V159: ZARA LARSSON

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EDITORIAL Editor-in-Chief / Creative Director Stephen Gan

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PHOTO/ART

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FASHION

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Editor’s Letter

As rain cuts through the snow in V’s hometown of New York City, it signals a reset. Pop culture moves the same way, with awards season prompting a moment of reflection even as the spotlight shifts toward what—and who—will define the months ahead. V159 arrives squarely in this in-between moment, serving as a visual guide for what’s next. Leading the issue, ten of fashion’s most in-demand models—Natasha Poly, Felice Noordhoff, Imaan Hammam, Jeanne Cadieu, Malogisa Bela, Sora Choi, Julia Nobis, Ajah Angau, Karolina Spakowski, and Devyn Garcia—are

photographed by Chris Colls and styled by George Cortina, channeling the new energy rippling through today’s most talked-about fashion houses. Elsewhere, global pop force Zara Larsson steps into her modern bombshell era, captured by Zoey Grossman and styled by Lana Jay Lackey, as she embraces a self-driven rebirth following the success of her latest album Midnight Sun. Throughout the issue, London’s 20-yearold jazz prodigy Sienna Spiro proves she’s one to watch, while Peter Philips crafts the beauty vision for Jonathan Anderson’s much-anticipated Dior debut. We round

out the issue with a trip to Brooklyn’s hottest club alongside rising stars Slayyyter, Meg Donnelly, Ella Rubin, and Audrey McGraw; the season’s most hair-raising runway looks captured by Danielle Levitt and styled by Anna Trevelyan; and our boldest accessories yet—styled with chickens (yes, really). V159 is a sharp inhale before the plunge forward, reframing the months ahead with renewed optimism, sharpened perspective, and just the right amount of surprise. MS.V

petal to the metal!

Bag, bag charm, heels GIVENCHY by Sarah Burton Leather mini pinch bag, leather flower charm, boudoir rose mule (price upon request, $550, $1,550, available at givenchy.com).

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Table of Contents

let it grow!

Cover 1 Natasha Poly wears dress and pumps BALENCIAGA Cuff BELPERRON Cover 2 Felice Noordhoff wears silk long sleeve high neck top with open back and wide leg pants LOUIS VUITTON HardWear large link earrings in yellow gold TIFFANY & CO. CO Open toe ankle strap heels PARIS TEXAS Cover 3 Imaan Hammam wears panama collarless jacket, sheer knit skirt with choker detail, sheer knickers, pointy toe pumps TOM FORD HardWear large link earrings in yellow gold TIFFANY & CO. Cover 4 Jeanne Cadieu wears blouse and pants DIOR HardWear bold graduated link necklace (worn as bracelet) TIFFANY & CO. Lidia slingback heels PARIS TEXAS Cover 5 Malgosia Bela wears tension dress and criss crossed sandals ALAÏA Cover 6 Sora Choi wears satin crepe dress and pumps CHANEL Cover 7 Julia Nobis wears bandeau SKIMS Wide leg pleated tuxedo trousers CELINE HardWear bold graduated link necklace (worn as belt chain) TIFFANY & CO. Barrow belt ARTEMIS QUIBBLE Cover 8 Karolina Spakowski wears tulle bodysuit with neck tie, lace bra, chantilly lace panties DOLCE&GABBANA Cover 9 Ajah Angau wears wool top and patchwork taffeta skirt PRADA Cover 10 Devyn Garcia wears HardWear graduated link necklaces with pavé diamonds (stacked) and HardWear medium link necklace TIFFANY & CO. Cover 11 Zara Larsson wears dress with cloud applique COACH Butterfly white diamond earrings, Butterfly white diamond bracelet, Butterfly white diamond ring set (on right hand), emerald cut ruby and white diamond ring (on left hand) GRAFF Stylist’s own underwear

Bag DIOR Mini Lady Dior bag ($9,500, available at Dior boutiques).

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Photo Assistant Shadi K Best Fashion Market Editor Copelyn Bengel

IN THIS ISSUE: 34. HEROES 38. HISS & TELL 40. V NEWS 42. V GIRLS 46. WORK OF ART 50. THE STATE OF SPRING 72. ZARA LARSSON CLAIMS HER MOMENT 82. UNDER SIENNA’S SPELL 90. FREE AS MY HAIR! 102. NEW BLOOM 110. GIRL ON FIRE 120. SPRING CHICKEN! 128. WHAT V WANT

Prop Stylist Catherine Pearson

For a vibrant pop of color to the lips, try MAC COSMETICS M·A·Cximal Silky Matte Lipstick in Candy Yum Yum

He rO Es Photography INEZ & VINOODH Text KEV PONCÉ

With a major retrospective at the Kunstmuseum Den Haag honoring 40 years of an enduring artistic partnership, photographers Inez & Vinoodh turn the lens inward, asking whether love—between partners, muses, and moments— can ever stand still Me Kissing Vinoodh (Eternally), 2010 (Originally shot for Lanvin Homme Campaign, 2010)

It’s hard to imagine what the past several decades of fashion would have looked like without the lenses of Inez & Vinoodh there to capture it all. Since the early 1990s, Inez van Lamsweerde and Vinoodh Matadin have stood at the forefront of photography’s digital awakening. As digital cameras entered the mainstream and the internet was still taking 34

shape, the Dutch duo carved out their own visual language—pushing the boundaries of what a photograph could look like and what it could demand of its viewer. Through uncanny image manipulation and a fearless engagement with technology, their work mirrored the cultural moment in which it was made.

Now, with forty years of being in the

photography game (and perhaps even helping define it), the duo are bringing it all back home to the Netherlands with a dedicated retrospective at the Kunstmuseum Den Haag, Can Love Be A Photograph. Throughout 18 galleries, the museum offers viewers an expansive look at their relationship as both partners in life and in art since 1986. “A year ago,

Heroes

INEZ & VINOODH

we watched a beautiful documentary about the life of singer-songwriter Roberta Flack,” says van Lamsweerde when speaking about the title of the exhibition.” In it, she wonders, ‘Can love be a song?’ I [turned] to Vinoodh [and said], ‘Can love be a photograph?’

Seen extensively throughout their work, love surfaces not as sentimentality

but as structure. They have a shared love for fashion (expressed throughout the several campaign imagery completed for fashion houses such as Chanel and Louis Vuitton), love for music (with nearly every major pop star ranging from Lady Gaga to Prince sitting for a portrait by the two, documented extensively throughout

V ’s own editorial history), and love for human connection (with “The Kiss” serving as a recurring motif that is seen from their various Me Kissing… self portraits). In answering their own question, Inez & Vinoodh reveal that love, like photography, is not just something to be seen—but something to be felt, shaped, and remembered.

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Think Love, 2025

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Heroes

“A year ago, we watched a beautiful documentary about the life of singer-songwriter Roberta Flack. In it, she wonders, ‘Can love be a song?’ I [turned] to Vinoodh [and said], ‘Can love be a photograph?’ It sums us up—not as a question, but as a statement: [that] all the work, and all its magnificent subjects, from the past 40 years of living and loving together, are a testament to that.”

—Inez van Lamsweerde

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Fashion Market Editor Copelyn Bengel Prop Stylist Linden Elstran (The Framewrk) Parts Model Anna Smetana (Closeup Models) Post Production Christina Martinez (picturehouse + thesmalldarkroom)

Bvlgari Icons serpenti minaudière BVLGARI Archival serpenti bodysuit BVLGARI X MARY KATRANTZOU

Hiss & Tell As Bvlgari unveils its new Icons Minaudière Collection—where culture, heritage, and personal narratives replace the usual essentials—V’s Editor-in-Chief Stephen Gan sits down with supermodel and Serpenti muse Linda Evangelista and Mary Katrantzou, the house’s Creative Director of Leather Goods and Accessories, to explore how the sculptural objets d’art, which encase mini books by five incredible women including author Chimamanda Ngozi Adichie, actor Kim Ji-won, actor and model Isabella Rossellini, architect Sumayya Vally, and Evangelista herself, came to life Photography GREG DELVES Interview STEPHEN GAN LINDA EVANGELISTA: I love the Serpenti snake because in Chinese [zodiac], I’m the snake. [It’s also the Year of the Snake], so it feels like it’s my year.

STEPHEN GAN: What did you end up writing about for your book?

LE: We were discussing our stories, what our passions are, and what my hobbies are, just what I could contribute. When I think of Bvlgari, because it’s Italian, I think of my parents automatically. They were both born less than an hour away from [Rome]. I thought of what they have given me and what I have inherited as an Italian. I think of friends and what they’ve gotten from their parents, maybe like paintings or some Bvlgari jewelry, and yet I got a recipe for a tomato sauce. *Laughs* SG: That’s amazing!

