. I wish I had this kind of ease with my body. I have the feeling that, alone at home, she’s probably naked all the time. Gaga’s manager and I go into the makeup and dressing room.

We sit on high stools in front of the mirror, the lights around them bright. I’m drinking the Pinot Grigio, she’s puffing on a clove cigarette.

“For me, Joanne, in the simplest terms, it’s the classic stories of our lives that help us return to who we really are, no matter how lost we get.” She leans forward, eager to explain. “You can always go back to a loss, or the pain of a pending loss, or a challenging struggle in your family life, or your childhood. And when you go back to that place, it somehow brings you back to where you were in the beginning. And for me, that’s what writing this album was all about. Because after The Fame Monster and subsequent albums, I felt that there was a part of me that was connecting on a human level with the public and part of me that was connecting on a whole new level, one that I had been wanting to connect with them on, a sort of fantastic magical level. And now, I want more of that connection.”

At this point, we’re gabbing like old friends and all my questions about what makes her tick somehow vanish. As the interview progressed, I wanted to protect her. Maybe it’s similar to the way people must have felt when they met, say, Audrey Hepburn or Marilyn Monroe, women who appeared fragile and damaged but who were, at the same time, extremely strong. It’s the same feeling, too, that I would have when I spent time with Andy Warhol. Back then, on nights when I would go out and hit the town with him, there was frequently an almost palpable anger and hostility in the crowds that gathered around him. Those of us who were with him made sure that Andy was whisked off into a quieter, more isolated room. But Andy did not seem to notice. He was oblivious, or perhaps even pleased with the attention.

Bobby, her manager, runs to get a cassette player—Gaga wants me to hear her song about Pinot Grigio, which is what she and her girlfriends drink all the time.

“I want to connect with people on a deeper level,” she tells me. “And I wanna be able to see all those other things I’m interested in, but slowly and differently. Joanne is about living every day as if it’s my last. My father’s sister died when she was 19—that was Joanne, my aunt. This was the center of the pain in my family. Growing up, I never understood what the tears of my family were about.”

“How did she die?” I ask.

“Lupus,” Gaga replies.

“Oh. Like Flannery O’Connor,” I say, in reference to the brilliant writer who died from the disease.

“It’s a terrible autoimmune disease. [Joanne] died in 1974, but they had no idea why she died. They didn’t know what it was. And so when she was really, really ill, she had these lesions on her hands and the doctors wanted to take her hands off. She was a painter, and she did needlepoint and crochet, and she was a writer and a poet. As Joanne neared death, my grandmother said, ‘I can’t let my daughter’s last moments on this earth be without her hands.’ The spirit of Joanne is very much alive within my family. My dad has a restaurant called Joanne, and for me, personally, it means I must live every day as if it was my last. Catholic guilt. It’s those stories, those classic stories, that made me tough.” Gaga’s sincerity—her openness and enthusiasm—are touching, seemingly at odds with the exhibitionist/provocateur/larger-than-life entity who can perform at the Grammys with Metallica or headline a Super Bowl halftime show.

“Tell me about the horses,” I ask her instead, switching the topic to something I’d learned about Gaga, a passion of hers that honestly surprised me.

“I guess, when I moved to California, the sunlight was really good for me—I was happy. The sunshine helped to keep an optimism in my music. And while out there, I developed a special connection to horses. It began when my record label gave me a horse for my birthday: an Arabian mare named Arabella. I had never taken a horseriding lesson. I literally did not know how to ride a horse. But I just grabbed her by the mane and rode her bareback.” An avid equestrian myself, I was curious to learn more.

“Was she very well-trained?” I asked her.

“She’s so well-trained that when I was about to fall off her, she stepped to the side to collect me. I also got her a boyfriend, Trigger—a stallion—because I didn’t want her to be alone. With him, I have to ride with a saddle. When I ride him, it always makes me feel so powerful, because he is so powerful. There’s no pressure. I just get on the horse and go. It’s sort of a metaphor for all the guys I’ve been with.”

“I still don’t understand how you can do this,” I say. I’m a rider, a trail rider. I have my nice American Quarter horse, but even after years of lessons, I can’t imagine getting on her and galloping off bareback. On the other hand, I couldn’t wear 10-inch platform shoes and not fall over, either.

“My body’s been through a lot over the years. Riding has forced me to be fearless pretty quickly. It’s all about down here,” Gaga notes as she points to her crotch, “in that woman area.” She adds, “Balance, strength, persistence.” It’s a routine that Gaga seems to have found strength and inspiration from: “I go on trails, ride, gallop, I’m not a ‘planning’ type of horse rider. I wake up, write songs, go for a ride.” To be sure, it’s an existence that sounds divine to me, but also one I know is very much a fairytale for most of us, if not for the quotidian practicalities alone. Reflecting on her bucolic pleasures, Gaga pauses, noting, “It’s all so antithetical to the me when I’m in NY, having grown up here. I went out today in Manhattan. It was pouring, but with my newfound appreciation of the city, I said to everybody, ‘Hey, isn’t it great!’”

