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KEEP IT COOL

As the 2017 holiday season sets in, there are many highlights from the past 12 months to fête and emerging talents to celebrate as they carve out unique pathways to success on the runways, the silver screen, and beyond. Our cover star, Daisy Ridley, quickly rose to prominence two years ago: She didn’t cut her teeth with a lead role in an art-house indie or a supporting role in a big-budget flick, but instead catapulted to fame in her very first film as the lead in Star Wars: The Force Awakens. She reminisces about her big breakout role and the projects she’s taken on since with her Star Wars costar Adam Driver (they reunite in December’s Star Wars: The Last Jedi). Shot by Inez & Vinoodh and styled by Mel Ottenberg, Ridley is all denim-clad, insouciant, off-duty cool.

Two other buzzy on-screen acts, Margaret Qualley and Abbey Lee, were also lensed by Inez & Vinoodh. Both actresses shed light on the fascinating films on their dockets as they navigate their burgeoning careers. And a rising talent in an entirely different field, UFC fighter Stephen “Wonderboy” Thompson, was captured by Bruce Weber and styled by Paul Cavaco.

He chats with William Norwich about his career, which he kicked off, literally, as a toddler.

Highlights from couture, the most delightfully escapist expression of fashion, are shot by Weber, styled by Alex White, and showcased on supermodel Grace Elizabeth. Cruise collections are fantasy-filled, too, from the far-flung show locales to the clothes themselves— we’ve spotlighted holiday-wardrobe-worthy highlights. Also, Anna Ewers flaunts the season’s most magnificent statement outerwear, lensed by Mario Sorrenti and styled by Géraldine Saglio. Plus, Terry Richardson photographed an eclectic cast of icons with cult followings, like Tori Amos, Exene Cervenka, Joan Osborne, and Chaka Khan.

Aside from the holiday season’s gratitude and gifting, fashion perpetually gives us the gift of reverie, collection after collection. That’s certainly more valuable than ever during what’s been a tumultuous year for many, whether that’s meant weathering the current administration or the onslaught of natural disasters (or both). The same can be said for the salient force of Hollywood hit-making (particularly when that force is the next Star Wars).

We’re bidding adieu to 2017 thankful for style and film, and we’re eagerly awaiting what 2018 has in store. MR. V

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FREEZE FRAME 50 HANNAH’S NIGHT OUT Hannah Ferguson and Dilone let loose with Charli XCX, Vic Mensa, Joey Bada$$, and more 54 WINTER CALENDAR November and December’s unmissable events 56 V NEWS This season’s fashion zeitgeist, including covetable collaborations, special collections, and a chic read 58 MACKINLEY SADDLES UP The Western-influenced trend to know now

60 DRIVING MISS DAISY BY INEZ & VINOODH Star Wars supernova Daisy Ridley chats with costar and friend Adam Driver, styled by Mel Ottenberg

100 CRUISING ALONG A look at the latest vacation-ready offerings from Louis Vuitton, Chanel, and Dior

68 GRACE ELIZABETH BY NO OTHER NAME BY BRUCE WEBER Grace Elizabeth takes the most fantastical couture looks for a spin, styled by Alex White

106 THE WONDERBOY BY BRUCE WEBER UFC champion Stephen “Wonderboy” Thompson showcases his strengths, styled by Paul Cavaco

84 ABBEY ROAD BY INEZ & VINOODH Abbey Lee discusses taking Tinseltown by storm, styled by Mel Ottenberg

112 CULT ICONS BY TERRY RICHARDSON Six game-changing female luminaries on their careers and latest acts

86 DARK STAR BY INEZ & VINOODH Actress Margaret Qualley on her ballerina past and exciting on-screen future, styled by Mel Ottenberg

118 RENAISSANCE RHYTHM BY MAX PAPENDIECK Gucci’s Cruise collection rocks out in Florence, Italy

90 FUR PLAY BY MARIO SORRENTI Anna Ewers is ready to weather chilly winter climes in an enviable array of resplendent furs, styled

by Géraldine Saglio

122 JOIE DE VIVRE BY BRETT LLOYD Creatives in Paris, bedecked in ethereal Cruise looks, dare to dream big, styled by Tom Van Dorpe 128 ON VIEW BY THERESE ALDGARD Louis Vuitton and Jeff Koons’s masterful collab continues with a sophomore round of art-splashed bags

SET DESIGN CHELSEA MARUSKIN PHOTO ASSISTANT ZACK MARUSKIN SPECIAL THANKS (THIS PAGE) OKAMOTO CUSTOM ICE

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Case by Petra Cortright

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FROM LEFT: CHARLI XCX WEARS CLOTHING AND JEWELRY HER OWN HANNAH WEARS DRESS EMPORIO ARMANI SHOES (THROUGHOUT) GIUSEPPE ZANOTTI DILONE WEARS DRESS EMPORIO ARMANI SHOES GIUSEPPE ZANOTTI VIC MENSA WEARS SUNGLASSES ALAIN MIKLI CLOTHING AND JEWELRY HIS OWN

HANNAH WEARS DRESS COACH 1941

Hannah Ferguson shows us how a festive holiday fête goes down, with cameos from the likes of Charli XCX, Dilone, Vic Mensa, and Joey Bada$$.

PHOTOGRAPHY MAX PAPENDIECK FASHION MATTHEW ELLENBERGER SEE MORE IMAGES OF THE STAR-STUDDED NIGHT ONLINE AT VMAGAZINE.COM

HANNAH WEARS JACKET STUDMUFFIN NYC BOOTS STEVE MADDEN

MAKEUP LOTTIE (LOWE AND CO.) HAIR TAKAYOSHI TSUKISAWA MODELS HANNAH FERGUSON (IMG) AND DILONE (DNA) LOCATION GRAMERCY PARK HOTEL

HANNAH’S NIGHT OUT

JOEY BADA$$ WEARS CLOTHING AND JEWELRY HIS OWN

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HANDCR AF T ED CL ASSIC CHAIN

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V WISH YOU A CHIC HOLIDAY Seasons greetings! Join us on our stylish

WINTER

sleigh ride through the most

celebration-worthy collections of the season and visit a certain galaxy far, far

away. For starters, Fendi

COUTURE

is showcased on Duckie, captured by the

designer himself, Karl Lagerfeld. Star Wars heroine Daisy Ridley, photographed

by Inez & Vinoodh, catches up with costar and friend Adam Driver. And we’ll

CRUISE

collections from Louis

Vuitton, Dior, Gucci, and Chanel. Plus, Anna Ewers cozies up in this season’s

finest furs, lensed by Mario Sorrenti, and Grace Elizabeth saunters through

Central Park in couture—consider it a picturesque holiday card from Bruce Weber.

Whether you’ve been naughty or nice, turn the page and kickstart your wishlist.

Snowflake Photography Don Komarechka

gallivant around the world thanks to the latest

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In Fendi’s entirely fur couture showing, Karl Lagerfeld explains that he created “lightness out of fur, a fabric usually considered heavy,” via rosette-shaped shaved mink, along with sable and Persian lamb.

Lagerfeld’s inspiration derived from the story of Arachne, the skilled weaver of Greek and Roman mythology turned into a spider as punishment for competing with Athena, goddess of wisdom and crafts, in a weaving contest.

PHOTOGRAPHY KARL LAGERFELD FASHION AMANDA HARLECH

MAKEUP TOM PECHEUX (CALLISTE AGENCY) HAIR EAMONN HUGHES (PREMIER HAIR AND MAKEUP) MODEL DUCKIE THOT (NEW YORK MODELS) SET DESIGN SIR ARNAUD LAURENS

DRESS FENDI HAUTE FOURRURE

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SØLVE SUNDSBØ’S SNOW DAZE

The vast expanse and startling immensity of Canada’s Selkirk mountains are captured in the majestic series of snowscapes that comprises photographer Sølve Sundsbø’s new book, British Columbia. The tome is being released as part of Louis Vuitton’s photography book collection, “Fashion Eye,” along with four other titles: Monte Carlo by Helmut Newton, New York by Saul Leiter, Berlin by Peter Lindbergh, and Morocco by Vincent van de Wijngaard. Norwegian-born Sundsbø shot the images during his many ski trips to the Selkirk slopes (a destination he’s frequented for

13 seasons). The resulting visuals embody the visceral thrill of facing the wintery wild. “It comes to a point [where all that’s there] is your own breath and your own heart. You have physical exercise and exhaustion mixed with absolute calm, so it’s this kind of paradox of being incredibly calm and focused,” says Sundsbø of navigating the icy elements on a pair of skis. “At the same time, your heart is racing and your breath is going, which is incredible, and it’s hard to explain to anyone who hasn’t experienced it. It’s very primal.” LISA MISCHIANTI

Photography Sølve Sundsbø, Courtesy Sundsbø Studio

Taylor Swift confronts her reputation, the fashion and art crowds flock to Miami, and the season’s not-to-be-missed happenings and releases.