LE: One of the things my grandmother brought over [from Italy] was this hammered pot that she would make Sunday pasta in—and I have it. Somebody had also carried over this machine to take the seeds and the skins out of the sauce. I scored it against all my cousins; it’s crazy to know I have it. My grandmother gave it to me while she was still alive, along with her wedding ring [that I also scored]. That’s part of my story: about every Sunday, the family comes together, and my [own type of] inheritance. I just saw all five bags [designed by Mary], and they’re all so beautiful.

I’m happy I got the snake [for my minaudière].

SG: I love it. You know, recently, I was kind of surprised to read that 15 brands have new designers; it’s such a period of change, and yet the harmony that I feel between you, Mary, and Bvlgari is so good—I hope this marriage lasts forever.

MARY KATRANZOU: You know, I married my husband after dating him for 19 years. Now we’re 23 years together. I am one for long-term relationships.

And I was very lucky to work with Bvlgari before I got appointed to creatively direct this category. I think that’s the difference. Of course, I [always] admired and appreciated Bvlgari as a brand, but I worked with the team for five years before being approached for this role, and I think on both sides that creates a natural evolution of a relationship. Even on the design team, they knew how I work, they knew my vision for the brand. There was a sense of joining a family that I already knew and loved. I think [this all] wouldn’t be the same had I not had the opportunity to collaborate with Bvlgari on a few different occasions before taking on this role.

SG: That’s great, I love that. You and I have a lot in common, which was obvious even when we first met. I was shocked at how much you knew about Visionaire.

MK: I think your Visionaire issues are [in my archive]. I

need to get them back to Athens and rediscover how I would look at them today.

SG: The idea was almost like a piece of treasure in a box. That was the concept behind it, back in the mid90s, and that’s when I first met Linda. I spoke to her agent to request a gold fingerprint from her for our 17th issue of Visionaire called Gold.

MK: It was really about the tactile quality of it. It was a whole world in a box. There was an emotional response to it. I feel that narrative is so different today, in terms of how people dissect narratives and how you feed them that narrative.

SG: I think now people actually want the antithesis, where they don’t want something that they just scroll through really quickly. They want to sit with like an actual object. So there’s a wave of it really coming back.

MK: I feel when we designed and completed the idea of the minaudières [which carry mini books], and when we realized they can’t fit a phone, it was something that I had to fight for and say, ‘It’s okay to do a minaudières as something you collect as a piece of jewelry’. It is a cultural statement; the whole idea of fitting culture in your bag came through the [realization] that it couldn’t fit a phone, and that started the whole conversation that the urgency and the immediacy with which we lead our lives is what makes the moments of being offered something different so much more appreciated. Certainly, in this project, we’re making a whole conversation around the idea of distilling women’s wisdom in a book that is specifically written for these minaudières that are a kind of keeper of these women’s wisdom. I hope that these layers that exist in the project come through.

It’s interesting—when you tell the story right, people feel it’s authentically something different. It’s nice to see that people are craving it again.

SG: They teach you fashion is not about necessity, but rather driven by desire, and you need to create that craving for it, where there’s an idea of something rare, something beautiful, something one of a kind.

MK: I think [Linda’s Serpenti Minaudiere] is so important because she talks about tradition bringing her whole family together; distilling this idea of a woman as a keeper of culture, passing it on to future generations. I don’t think there could be a better analogy for a woman taking the recipe from her grandmother and then passing that on literally and figuratively. I think her book is very special because there’s an authenticity in the fact that she is that woman in her life, and that is something very universal in a certain sense. I am very grateful to her for writing something personal that maybe is not what she talks about [often].

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Vnews V News

This spring, surrealism blooms in nearly every form.

From Elsa Schiaparelli’s whimsical fashions to Peter Marino’s sparkling Tiffany & Co. objects, the season shows that art, style, and imagination are flowering in extraordinary way

ELSA TAKES LONDON AS THE V&A OPENS THE FIRST UK EXHIBITION FOR SCHIAPARELLI It's nearly impossible to identify an exhibition surrounding the world of fashion that doesn’t include Elsa Schiaparelli. As an audacious designer who redefined style from the 1920s to today, it seems that fashion’s most surreal visionary still knows how to make a scene.

This March, the V&A is giving Schiaparelli her UK debut with

Portrait of Elsa Schiaparelli by Man Ray, 1933 © 2025 Man Ray 2015 Trust. DACS, London. Photo: Collection SFMOMA. The Helen Crocker Russell and William H. and Ethel W. Crocker Family Funds purchase

an expansive exhibition, titled Schiaparelli: Fashion Becomes Art. Spanning over 200 objects— garments, accessories, jewellery, photographs, uncanny sculptures, perfumes, and archival treasures— the show charts Schiaparelli’s fearless creativity, from her radical early designs to her modern-day revival under current creative

director, Daniel Roseberry.

Highlights include the V&A’s Skeleton dress, the Tears dress, and the iconic upside-down shoe hat, created with Salvador Dalí, alongside works by Pablo Picasso, Jean Cocteau, and Man Ray. The exhibition also uncovers her London atelier, her independent clients, and her pioneering

role as a female entrepreneur.

Turning ordinary objects into extraordinary couture, blending fashion, art, and performance with playful intelligence, Schiaparelli: Fashion Becomes Art proves that her surreal, boundary-breaking vision continues to inspire—and challenge—the state of fashion.

Bowl and ladle, ca. 1880.

Photography credit: © Jason Schmidt (Copper, silver, silver gilt, mixed metals) 40

This April, architect Peter Marino is putting out his best silver with a new tome that spotlights his private collection of Tiffany & Co. wonders. Presented by Phaidon, Tiffany Silver: The Peter Marino Collection is a lavish dive into one of the most dazzling private silver stashes in design. The oversized, glossy tome sparkles with more than 130 images, revealing the sculptural brilliance and technical wizardry that made Tiffany & Co. a cornerstone of American decorative arts.

From teapots that pour personality to platters that shine with

sculptural flair, Marino’s collection of show-stopping objects—from Gilded butterflies flutter across hammered surfaces, fish swim through engraved seagrass, and irises and dandelions bloom in mixed metals—proves Tiffany’s talent for turning metal into magic. With a foreword by Marino himself reflecting on collecting as honoring hand and imagination, the tome is more than a catalogue—it’s a glittering gallery that demonstrates how even in Marino’s world, spoons can also steal the spotlight.

Photo Assistant Juliet Lloyd

PETER MARINO FINDS A SILVER LINING WITH HIS TREASURED TIFFANY & CO. COLLECTION

V Beauty

GLOW BIG OR GO HOME WITH DIOR BEAUTY This spring, Dior Beauty is serving pure eye candy.

A sugar rush of new releases, each one glazed in glow, rolls out under the creative collaboration of Peter Philips, creative and image director of Christian Dior Makeup, and Francis Kurkdjian, perfume creation director at Parfums Christian Dior. Together, they’ve cooked up a coordinated collection of Dior Addict fragrances and Lip Glow Oils— where juicy, high-shine candy finishes melt into sumptuous, mouthwatering scents. Rosy Glow, Peachy Glow, and Purple Glow each find their perfect match in the newly revamped Juicy, Sparkly, and Glaze Lip Glow Oil finishes, inviting every (Dior) addict to pick their flavor, dial up the shine, and indulge in whatever sweet mood strikes.

petal power!

Photography JEFFREY PEARSON Beauty Editor KEV PONCÉ

DOLCE&GABBANA BEAUTY RE-INTRODUCES THE ONE YOU CAN’T FORGET After twenty years, Dolce&Gabbana Beauty has refound the one. The iconic scent The One celebrates two decades of ambery floral allure since its 2006 debut.

Crafted by perfumer Quentin Bisch, it now steps into a bold new chapter with the launch of The One Intense and The One for Men Parfum. To mark the occasion, the campaign stars the one—and only—Madonna, proving that some classics aren’t just timeless—they’re forever iconic.

V get up close and personal with spring’s most intoxicating blooms getting bottled up this season.

From candy-sweet florals to sultry, warm-vanilla bouquets, the sweetest petals pack the fiercest punch

IT’S A GARDEN PARTY WITH MARC JACOBS Marc Jacobs’ garden for spring is getting wilder with every new bloom, and Daisy Wild Eau So Extra is its most mischievous flower yet. The most concentrated fragrance in the daisy garden bursts open with playful top notes of blue banana accord and chocolate daisy™, unfolds into a heart of jasmine sambac and orange flower, and settles into a warm base of vanilla and trio vetiver. With a bottle that delivers the ultimate bouquet, this wild scent refuses to be overlooked.