“Who’s everybody?” I ask. “I was talking to my team,” she answers. “The girls that take care of me. I have these wonderful powerful women in my life. They wake me up every day and make sure I am powerful, feeling good and strong. And also the gay men in my life. I would be lying if I said there weren’t some straight men on my team, but to me it’s the women and the gay men around me who give me strength.”

As the interview winds down, I’m curious where she’ll go after the cameras, stylists, and handlers disappear. “Are you going out?” I ask, picturing an exclusive, underground wrap party.

“No, I’ll go home,” she replies. “I’ll listen to music, play the piano, probably stay up until around three. Normally, I wake up and go to the studio when I’m in NYC, but I happen to have the day off tomorrow.” As I’m about to leave, she presents me with a huge bouquet of beautiful hydrangeas and calla lilies. If I wasn’t won over before, I am now.

Long after the interview, I miss her. I’m not trying to be gushy after hanging out with her, but I just have to admire this creature, the same as I would admire a brilliantly colored hummingbird or flower, a rose in full bloom, the petals not yet starting to droop. It’s the first occasion in a long time that I’ve wanted to make a new friend, to watch as her crazy life unfolds in front of me, to grab the tail of a comet and hang on for the slipstream ride. I still don’t know what makes her tick, but I can say—and with an acute radar for phoniness—I walked away from our interview with only praise and awe for Gaga.

As I survey her trajectory as an artist, I wonder what it means in the bigger scheme of things when we encounter the sudden emergence of stars of this magnitude—say a Madonna or a Michael Jackson. In some cases, virtuoso talent ascends and fades rapidly, a burst of creative dazzle akin to a roman candle. While for others, their work, their reputation, outlasts their lives—Elvis Presley, perhaps. The Beatles. I’ve known many who have come to New York City, formed a band, played every gig in town, and made an album. For a moment, “success” must have seemed so readily within reach.

But where are they now? Dig through the bargain bins at any of Manhattan’s dwindling number of music stores and you’ll find their albums selling for a dollar or two. But it seems unlikely that Gaga’s desire to consume the universe will be easily quashed, and her ambitious world tour this year is another expression of that passion.

In many ways, Gaga’s stardom has moved her farther from the paradise that most of us already think she has achieved. Sure, she has her ranch to retreat to, but the arcadia of her own making, as in mythology, reminds us there are greater forces waiting at the gates. Gaga has rocketed to fame’s greatest heights and landed upon its Elysian fields. In so doing, she is, like the girl that she speaks of, alone in the distant field, wearing jeans and a Hanes sweatshirt.

But Gaga is also gentle and brave, more resolute than any I’ve met before. I think— I know—the summits she has reached, while not removed from epic tribulations, are assuredly her very own Mt. Olympus, and she our bright-eyed Athena, a goddess to be admired—and protected.

“There’s no pressure. I just get on the horse and go.

It’s sort of a metaphor for all the guys I’ve been with.”

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Hannah and Duckie dominate in Fall’s provocative shapes.

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“While shooting, I felt like a woman at her peak. The kind of strength every woman embodies, that was the energy I was channeling throughout the day.”

—Duckie “There was a powerful, Amazon woman vibe to this shoot— I definitely felt strong and sexy.

The looks were fearless and commanding.”

—Hannah

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the WOW club ...the royals in my backyard.

by Bruce Weber To get into The WowClub, through the pink and blue doors adorned with black Dobermans in diamond studded collars, you need only one quality—you have to flirt with life.

Fashion Alex White

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TAYLOR WEARS COAT KOLOR SWIMSUIT JEREMY SCOTT

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MACKINLEY WEARS CLOTHING CALVIN KLEIN JEANS ESTABLISHED 1978 SANDALS STYLIST’S OWN CHASE WEARS CLOTHING CALVIN KLEIN JEANS ESTABLISHED 1978 SANDALS STYLIST’S OWN

CAROLYN WEARS PONCHO LIBERTINE

FROM LEFT MACKINLEY WEARS BRA AND SKIRT ROSAMOSARIO TAYLOR WEARS ROBE, BRA, BRIEFS ROSAMOSARIO CHASE WEARS HAT BODE SHIRT AND PANTS LOUIS VUITTON

FROM LEFT TAYLOR WEARS DRESS BALENCIAGA GRACE WEARS DRESS BALENCIAGA

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GRACE WEARS SWEATSHIRT MARNI SHORTS ROSAMOSARIO

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TAYLOR WEARS BODYSUIT ROSAMOSARIO NOEL WEARS SHIRT BODE PANTS J.W.ANDERSON UNDERWEAR HIS OWN

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GRACE WEARS COAT MICHAEL KORS DRESS BALENCIAGA

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GRACE WEARS HAT PRADA SHIRT AND PANTS BODE JACOB WEARS JACKET AND PANTS BODE