10/13/17 2:09 PM

2

7

This page, clockwise from top left: Courtesy H&M; Photography Chris Moore, Fendi S/S 1992, Courtesy Laurence King Publishing; Photography Mert and Marcus, Courtesy Premium PR; Courtesy Moncler; Photography Jules Heath, © Lucasfilm Ltd, Courtesy Disney; Courtesy ESO/G. Lombardi; Naamba Tsbar, Courtesy Fitz and Co; Photography Justina Mintz, Courtesy A24 Films

H&M’S DREAMY NEW DESIGNER COLLAB

Erdem Moralioglu, the London-based, Canadian-Turkish designer, has paired up with H&M for a collection of floaty dresses, suiting, and statement toppers (including the designer’s first foray into menswear) that channel the English countryside, which will debut in stores and online. Teasers for the print-packed pieces, directed by Baz Luhrmann, appeared this spring, and there’s a full film to follow. CHRISTINA CACOURIS

1 HOLIDAY COMEDY GOLD

James Franco and his brother, Dave, star in The Disaster Artist, a comedy about the making of a cult film popularly dubbed the worst movie ever: Tommy Wiseau’s The Room. The new film, out December 1st, explores the friendship of quirky writer-director-actor Wiseau (James) and Greg Sestero (Dave), who costarred in the original film and later wrote the book the new movie is based on. WD

NOTES IN NOVEMBER

10

ALEXANDER FURY’S CATWALKING

16

TAYLOR SWIFT RELEASES REPUTATION

Critic and fashion history buff Alexander Pop’s favorite good girl has finally gone bad—or at least, Taylor Swift’s cheeky, Fury follows up Dior Catwalk with a snake-laden take on “bad.” Whether book focused on the king of runway it was a response to Kanye West’s photography, Chris Moore. Catwalking: Photographs by Chris Moore (out from “Famous” mention of her, a reaction to the voracious media cycle, or the next Laurence King) will chart the fashion step in her artistic evolution, Swift’s noshow as chronicled by Moore over the course of six decades. Each section fea- expense-spared music video for “Look tures essays by Fury analyzing the evo- What You Made Me Do” was a total jawdropper. One thing is for sure: This lution of the modern catwalk into today’s album is a must-listen. WILLIAM DEFEBAUGH high-octane spectacles. CC

DETAILS IN DECEMBER

7

ART BASEL MIAMI BEACH KICKS OFF

Each winter, over 70,000 artists, critics, collectors, and curators flock to Florida for Art Basel Miami Beach. From December 7th to 10th, Miami Beach will transform into an artistic dreamscape with outdoor exhibitions and performances, allowing visitors to explore new work from established artists, as well as to discover the next wave of talent on the rise. And of course, it wouldn’t be Miami Beach without a good party or two. WD

GEMINID METEOR SHOWER

MONCLER’S HONG KONG TAKEOVER

Moncler toasts its new Hong Kong flagship boutique opening November 16th with Destination Hong Kong, composed of art performances in five venues around the city (complete with over 12,000 Mr. Moncler figurines, 1,000 of which will be given away) and a special-edition ’70s-esque silver down jacket, bedecked with patches from five famous cities around the world (Tokyo, St. Moritz, Melbourne, Berlin, and Los Angeles). CC

13

Get ready to set your sights on the sky for one of the most spectacular stargazing events of the year: the Geminid Meteor Shower. Though it’s an annual event, this time around, the meteors are expected to scatter across the night sky more brilliantly than in years past.

Hoping to spot the astral magic in all its glory? Find a dark-skied area away from the haze of city pollution and watch the meteors light up the night. CC

15 STAR WARS: THE LAST JEDI

In time for the holidays, our cover star, Daisy Ridley, reprises her role as Rey in Star Wars: The Last Jedi, out December 15th. Fans can expect the return of its star-powered cast, including Adam Driver, John Boyega, Oscar Isaac, Lupita Nyong’o, and Carrie Fisher (she reportedly completed her filming for the movie before her untimely death last year). Get ready to spend your holidays in a galaxy far, far away. WD VMAGAZINE.COM 5 5

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Winter’s buzziest style intel: what to read, visit, and wear.

CALVIN KLEIN BY CALVIN KLEIN

Louis Vuitton toasts its 163-year history with the NYC stop of its retrospective, in the former American Stock Exchange. Stateside, there’s a special “chapter” (one of 10 total), “Louis Vuitton Loves America,” with designs by the French house owned by prominent American families, LV-filled editorials from magazines over the past 100 years, red carpet pieces, and a Stephen Sprouse tribute.

“VOLEZ, VOGUEZ, VOYAGEZ” RUNS OCTOBER 27 TO JANUARY 7 AT THE AMERICAN STOCK EXCHANGE BUILDING IN NYC —ALEXANDRA ILYASHOV

A NEW CHAPTER

John Hardy’s new creative director Hollie Bonneville Barden tweaked the Balinese folklore-inspired brand’s dragon icon, expanded the chevron-style Modern Chain Collection, and added a hand-woven, customizable chain bracelet (with over 21 stone options). She culls inspiration from the “embodiment of different natural spirits—the earth, the ocean, and the sky.” FROM LEFT: JOHN HARDY BAMBOO SILVER BYPASS RING ($595) AND BAMBOO SILVER BANGLE ($1,195) JOHNHARDY.COM —CHRISTINA CACOURIS

The iconic designer muses on his prolific body of work in Calvin Klein, exploring the brand (and waistband) that continues to drive the cultural conversation. Klein’s first book arrives as Raf Simons is establishing his take on the label. The tome features work by legends including Bruce Weber (above), Irving Penn, and Richard Avedon, and iconic images like a teenage Brooke Shields, babyface Kate Moss, and chiseled Tom Hintnaus. CALVIN KLEIN IS OUT NOVEMBER 7 FROM RIZZOLI —DEVIN BARRETT

THE LADY, REDEFINED

Dior’s Lady Dior bag has evolved, yet again. After Streetwear and home decor don’t usually overlap, but spring’s collab with artist Marc Quinn, 10 more art- Woolrich John Rich & Bros. and Supreme prove they ists took on the classic boxy shape: Lee Bul, Friedrich can, thanks to this edgy, fine-grade wool blanket, availKunath, Spencer Sweeney, Jack Pierson, Namsa Leuba, able in two colorways and emblazoned with the word John Giorno, Jamilla Okubo, David Wiseman, Betty “Shit.” (Fun fact: Woolrich supplied the Union Army with Mariani, and Hong Hao. Designs include a metallic, blankets, sans expletives, during the Civil War.) The shattered-glass style by Bul and vibrant Kenyan pat- conversation-starter is woven in Woolrich’s oldest conterns by Okubo. DIOR LADY DIOR BAG BY DAVID WISEMAN ($7,200, tinuously operating U.S. mill. SUPREME X WOOLRICH BLANKET (PRICE UPON REQUEST, AVAILABLE AT SUPREME STORES) —AI AVAILABLE AT DIOR BOUTIQUES) —AI

SUBVERSIVE KNITWIT

MAD FOR PLAID

STYLISHLY TICKING ALONG

HIS AND HERS

Burberry’s Nova Check is the latest early-aughts iconography to make a mighty comeback. For Spring, Comme des Garçons-owned label Gosha Rubchinskiy debuted eight men’s pieces designed in tandem with the British brand. Rooted in Moscow’s youth culture, Rubchinskiy is one of today’s ultimate purveyors of cool. There are oversize shirts, shorts, hats, and outerwear bedecked with that signature plaid. GOSHA RUBCHINSKIY X BURBERRY IS AVAILABLE JANUARY AT DOVER STREET MARKET NEW YORK —DB

Luxury watch brand Omega is celebrating 15 years of the Seamaster Aqua Terra. When it was launched in the early 2000s, the timepiece was conceived as a crisp, modern revamp of the brand’s iconic ’60s designs. For the sleek ticker’s anniversary, the brand is releasing a mother-of-pearl dial available in 14 new colorways for women. Also on offer: a fresh new wave pattern and rubber strap available for men. OMEGA SEAMASTER AQUA TERRA 150M ($11,700, AVAILABLE AT OMEGA STORES) —CC