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Vgirls

It’s a girls’ night out! Spring’s new guard takes over Brooklyn’s hottest club, Paragon—armed with fresh releases and ready to electrify the season with back-to-back hits

Photography DAR DARÍÍO CASTILLO Fashion TABITHA SANCHEZ

MEG DONNELLY THE MULTI-HYPHENATE TURNING EVERY STAGE INTO HER OWN

Meg wears trench coat and scarf BURBERRY Jadaron heels MANOLO BLAHNIK Trinity earrings CARTIER Ring CHRISTINA CARUSO

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We all live life in motion, but Meg Donnelly takes it to the next level—dancing, singing, acting, and building a career that thrives at the intersection of all three. Raised in musical theater, she credits her early stage training with shaping her wide range and savvy instincts in performance. “You train in dancing, singing, and acting,” she says. “It’s just so helpful to be familiar in each category and be comfortable doing all of it.”

That versatility became her calling card during her rise through projects like Disney’s Zombies and American Housewife, two titles that helped define a generation of youthdriven pop culture. Looking back, Donnelly sees that era as both formative and expansive.

“Both projects shaped who I was because I was so young, but have also given me so many incredible opportunities,” she reflects.

Remaining part of the Zombies universe as it’s grown—and watching fans grow up alongside her—has been surreal. “It is so mind blowing that kids have grown up with me… it’s the most unique, coolest thing ever.”

Now, Donnelly is stepping into a new chapter marked by greater demand, vulnerability, and transformation. She’s currently starring as Satine in Moulin Rouge!

The Musical on Broadway, tackling one of theater’s most iconic and maximalist roles.

“Playing Satine has hands-down been the hardest thing I’ve ever had to do,” she admits, “but it’s genuinely the best path I could’ve ever taken.” The role has pushed her both artistically and personally, requiring stamina, confidence, and emotional resilience. “I get to be this confident, sexy version of myself that I don’t usually show… it’s really special to come into my own womanhood.” Offstage, music remains an equally central part of her creative identity. Her EP dying art offered a more introspective glimpse into her mind as a growing actor. “It has all my musical influences that I love,” she says. The title track, in particular, holds weight. “Dying art is really special to me because it’s how I view the industry — and I think it’s really relatable for a lot of people.”

TELLER THOMAS

V Girls

ELLA RUBIN THE BUDDING ACTRESS GOING FROM SCENE-STEALER TO LEADING LADY Ella Rubin moves with the understated force of someone who has been sharpening their instincts for a long time. While still in high school, long before appearing on film, she was stepping onto a Broadway stage opposite Marisa Tomei—an early introduction into discipline, stamina, and the rhythm of performance. “Theater shaped my work ethic, but film definitely has shaped my impulse,” Rubin reflects. Where theater demanded rigor and repitition, film has taught her to loosen her grip. “My instinct is to try and surprise myself as much as possible… to be open and in the moment.”

That openness has made way for a career grounded in specificity. From Gossip Girl to Masters of the Air, and Academy Award winner Anora, Rubin has gravitated toward projects that are culturally sharp, and characters with an edge. “I try to look for the hair out of place and lean into that,” she says. Lately, that’s meant craving roles that feel riskier: “I’d love to play more sharpened or prickly characters… unlikable characters or a villain or popstar.

Mainly roles that scare me.” Her latest slate leans into genre and intensity. In Until Dawn, the film adaptation of the beloved video game, Rubin stepped into the thrilling and intimidating reality of a world with a built-in fanbase. “I wanted to do the fans justice and create an emotionally faithful adaptation,” she explains, grounding the chaos by building an internal emotional reality for her character.

“Behind the monsters and gore there is always a very human goal.”

Clockwise Ella wears dress, apron, bikini top, briefs MIU MIU Stylist’s own stockings

Soon, she’ll step into a new chapter with Megan Park’s Sterling Point, taking on a leading role in a long-form series centered on sisterhood, identity, and emotional truth.

The project stood out to Rubin for its balance of humor and vulnerability. “It feels rare in that it’s both so unafraid of emotion and so genuinely funny,” she notes. Creatively, the experience marked a shift. “I got to shape and inform my character… It was a gift and a massive learning experience.” Along the way, Rubin has absorbed wisdom from women she deeply admires—including Anne Hathaway, who she thanks for encouraging her to stop over-apologizing on set. “It was creating a weird self-fulfilling prophecy of weakness…

That advice really stuck with me.” Off-screen, her creative compass still points toward visual art. Once convinced she’d become a painter, Rubin continues to circle back to that part of herself. “As a child I felt so uninhibited artistically,” she says. “I’m trying to get closer to that version of myself always.” If Ella Rubin’s career so far has proven anything, it’s that her evolution isn’t about playing it safe—it’s about staying curious, staying specific, and chasing the roles that feel just a little terrifying. TT

Nubuck polo dress LOEWE Earrings CHRISTINA CARUSO

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SLAYYYTER THE UNDERGROUND POP FORCE GROWING LOUDER WITH EVERY HIT

Fringe sequin dress STELLA MCCARTNEY

Sonically, Slayyyter describes the album’s direction as “distorted indie electronic” and, more tellingly, “iPod music”—a nod to the songs she lived with as a teenager, ripped and replayed endlessly. The gaze backward to the not-so-distant past has become one of pop culture’s favorite fixations. The early 2000s and early 2010s tap into that loop perfectly—a time when indie pop ruled, Tumblr and Twitter still felt underground, and cultural life hadn’t yet been flattened by algorithms or global dread. From suburban St. Louis to independent SoundCloud uploads, that feeling is exactly where Slayyyter is planting her flag. Infused with the distorted Americana of her Midwestern roots, she calls the creative style “backwoods ballerina,” a phrase that feels as contradictory and specific as the music itself. “I began referencing a lot of moments from my teen years or memories from my childhood and putting it all through a dreamy filter.”

As WOR$T GIRL IN AMERICA prepares to land, Slayyyter is leaning fully into a world that feels defiant, self-referential, and more authentically her. This spring and summer will see her hitting festivals and select shows, with hopes of a larger tour on the horizon— “hopefully will get back on the road again next year. We’ll see.” CHRISTIAN ROSA

Slayyyter wears sequin dress GUCCI Stylist’s own jacket and tights 44

Makeup Marco Campos (Forward Artists) Hair Andrew Chen (The Only Agency) Photo Assistants Loui Rafael, Luna La Sirena Styling Assistants Spencer Bronfman, Angelina Aliano, Juliet Bernardi-Rovito Hair Assistants Arden Cuniff, Hannah Hubley Production Assistants Payton Liddell, Sarine Gabriel, Chase Williams Location PARAGON

Slayyyter, one of the most exciting pop figures since debuting in 2018 with a string of buzzy, candy-coated singles and slick ’00s electropop production, has fought her way for eight years to earn her spot as a cult-favorite icon, and this year marks the start of a new chapter for the pop disruptor. With one selftitled mixtape and two studio albums under her belt, she’s gearing up to release her third full-length project, WOR$T GIRL IN AMERICA, arriving this March. Asked what the title means, she doesn’t dress it up: “It’s exactly what I feel like.” The announcement alone was enough to send her most devoted, if not chronically online fans, into a spiral, with reactions declaring everything from “Jesus announces the continuation of the Bible,” to “AOTY,” and, of course, the inevitable “Mother is coming.”

V Girls

AUDREY MCGRAW THE DAUGHTER OF COUNTRY MUSIC ROYALTY CARVES OUT HER OWN SOUND For Audrey McGraw, music isn’t just a career—it’s been a part of her life since the very start. The young musician’s always been organically drawn to singing and performing, while being surrounded by the craft from country star parents Tim McGraw and Faith Hill. Most recently, however, she’s ventured out on a path of her own. “Growing up around music and the industry, I think it just felt familiar to me—but I truly was naturally drawn to music from the get-go,” McGraw says of her musical interests. “I remember being young and when I went to concerts, I had the strongest urge to just jump up on stage. I still get that urge.”

Soon, concertgoers across the world will be able to witness that spark in-person.

After releasing her first singles while touring in 2025, McGraw’s headed out on tour in February with stops at New York City’s Soho House and Casa Cipriani. Later in the month, she’ll journey across the pond to London, taking the stage at the ornate Fitzrovia Chapel.

“The crowds in New York have been amazing, and honestly I’ve had such a fun time,” McGraw says. “People in New York are honest and just simply love art. It’s special to share music with those who really listen. London is one of my favorite places to visit and I’ve had great experiences performing there, too.”

However, don’t expect to just spot McGraw onstage. She certainly plans to make use of her time in the UK with visits to music venues and restaurants. “Honestly, I simply

Tank top FERRAGAMO Audrey wears ruffle round short dress GIVENCHY by Sarah Burton Grain de Café ring CARTIER

want to walk around and discover,” she says.