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Painting by Jacob Riley

MAKEUP FULVIA (BRYAN BANTRY) HAIR DUFFY (STREETERS) MODELS CAROLYN MURPHY (IMG), TAYLOR HILL (IMG), CHASE HILL (IMG), MACKINLEY HILL (IMG), GRACE ELIZABETH (NEXT MANAGEMENT), JACOB RILEY (VNY), NOEL KIRVEN (SOUL ARTIST MANGEMENT), MYLES CLOHESSY (FRONT MANAGEMENT) PRODUCER GWEN WALBERG (LITTLE BEAR INC) ON SET PRODUCER DAWN BOLLER SET DESIGN DIMITRI LEVAS PHOTO ASSISTANTS JOHN SCOTT, DAVID WIENER, JEFF TAUTRIM, SUNNY FACER, ZACH RUPPRECHT STYLIST ASSISTANTS CECILIA GENTILUCCI, LAUREN BENSKY, VICTOR CERDERO MAKEUP ASSISTANT ROBERT REYES HAIR ASSISTANTS RYAN MITCHELL, LUKAS TRALMER PRODUCTION ASSISTANTS BORIS MCNERTNEY, TODD FARRINGTON, TJ FARRINGTON, JASON AVERY CATERING CHEF SHAWN OF MONTAUK

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KYLIE The youngest Jenner’s life is a no-holds-barred affair, streamed to massive follower counts eagerly awaiting every Snap. But clearly, there’s always room to reveal a bit more.

Photography Nick Knight Fashion Anna Trevelyan Text Trey Taylor

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DRESS ART SCHOOL BRACELET (THROUGHOUT) CARTIER ON EYES LANCÔME COLOR DESIGN EYE SHADOW IN ALL MADE UP AND MAKE UP FOR EVER GLITTER IN BLUE

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DRESS MSGM NECKLACE O THONGTHAI

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DRESS FRANCESCO SCOGNAMIGLIO MOUTHPIECE KEREN WOLF NECKLACE KUSTOW AT VICKISARGE SHOES GINA

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t some point in 2015, Kylie Jenner overtook her siblings as the most magnetic member of American pop culture’s First Family, the Kardashian-Jenners.

Establishing herself as an independent force from her sisters, the 20-year-old reinvented herself as the most badass, amorphous, untouchable character in the K-initialed dynasty. She now commands 96 million Instagram followers, who hang on to every word that tumbles forth from her Lip Kit-stained pout, every flip of her platinum-blond wig. Fans watch, hypnotized, as she demonstrates new swatches of Kyshadow by painting them, one by one, on her forearm in Snapchat videos. They see her in glimpses, a whole world shaped by seconds-long videos spliced together like the reality show on which she made her name.

But she controls that perception.

For this shoot with Nick Knight, Jenner was truly exposed. “That was actually my first super nude shoot,” she says over the phone from her new $12 million mansion in LA’s Hidden Hills. She’s only recently moved in. “I always post sexy pictures, but have

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never really gone nude.” In a very sheer gown by Fendi, why would she be, when she has a camera following her come-to-bed eyes peer from under a towering Lady her at all times, and not solely for the purposes of an Bunny wig. Jenner has become synonymous with wigs. E! program? “I do have a guy that follows me all the Each one, crafted together with her hairstylist Tokyo time. I just never show anyone the footage,” she says, Stylez, she says, “gives me a different confidence.” And laughing. “Maybe one day.” since she first glommed onto the idea that she didn’t The population of a midsize country regularly tunes have to bleach her hair every time she wanted to switch in to watch her Snaps, in which she often lip-synchs to up her look, wigs have flown off the shelves and into rap or R&B, like SZA’s “Supermodel.” Lyric searches for the hands of her legion of followers. a song featured on her Snapchat spike in the immeIt’s impossible to put a number on it, but Jenner’s influ- diate aftermath of its posting. G FrSH’s “Panic Cord” ence has doubtlessly shifted tons of hair, reinvigorating was hit with a 319% spike on lyric site Genius after the bespoke wig and weave industry. “All I know is that soundtracking a Snap. No artist needs radio more than when I go into weave stores, they have colors that I’ve they need a Kylie cosign. “Other artists shout me out worn, which is cool,” she says. It was inevitable, since her that I’ve never met before, like, ‘I owe this to Kylie for days doing meet and greets brought out the copycats putting this on her Snapchat.’ And meeting new artists in droves. “Back then, I dyed my hair blue and teal and in person and them saying, ‘This was a big help from other colors. I would do meet and greets and every other you, you playing my song’—it’s just really cool.” girl—even guys—had teal hair. They’d be like, ‘I did this In one video posted to her Instagram story, Jenner because of you! Everyone has teal hair now!’” bites an apple and does karaoke to Amy Winehouse’s As Knight does with all of his shoots, this one was “You Know I’m No Good” while her BFF, the model livestreamed via SHOWstudio. Kylie, nearly naked, was Jordyn Woods, dances around in the background. just trying to take a good photo. “Then I kept remem- Jenner really likes Winehouse’s music. She danced bering, Everybody is watching me right now.” The irony to a lot of her songs while attending Sierra Canyon of that statement—being somehow unaware of the School. She’s watched most of director Asif Kapadia’s tens of thousands of people who tuned in—is lost on Oscar-winning documentary Amy on a plane, but the Jenner, the seventh most followed person on Instagram. flight ended before the movie could finish. “It was You’d think this girl, who was essentially tucked into good, what I saw,” she says, calling Winehouse’s story “pretty heartbreaking.” It’s probably for the bed with a camera lens shoved in her face since the age of nine, was always cognizant of Big Brother. But best she didn’t catch the ending, (CONTINUED ON PAGE 184)