In four short seasons, Sander Lak has established ready-to-wear label Sies Marjan as one of New York’s most exciting brands. Named after Lak’s father, Sies, and mother, Marjan, the brand features explosive color, relaxed silhouettes, and confident nonchalance. In November, Lak introduces a capsule for the male counterparts to his cool-girl following, spanning enticing silks, patent leather, and fuzzy outerwear. SIES MARJAN CAPSULE COLLECTION IS AVAILABLE NOVEMBER 1 AT SIESMARJAN.COM —DB

Clockwise from top left: Courtesy Louis Vuitton; Photography Therese Aldgard; Courtesy Woolrich; Photography Kacper Kasprzyk, Courtesy Sies Marjan; Photography Therese Aldgard; Courtesy Comme des Garçons; Photograph ©Bruce Weber, Courtesy KCD; Photography Therese Aldgard

V NEWS

HAUTE HISTORY LESSON

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COAT AND JEANS COACH 1941 BRACELETS CHROME HEARTS

CLOTHING AND BOOTS DIOR

MACKINLEY SADDLES UP

PHOTOGRAPHY ED SINGLETON FASHION SOLANGE FRANKLIN

YOU CAN FIND A FULL EDIT OF THE HOTTEST TRENDS FOR WINTER ON VMAGAZINE.COM

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Clockwise from top left: Hat, Choker Dior Coat and Jeans Coach 1941 Necklaces Patricia von Musulin Bracelets and Rings Chrome Hearts Thumb Ring L’Enchanteur; Hat Space Cowboy Jacket Balmain Earrings, Wood Necklaces, Bracelets Patricia von Musulin Gold Necklace Mario Laz; Top, Skirt, Boots Dior Earrings and Bracelets (Right Arm and Left Arm, Bottom) Chrome Hearts Necklace and Belt Patricia von Musulin Bracelet (Left Arm, Top) Dior Makeup Allie Smith (Bridge Artists) Hair Tetsuya Yamakata (Artlist) Model Mackinley Hill (IMG Models) Set design Hans Maharawal Location Navy Studio

THE LOOK

JACKET BALMAIN (DETAILED CREDITS FOR ALL LOOKS IN SIDEBAR)

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FOX, TM & © 2017 FOX and its related entities. All Rights Reserved.

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SWEATSHIRT SLOPPY JOE SHORTS LULU LEMON SOCKS STYLIST’S OWN SNEAKERS NEW BALANCE EARRINGS, NECKLACE, BRACELET TIFFANY & CO. WATCH VINTAGE FROM CAMILLA DIETZ BERGERON RING DOYLE & DOYLE BAG DIOR ON EYES MARC JACOBS EYE-CONIC EYESHADOW PALETTE IN GLAMBITION

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10/16/17 8:29 AM

g n i v i r d s s i m y s i a d Star Wars’s Daisy Ridley and Adam Driver dish on the epic franchise and beyond.

Photography Inez & Vinoodh Fashion Mel Ottenberg

‘

had no sense of what I was getting into. No sense of what was really going to happen,” confesses Daisy Ridley of her first-ever role as Rey in 2015’s Star Wars: The Force Awakens.

Currently, Ridley is on location in a remote forest a few hours outside of Montreal for Chaos Walking, a 2019 sci-fi release costarring Tom Holland. But it’s this December’s Star Wars: The Last Jedi, the follow-up to The Force Awakens, that is shining a blinding, light-saber-tinged spotlight on Ridley. The Force Awakens was the first movie since 1997’s Titanic to sell more than 100 million tickets in the U.S. It isn’t typical for a young actress’s breakthrough film to have the biggest domestic opening weekend in history, raking in $238 million, but Ridley isn’t all that typical herself. As the face of the nearly $10 billion franchise, Ridley has ushered in a new era of Star Wars. Following Carrie Fisher’s untimely passing last year, Ridley’s character, a fiercely independent heroine, serves as a particularly strong female voice in a galaxy far, far away. However, a far-flung galaxy isn’t Ridley’s only on-screen locale this season. In November, Ridley appears opposite Johnny Depp and an all-star cast in Kenneth Branagh’s Murder on the Orient Express. The suspenseful tale follows 13 passengers, played by the likes of Penélope Cruz, Judi Dench, and Willem Dafoe, stranded on an opulent passenger train with a murderer on the loose. Aside from blockbuster films, Ridley also produced and narrated the documentary The Eagle Huntress, which follows a teenage girl in the mountains of Mongolia as she becomes the first female eagle huntress in the sport’s 2,000-year history. Ahead of The Last Jedi’s release, Ridley catches up with her Star Wars costar (and “bestie”), Adam Driver. DEVIN BARRETT (CONTINUED ON NEXT PAGE) VMAGAZINE.COM 6 1

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you look back, ‘‘you think, it Daisy Ridley Hey Adam, it’s been so long.

Adam Driver Hey Daisy, how are you? When is the last time that I saw you?

DR Well, I don’t know because you don’t come to all the fun things that I go to. [laughs] Last July? It’s been like a year!

AD Oh, yeah, I guess. I’m much taller now.

DR How has your life changed? [laughs] AD Oh, just in little ways. So, where are you now?

DR I’m in Canada, two hours outside of Montreal in these creepy woods. We feel like we’re going to be killed at any moment in this cabin. We’re shooting a film, Chaos Walking, with Doug Liman, Tom Holland, and Demián Bichir. It’s fucking cool.

AD Did you guys have time to meet each other before?

Or did you just kind of jump right in?

DR I had met Tom Holland twice very briefly—for, like, 30 seconds—and I had met Doug Liman once and we spoke a bit, but it was very much feet first, it was super quick.

AD So, is it hard for you to meet people and just kind of go? Or do you prefer it?

DR [laughs] I mean, as we discovered, Adam, we became besties last year, but we had met some years before. It really takes me a while to relax with people.

I don’t think I’m very good at meeting people: I feel awfully uncomfortable. So, I find meeting people very stressful. But it gets easier, and I think I’m getting better at being okay with that, you know?

AD Yeah, you always seemed very open, but I feel the same as you. When I meet people, I don’t know how to small talk very well, so it’s always like two back-andforths of like, “Hey, how are you? How’s the weather?”

And then five seconds later, I’m like, “So, what’s your relationship like with your mother?” It always goes really deep really quickly.

DR [laughs] I think you’re really good at it.

AD Oh, thank you. So, this is about Star Wars: If Rey was a color…I’m kidding.

DR No, oh my God. [laughs] AD What were your initial conversations with J.J. [Abrams] about your character? Did you know the character’s name was Rey? DR No, no, he told me it was meant to be Keera. And then, when we were already shooting in Abu Dhabi, he told me that he was thinking of going with Rey, which I thought was frickin’ awesome. But because I had to audition so much and everything, I never really had a conversation with J.J. about it until I had read the script. So, I had no sense of what I was getting into.

No sense of what was really going to happen or what anything would entail. I hadn’t done a film before, so it was a whole new thing. It’s such a crazy thing the first

wasn’t that hard. we were just playing makebelieve. why did i get so stressed about the whole thing?

—daisy ridley

‘‘

time around: Even if [J.J. and I] had had a conversation about it, nothing would’ve even made sense at that point anyway. It was unfolding as we went along.

AD Right. When you were initially auditioning, you were just kind of [going with] first impulses, which really seemed to turn out to be right.

DR Yeah. I mean, of course things were said in the moment, but it wasn’t like a deep [conversation] about the character’s journey, or what was going to happen [in the film], or who the relationships were with. When I was auditioning, the sides weren’t even real—the characters on each side weren’t real—so I had no idea. And then obviously, with Rian [Jedi] doing the [Star Wars: The Last Jedi], it becomes a changing story, because different people have different opinions as to what the story is and what the trajectory is.

AD I always admire people who are extremely thoughtful about what they’re doing, aren’t precious with anything, and are able to set it down, walk away, and do other things. Are you someone who kind of keeps replaying it in your mind or are you someone who can put it down and walk away?

DR So, I usually think I can put it away—I don’t sit and mull. I do a lot of thinking before. I feel sort of envious of people like you, I guess, who have a thing that they do in order to really feel connected: There is a way that you feel very connected to what you’re doing. A lot of the time, I feel like a novice because I’m like, I don’t know what I’m doing. Yes, I can sort of do the thing and move on, but then I lay awake at night like, What the fuck did I do?

AD Yeah, right. That’s why you can’t watch anything, because then you remind yourself how bad you are— not you, me. I’m like, Oh, right, there are a bunch of

things that I could have done differently.

DR The first few times time I watched [Star Wars: The Force Awakens], because we kept having to watch them, I was like, This is fucking terrible. I cannot believe people are watching this. I was so embarrassed.

AD [laughs] But you always look at it under a microscope. Trust me, it’s brilliant. So, was Star Wars really your first movie? And was Murder on the Orient Express the next thing after Star Wars?