“What I love about London is the ability to be spontaneous, in a similar way to New York.

It seems there is always something cool to stumble upon—and, if need be, always a peaceful place to lay low.”

As 2026 progresses, McGraw’s setting her sights on a range of upcoming projects.

In addition to touring, she'll continue working on her upcoming album and hopes to explore her aforementioned passion for acting. With a variety of creative interests and passions, it’s proof that she’s already thinking outside of the box towards the future as her career begins taking flight. “I know there will always be ups and downs, but I’m confident in where I’m going and my passion to keep doing so. I love what I do. My goal is to stay committed, focused, and grounded in the journey,” McGraw says. “All in all, I just want to continue to explore the possibilities that this beautiful life of art has to offer.” AARON ROYCE

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With her second child on the way, model and entrepreneur Madison Headrick enters her most powerful era yet—turning motherhood into her latest masterpiece Photography LUIGI & IANGO Fashion ANNA TREVELYAN Text MATHIAS ROSENZWEIG

Madison Headrick has built a career spanning high-fashion modeling and entrepreneurship, using her platform to support women’s health initiatives along the way. Now expecting her second child, she moves through New York as a familiar presence within its fashion, art, and cultural circles—grounded, visible, on the brink of a deeply personal transformation, and above all else, a true role model for her soon-to-beborn daughter and women of all walks of life.

V MAGAZINE: Let’s start off with your impressive modeling career. What moments still feel like true “pinch-me” highlights?

MADISON HEADRICK: The first one that comes to my mind is when I was a Prada exclusive.

And that was Fall/Winter 2012, and that was like my first real big break. It was my first show. It was my first campaign. It was my first everything.

And, you know, coming from a small town in South Carolina, and I was still in high school, and then going from being in a school desk and then the next day being backstage with Pat [McGrath] and Guido [Palau] and everyone— I was like, whoa. It was almost like an out-ofbody experience. And it was all so new, and I had nothing to compare it to. People can tell you stories, but you don’t know what it’s like until you’re there. I’d never been in a room like that before.

V: Fashion wasn’t originally part of your world.

What was that learning curve like once you were suddenly inside the industry?

MH: It’s funny—I feel like starting so young meant I was learning about fashion and life 46

at the same time. I was scouted at 14, but my parents wouldn’t let me work full-time until I was 18, which is why I graduated early. I was a kid being thrown into a super competitive industry, surrounded by adults who had been doing this for decades. It felt like my first day in the real world. It was the university of life—managing airports, pickups, schedules.

When I started in 2012, we didn’t have Uber.

I was walking around Italy with a map, trying to figure out how to get to castings. That’s a lot for a kid. But it was amazing. Being in makeup chairs watching the masters work—you absorb everything. It also helped me find my passion for skincare, travel, and beauty. Learning from the best shaped everything that came after.

V: You’ve written about skincare before, but how did Care.ē.on actually go from an idea to a real business?

MH: I have such a newfound respect for founders now. Everyone told me it was a lot of work, and I thought I understood hard work.

Then I started a brand and realized I had no idea what I was getting into. There were so many challenges—manufacturing, shipping, imports, tariffs, and competing with massive beauty companies. I just wanted to start a brand and didn’t realize how much went into it.

The reason I started Care.ē.on was because, as a model, I was sleeping in my own bed less than three months a year. I lived out of a carry-on suitcase because lost luggage couldn’t catch up to me. I needed to master packing and selfcare on the go. I was watching everyone on set thinking, “How do you all look so normal?”

I was exhausted. Feeling good and looking good go hand in hand, especially when you’re representing a brand. I started creating little kits for myself—something to reset, whether it was a face mist, a mantra, or a cough drop.

That’s where Care.ē.on was born.

V: You’re balancing modeling, a business, philanthropy, and motherhood. How do you actually manage your time?

MH: It’s super tricky. I used to think I had no time until I had a kid. Now I realize how much I can do in five minutes. I work around my son’s schedule. When he’s awake, I’m fully present— no phone, no computer. When he naps, I go into overdrive: emails, Zooms, meetings, castings.

As important as my career and brand are, nothing compares to my son. I’ve learned to choose jobs that align with my values and work with people who understand where I am in my life now. Working mothers are superheroes. It’s incredibly difficult, but it’s so rewarding.

V: Motherhood reshaped your focus on women’s health. How did that experience change you?

MH: I gave birth prematurely, and while everything turned out okay, there was a moment where I was preparing to leave the hospital without my son. The nurses and doctors were incredible. It completely changed how I view healthcare providers and women’s health.

That experience pushed me to focus more of my philanthropy on women’s health, research, and science. Every part of my journey—from being scouted to modeling to motherhood— prepared me for this chapter.

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Model Madison Headrick (The Lions) Makeup Georgi Sandev (Forward Artists) Hair Lauren Berrones (Home Agency) Producer Alexey Galetskiy (AGP NYC) Studio Manager Francisco Betancourt Cinematographer Lukas Chmiel Photo Assistants Tutu Lee Styling Assistants Damien Lloyd, Frankie BenkovicProduction Assistant Justin Barahona Location Hubble Studios

Slug Flèche bracelet and ring BOUCHERON

“This pregnancy feels deeper, calmer, and more present. With my son, everything was new and unknown.

Now that I know what’s on the other side, I move with a quieter confidence and a greater sense of gratitude.

I am savoring every moment of becoming again. Preparing to welcome a daughter feels incredibly powerful.

I think about the example I want to set for her, how to move through the world with softness and strength, how to honor her intuition, and how to take up space. I want her to grow up seeing a mother who leads with care, builds with purpose, and believes in the power of women supporting women.”—Madison Headrick 49

At last, a new season arrives with a jolt of new energy. Here, ten of the industry’s most in-demand models tap into the conversation around fashion’s latest obsession with renewal Photography CHRIS COLLS Fashion GEORGE CORTINA 50

Jeanne wears blouse, pants, hat DIOR HardWear bold graduated link necklace (worn as bracelet) TIFFANY & CO.

“Growth is just as important as ‘newness’ so I’m excited to see how everyone grows.”

—Julia Nobis

Julia wears V-line draped crepe long dress COURRÈGES HardWear bold graduated link necklace (worn as bracelet) TIFFANY & CO.

Sora wears froissé silk velvet long dress GUCCI

“Fashion runs on desire, and people who want more will always look for something new.

At this point, renewal doesn’t feel optional—it feels necessary.”

—Sora Choi

Karolina wears top, skirt, belt, hat SAINT LAURENT by Anthony Vaccarello

Natasha wears perforated patent calf leather bonded with nappa double breasted jacket and pencil skirt TOM FORD

”The immediate seduction is effortless controlled.”—Haider Ackermann, Creative Director of Tom Ford

“Spring always feels like a quiet reset for me.

I associate it with the beginning of show season when I was very young, running from castings in cities that still felt unfamiliar, full of hope and adrenaline. There’s something about that mix of exhaustion and excitement that still lives in spring for me. It feels like a possibility.”—Natasha Poly

“I’ve been around long enough (almost three decades!) to know that shake-ups are a good thing. Fashion is about constant change; in that sense, it reflects the state of the world.”

—Malgosia Bela

Malgosia wears tension dress and criss crossed sandals ALAÏA

Julia wears bandeau SKIMS Wide leg pleated tuxedo trousers CELINE HardWear bold graduated link necklace (worn as belt chain) TIFFANY & CO. Barrow belt ARTEMIS QUIBBLE

“I’ve always loved the idea of clothing that lives on, that becomes a part of the wearer’s life, that may capture a moment in time but also speaks to years and years of gestures and occasions and change, of the past, the present and the future, of memories, of usefulness and of fantasy, of life really.”

—Michael Rider, Artistic Director of Celine

“I actually think it’s exciting when a fashion house introduces a new designer. It can bring fresh ideas and new energy, while still respecting the heritage of the brand. Change is important in fashion.”

—Felice Noordhoff

Felice wears dress and gloves BALENCIAGA

Ajah wears nylon dress SAINT LAURENT by Anthony Vaccarello Vintage lapis and gold tassel necklace FD GALLERY

“Anthony Vaccarello [is] the reason I truly accepted that I could be a fashion model. I first saw a Saint Laurent dress he designed on television when I was still in school, and something just clicked. Years later, I found myself in Paris, walking into a Saint Laurent casting and seeing him sitting there. I ended up debuting for [them] and closing the Fall/ Winter 2022 show. Coming from a refugee background where fashion felt impossible, that connection means everything to me. It taught me that belief can travel further than circumstances.”