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when Winehouse gets booed off stage at a festival in Serbia, when she becomes a victim of her own fame, when she joins the 27 Club.

On Kylie’s right hip, in red ink, is a tattoo with Merriam-Webster’s phonetic spelling of the word “Sanity.” She got it at Bang Bang in New York in December 2015, when she was just 18. (Momager Kris wouldn’t allow it previously.) “There was a time when I got [that tattoo] that I felt a little bit like I was going insane. Or, I was going to,” she hastens to add, careful not to draw any parallels to the trajectory of a star like Winehouse. “I thought about it for a while.

I just like the word ‘Sanity’—just stay sane through it all. A lot of young stars who grow up in the spotlight have a really hard time. I didn’t want that to be me.”

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“I needed it at the time,” she says of the tat, thoughts possibly drifting to things in 2015 that might have spelled breakdown for most other people: admitting to having her lips augmented, the viral “Kylie Jenner Challenge,” getting called out for cultural appropriation by Hunger Games actress Amandla Stenberg…It’s a testament to the strength of her will she didn’t simply pack it in.

Though she’s spoken about it before, she hasn’t given retirement any serious thought, but it’s “not necessarily just a farm and a garden” that she wants. “I just want a lot of property. That seems like the best life ever: horses and a farm and a garden.”

Like Michael Jackson did in 2005, Jenner could easily slip away to Bahrain or don a mask and walk

around freely. “I don’t know about Bahrain, but I would be down for something,” she says. “It would be a good feeling to just live a normal life for a second.”

“I don’t know what it’s like to not be in the spotlight,” she pauses. “That’s normal to me. There’s nothing you can do about it. There are so many great things about life, I’m just trying to focus on that.” She’s doubled down as the lead in her own reality show, Life of Kylie, which began airing in August. With this more intimate look into her life, she ensures the legacy that her older half-sister Kim laid out before her continues. Her every move documented, surveyed, and scrutinized—whether she’s naked, wigged, or acrylic-taloned—Kylie Jenner is the Kardashian incumbent.

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DRESS (THIS SPREAD) YUHAN WANG MOUTH AND EAR PIECE (THIS SPREAD) SLIM BARRETT NECKLACE O THONGTHAI ON LASHES LANCÔME MONSIEUR BIG MASCARA IN BIG IS THE NEW BLACK ON LIPS LANCÔME JUICY TUBES LIPGLOSS IN MARSHMALLOW ELECTRO

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DRESS FRANCESCO SCOGNAMIGLIO MOUTHPIECE KEREN WOLF NECKLACE KUSTOW AT VICKISARGE

MAKEUP LISA ELDRIDGE (STREETERS) HAIR MARTIN CULLEN (STREETERS) MANICURE ADAM SLEE (STREETERS) EXECUTIVE PRODUCER CHARLOTTE KNIGHT PRODUCTION MANAGER RIANA CASSON PHOTO ASSISTANTS BRITT LLOYD, ROB RUSLING, TOM ALEXANDER, GEORGE READ STYLIST ASSISTANTS MARGHERITA ALAIMO AND ISABEL BUSH MAKEUP ASSISTANT JESSIE RICHARDSON HAIR ASSISTANT FREDDIE LEUBNER PRODUCTION ASSISTANTS MARIANA CALDEIRA AND SOPHIE BRUNKER TAILOR SHIRLEY FITZGERALD EQUIPMENT DIRECT PHOTOGRAPHIC LOCATION SHOWSTUDIO SPECIAL THANKS WILLYUM BECK AND COCO CAMPBELL

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DRESS FENDI MOUTHPIECE KEREN WOLF RING CARTIER

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LIL PEEP From the streets of Long Island to Echo Park, hip hop’s newest talent is more than just a stage name.