DR Yes and yes. I did that next. I don’t know what it’s like for you, since you’ve done loads of stuff in all different capacities, but weirdly for me—and I guess it’s just because I started with this whole thing—it doesn’t feel like a big thing: Everyone is so nice, it feels much smaller than I thought it would. Then with Orient, it was the same sort of thing. It was technically a big film for a studio, or however people describe it, but it felt intimate and wonderful. And then I [did a film with] a very small studio. But in all three cases, whatever story you’re telling, it’s still a story you’re telling. It’s still not real. And it’s still a film: People still have their jobs, people still have other shit going on. So to me, it doesn’t feel so different from project to project. But maybe I haven’t had enough experience to have a proper sense of that.

AD No, I feel like I talk to actors who are older than me all the time, and that’s the good and bad thing: You always kind of feel like a novice, you never know. It’s always like, Okay, I feel like I have something figured out. And then it just feels like a disaster all over again.

And then it’s over.

DR Exactly. When it’s over, if something wasn’t such a great experience, then it’s sort of like, Oh my God, it’s so hard. And then you look back, you think, It wasn’t that hard. We were just playing make-believe. Why did I get so stressed about the whole thing? I’ve just been super lucky that 99% of people I’ve worked with are pretty nice.

AD What a good group of people. I mean, Kenneth Branagh is pretty incredible. Were you a fan of his movies or his acting, or did you see him in theater?

DR I think I’d seen two things [of Branagh’s] this season, and then I got the call to audition and I was like, Fuck. I had to fly back from L.A, and I was jetlagged and felt disgusting. Again, I thought there was no way I got it. When I was told the cast, I couldn’t believe who I was working with. Then, I couldn’t believe how amazing the experience was. Every single cast member, every single crew member was magical.

AD I always wonder about those really big ensemble casts where it seems like everybody is in every scene, all the time. It could go either way, it seems. In old Robert Altman movies, like Nashville, where there are so many personalities and different ways (CONTINUED ON PAGE 66)

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‘‘ of working, clashing could be kind of a nightmare.

But if it’s really good….

DR Yeah. I think it’s no exaggeration to say everyone felt that it was perfect how the film came together.

But also, because Ken has done a lot of theater as a director, as a person running a scene, there are a lot of personalities on one stage together. So, in that sense, it never felt like anyone was juggling personalities; it just felt like we as people meshed well. Obviously, some of it was previewed and some of it was just really luck.

AD Right. There are so many things that I want to talk about…The Eagle Huntress: How did that happen?

DR It was incredible timing and luck. I narrated only a tiny bit of it—I had no involvement, except telling everyone how amazing it is. Which it is. Watching it, I was weeping. It’s really beautiful. For the director [Otto Bell], this was properly his passion project—he put all of his savings into it, he put everything on the line to make the film—and the story is beautiful. What they were able to do with the limitations of being in freakin’ Mongolia and also him being a first-time director of a feature film and everything, it’s remarkable.

AD From the diversity of things that you’ve done, from narrating and championing a really small movie, to two huge movies, to now doing Chaos Walking, is there something that you kind of prefer? People ask me this question and it always annoys me—but it doesn’t take much to annoy me. Is there a plan that you have going forward, or are you just kind of like, I’m around and these are the kinds of things I’m interested in, and then you just kind of follow your interests?

DR My first lead role was ridiculous and amazing for a first film, and for a film in general. I have an amazing agent. I feel really fucking lucky. I’m a big believer in timing and I didn’t have a job after [Star Wars], and I thought, Oh my God, I thought my life was going to be busier now. I had to take a couple weeks off, and then Orient came up, so that felt perfect. Then I was able to fit in two things easily, both of which I really wanted to do. I thought timing wouldn’t work out, but it did. I don’t have a plan. There are things I want to do that I’m too scared to do currently: I really want to do a play and right now, I feel like I’m barely finding my legs doing film. So, eventually I’ll do that. There is no plan. For the most part, it’s just floating on the breeze.

AD It’s Chaos Walking.

DR Exactly. Do you have a plan, Adam?

AD No, I think it’s the exact same. There are things you want to do, but then there is reality. You can want to work with everybody—or specific things you want to work on—as much as you want. But if nothing is going on or you don’t get the opportunity, I completely

you’re just at work: you’re doing your job and everyone else is doing their job. it’s just me being me.

—daisy ridley

‘‘

agree with you: Luck has a lot to do with it. But I think your personality, work ethic, and face have a lot to do with it. [laughs] I get a lot of Quasimodo roles that I have to turn down or just pick one I am going to do.

I would love to see you do a play. Is there a play that you would want to do?

DR When we were finishing, Penélope [Cruz] and I were doing a scene in Orient and Ken mentioned The House of Bernarda Alba, and I was like, “That would be amazing, but terrifying.” Literally. My stage fright, even on film sets, is so great that the thought of it is genuinely paralyzing. I was talking to Demián today, one of the actors in [Chaos Walking], and he said, “You know, it just has to be something you love so much,” because everything about it is terrifying. Saying the same thing night after night, people coming to see you and expecting something, it’s so alien to what I know. But I would eventually like to do Shakespeare.

AD Is there an aspect of working on Star Wars—it could be anything from the light saber battles, the travel, the catering, to getting to see me every day and do my hair—that was your favorite part?

DR I don’t know if I’ve ever properly thought about it. I love coming into the makeup trailer—everyone is there, you say good morning, and you get a little cuddle from people. I like the structure of that, of really being part of something for the duration of the day. The second [Star Wars], it’s so weird, because in my mind, they’re very separated. I just felt so distant. My head was so fucked after the first one came out. It was strange getting back into it, and it felt familiar and comforting.

I suddenly felt really seen in a way [after the first Star Wars], which was so weird. Then, back at work, you’re just you and it’s not a big deal. You’re just at work: You’re doing your job and everyone else is doing their job. It’s just me being me. I just really liked being part of something where you’re one of a whole. When filming, you’re always part of a thing. Becoming besties with you was the best thing.

AD That’s a lie, but we will make sure that’s printed.

DR [laughs]

AD When we did the press tour for the first one, every country we went to, you seemed to be fluent in the language in like five seconds. Where does that come from? We went to South Korea, we went to Japan, well, London, you were pretty fluent, but every kind of place that we went to, you were speaking the language. What is it? Do you have an ear for language or you’re just like, “Oh, yeah. I just kind of dabble in everything and I’m really good at it immediately?”

DR [laughs] Let’s not exaggerate. I learned how to say, “May the force be with you” and “Thank you” in Korean and Japanese, and that was it.

AD I drilled that shit for like hours.

DR But you had been working all year. I had been sitting at home for a year doing nothing except cleaning up after my dog who is old and kept pooing in the house [laughs], so my brain had room for that. I’m not even exaggerating. For a year, that’s what I had been doing. I only learned one thing in two languages and on this film—because everyone is French-Canadian, or a lot of people are—I’m trying to learn French.

AD Yeah, of course you are, because that’s just obnoxious to be fluent in French.

DR No, because the worst thing is I keep asking words and people have jobs to do and they’re like, “Stop fucking asking me. Go and look in the French-English dictionary.” [laughs] AD Do you remember that time we were in Japan and I didn’t see when you guys arrived, but they pulled the car right up on the red carpet? And you got out of the car, and they were projecting it on the jumbotron thing, and all of the press were kind of dressed in costumes, like Princess Leia? I remember going on the stage, but they had this boy band-esque set-up where we were all going to be on the stage and we were going to rise up from the ground, but we were all too tall. So, we had to crouch down and pretend we were shorter when the stage started to lift, like we were standing the whole time. Do you remember that, or am I just telling this random story?

DR I do remember.

AD Right, and there were four Stormtroopers to my left and four Stormtroopers on your right, and you, myself, John Boyega, and J.J., and 10 Stormtroopers were all squatting on the stage, waiting for them to push the button so we could pretend that we were rising up from [below]. There is no question here. I just wanted to say, “Did you remember that?” [laughs] DR [laughs] I had forgotten that, but I am so glad you reminded me. I remember we had to stand really awkwardly on the stage for a really excessive amount of time. I’m really glad that you shared it.

AD Alright, well, thanks, Daisy. I think you’re brilliant.