—Ajah Angau

“I usually feel very excited when change happens. It opens up new opportunities.

Frankly, I’m bored of ‘perfect’ and ‘polished’.”

—Karolina Spakowski

Karolina wears lingerie jumpsuit, bra, panties DOLCE&GABBANA Paris 110 slingback heels SAINT LAURENT by Anthony Vaccarello

Imaan wears peacoat DIOR Mixed cupro stocking MAISON MARGIELA

“Some of my fondest memories are tied to early career moments during springtime—first shows, first travels—when everything still felt new and full of wonder.”

—Imaan Hammam

Malgosia wears crepe de chine top and poplin shorts PRADA

“Inevitably, when we create we think about the world around us. The future is unknown. This collection is about reacting to the uncertain—clothes that can shift, change, adapt. It is fashion that is connected inherently to the world, with a meaning and usefulness. How to face the world, and how to survive.”

—Miuccia Prada, Co-Creative Director of Prada

“Uniform is part of a Prada history—for us, there is the idea that a woman can be beautiful, elegant and strong in a uniform.

It is a challenge, to a hierarchy of perception. To free women from this.”—Raf Simons, Co-Creative Director of Prada

“It is interesting to observe the range of reactions to this dress. One of the most revealing aspects is that almost everyone assumes there must be a clear archival reference behind it. In reality, this piece is detached from any specific image or direct reference. I wanted to open the show with a look that was, without any ambiguity, a clear evolution of Cristóbal Balenciaga’s Sack dress, and to close the runway with a garment that represented my own point of view—my version of the narrative, in a sense: the way I have perceived and absorbed the aesthetic of this maison.

The dress is made in neo-gazar, a material that feels like a natural evolution of Cristóbal’s original gazar. It is a fabric I wanted to research and develop from the verybeginning. Here, volume and architecture are an essential part of the creative language, and the textile must allow for radical, precise constructions while remaining light and wearable.”

—Pierpaolo Piccioli, Creative Director of Balenciaga Natasha wears dress and pumps BALENCIAGA Cuff BELPERRON

Devyn wears long smooth shearling coat GUCCI HardWear large link earrings TIFFANY & CO.

Felice wears silk long sleeve high neck top with open back LOUIS VUITTON HardWear large link earrings TIFFANY & CO.

“I believe change is always needed, and it is less about whether it ends up being a good or bad change; rather it’s more about the evolution.

I think this year will really challenge us to discuss the state of fashion and where it’s going.”

—Devyn Garcia

Devyn wears HardWear graduated link necklaces with pavé diamonds (stacked) and HardWear medium link necklace TIFFANY & CO.

Jeanne wears slashed bustier dress with patch pockets in midnight blue wool mohair hopsack MCQUEEN

“Fashion needs movement to stay alive, and these shake-ups feel like a reminder that the industry is allowed to evolve. There’s always risk involved, but that tension is what makes things interesting. You can feel when a designer is genuinely trying to say something new, and that’s exciting to be around.”

—Jeanne Cadieu

Felice wears vintage belt

Malgosia wears asymmetric dress in ladybird silhouette floral devoré with laser cut trim details MCQUEEN Vintage earrings

Sora wears satin crepe dress and pumps CHANEL

Models Imaan Hammam, Julia Nobis, Malgosia Bela, Devyn Garcia (DNA) Natasha Poly, Felice Noordhoff, Jeanne Cadieu, Sora Choi, Karolina Spakowski, Ajah Angau (The Lions) Makeup Mark Carrasquillo (Streeters) Hair Bob Recine Manicure Honey (Exposure) Casting Goran Macura Executive Producer Dana Brockman (Viewfinders) Producer Max Bonbrest (Viewfinders) Production Assistant T. Harper Digital Technician Jeanine Robinson Movement Director Marly Phillips Nicol Location Untitled Studios Equipment Alex Bova Photo Assistants Daniil Zaikin, Ben Carhartt Styling Assistants Moses Moreno, Trevor McMullan, Jared Benhart, Mary Reinehr Gigler Tailor Yaqi Sun (Atelier YQS) Makeup Assistants Shoko Sawatari, Yuui Vision Hair Assistant Shinya Iwamoto Set Designer Happy Massee (La La Land) Set Design Assistant Kevin Murphy

Malgosia wears vintage body piece

ZARA LARSSON CLAIMS HER MOMENT The 28-year-old singer first stepped into the spotlight in Sweden at just 10 years old. Now a Grammy-nominated artist with billions of streams under her belt, the rest of the world is finally catching up—fashionably late, of course 72

Photography ZOEY GROSSMAN Fashion LANA JAY LACKEY Interview MATHIAS ROSENZWEIG

Zara wears moto jacket in upcycled leather, shrunken pocket crewneck tee, Tabby shoulder bag 26 COACH Shorts COU COU INTIMATES Large cross white diamond pendant GRAFF

Jean jacket in repurposed denim COACH Shorts COU COU INTIMATES The Doe ring BOUCHERON Socks FALKE

“You can be an amazing singer, but it doesn’t mean you’re an incredible artist. I feel this time around, I really stepped into the artist shoes. I wanted to create my world. It just felt so important to me to make something and be a part of the visuals. It woke up this creative spirit in me.”

—Zara Larsson

Leather moto vest COACH Bra COU COU INTIMATES High jewelry oval white diamond ring with pear shape diamond shoulders set in platinum (right hand), oval white diamond eternity ring and Laurence Graff signature 2-row layered white diamond ring in white gold (left hand) GRAFF Hosiery FALKE Stylist’s own panties and shoes

“I wouldn’t say I have rebranded, because I really didn’t have a brand to rebrand from. [To me], a brand is just commitment and discipline to something.”—Zara Larsson

Dress with cloud applique COACH Butterfly white diamond earrings, Butterfly white diamond bracelet, Butterfly white diamond ring set (on right hand), emerald cut ruby and white diamond ring (on left hand) GRAFF Stylist’s own underwear For a vibrant pop of color to the lips, try MAC COSMETICS M·A·Cximal Silky Matte Lipstick in Candy Yum Yum

Shrunken pocket crewneck tee COACH Serpent bohème tiara and vendôme liseré ring (on right hand) BOUCHERON Ring (on left hand) VAN CLEEF & ARPELS

There is a certain velocity associated with pop stardom. The culture treats pop stars as sudden apparitions—mythical figures who crash into the zeitgeist on a surge of momentum, often carried by a viral moment or a perfectly timed song. Just as quickly as they arrive, they disappear, cycled through a system that rewards immediacy over endurance. Zara Larsson has always existed outside that model. She first appeared on a talent show in her home country at just ten years old, then steadily built a career that unfolded over time rather than all at once.

Before her most recent release—2025’s Midnight Sun , which earned her her first Grammy nomination—Larsson had already released four full-length albums. Her success was never in question. Its scale, however, is only now catching up. Eighteen years into the game, Larsson finds herself at a cultural peak that feels both overdue and perfectly timed.

She is, in many ways, a contradiction: a classic, by-the-books Swedish pop star known for sleek, club-ready hits—and simultaneously an artist whose rise has been defined by patience, persistence, and restraint.

She makes music that moves fast, even as her career has unfolded slowly. That tension— between immediacy and longevity, polish and perseverance—is precisely what makes Larsson so compelling now.

MATHIAS ROSENZWEIG: We’re so excited to have you on our cover. As a fellow Swede, I know you’ve been doing this for a long time, and you’re finally getting your flowers.

ZARA LARSSON: Thank you for having me. It’s really big. I’m trying to stay in the moment and actually enjoy all of this because, as you said, I’ve been doing this for a long time—working my whole life, it feels like now people are inviting me into their spaces, onto their covers, into their studios. It’s really fun. I feel like the momentum is fully in swing, so I’m just trying to hold onto it and move with it.

MR: I would love to talk about the highs and lows of doing this already for almost two decades, especially for people who are just discovering you or think you’re a new artist.

ZL: It makes sense that people are responding to Midnight Sun, the album, in this era, because it had to be this era. Before this, I wasn’t as involved in the creation of myself as an artist as I am now. I’ve always seen myself as a performer—you can be an amazing singer, but that doesn’t necessarily mean you’re an incredible artist. This time around, I really stepped into those artist shoes. I wanted to create my world. I wanted to write everything, be part of the visuals, be part of all of it. It woke up this creative spirit in me. In a way, it feels like it couldn’t have been anything else, because I needed all those years to get to where I am now. It’s really fulfilling to be able to make and create more than just perform and sing.

That’s what gives me purpose—feeling like there’s intention behind what I do. It becomes ten times more fun when I get to sing what I’ve experienced, what I’m feeling, what I want to hear in the music. The ups and downs—the ups are when things are moving. What’s fun right now is that it feels like we’re on the way up.