Photography MarioTestino Fashion Nicola Formichetti Text Alex Frank

Shortly after we’ve sat down for an hour-long interview in New York City, Lil Peep as a way of ensuring he could never pass in polite society. “I had my tattoos when spots a small spider on the floor by his foot. “I don’t want to kill you, spider,” he I was super young. I made the decision that I’m not going to be a regular person. I whispers to the ground as he notices the creature crawling dangerously close to can’t work, I can’t have a job,” he says. He stops and twists his body even further his Adidas sneakers. “But I will if I have to.” These are exactly the kind of ominous away from me, looking down at the spider that has crawled uncomfortably close words we’ve come to expect from Peep in his brief career. The artist, originally to his shoes, and then makes a point of squishing it dead beneath his feet. “I don’t from Long Island and now based in Los Angeles’s Echo Park neighborhood, has even want to be alive, so fuck that. I’m just going to be a crazy person.” He had a filled an entire songbook with lyrics about desperation, depression, and even death. troubled childhood, always feeling like an outsider, but declines to discuss further In the process, he has been heralded for being open and honest about the pains specifics of his upbringing. Although he hints at childhood traumas, he doesn’t of being a person, a cult rock star for disgruntled teenagers everywhere, and the divulge exactly what they were, other than that his sadness started early and hasn’t future of emo. let up. “There’s things I don’t really want to talk about. Stuff happened when I was “I can’t be normal. I’m probably bipolar,” he says. As he speaks, he hides his young. Growing up where I grew up, the people I was surrounded by—besides my family—didn’t have a good effect on me.” face—tattooed with, among other things, the word “Crybaby” above his eye—and purple-and-pink dyed hair behind the yellow hood of a sweatshirt. “I always make His father, who is Swedish, left home when he was young and his hippie mom did music as an art—it’s never been a product for me. I don’t care what people think of the best she could to raise him in suburban Long Island, even letting him be homeschooled when he had to leave school because of depression. He ran away to Los me. I don’t even care what happens to me.”

Peep, born Gustav Åhr, has made no secret of the depression, drug use, and Angeles at 17, and music saved him. He makes all of his songs from a computer in his numerous attempts to commit suicide that have plagued his short life, and he sees house and has about 10 of his friends crashing on his floor every night. “I could be this angst as the fuel for every song he creates. Truthfully, there has never been dead. Shit could’ve turned out way different. The fact that I became Lil Peep helped music that sounds quite like Peep’s: a fresh blend of the straightforward lyricism all that. I know what could’ve happened, and this is a better alternative,” he says. of rap paired with the earnest emotion of emo. That sound is best captured in He’s had surprising overnight success, complete with sold-out shows everywhere his full-length project from last year, the appropriately titled Hellboy. Naturally, he from New York to Moscow, a city where he has become popular quite quickly, pertells me that it’s all instinct. “I’ve never made a song sober. I get high on everything haps, he thinks, because the bleak day-to-day of Russian life is a fertile context and anything, except for heroin and crack. It feels good to get fucked up with my for his music. This renown has sustained him, but it also comes with its own set of friends—that’s the only thing that feels good right now. I do uppers and downers issues: “I feel like I’m in wonderland now. People use you. They’re not really your for the same reason: They get me through the day,” he admits candidly. “I’ve tried friend; you think they’re your friend. There’s a point where you don’t want to meet to kill myself with drugs a couple times, I’ve overdosed. It takes me a couple days anyone. I’m just going to let the world chew me up and spit me out and see what to wake up. Everybody who cares about me wants me to do therapy, but I just can’t happens. It’s like I got swept up by a wave and I’m rolling around underwater. And do therapy.” He insists defiantly that making music and doing interviews like this—in eventually the water will calm and I’ll be able to catch a breath of air.” which he airs out his issues—is all the therapy he needs.

Peep has some short-term goals aside from just staying afloat, including the Contrary to his outrageous appearance and deep nihilism, he has a fragile, release of a new album in the near future and achieving his dream of walking in boyish mien in person. And his hands—capped by long, dirty fingernails, which a Jeremy Scott fashion show, a designer whose high-octane Pop Art collections he doesn’t cut because they make it easier to break up marijuana and because share color sensibilities with Peep. He describes his personal style (aptly) as “acid they’re “creepy”—shake as he talks, even when he’s hitting his weed vape to calm and mushrooms and punk rock.” He’d like to make enough money to support his his nerves. He keeps his back turned to me throughout most of our conversation. family financially, too. At the time of the interview, he had recently reunited with His life is upsetting to hear about, almost to the point that you want to reach out his girlfriend, Layla, whom he met on the set of his video for “Girls.” He perks up and hug him or offer help, but he’s well aware that his troubles have had the effect when he scrolls through his Instagram messages to show me the numerous girls who send him naked pictures, telling him how much they love him. “I don’t have a of making his songs ring with honesty and empathy. He says he hasn’t come up with a genre label for his work, but if he had to call it something, it would be “emo- filter and I never will,” he declares. “That’s why people like me: Celebrities have to tional hip hop.” He explains, “It’s just hip hop that’s drawn influence from alternative care, and I don’t care at all.” But surely he must care about something, anything? music. I would put a lot of Future’s songs in that genre, too.”