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MAKEUP DICK PAGE (STATEMENT ARTISTS) USING MARC JACOBS BEAUTY HAIR WARD (THE WALL GROUP) MANICURE RIEKO OKUSA (SUSAN PRICE) EXECUTIVE PRODUCER STEPHANIE BARGAS (VLM PRODUCTIONS) PRODUCTION CORDINATOR EVA HARTE (VLM PRODUCTIONS) STUDIO PRODUCER TUCKER BIRBILIS (VLM PRODUCTIONS) DIGITAL TECHNICIAN BRIAN ANDERSON (VLM STUDIO) LIGHTING TECHNICIAN JODOKUS DRIESSEN (VLM STUDIO) PHOTO ASSISTANT JOSEPH HUME STYLIST ASSISTANTS MALAIKA CRAWFORD, JORDYN PAYNE, AMBER SIMIRIGLIA, MALCOLM MAMMONE HAIR ASSISTANTS BILLY SCHAEDLER AND SEAN BENNETT LOCATION STUDIO 354

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GRACE ELIZABETH

BY NO OTHER NAME “Even guys like couture!”

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ABB EY ROAD

Since Abbey Lee made her Hollywood debut in Mad Max two years ago, the Aussie talent has racked up an impressive spate of roles.

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ON HAIR REDKEN HIGH RISE VOLUME DUO VOLUMIZER

A familiar face to many in the fashion industry, Abbey along the way with each subsequent project. “I have Lee made a totally accidental foray into acting a couple only a few years of experience, with no formal training, of years ago. “It was a freak sort of thing—I was asked so each set I manage to make it onto, I’m like a deer in to self-tape for Mad Max: Fury Road with no experi- headlights,” Lee says. “I find it fascinating what acting ence or interest in acting, and a few months later, I was can expose about yourself, your capabilities and limon set in Africa,” Lee recounts. its, your relationship to your surrounding environment, However, it’s a career path for which Lee might have and your emotional instability.” In 2016, Lee starred always been destined: “As a child I had a wild, acute alongside Elle Fanning in The Neon Demon, a horror imagination and was highly sensitive,” Lee says. “I think flick helmed by Drive’s Nicolas Winding Refn about the I spent my entire childhood edging towards being an perilous, cutthroat modeling world. “Elle is a star: She actress without fully realizing it, until [Mad Max direc- exudes a very electric, youthful energy,” Lee describes. tor] George Miller invited me to take on his epic project. “I don’t think I was born that sweet.”

I remember him saying to me, ‘Abbey, are you willing to Another film under Lee’s belt is this summer’s scigive up everything for six months and come to Africa fi Western, The Dark Tower. “It was an easy thing to with me?’ and it was like something in my gut shifted. be seduced by—Matthew [McConaughey] and Idris My body answered for me.” For the 2015 installment [Elba] doing Stephen King, directed by Nikolaj Arcel. of the dystopian action franchise that made its debut It wasn’t exactly a tough decision,” Lee says. She also in 1979, she got to work with Charlize Theron. “She’s starred in comparatively lighter fare with 2016’s Office the embodiment of a woman who has pushed against Christmas Party, alongside Jennifer Aniston, T.J. Miller, the grain to find her strength and voice, and it’s inspir- and Jason Bateman. ing,” Lee enthuses.

Her most challenging project thus far has been the Since her first Hollywood film two years ago, the 2018 thriller Elizabeth Harvest, directed by Sebastian 30-year-old Australian has honed her acting talents Gutierrez, the talent behind futuristic thrillers like Gothika,

The Eye, and Snakes on a Plane. “There were four versions of a clone I had to prepare, each with a slightly different way of moving,” Lee explains. “Leading a film is a gigantic responsibility, and to do that with four characters was certainly a challenge, especially since I would often have to switch between all four in one day, since it didn’t shoot in sequence,” she recalls.

Lee’s interest in acting even influenced her pet lizard’s name, an homage to Woody Allen’s iconic Annie Hall. “I found her from very passionate breeders. The day she was arriving, I was on set shooting for Italian Vogue,” Lee explains. “The inspiration for the shoot was Annie Hall, so I was dressed in beige, cream, and vanilla shades. When I got home and [my lizard] was delivered to me, I opened the box and she was creamy colored, which is rare for blue tongues, so she became Annie.”

While Lee’s been focused on the silver screen, she’s also hoping to try out new settings. She’s interested in the theater and would also like to dabble in television: “There are so many powerful things being made for TV right now,” Lee notes. “As an actress who is passionate about the craft, I would never close my doors to the opportunity of working on quality material.” ALEXANDRA ILYASHOV VMAGAZINE.COM 85

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DARK STAR

Margaret Qualley swapped out professional ballet’s constant quest for perfection to instead tackle divinely imperfect roles on screen.

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For Margaret Qualley’s breakout role as the lead in Novitiate, the Maggie Betts-directed drama about how the Catholic church’s radical reforms of the 1960s Vatican II era impacted nuns, preparations included studying scripture and a nunnery slumber party. “I’m not religious, so it gave me an excuse to learn about Catholicism and read the Bible for the first time,” Qualley says of depicting a young girl’s journey through the postulate and novitiate stages of becoming a nun.

The film premiered to critical acclaim at Sundance and has since accrued Oscar buzz.

“One of my favorite parts about acting is the opportunity to learn about things that wouldn’t usually be a part of my life,” Qualley explains. She and her castmates slept over at a convent and adhered to their characters’ stringent practices, like vows of silence and 6 AM wake-ups, “just for fun, to see what it would be like following all of the rules, which was really fascinating,” she says. Costars include a gloriously formidable Melissa Leo as the Reverend Mother, Dianna Agron as the caring but conflicted big sister figure for Qualley and her fellow nuns-in-training, and Julianne Nicholson as Qualley’s agnostic mother grasping to

maintain a relationship with her increasingly devout and detached daughter. A former nun taught the cast rudimentary sign language used during vows of silence and how to walk, “limiting all extraneous sensory experiences because you don’t want anything to distract you from God, which essentially means looking down while you’re walking,” Qualley remembers. “Also, you obviously don’t touch anyone. That was really difficult for me, because I’m a really touchy-feely person—I like to hug people!”

Qualley got her start in another relatively dark role, that of Jill Garvey in the HBO series The Leftovers. “It was my first-ever job and I was nervous as hell—I don’t think I slept before a day of work for the entire first season, and it was the best, most high-pressure acting school I could’ve dreamed of,” she says. Working with Liv Tyler made an impression on Qualley: “I really look up to her. She is so lovely, generous, and kind.” Even though both The Leftovers and Novitiate are decidedly somber and religious projects, that’s not by design, Qualley insists. “I audition and try out for happy roles all the time, but no one wants me to be a part of their happy stories. I’m telling you, I try.”

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“Acting is so appealing because imperfections, messiness, and mistakes are often the greatest parts.”

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The 23-year-old was born on a Montana ranch, spent her formative years in North Carolina, and moved to NYC as a teenager. She studied ballet professionally until age 16 and didn’t harbor any acting aspirations, despite the family connection, as her mother is Andie MacDowell. (“I had a pretty normal childhood, and she was just my mom,” Qualley recalls.) After taking an acting class at her then boyfriend’s suggestion, Qualley “just fell in love” with the craft. “A big reason why I quit ballet was that I wasn’t doing it because I loved it anymore; I was just doing it because I wanted to be perfect,” Qualley muses. “Acting is so appealing because imperfections, messiness, and mistakes are often the greatest parts. I think I’m kind of a control freak sometimes, but reckoning with the fact of being out of control is actually great.”

Nowadays, Qualley is based mostly in L.A.’s Echo Park neighborhood, crashing with Rainey, her musician older sister and “best friend in the whole world.”

There’s little overlap between dancing and acting for Qualley, but the mediums work well in opposition: “Ballet is black and white—there’s a right and wrong way to do things—and acting is way more grey. The harder you try, it actually kind of backfires,” Qualley explains, though her rigorous dance background was relevant for Novitiate. “The ballet world has a lot of similarities to young postulates’ experiences and to the convent,” she notes. “There’s discipline and yearning for perfection in both, and you’re following a certain path in order to achieve what you think is perfection.”

This spring, Qualley danced again for the first time in years, in a Spike Jonze-directed Kenzo short film: “After I quit ballet, I didn’t really dance at all, because I was so hard on myself. It was painful to go to class and not be as good as I used to be since I wasn’t training the same way,” she says. The exuberant Kenzo dance sequence starkly contrasts with her classical ballet training. “The point was not to be perfect; it was about allowing yourself to be messy and goofy and fucked up, and it reminds me of what I initially loved about dancing,” Qualley points out, raving over working with Jonze. “He just has this way of making everything feel so spontaneous, alive, fun, and playful, and you can feel that in his movies.” These days, the Qualley sisters take dance classes in L.A. and Margaret gets moving solo, albeit in private. “I spend a lot of time lately in hotels, and if I’m feeling sad or lonely, I’ll put on music and make myself dance around my hotel room and jump on the bed,” Qualley reveals.