I get to be on the covers of magazines I’ve loved for so long. I get requests from other artists asking if I want to be on a song. I can feel

it moving, and that evolution is the real joy.

The downs—sometimes the hardest part about being an artist or a celebrity isn’t the hate or people saying mean things. It’s the opposite: being completely ignored. When nobody really cares. You put so much time and energy into something, and it’s just crickets. That can be really demotivating. But now, with this album, I was like, no—I have to do everything. I want to be part of every song. I wanted to make it with a small group of people who understood me, who could see my vision, who could see me.

I’m less concerned with how people view me, which has ironically led to people caring more than ever. It’s funny how that works—the minute you stop caring is when it all happens.

MR: There are a lot of lessons we learn as kids that sound sort of stupid, like, “Just be yourself!” And then we become adults, and we realize. ”Oh wow, actually, the best thing is to actually just be myself.”

ZL: No, it’s so true. In a way, I really feel like this album brought me back to who I actually am— also, branding-wise. With fashion and the things I’ve been wearing, I’ve realized I love, and have always loved, color, glitter, whimsy— very vivid, sparkly things. I like the show of that.

I like the silliness of it.

M R : Yo u re c e nt l y c o l l a b o ra te d w i t h Pink Pantheress on “Stateside,” which has become a huge track. How did that happen?

ZL: She’s incredible. We’ve been hanging out almost every day here in L.A.—she’s been coming by, bringing people into the studio, and just seeing where it takes us. She told me she was working on a remix album and asked if I’d jump on “Stateside.” I said yes. She sent the song the next day, and two days later we booked a studio in Denver—because that’s where we were on tour—and recorded it.

We sent it back, and about a week later it was out. It all happened so fast. Honestly, if I hadn’t DM’d her, she probably wouldn’t have reached out. I even remember someone telling me, just before the tracklist came out, that Kylie Minogue was doing “Stateside.” I was like, “Oh—are we doing it together?” And they said no, it looked like it was just Kylie. I was worried for a second, like, did she take me off? But then it turned out it was all these different versions of the same song, which I thought was really smart and fun. The audience kind of picked their favorite, and “Stateside” just became super popular. Then we decided to make a video, which I was really excited about, because we both work with Charlotte [Rutherford]. She’s done so many videos for her as well, so it felt like the natural choice.

Charlotte had this idea of us essentially switching brands, which was really smart, because it also solidified who we are. The fact that we could switch and people immediately clocked it—that meant our identities were already clear and recognizable.

MR: It’s been hugely successful, and the branding around it—especially leaning into the meme—felt incredibly smart. The internet really ran with it.

ZL: It’s just crazy how it all unfolds. It really is.

I wouldn’t say I’ve rebranded, because I didn’t really have a brand to rebrand from. What I did find, though, is that a brand—at least to me—is really just commitment and discipline toward something. It could be anything, but you have to be committed and disciplined enough to keep doing it. That’s actually really hard for me, because I love literally everything in the universe. There aren’t that many things I don’t like. But one thing I consistently find myself happiest with is color—and just a touch of tackiness. That’s what I grew up with. My style icons were people like Paris Hilton and Snooki.

MR: Oh, my God. I’ve never heard Snooki referred to as a style icon, but I couldn’t agree more.

ZL: That was my childhood. That is what I thought looked so fucking sexy on women. I was like, ‘I’m gonna look like that when I’m older.

MR: It’s been so fun seeing fans recreating your look lately, especially the makeup.

ZL: I think the makeup—Sophia Cinell, who’s been doing my makeup on tour—has really elevated my world, expanded my universe.

Everything that’s happened, and all the people I’ve worked with, have just fallen into place in the most beautiful, natural way. A lot of it hasn’t been meticulously planned. It’s just happened because I’ve had great people around me who want to try something, and I say, “Yeah, let’s do that.” She basically puts me in drag every night, and I’m just like, “yeah, I trust you.” I think that’s really what it is. It’s about surrounding yourself with people whose work I genuinely love and trust, and then letting them go a little crazy on me. And then everything sort of uncovers what was already there somewhere inside of me.

HEAD TO VMAGAZINE.COM FOR THE FULL STORY

Makeup Kennedy (Streeters) using Prada Beauty Hair Evanie Frausto (Streeters) using Redken Manicure Steph Stone (Forward Artists) Movement Director Marly Phillips Nicols Prop Stylist Danielle Von Braun (Art Department) Prop Styling Assistant Morrison Producers Zach Crawford, Sean Gibson (Crawford & Co. Productions) Lighting Director Nick Tooman Photo Assistants Joe Beckley, Oliver Barth, Dustin Edwards Styling Assistants Hayley Francine, William Irvin Hair Assistant Sophia Flores Makeup Assistant Bex Marie Cooke Cinematographer Lukas Chmiel

Zip vest and book bag charm COACH Haute Joaillerie Collection in 18k white gold with 60.02-carats of diamonds and Haute Joaillerie Collection in 18k white gold with 4.98-carats of black diamonds CHOPARD Tights FALKE For a hypnotic liner look to the eye, try PRADA BEAUTY Pradalines Durable Gliding Eye Pencil across the lashlines and brighten the under eye with Prada Blurring + Micro-Correcting Concealer

UNDER SIENNA'S SPELL

With newly released music and her biggest year yet underway, the London-born songstress is only just getting started Photography PETROS Fashion NILO AKBARI Interview CHRISTIAN ROSA

At just 20 years old, Sienna Spiro has found herself in the kind of moment most artists spend years chasing: a viral hit, a sold-out tour, and a jaw-dropping voice rich with soul that stops rooms cold. Her breakout single “Die On This Hill”—a bruised, slow-burning meditation on stubborn love—has struck a nerve precisely because of how deeply felt it is.

Even as the song takes on a life of its own, the London-born star insists she’s learned to be wary of expectations, having seen how easily they can lead to disappointment in life more broadly. Instead, she focused on the feeling behind the song, one she’s been circling her entire life, only recently finding the language to articulate. That honesty, and the care poured into it, is what listeners seem to recognize.

When we meet over Zoom, there’s no pop-star posturing, just a sharp, self-aware presence and a disarming honesty about devotion, insecurity, and the emotional messiness that fuels her songwriting. Spiro’s rise may have begun in one of the most modern ways possible, but her trajectory has been anything but predictable, leaping from TikTok covers to headline shows, festival appearances, and her first EP, Sink Now, Swim Later, in swift succession.

Inspired by legends like Nina Simone and Dinah Washington alongside contemporary voices like Adele, her music is rooted in jazz and soul, filtered through a distinctly modern lens. Even this early on, Spiro’s writing carries a sense of timelessness—and the conviction of someone who’s long known exactly what she wants to say. As she prepares to release her debut album and take her world on the road, we catch up with the Londoner to discuss her first big hitter and her busiest year thus far.

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Sienna wears lace organza jacket, skirt, leather high-heeled sandals FENDI

Silk organza top FENDI Talent's own jewelry Stylist's own bra

Viscose bodysuit FENDI Talent's own earring

Viscose dress with yellow and white polka-dot Framillion applications FENDI

Cotton mesh shirt, mohair fabric skirt, dove gray leather and neon blue suede Fendi Way large handbag FENDI

V MAGAZINE: Let’s start with “Die On This Hill.” The song is having a huge moment, and your performance on The Tonight Show was really beautiful. How are you feeling watching everything happen so quickly — does it feel more exciting, overwhelming, or a bit of both?

SIENNA SPIRO: SPIRO It’s mad, it’s crazy. Of course, it’s exciting, but also kind of unfathomable. To be honest, I’m not overwhelmed, and I really think that’s down to the team I have and the people around me, so I’m very lucky for that.

It’s just insane.

V: The music video had its official premiere just as we started this call. What was the inspiration behind it?

SS: To be honest, I really wasn’t planning on doing a video.

The song isn’t about one specific situation. It’s about a lifetime of that feeling of sticking around people who don’t really care, who wouldn’t do the same for you. You know, stubborn love, the paradox of devotion, passion, care—all of the above. I usually have loads of video concepts for my songs because they’re so specific, but with this one, I felt like it would be an injustice to the song to just do one, so I didn’t really know quite what to do. Then, just before “Die On This Hill” came out, I made friends with Cole [Bennett], who directed the video. We were never planning on doing anything together; our worlds are super different, but he was really interested in learning more about jazz and what I was into. So we became really good friends, to be honest. For me, working with friends is such a privilege.