“I care about animals,” he admits, before remembering the small murder he’s just Perhaps fame has always been in the cards for Peep. He tells me that he chose committed right in front of me. He smiles, but there’s the weight of sadness behind to tattoo his face to the point of extremity years before he even released songs his smirk. “Except spiders.”

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TOP AMI

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COAT XB OFCL PANTS FAITH CONNEXION SILVER BRACELET (THROUGHOUT) CHROME HEARTS NOSE RING, CHAIN, BEADED BRACELET (THROUGHOUT) LIL PEEP’S OWN

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JACKET AND PANTS DAVID HART BOOTS GASOLINE GLAMOUR

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VEST GASOLINE GLAMOUR

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NECKLACE GASOLINE GLAMOUR CHAIN CHROME HEARTS

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COAT AND PANTS ALEXANDER McQUEEN

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TOP DIESEL DENIM LAB X FAUSTINE STEINMETZ

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JACKET TRIPP NYC COLLAR CHROME HEARTS

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CLOTHING RALPH LAUREN

HAIR CHRISTIAAN GROOMING ISAMAYA FFRENCH (STREETERS) SET DESIGN PETER KLEIN (FRANK REPS) EXECUTIVE PRODUCER KAT DAVEY PRODUCTION FABIO MAYOR TRAVELING PRODUCER PHILIP BODE PRODUCTION COORDINATOR NAOMI MARTIN DIGITAL TECHNICIAN JAKOB STORM PHOTO ASSISTANTS PATRICK ROXAS AND GASPAR DIETRICH STYLIST ASSISTANT MARTA DEL RIO SET DESIGN ASSISTANTS MATEUS LAGES, ALEX PERWEILER, DYLAN LYNCH POST-PRODUCTION LIAM BLACK LOCATION CANOE STUDIOS CATERING LEMONS & OLIVES

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GAME CHANGERS

These 14 standout acts of the moment give us an all-access pass to their career ambitions and creative processes.

Photography Nathaniel Goldberg Fashion Michelle Cameron Interviews Ian David Monroe

CHARLI XCX

“I think partying is euphoric and quite emotional. I feel like it’s really hard to write a ballad-party song that’s taken very seriously because people think that party songs are vapid and throwaway. I actually think they’re powerful and emotional, because when people go to parties, things happen: They meet people, they fall in love, they cry, they argue. It’s a big part of life. It’s where people have really in-depth, real horrible, or amazing experiences.

Party songs are important.”

CHARLI XCX WEARS DRESS AND BOOTS GIVENCHY

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DUA LIPA

“Releasing my debut album feels really surreal. I’m still a little overwhelmed and excited.

The response has been amazing. It’s like I’ve put a really big part of my life out there for everyone to see, and it was my little secret up until yesterday. I got a new tattoo. It says ‘Patience,’ and I feel like it relates a lot to my album. It was delayed a bit, but patience helped me.”

DUA LIPA WEARS DRESS SAINT LAURENT

BY ANTHONY VACCARELLO JEWELRY HER OWN

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HEY VIOLET

“We don’t really get much time apart, ever. Right when we go home after touring or something, we will text the group chat saying, ‘Miss you guys.’ We’re very codependent. The third or fourth show that we played with Casey, we literally proposed to him on stage—got down on one knee with like a ring box. Nia comes out and pulls down her flannel.

Underneath is a tank top that says, ‘Casey, will you be in our band?’ And then he botched the last song.” —Rena Lovelis

FROM LEFT: IAIN SHIPP WEARS BLAZER VIVIENNE WESTWOOD TOP CALVIN KLEIN 205W39NYC MIRANDA MILLER WEARS JACKET COACH 1941 TOP GOOD AMERICAN JEANS LEVI’S RENA LOVELIS WEARS TOP PROENZA SCHOULER SHORTS FRAME NIA LOVELIS WEARS TOP JEREMY SCOTT CASEY MORETA WEARS TOP BURBERRY

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TORRES

“I’m not sure that I would necessarily characterize my new album, Three Futures, as progression. I am more inclined to say that I’m just in a different headspace than when I made the last record. Everything is always in flux, and I actually really enjoy being a different person all the time.

I’m intrigued by time and what that means, because time doesn’t move, but we do. We move and we make choices, and often those choices affect where we end up. At the same time, we have no control over what ends up happening. Sometimes we can choose something and then the future ends up being exactly what it would have been anyway.”

TORRES WEARS JACKET NICOLE MILLER JEANS LEVI’S NECKLACE LADY GREY RINGS HER OWN

OYINDA

LO MOON

“At first, we were a little bit intimidated about playing during the day at a festival, because it’s dark and moody music. But once we tried it, it seemed to work.