She recently starred in the psychological thriller Death Note, and this fall, Qualley shot Adam, a “really tiny movie” that addresses LGBTQ identity politics and activism. Part of the plotline involves “Camp Trans,” a group that protested the exclusion of transgender individuals from the erstwhile Michigan Womyn’s Music Festival. “It’s a comedy, and it’s lighthearted and funny for a great portion of the script, but it’s also about stories that really matter,” Qualley explains. Next, Qualley starts filming “another really light story where I play a meth dealer who is prostituted out by her brother,” she says with a laugh. “I just like things that scare me and make feel uncomfortable.” ALEXANDRA ILYASHOV

MAKEUP DICK PAGE (STATEMENT ARTISTS) HAIR WARD (THE WALL GROUP) MANICURE RIEKO OKUSA (SUSAN PRICE) EXECUTIVE PRODUCER STEPHANIE BARGAS (VLM PRODUCTIONS) PRODUCTION CORDINATOR EVA HARTE (VLM PRODUCTIONS) STUDIO PRODUCER TUCKER BIRBILIS (VLM PRODUCTIONS) DIGITAL TECHNICIAN BRIAN ANDERSON (VLM STUDIO) LIGHTING TECHNICIAN JODOKUS DRIESSEN (VLM STUDIO) PHOTO ASSISTANT JOSEPH HUME STYLIST ASSISTANTS MALAIKA CRAWFORD, JORDYN PAYNE, AMBER SIMIRIGLIA, MALCOLM MAMMONE HAIR ASSISTANTS BILLY SHAEDLER AND SEAN BENNETT LOCATION STUDIO 354

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FUR PLAY

Anna Ewers makes a scorching case for cozying up in the season’s plushest looks.

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CRUISING ALONG Tour the season’s hottest cruise locales in a style-packed trip to Japan, Ancient Greece by way of Paris, and the California desert.

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MODELS (PREVIOUS PAGE, FROM LEFT) EMMY RAPPE (IMG) AND BROOKE PERRY (THE LIONS) MODELS (THIS PAGE, FROM LEFT) ATTY MITCHELL (DNA), JOLIE ALIEN (FORD), EMMY RAPPE (IMG)

THIS SPREAD: ALL CLOTHING, SHOES, ACCESSORIES LOUIS VUITTON

LOUIS VUITTON’S KYOTO RIDE

Louis Vuitton staged its latest Cruise showing at a setting befitting the collection: the I.M. Pei-designed Miho Museum near Kyoto. “The collection is mixed with references to Kurosawa movies, which are so incredible because of their unique lighting. We can also see elements from Kitano movies, like Battle Royale. There are images of these very strong girls, as well. The ’70s movie series Stray Cat Rock is fascinating as it’s centered around Japanese female bikers in classic ’70s clothing—this is how we opened the show. And until 20-25 years ago, these girls on their motorbikes could still be seen out and about in Tokyo.” NICOLAS GHESQUIÈRE

PHOTOGRAPHY HENRIK PURIENNE FASHION AUDREY TAILLÉE

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THIS SPREAD: ALL CLOTHING, SHOES, ACCESSORIES CHANEL

CHANEL’S GRECIAN JAUNT

Though Chanel unveiled its latest Cruise collection in Paris, the elaborate set replicated Ancient Greece with hulking, crumbling columns and a rocky runway trimmed with rosemary and sage sprigs, as well as olive trees. The looks were equally as Aegean in spirit: gladiatorworthy column-heeled sandals, Chanel’s signature bouclé in soft silhouettes, and a palette rife with pastel hues and crisp whites. The maison’s vacation-ready Cruise looks also nod to Coco Chanel’s costume designs for Jean Cocteau’s 1922 production of Antigone, an Ancient Greek tragedy. “It’s a modern vision of antiquity.”

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THIS SPREAD: ALL CLOTHING, SHOES, ACCESSORIES DIOR

DIOR’S DESERT TRIP

Rugged adventure defined Dior’s 2018 Cruise show, held at sunset in the desert of the Santa Monica Mountains amid Dior-branded hot-air balloons and safari-esque tents. “My collection echoes the collection presented by Christian Dior in 1951, drawing inspiration from the Lascaux Cave paintings. This idea is embodied in the oval, a form Mr. Dior was also inspired by and that I associate with the silhouette of the Venus of Willendorf—for me it is inseparable from this primitive, iconic idea of femininity. My thought process was nourished by the delicate but robust lines of that Palaeolithic statuette, which represents woman as fertile mother. The collection speaks of a femininity with immense creative potential.” MARIA GRAZIA CHIURI

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THE WONDER B OY UFC champion Stephen “Wonderboy” Thompson flexes his fighter roots.

Photography Bruce Weber Fashion Paul Cavaco Text William Norwich

“Does it hurt?”

Stephen “Wonderboy” Thompson, the martial artist extraordinaire, laughs. “And how about when you go home after a fight with butterfly stitches and black eyes,” I ask. “Aren’t there mothers, aunts, nieces, nephews, sweethearts, people at church—not to mention your students at your family’s martial arts school where you teach—that it just breaks their hearts to see you looking that way?”

After one recent fight, Thompson was left with a big cut over his nose and two full-on black eyes. Everybody back home in Simpsonville, South Carolina knew it. They had been up late watching the fight. When he got to Upstate Karate, his family’s martial arts school in Simpsonville, the parents had drawn black eyes on the kids. “So I wouldn’t feel too embarrassed. It was the sweetest thing you could have seen,” he says. And, yes, it hurts.

“When you’re out there in the octagon and you’ve got thousands of people, millions across the world, either cheering for you to win or cheering for you to get knocked out, the adrenaline is going, so it doesn’t hurt while you’re out there,” Thompson explains. “Now fast forward to about an hour and a half to two hours after the fight? Oh yes. It’s pretty painful.”

For the uninitiated, Thompson is one of the stars of the UFC, the Ultimate Fighting Championship. He’s a mixed martial artist ranked number 2 in the UFC’s welterweight rankings. He has been awarded “Performance of the Night” three times, as well as “Fight of the Night” and “Knockout of the Night” once each. Prior to the UFC, Thompson fought as a professional full-contact kickboxer and was never defeated in 94 matches with 40 wins by

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SHORTS, SHOES, GLOVES STEPHEN’S OWN

knockout. His career professional MMA record is 13 wins, two losses, and one draw.

One of five children, all raised and trained in the martial arts, he comes to his profession thanks to his father, Ray Thompson, who opened Upstate Karate for toddler-age children and older in 1983. Stephen is a full-time teacher there, helping students develop not just the physical strengths that the martial arts offer, but also the benefits of their philosophy and mental discipline. “Modesty, courtesy, self-control, integrity, perseverance, that indomitable spirit that’s not being taught much these days,” he says. The United Martial Arts Association ranks the school among the top 10 martial arts schools in the United States, Canada, Australia, and Great Britain.

“My dad grew up in a little place near Charleston called Moncks Corner,” he recounts. “He was a huge fan of Elvis. Elvis was a seventh-degree black belt in karate. My dad knew that he couldn’t dance like Elvis or sing like him, but he thought maybe he could try karate, and he fell in love with it. He ended up moving to Simpsonville where he and my mom, who also competed, had the five of us.” In 1983, the martial arts were not the respected discipline that they are today. With five kids to feed, there were some lean and humble years before the school was successful.

“In addition to the school, my dad was working three jobs. I remember driving around in a little one-bed Westin truck with the entire family in it. My sister and I were down on the floorboard of the truck one day when my dad got pulled over. He looked at the police officer and said, ‘Hey man, this is all I got,’ and I guess the police officer felt sorry for him and let him go.”

When the siblings argued, their father would say, “Okay, you kids want to fight? Alright, then fight.” The coffee table in the living room would be moved aside.

Closed fists were forbidden so that no one got cut, but everything else was permitted. Stephen’s older sister, Lindsay, an exceptional fighter and competitor, had always dominated her brother until one night, with his now famous leg kick that seems to have the wing span of a Boeing 747-8, he literally “knocked the spaghetti supper out of her.” Shocking? Stephen says that you probably need to be a martial arts family to fully appreciate the sportsmanship in this story. Ray recognized young Stephen’s desire to succeed at the sport. Coached by his father to this day, Stephen’s full-contact training began when he was 12 years old.

At age 15, he had his first professional fight, earning him his “Wonderboy” nickname. “People ask me when I’m going to change it to ‘Wonderman’ because I’m 34 now. When I was 15, I fought a guy who was 26 and he was 20-0, undefeated. It was a way for my dad to show me that I was better than I thought. I ended up beating the brakes off this 26-year-old guy. After the fight, the announcer asked my opponent how it felt.