Working with people is amazing, but when you get to work with people you really love and care about, that’s when it’s like, I can’t believe this is my job and I get to do this. The concept of the video has this doll in it, which kind of represents something lifeless—sticking around for something that has no movement, doesn’t respond to you, doesn’t talk to you, something you know wouldn’t stick around for you because it’s lifeless.

That was his concept, and I spent so many months talking to him, not knowing this video was going to happen—just talking as friends about the kind of stuff I want to do, what my music’s about, what I’m going through, and what I went through. And that’s where the idea came from, and I loved it. It was so last-minute, but honestly, it’s just amazing to work with him as a friend.

V: Did you expect the song to blow up the way it did?

SS: I really try not to have any expectations about anything I do, but that’s something I’m guilty of doing—having a lot of expectations. And usually that’s led to me being very let down in my life, not with music, just life in general, like people. So I really, really didn’t have any expectations.

But I love that song, and I genuinely mean it. I love it, and it’s something I’ve wanted to talk about my whole life. I think it took my whole life to get to a point where I could articulate that. I wasn’t expecting it, but I’m very grateful.

V: Who are your musical inspirations?

SS: I grew up on jazz and soul, and all the greats such as Nina Simone, Frank Sinatra, Sarah Vaughan, Dinah Washington, Teddy Pendergrass, Marvin Gaye, Al Green, so many. When I got older, I started discovering artists like Frank Ocean, Amy, and Adele. I think jazz and soul are kind of the pinnacle.

HEAD TO VMAGAZINE.COM FOR THE FULL STORY

Silk organza top and skirt FENDI Talent’s own jewelry Stylist's own bra

Slug Silk knit polo, knit skirt, leather high-heeled sandals FENDI Talent's own jewelry

“I’ve been trying to think about whether there was [that] one moment I thought about [pursuing music seriously]. But if I’m being totally honest, I think it’s been my whole life. And it’s been very assumptive, maybe even delusional, of me to think this was something that could happen. I was always just like, ‘Okay, yeah, this is what I’m going to do.’ It was complete tunnel vision.

I didn’t have any other plan. Only recently have I thought that it could have gone completely wrong.

I just love it. I have to do it. It’s the only thing in my life that makes sense.” —SIENNA SPIRO

Makeup Lauren Reynolds (Bryant Artists) using Make Up For Ever Hair Stelios Chondros (Julian Watson Agency) using Oribe Production Nina Lvovskaya, Joanna Smirnova (ALWA Production) Digital Technician James Rawlings 1st Assistant Bradley Polkinghorne Styling Assistance Roksolana Zityniuk

FREE AS MY HAIR! Photography DANIELLE LEVITT Fashion ANNA TREVELYAN 90

Leia wears spaghetti strap dress and multi strand necklace EMPORIO ARMANI Talent’s own earrings, nose ring, grill Tyshawn wears velvet jacket, wide leg trousers, beaded necklace with metal tassel detail EMPORIO ARMANI Talent’s own earrings and grills

Sanjula wears floral smoking jacket, fluid long sleeve shirt, striped tailored pant, tie, slip on loafers AMIRI Rehan wears raised stripe smoking jacket, lace cami top, boot cut pant, snake round buckle belt, long pouch, snake sling back pumps AMIRI HardWear extra large link earrings TIFFANY & CO.

Ouzi wears denim jacket, silk sheer shirt, leopard denim pants, leather boots DSQUARED2 Panthere de Cartier necklace CARTIER Martha wears flowers denim jacket, lace top, flowers denim pants DSQUARED2 Bracelets KELLERY Mirror-effect leather mules GIANVITO ROSSI Talent’s own necklace and hand jewelry

Grace wears nylon dress, earrings, bracelets, patent leather slingback pumps SAINT LAURENT by Anthony Vaccarello Alx wears silk top, tie, pants, sunglasses, leather derby shoes SAINT LAURENT by Anthony Vaccarello

John wears coat, jacket, shirt, trousers, loafers LORO PIANA Talent’s own jewelry Gilleon wears cape, shirt, skirt, trousers, sandals LORO PIANA

Sevhna wears flower embroidered jersey maxi dress MOSCHINO The Vienna Collection ear cuff set and matrix choker SWAROVSKI Ruby leather pumps JIMMY CHOO Taylor wears flower embroidered jersey maxi dress MOSCHINO Sublima hoop earrings and Sublima cocktail ring SWAROVSKI

Jonathan wears trench coat, shirt, tie, trousers, belt, loafers BRUNELLO CUCINELLI Talent’s own necklaces Nia wears sequin embroidery bomber, shirt, shorts, leather heels BRUNELLO CUCINELLI Trinity ring (right hand), Clash de Cartier ring (left hand), Trinity bracelet CARTIER Aisha hoops JENNIFER ZEUNER

J wears long sleeveless dress with ruffles AMI PARIS Juste un Clou hoops and bracelet CARTIER Mega cross chain RARE ROMANCE Patent leather pointed-toe pumps JIMMY CHOO Victor wears sleeveless fitted top, straight trousers, round buckle belt AMI PARIS Rowan brogue derby shoes JIMMY CHOO

Brian wears blazer and trousers FERRAGAMO Sunglasses ANNA-KARIN KARLSSON Loafers G.H. BASS Cheryl wears dress, Hug bag, heeled mule sandals FERRAGAMO Constellation 29mm watch OMEGA Gina earrings JENNIFER ZEUNER

Coco wears slashed bustier dress and scissor earrings MCQUEEN Fitch wears cropped racer jacket and bumsters with ruffle detail MCQUEEN

Hair Maranda Widlund (Home Agency) using Balmain Hair & T3 Micro Makeup Amber Dreadon (A-Frame Agency) Casting Director Adam Brown (Six Wolves) Producer Laura Brunisholz, Sherri Garcia Photo Assistants Kendall Connor Pack, Sean Stark Fashion Assistant Frankie Benkovic Makeup Assistants Britanny Paige, LaQuisha Seams, Lily Nalbandyan

Kyla wears silk belted pleated dress and earring DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #00.5N, Dior Backstage Rosy Glow Stick in #103 Toffee, Dior Forever Glow Luminizer in #03 Pink Halo & #04 Pink Strobe On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #033 Grey Brown, Diorshow On Stage Crayon in #099 Black, Diorshow 5 Couleurs Eyeshadow Palette in #563 Brown Brocart On lips DIOR BEAUTY Rouge Dior in #846 Concorde Velvet

NEW BLOOM

The house of Dior’s recent revival is blossoming in more ways than one. Creative & Image Director of Christian Dior Makeup, Peter Philips, brings forward a garden of newness, inviting everyone to color their lives with the season’s vibrant hues

Photography SEBASTIAN MADER Makeup PETER PHILIPS Fashion ALEXANDER ROTH 102

Peter wears silk Clover 90 square scarf DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #1N, Dior Forever Skin Contour in #01 Light, Dior Backstage Rosy Glow Stick in #063 Pink Lilac On brows DIOR BEAUTY Diorshow Brow Styler in #05 Black On lips DIOR BEAUTY Dior Addict Lip Glow Oil in #012 Rosewood

Yilan wears silk book cover 70 square scarf and daisy earrings DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #1N, Dior Backstage Rosy Glow Stick in #006 Berry & #063 Pink Lilac, Dior Backstage Rosy Glow in #006 Berry & #063 Pink Lilac, Dior Forever Glow Luminizer in #05 Blue Strobe On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #033 Grey Brown, Diorshow Overvolume Mascara in #090 Overblack, Diorshow On Stage Crayon in #099 Black, Diorshow 5 Couleurs Eyeshadow Palette in #964 Lilac Tulle On lips DIOR BEAUTY Rouge Dior On Stage in #185 Ultimate Pink, Dior Addict Lip Glow Butter in #102 Glazed Lavender

“We are all very excited about the arrival of Jonathan Anderson; his creative point of view will add new vibes to the already rich DNA of the house. It’s motivating, and we continue to work together on a regular basis.

All very exciting and inspiring.”