The music is so heavy at times: We get into that tranced feel. But when we’re just playing the songs and having fun together as a band, that’s when we feel like we have our best shows.” —Matt Lowell

“I felt like a lot of the time, people were trying to tell me what my music was, tell me what I should be doing, because I’m independent and they’re like, ‘You’re not blowing up fast enough.’ But I’m taking my time, I’m fine.

I’m doing what I gotta do. A lot of people were telling me what my sound should be and not really believing in my own personal vision. So, ‘Never Enough’ became my pump-up song. Then it blew up, so I was like, ‘You’re welcome, you can never get enough of me.’”

OYINDA WEARS JACKET ISSEY MIYAKE JEANS NEEDLES JEWELRY HER OWN

FROM LEFT: SAMUEL STEWART WEARS SWEATER COACH 1941 T-SHIRT HIS OWN CRISANTA BAKER WEARS TOP CHANEL MATT LOWELL WEARS SHIRT MICHAEL KORS

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KACY HILL

“I think to have [Feel Like a Woman] done is the most insane feeling I’ve ever felt.

Surreal is the only word I can think of. From last year to now, I’ve grown a lot as a person. I’ve spent a lot of time with myself and tried to figure out what’s important to me, what I feel comfortable with.

That’s where the themes in the album came from, as far as exploring female sexuality and what it is to be feminine. To me, being sexy is doing things that make me happy and make me feel good. I think it’s a lot about being vulnerable with myself and with someone else. It’s about being soft and being able to communicate.”

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BANKS

“I was on a walk and these two women came up to me, one of whom was deaf. I asked her, through her friend, if she could feel music. She said she could—she could feel the beat and she could feel the bass. I started thinking, Wow, I want to touch people who can’t even hear my music! I started learning sign language and I wrote a poem called ‘Rainwater,’ which I do in my show. So, there’s new elements to the show. I fully have embraced that I just absolutely love moving my body, and all of the movements that I do onstage come from this really guttural place—the same place that my music comes from. I feel very inspired right now, very creatively powerful.”

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PARSON JAMES

“My first EP [The Temple] was pretty much therapy for me to deal with growing up in the South and to work through those issues that I really couldn’t work out as a child. Since the EP came out, I’ve gone through a lot, so you can expect to hear about some heartbreak [on my new album]. My first real relationship just ended pretty recently and I made a huge move to L.A. That transition and isolation definitely affected my writing.

[There’s] a lot of heartache, but my favorite thing about life is that there’s always light at the end of the tunnel, so you’re never going to be too sad.”

PARSON JAMES WEARS HAT AND TOP (UNDERNEATH) HIS OWN TOP 3.1 PHILLIP LIM

MUNA

“We really made music into a tool, and it’s something that I think is at the heart of the human condition. But I also think music could just be frequencies—I love people who hear music by the sound of somebody playing with a necklace.”

—Katie Gavin “There’s this idea that you have to be exceptionally talented and visionary to participate in music. That’s completely false. Ultimately, it’s just a language and a tool that crosses boundaries of nationality or sociocultural rules. It’s just a tool.

You feel it! I mean, people communicated with drums.”

—Naomi McPherson

FROM LEFT: JOSETTE MASKIN WEARS JACKET KENZO KATIE GAVIN WEARS TOP MONSE NAOMI McPHERSON WEARS JACKET MSGM TOP MOSCHINO

VÉRITÉ

“The last three years have been a slow, steady progression of just putting one foot in front of the other. I think maintaining my independence as an artist was something that I’ve always wanted to do, but it’s not necessarily something that I intended to do when I released my first EP. But what I’ve done is just constantly made the next smart, strategic decision for the project, which hasn’t involved a major label. Especially in the creation of [Somewhere in Between], it gave me a lot of freedom. I executive produced the album, so I was in complete control of my vision and how I was able to translate that to people.”

VÉRITÉ WEARS BLAZER EMPORIO ARMANI

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PHANTOGRAM

“Seeing the music come to life in a visual way will always be my favorite part of songwriting, and seeing the emotion that we put into Three resonate with our fans. It’s a very meaningful, in-depth record. It’s amazing to see the connection it has with other people. We’re always expanding our sound, pushing ourselves outside of our comfort zone, growing as artists.

It’s important for musicians in 2017 to stay fresh and unique. Don’t follow the trends.” —Sarah Barthel

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BLEACHERS

“The thing about music is that it’s all gut. You’re not building a table, a house.

There’s no test you can do to see if it works or doesn’t work. You know, labels, they all want to test and research—can’t do it. It’s gut or it isn’t. All the great things, especially pop music, there’s no right way to do it. That’s why it’s occasionally such powerless, painful work. Because you’re like, What do I do?

How do I find it? You do a lot of waiting. So, I’ve spent my whole career just learning to trust that feeling.”