He answered, ‘I wonder why I stepped in the ring with that boy.’” The announcer jumped on this, and nicknamed Stephen “Wonderboy.”

UFC mixed martial arts is one of the fastest-growing sports in the world today. Its competitors, such as Conor McGregor, currently the UFC Lightweight champion, have become stars and fashion darlings.

Or rather, fashion heavyweights? “Conor has taken the UFC to a whole new level,” Thompson says, offering his highest praise for McGregor. “It’s his whole demeanor that appeals to me. He’s a fighter, he’s a Viking, and on top of that, he’s got the gift of gab. He’s got everything, and now he’s got the style. He’s got a three-piece suit on—Versace, Tom Ford—and everywhere he goes, he’s looking good.”

Six feet tall and handsome as apple pie, Thompson has all the makings of a fashion celebrity, too. He’s tenderhearted, humorous and friendly, and he’s an eternal optimist who practices that optimism with daily prayer and mediation and church on Sundays. I ask him if fashion fame might disrupt his faith. “When this story comes out and you look gorgeous, photographed by Bruce Weber, you will officially be one of America’s new sex symbols—are you prepared? You’ll be worshipped by women and by more than just a few guys. Is this okay?” He smiles. “Yes, it is okay. To be out there in the light, that’s what I like to call it—the light—that’s what I want. To set a good example and be a positive influence for any of the people who will look up to me, like you said, the women and also the men. Yes, I think I’m prepared.”

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HAT AND COAT MONCLER GLOVES AND SHORTS STEPHEN’S OWN

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HAT RESISTOL TOP AND T-SHIRT (UNDERNEATH) BENCH

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CULT ICONS

These exceptional female artists have amassed devoted fans throughout their decades-long careers thanks to distinctive sounds that continue to captivate.

Photography Terry Richardson

TORI AMOS

Amos’s 15th album, Native Invader, which came out in September, percolated on a 2016 roadtrip to the Smoky Mountains. It’s a simmering rumination on the perilous current political state (namely, President Trump’s contentious EPA appointments) and her mother’s struggles. Working on it paralleled 2002’s Scarlet’s Walk, written by Amos on the road post-9/11 as people personally approached her after the national tragedy. Now, that discourse is on social media. The new album’s title also addresses Amos’s mother losing her voice and enduring a severe, paralyzing stroke.

“Both Mother Earth and my mother, Mary, are trapped,” Amos says. “Earth because

of plutocrats, American oligarchs’ agendas, people talking about ‘real’ Americans; Mary is trapped because of native invaders within herself.” She explores personal and political turmoil with her distinctive vocals, but don’t call it cathartic: “I don’t like the word, it belittles the craft,” she explains. “It’s a bit condescending. I’m a sonic builder, and yes, I trade in emotions. If I need a therapy session, I’ll call a therapist.”

Amos has exchanged ideas with fans on tours for 25 years, and those discourses were especially important on this jaunt: “People now feel helpless in this political and emotional climate, so it’s about activating each other together.” ALEXANDRA ILYASHOV

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SANDRA BERNHARD

Bernhard being cautious feels oxymoronic. Since the ’70s, the actress-writer-comedienne has had notable TV and Broadway roles aplenty, as well as helped to usher in a wave of no-holds-barred female standups. “I don’t want to get into pissing contests with people,” she says. “I’ve definitely pulled back a lot, things 15 years ago I would’ve said without thinking twice.” A socially conscious artist and LGBTQA icon, her inhibitions are nuanced, not guarded. She’s exercised this on her Sirius XM Radio show Sandyland: “Everybody knows where I stand. If it’s from a place of authenticity and real emotion, I’ll go off on a rant that I think is effective,” she explains. Next, she’s developing a new TV show and prepping for her annual Joe’s Pub show, Sandymonium, while taking care of herself as a bisexual Jewish woman in a difficult time for marginalized groups. “Get a good night’s sleep, eat right, work out, meditate, do what you have to do to maintain balance,” she says. “If you’re a mess, there’s not one thing you can do to help anybody else.” MATHIAS ROSENZWEIG

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EXENE CERVENKA

While East Coast punks touted the Ramones, the West Coast worshipped X. The seminal band—led by Exene Cervenka along with John Doe, Billy Zoom, and D.J. Bonebrake—helped shape L.A.’s first wave of punk. “I feel like I belonged in L.A. because it was a scene for kids: It was irreverent, funny, drunk, and silly, but it got serious pretty quick,” Cervenka recalls. To mark their 40th anniversary this year, the band released X! Live In Latin America, the first live recording with all four members. On October 13, they also unveiled “X: 40 Years of Punk in Los Angeles,” an exhibit at the Grammy Museum filled with artifacts from X’s members, including DIY T-shirts, buttons, and flyers. The band honored its past throughout 2017, but they’re definitely open to creating more music in the future. “I would love to,” Cervenka says. “We’ll have to see what we can come up with next year to top this year.” ILANA KAPLAN

FASHION JULIE BROOKE WILLIAMS MAKEUP WILLIAM MURPHY (ATELIER MANAGEMENT) HAIR PANOS PAPANDRIANOS (THE WALL GROUP) STYLIST ASSISTANT JERMAINE DALEY LOCATION STAGE 48

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KIM DEAL

The Breeders emerged from an ’80s tour bill: Kim Deal and Tanya Donelly met when their respective bands (and label-mates), Pixies and Throwing Muses, toured in tandem. At a moment when both groups were on hiatus, Deal and Donelly started playing for fun, and the Breeders were born. In 2013, Deal, her twin sister Kelley, Josephine Wiggs, and Jim MacPherson reunited for the 20th anniversary tour of Last Splash (Donelly’s no longer involved). “We enjoyed playing with each other again so much, we’ve worked together since,” Deal says.

She’s been putting together solo music, too, which she releases periodically on 7” singles. In October, the Breeders dropped “Wait in the Car,” their first fresh track since 2009, and Deal describes it as “a riff that was kicking around for a while, just one of those nice rock verses.” The new album, out next year, was conceived in a basement in Dayton, Ohio, where the Deal sisters live. They’re not local stars, though: “God, nobody knows us! A cool cat at Starbucks recognizes us sometimes, but even Thom Yorke would be safe in that city.” ALEXANDRA ILYASHOV VMAGAZINE.COM 115

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In October, Joan Osborne released her 11th album, Songs of Bob Dylan, a covers collection that stemmed from two residencies she had at NYC’s Cafe Carlyle in 2016 and 2017. “Dylan’s fans have a certain protective connection to him,” Osborne says. “So you definitely want to make sure that your interpretation respects the source material.” Her jazz-inflected sound and powerful lyrics frequently muse on gender dynamics—most famously, and controversially, on her 1995 hit “One Of Us.” “People ask me if I’m sick of singing that and, you know, I’m not,” Osborne affirms. “The song has changed and grown over time, and it’s now this poignant, intimate moment in the show where you can hear

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a pin drop.” Her career predates the late-’90s female alternative rock heyday, and she finds it “a little disingenuous” how she and her fellow (quite varied) artists were grouped. “I think it probably was positive for my career that I was able to be one of the artists people were paying attention to in that moment, but it’s not like we all lived in the same town or played the same kind of music.” The self-described feminist frequently explores the complexities of sexuality and identity: “I’ve never shied away from letting it all be out there and not trying to think that I have to be what somebody else has decided is ‘acceptable.’” ALEXANDRA ILYASHOV

FASHION JULIE BROOKE WILLIAMS MAKEUP MAKI RYOKE (STREETERS) HAIR PETER BUTLER (TRACEY MATTINGLY) MAKEUP ASSISTANT MIGUEL RAMOS LOCATION LUDLOW STUDIOS

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CHAKA KHAN

For Chaka Khan, performing is truly her raison d’être: “It’s not an easy job, but it’s a calling for me, so I have no choice,” Khan says. “I have to sing or I won’t be able to be here.” Khan’s career began during her childhood days in Chicago, where she formed a girl group, the Crystalettes, at age 11. Since then, she’s won 10 Grammy Awards (out of 22 nominations) for hits like 1978’s “I’m Every Woman,” taken home two Lifetime Achievement Awards, and collaborated with some of the industry’s biggest names, from Stevie Wonder and Joni Mitchell to Prince (“he was a genius and we worked together like one unit, it was beautiful,” Khan remembers of the Purple One). These days, she’s finding that her demographic has expanded significantly, with three to four generations of fans flocking to her shows: “I am so blessed to be relevant in any way to these young people today who are so savvy, and I’m truly honored about that,” Khan gushes. “It makes me feel good.” MATHIAS ROSENZWEIG

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ALL CLOTHING, SHOES, ACCESSORIES GUCCI

RENAISSANCE RHYTHM Alessandro Michele orchestrates a fantastical frolic at the Palazzo Pitti, showcasing Gucci Cruise.