—Peter Philips Jeehoon wears wool jacket, mid-length belted shirtdress, metal clover earring DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #2.5N, Dior Backstage Rosy Glow Stick in #012 Rosewood Dior, Backstage Rosy Glow in #012 Rosewood On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #05 Black, Diorshow On Stage Crayon in #099 Black, Diorshow 5 Couleurs Eyeshadow Palette in #073 Pied-de-Poule On lips DIOR BEAUTY Dior Addict Lip Glow Oil in #007 Raspberry

This page Jiashan wears wool sweater and cotton embroidered shirt DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #1N, Dior Backstage Rosy Glow Stick in #077 Candy & #103 Toffee On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #05 Black, Diorshow 5 Couleurs Eyeshadow Palette in #855 Rose Moiré On lips DIOR BEAUTY Rouge Dior On Stage in #565 Fearless Brown On nails DIOR BEAUTY Dior Vernis in #006 Minty Opposite page Lisa wears cotton long-sleeved polo shirt and earrings DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #0N, Dior Backstage Rosy Glow Stick in #001 Pink, Dior Backstage Rosy Glow in #001 Pink, Dior Forever Glow Luminizer in #06 Opal Sequin On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #05 Black, Diorshow Maximizer 4D Lash Primer, Diorshow Overvolume Mascara in #161 Overblue, Diorshow 5 Couleurs Eyeshadow Palette in #170 Midnight Lamé On lips DIOR BEAUTY Rouge Dior On Stage in #185 Ultimate Pink

“Spring is like turning a page or opening a door, it’s a new start; like taking a deep breath and feeling the sun touch your skin again. With all the new products in our spring collection, I wanted to evoke joy. The pleasure of playing with makeup, to glorify glow, and reinventing your beauty. Break the routine and be a bit adventurous, or just enjoy the little pleasures that life can offer.”

—Peter Philips

Yan wears denim jacket, cotton shirt, silk tie DIOR On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #00N, Dior Backstage Rosy Glow Stick in #063 Pink Lilac, Dior Backstage Rosy Glow in #063 Pink Lilac, Dior Backstage Glow Maximizer Palette in #002 Frosted Opal Glow On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #033 Grey Brown, Diorshow On Stage Crayon in #099 Black, Diorshow Stylo Liner in #846 Pearly Pink, Diorshow 5 Couleurs Eyeshadow Palette in #170 Midnight Lamé On lips DIOR BEAUTY Dior Addict Lip Maximizer in #037 Intense Rose

Minjiun wears trench coat, cotton poplin shirt, silk tie DIOR

Models Yilan Hua (Elite Models), Jeehoon Bae, Peter Meyer (The Society), Minjun Kim, Kyla Malloy (Wilhelmina), Jiashan Liu (Identity Models), Lisa Han (The Lions), Yan Wenjing (Muse NYC) Hair Joey George (Streeters) Manicure Nori (See Management) Casting Michelle Lee Beauty Editor Kev Ponce Fashion Market Editor Copelyn Bengel Production Untitled NYC Styling Assistants Dylan Gue, Carter Bright Makeup Assistants Ayana Awata, Kaori Chloe Soda Hair Assistants Courtney Peak, Yukie Nammori Nail Assistant Manami Takagi Production Assistants Saul Luzeus, Gabby Buchan

On skin DIOR BEAUTY Dior Forever Velvet Veil, Dior Forever Skin Wear in #2N, Dior Backstage Rosy Glow Stick in #103 Toffee, Dior Forever Glow Luminizer in #03 Pink Halo & #04 Pink Strobe On brows & eyes DIOR BEAUTY Diorshow Brow Styler in #05 Black, Diorshow On Stage Crayon in #099 Black, Diorshow 5 Couleurs Eyeshadow Palette in #170 Midnight Lamé On lips DIOR BEAUTY Dior Addict Lip Glow Oil in #007 Raspberry

GIRL ON FIRE There’s a heatwave headed your way. Model Karoline Niek is setting spring ablaze as the season’s fiercest smokeshow

Photography GREG SWALES Fashion AYUMI PERRY 110

GIVENCHY

Karoline wears tailored off the shoulder dress and deconstructed crystal pendant earrings GIVENCHY by Sarah Burton

Jonas wears suit, shirt, tie, loafers BRUNELLO CUCINELLI OMEGA De Ville Prestige, 40 mm watch OMEGA Leo wears suit, poplin shirt, tie, silk pocket square, calfskin derby shoes BRUNELLO CUCINELLI Speedmaster 33 mm watch OMEGA Karoline wears viscose dress LOEWE Stylist’s own heels Ana wears printed silk twill long dress, dionysus bangle bracelet, dionysus crystal ring GUCCI

One piece swimsuit LAQUAN SMITH OMEGA De Ville Tresor 26 mm watch OMEGA Stockings WOLFORD Folded shoulder bag FERRAGAMO

Piquet old jersey, crepe de chine top, poplin shorts, Bonnie bag PRADA

Karoline wears gown VALENTINO Jonas wears rib tank and snake round buckle belt AMIRI Suit pants BRUNELLO CUCINELLI Speedmaster 38 mm watch on leather strap OMEGA

Jonas wears chemise gown and oversized pajama pants LAQUAN SMITH Karoline wears dress and folded shoulder bag FERRAGAMO Leo wears viscose satin shirt, raised stripe tailored pant, snake round buckle belt, slip on loafer AMIRI

Embellished pajama shirt, chiffon and lace bodysuit, lace underwear, satin heels DOLCE&GABBANA

Models Karoline Niek (The Lions), Jonas Barros (IMG), Leo Cruz (The Lions) Makeup Davide Calcinai (Artist Management) using Make Up For Ever Pro Hair Sasha Nesterchuk (Artist Management) using Kerastase and Bumble&Bumble Manicure Angie P. (Artist Management) Producer Alexey Galetskiy (AGP NYC) Set Design Sofia Cirincione (Velvet Hammer Collective) Digital Technician Johnny Lynch Cinematographer Chevy Tyler Production Assistant Ivan Shentalinskiy, Grayson Harivel, Elisa Massiani Photo Assistants Felipe Patino, Brandon Shafranski, Chris Daszynski First Assistant Camera Casey Van der Touw Styling Assistants Ana Carolina Gonzalez Bortot, Melina Cantero, Abril Abisu Hair Assistant Genesis Martinez Makeups Assistant Arielle Wolff-Sachs, Genesis Martinez

Jonas wears suit BRUNELLO CUCINELLI Karoline wears uncladding bustier corset and slip mini skirt FANCÌ CLUB Earrings NEW YORK VINTAGE Leo wears raised stripe blazer and tailored pant AMIRI Hat NEW YORK VINTAGE

SPRING CHICKEN! Ready to ruffle some feathers?

Spring’s boldest accessories are going the egg-xtra mile this season!

Photography COREY OLSEN

Penelope wears Grain de Café necklace CARTIER 120

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CHICK IT OUT Heels FERRAGAMO

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EGG-SPECT THE UNEXPECTED Bag CHANEL 122

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A LOVELY HEN-DBAG Beaded Peekaboo mini handbag FENDI

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TONGUE IN CHICK

Molly wears Cartier Juste un Clou necklace CARTIER

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Slug Boudoir pouf thong sandals GIVENCHY by Sarah Burton

IN FULL PLUM

Amanda shearling bag DOLCE&GABBANA

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BIRDS OF A FEATHER Boudoir pouf thong sandals GIVENCHY by Sarah Burton 126

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Fashion Market Editor Copelyn Bengel Photo Assistant Joe Miller Cinematographer Mynxii White Set Designer Louisa Fulkerson (Born Artists) Set Design Assistant Darla Lewis, Alejandro Benito Animal Handler Nancy Novograd (All Tame Animals)

GET HEN-CHANTED Three-egg trompe-l’oeil motif decorative plate DIOR MAISON 127

Photography RYAN JENQ

Long before the trials and tribulations of air travel, Louis Vuitton established itself as the ultimate luggage maker for steam train journeys, designing monogram emblazoned trunks and bags for the elite that moved their essentials effortlessly (and stylishly) across railways and continents. After 130 years of its iconic print, the house now looks to its origins to shape a new chapter defined by heritage, craftsmanship, and unbridled imagination—echoed throughout the new Monogram Anniversary Collection.

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With a wide spanning range of leather goods and a remixed fragrance collection, at the heart of the story is the Alma bag, reintroduced as the Alma PM VVN—short for Vache Végétale Naturelle—which highlights one of the House’s most prized materials since the 19th century, beloved for its durability and the rich patina it develops naturally over time.

Paired with the playful yet precise Micro Alma Bag Charm, the juxtaposition underscores Louis Vuitton’s enduring ability to reinterpret its

codes in unexpected ways. Together, these pieces reflect a house that continues to move forward with elegance and enduring design.

KATIE BRADSHAW

Bag and bag charm LOUIS VUITTON Alma “Monogram Anniversary Collection” bag and canvas micro Alma bag charm ($4,900 and $885, available at louisvuitton.com).

Fashion Market Editor Copelyn Bengel Photo Assistant Shadi K Best Prop Stylist Catherine Pearson

what V want

After 130 years of the Louis Vuitton Monogram, the journey continues forward with a celebratory anniversary collection. All aboard!

CAN’T GET ENOUGH V? DISCOVER THE ONLINE WORLD OF V FOR BEHIND-THE-SCENES MOMENTS, EXTENDED INTERVIEWS & MORE