JACK ANTONOFF WEARS SWEATER GUCCI GLASSES HIS OWN

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MAGGIE ROGERS

“I made [Now That the Light Is Fading] when I was in college, so touring it is a really different experience, especially because it’s about transition: out of college, from folk to pop. I’m really getting to see what this big, wide world is all about. I get to feel both sides of me— the part of me that made [the album] and then the part of me that’s experiencing it in the world. The best thing has been getting to share these songs with the people that helped launch my career. I made them for me, so the fact that they resonate with somebody or can help somebody in their day, it’s kind of incredible to get to go see in the world.”

MAGGIE ROGERS WEARS TOP DELPOZO PANTS MISSONI JEWELRY HER OWN MAKEUP FRANCELLE FOR LOVECRAFT BEAUTY (ART + COMMERCE) HAIR SHON (HYUNGSUN JU) (JULIAN WATSON AGENCY) PRODUCTION COORDINATOR SABRINA BANTA DIGITAL TECHNICIAN HEATH MCBRIDE PHOTO ASSISTANTS IAN RUTTER AND CHRISTIAN COLEMAN STYLIST ASSISTANTS ERIKA GOLCHER AND MEGAN SORIA MAKEUP ASSISTANT TAKAHIRO OKADA HAIR ASSISTANTS DALE DELAPORTE AND JUN GOTO LOCATION ØUTPOST STUDIO CATERING MONTERONE

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JULIA WEARS CLOTHING AND BOOTS LOUIS VUITTON ON EYES MAYBELLINE EYESTUDIO LASTING DRAMA GEL PENCIL EYELINER IN SLEEK ONYX

WOMEN IN B LACK This Fall, it’s all about cutting a sharp silhouette.

Photography Max Papendieck Fashion Ian Milan

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NISAA WEARS CLOTHING AND BOOTS CHANEL

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KATIE WEARS CLOTHING AND BOOTS VALENTINO EARRINGS (THROUGHOUT) CHROME HEARTS

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8/7/17 5:09 PM

BARBARA WEARS CLOTHING AND SHOES COACH EARRINGS (THROUGHOUT) HER OWN

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8/7/17 5:10 PM

JULIA WEARS CLOTHING AND SHOES DIOR ON LIPS MAYBELLINE BABY LIPS LIPGLOSS IN LIFE’S A PEACH

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NISAA WEARS CLOTHING AND SHOES EMPORIO ARMANI ON EYES MAYBELLINE COLORTATTOO 24HR CREAM GEL EYE SHADOWS IN BARELY BRANDED AND CHOCOLATE SUEDE

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ASHLEY WEARS CLOTHING AND BOOTS BURBERRY

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KATIE WEARS CLOTHING AND BOOTS STELLA McCARTNEY

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KATIE WEARS CLOTHING AND BOOTS SALVATORE FERRAGAMO

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8/7/17 5:11 PM

BARBARA WEARS CLOTHING REDEMPTION SHOES SANTONI

MAKEUP (DAY 1) STOJ (STREETERS) (DAY 2) CHRISTIAN McCULLOCH USING LOUBOUTIN BEAUTÉ (STREETERS) HAIR (DAY 1) LIZZIE ARNESON USING ORIBE (BRIDGE ARTISTS) (DAY 2) ROMINA MANENTI (HOME AGENCY) MODELS (DAY 1) JULIA VAN OS (WOMEN MANAGMENT) AND NISAA POUNCEY (NEXT MANAGEMENT) (DAY 2) ASHLEY ADELBERG AND KATIE ADAMS (FORD), BARBARA FIALHO (THE LIONS) LIGHT DESIGN DEAN DODOS PHOTO ASSISTANTS (DAY 1) MARCEL VOCINO (DAY 2) KEITH MacDONALD AND MERT GAFUROGLU MAKEUP ASSISTANT (DAY 2) CHISA TAKAHASHI HAIR ASSISTANT (DAY 2) JOSH BRIZ POST-PRODUCTION VIANCA MALDONADO LOCATION TRIBECA JOURNAL STUDIO

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8/7/17 5:11 PM

RINGS GUCCI

BARE ESSENTIALS

V strips down to Fall’s standout accessories. Clothing optional.

Photography Yvan Fabing Fashion Charlotte Stockdale and Katie Lyall 220 VMAGAZINE.COM

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BOOTS FENDI

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8/4/17 3:34 PM

CHAIN AND PHONE CASE CHAOS

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KEYCHAIN CHAOS

MAKEUP SANDRA COOKE (THE WALL GROUP) MODEL CRIS D (WILD.LONDON) DIGITAL TECHNICIAN LAIMONAS (LSDIGI) PHOTO ASSISTANTS OLIVER BIRTA AND ALEXIS ZACCHI LOCATION STREET STUDIOS

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8/4/17 3:34 PM

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8/1/17 11:12 AM

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8/1/17 12:32 PM

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US $10.50 DISPLAY UNTIL NOVEMBER 8, 2017

Fendi Bouti ques 646 520 2830 Fendi.com