Photography Max Papendieck 118 VMAGAZINE.COM

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Yet another hit parade of quirky coolness, Gucci’s Cruise show was a riotous, pattern-packed, and accessories-laden collection of printed pantsuits, dramatic capes, tweed tailoring, and quilted outerwear, trotted out, quite fittingly, in Florence’s lavish Palazzo Pitti. “I wanted to paint a new kind of renaissance. The Gucci Renaissance: injected with rock and roll.” ALESSANDRO MICHELE

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JOIE DE VIVRE

FROM LEFT: NIKITA WEARS BRIEFS VERSACE IANA WEARS CLOTHING AND SHOES VERSACE

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A group of young creatives, clad in Cruise, are redefining the Parisian artist archetype.

Photography Brett Lloyd Fashion Tom Van Dorpe Text Ashley Simpson

FROM LEFT: ANGÈLE WEARS CLOTHING, BOOTS, BELT SAINT LAURENT BY ANTHONY VACCARELLO HAT AND BRIEFS HER OWN LUKAS WEARS CLOTHING AND BELT SAINT LAURENT BY ANTHONY VACCARELLO VMAGAZINE.COM 123

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FROM LEFT: APOLLINARIA AND JO WEAR CLOTHING AND SHOES PRADA

n the city of Paris, there is a wave of change underway: a movement of young innovators breathing new life into a space long characterized by its history more than its present. Friends, lovers, and something in between, these artists are coming together to reimagine the city’s underground.

“We met here in Paris about a year ago in the Brioni show,” grins Iana, a Ukranian model based mainly in New York, from the bar at the Hôtel Grand Amour in Paris’s 10th arrondissement. “We became friends.” Iana and Nikita are from opposite ends of the Ukraine, but fashion and Paris have brought them together. “I work as a stylist in the Ukraine for two very different brands,” says Nikita. “In Paris, I stay with my brother. We’re working on a project—it’s a secret.” Iana plans to go to school someday, but for now, she writes scripts in between time spent surfing and modeling gigs. “When you’re so disconnected, you can’t do anything but read or write,” Iana muses. “I’m really interested in writing about people and describing characters. I read a lot of autobiographies: You get to learn someone’s story, and at the same time, when you’re writing, you can change someone’s story.”

Another group of friends in the same scene, Jo and Franziska are both artists who dabble in fashion and other mediums. “I’m a model and I went to fashion school a few years ago, so now I make clothes,” says Jo from her home in the French countryside. “They’re made-to-order, complicated articles with a lot of embroidery, inspired by metal music and nature.” She spends part of her time “in the middle of the forest” and the rest in the Paris suburbs. She also works with the artist Julien Carreyn. “It’s mostly nude modeling, but sometimes I do the makeup and the set design,” she explains. Franziska, a Paris-based Viennese artist, does styling and casting, and recently started her own band. “It’s actually really fucking fun,” says the artist, who looks to German punk (“English punk is a bit rough for me—the Sex Pistols are just too gross”) for the soul behind her sound. “I’m a very emotional person,” she reflects. “I’m using my voice in a punk-y way. I’ve never been proud of my own work until now.”

If you talk to Apollinaria, she says she never sleeps. “I’m working on three exhibitions now. I’m doing VMAGAZINE.COM 125

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sculpture, installations, videos, ceramics, marble,” she says. Born in Moscow to a French father and Russian mother, Apollinaria moved to Paris four years ago for artistic freedom. “Growing up in an artistic family in Moscow, it was politically complicated, but we always had artists at our place—big costume parties,” she recalls. “I’m quite used to dressing up with friends and living a little mythology of our own.” Today, her work centers on concepts of space: the stories we create for ourselves and how mundane environments can be transformed. “A wooden children’s tree house—it’s just a simple tree with a house, but for children, it’s a castle,” she offers. When it comes to the Parisian art world, Apollinaria sees room for more concrete transformation: “Paris is changing,” she says. “It was a little dead before, but now, there’s a new energy. There are young people coming from Europe, Asia, Russia, America. We found a gallery in the center next to [the Centre] Pompidou and we’re doing whatever we want in there: shoots, videos, exhibitions. The first exhibition was with all friends: It was about mermaids.”

Growing up in Paris’s 9th arrondissement, Lukas and Angèle lived just blocks away from each other. They also both come from film families: Lukas’s father is a set designer and his mother is an actress and model, while Angèle’s father is an actor and her mother is a filmmaker. Despite their proximity and commonalities, they met by chance. “We met in a bar, with no friends in common,” reflects Angèle. They felt an instant connection, and today the couple lives together in Pigalle, working in tandem and on solo projects. “I have two movies this year,” explains Lukas, who starred in Larry Clark’s druggy skate film The Smell of Us and cites Jim Jarmusch as inspiration. “I’ll spend the next month writing music in the countryside.” The music is grungeinfluenced, Elliott Smith-style confessional folk. As for Angèle, a literature student, “I’m in a movie, too—it’s going to be my first main role,” she says. “It’s about an anorexic girl who is in a hospital for young girls who are not feeling good with their bodies. She meets another girl and they escape together. It’s dark.” In the future, the couple wants to act in a film together: “a beautiful movie with a director who is not famous now, but will be,” enthuses Angèle. “We’ll see. We go with the flow.”

RIGHT: IANA WEARS DRESS AND BOOTS GIVENCHY BELOW: ANGÈLE WEARS JACKET GUCCI HAT HER OWN LUKAS WEARS SHIRT GUCCI BRIEFS HIS OWN

LEFT: NIKITA WEARS NECKLACE HIS OWN IANA WEARS DRESS CHLOÉ ABOVE: FRANZISKA WEARS DRESS AND BOOTS LOUIS VUITTON 126 VMAGAZINE.COM

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FROM LEFT: ANGÈLE WEARS DRESS CALVIN KLEIN 205W39NYC LUKAS WEARS BOOTS CALVIN KLEIN 205W39NYC HAT ANGÈLE’S OWN

MAKEUP LAURA DOMINIQUE (STREETERS LONDON) HAIR TEIJI UTSUMI (BRYANT ARTISTS) MODELS FRANZISKA, APOLLINARA, JO, ANGÈLE, LUKAS, IANA GODNIA (HEROES NY), NIKITA CASTING PIOTR CHAMIER PRODUCTION CARMEL DIONE REEVES (D+V MANAGEMENT), TOBIAS BRAHMST (SHAPE PRODUCTION), RAPHAEL BERRICHON (SHAPE PRODUCTION) PHOTO ASSISTANTS RONAN MCCALL AND MARGAUX JOUANNEAU STYLIST ASSISTANTS SIMON NASCHBERGER AND STEPHY GALVANI MAKEUP ASSISTANT YIN LIU HAIR ASSISTANT KANAE PRODUCTION ASSISTANT ANTHONY LAROCHE POST-PRODUCTION LUKE HUTCHINGS (TOUCH DIGITAL)

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THE FINALE

O N VIEW

TEXT DEVIN BARRETT PHOTOGRAPHY THERESE ALDGARD Jeff Koons and Louis Vuitton’s first round of wearable artworks, dubbed the Masters Collection, was unveiled in the spring. For the pieces, the artist referenced his controversial Gazing Ball paintings. Known for their glistening blue reflective spheres and precise reproductions of masterpieces, Koons’s works and the LV bags they inspired are a thoroughly modern riff on some of the most important moments in art history. In this latest variation of Koons-tweaked Vuitton bags, the gazing ball theme is utilized yet again, appearing in the reflective type treatment. And while the first release for the Masters Collection featured paintings by the likes of Leonardo da Vinci, Titian, and Fragonard, the second chapter of the

highbrow collaboration is splashed with the works of Boucher, Gauguin, Manet, Monet, Poussin, and Turner. Take a selfie with your own Monet!

Or, perhaps, a spin around the Metropolitan Museum of Art with your own Gauguin—how meta! Indeed, the second iteration of Masters is a rare opportunity to own (and wear) Manet’s Luncheon on the Grass or Boucher’s Reclining Girl. And as pictured here, Turner’s Ancient Rome gets framed for the 21st century. According to Koons, the piece “is one of the most seductive, joyous images that I know of.”

LOUIS VUITTON MASTERS, A COLLABORATION WITH JEFF KOONS TURNER NEONOE BAG ($2,700, AVAILABLE AT SELECT LOUIS VUITTON STORES)

128 VMAGAZINE.COM

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