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KARLIE KLOSS ON THE ART OF BEING ICONIC

LOOKING GOOD, GIRL! PHOTOGRAPHED BY ROB RUSLING STYLED BY PATTI WILSON INTERVIEWED BY KAIA GERBER

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EDITORIAL Editor-in-Chief / Creative Director Stephen Gan GEN V Editor-in-Chief / Digital Director Mathias Rosenzweig V Magazine Editor Kev Ponce Managing Director Jared Sinclair Feig Associate Editor Elyssa Goodman Associate Digital Media Editor Liam Watters Entertainment Editor Greg Krelenstein (GK-LD) Contributing Editor-at-Large Derek Blasberg VMAN Editor-at-Large Charlie Kolbrener Weibo and Chinese Editor Meng Ji

PHOTO/ART Art Director Clément Condat Photo & Bookings Director Jeffrey Pearson Associate Art Director Erin Black Contributing Bookings Director Goran Macura Director of Motion & Editorial Film Mynxii White

FASHION Fashion Director-at-Large Nicola Formichetti Senior Fashion Editor Anna Trevelyan Fashion Market Editor Copelyn Bengel Contributing Fashion Market Editor / Distribution Manager Gabby Buchan Contributing Fashion Editors Patti Wilson Paul Sinclaire George Cortina Jeanie Annan-Lewin Anastasia Barbieri Davey Sutton Genesis Webb Hunter Clem

CONTRIBUTORS

Nick Knight Rob Rusling Inez & Vinoodh Arthur Elgort Roxanne Lowit Luigi & Iango Arut Arustamyan Jack Bridgland Alvaro Beamud Corté Cortés Gro Curtis Diego Bendezu Écoute Chérie Myles Mansfield-Calenti Daniel Archer Gabriel Perez Silva Gorge Villalpando Ricardo Beas Cassie Jekanowski Keith Greenbaum Adrien Toubiana Rúben De Melo Moreira Corey Olsen Samuel Bristow Wanda Acosta Alyssa Polinsky Dru Ryder Araceli Olaechea Landa George Piper Ailbhe Killalea

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Photography SAMUEL BRISTOW

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THE LONGINES MASTER COLLECTION

Table of Contents

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IN THIS ISSUE: 48. HEROES 52. V NEWS 54. V GIRLS 60. LET'S GET PHYSICAL! 62. SHELF OBSESSED 64. DESIGNING WOMAN 66. CRAFTING JOY 82. GET ZIGGY WITH IT 92. STILL THAT GIRL 102. TO THE MANOR BORN 112. ADÉLA CHECKS IN 120. BOHEMIAN RHAPSODY 128. FEEL THE HEAT 138. THE SWEET LIFE 144. ON POINT 148. SIGNS FROM ABOVE

152. WHAT V WANT

* The alchemy of senses

Cover 1 Anya Taylor-Joy wears geometric paper gown crafted from bonded tissue paper GAPSTUDIO by Zac Posen Custom tracing paper smash headpiece NOEL STEWART Sixteen Stone narrow earrings in platinum & yellow gold with diamonds, ring in platinum & yellow gold with diamonds (left hand), knot double row hinged bangle in yellow gold with diamonds (right hand) TIFFANY & CO. Meisterstück Gold-Coated LeGrand Fountain Pen MONTBLANC On Skin DIOR MAKEUP Dior Forever Skin Veil, Dior Forever Skin Glow in #0N, Dior Forever On Set Powder in #01 Fair On Eyes DIOR MAKEUP Diorshow Overvolume Mascara On Lips DIOR MAKEUP Dior Addict Lip Glow Oil in #077 Rosy Candy Cover 2 Karlie Kloss wears cape with rosette, bodysuit, pillbox hat with veil, ball earrings CAROLINA HERRERA

Fashion Market Editor Copelyn Bengel Prop Styling Laura Woolf Photo Assistant Etienne Pelissier Production WiB Agency

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Editor's Letter

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Every September, New York remembers who it is. The city’s sidewalks become runways once again and fashion's great machine roars back to life as fresh collections make their debut, new names emerge, and icons return—the kind of energy that reminds us why New York remains fashion's most enduring source of reinvention. As Michael Kors tells us, "Never count a New Yorker down. Never count the city down. It will shift. It will change. It will always grow, and you will always be inspired if you keep your eyes open." There may be no better mantra for Fall 2026. That spirit of perpetual becoming defines V162, our Fall Fashion Issue. At its center are two women who have transformed before the world's eyes without ever standing still. Anya Taylor-Joy, photographed by Nick Knight and styled by Anna Trevelyan, slips into a fantasy of paper creations, championing the fearless new generation of fashion houses reshaping the future. Opposite her, Karlie Kloss—one of modeldom's most enduring forces and Carolina Herrera's ultimate muse— blooms into the definitive Good Girl through the lens of Rob Rusling with styling by Patti Wilson. Together, they remind us that style isn't about staying the same; it’s about knowing when to evolve. They embody the fearless quality at the heart of this issue: women who continue to evolve without ever losing sight of themselves. The momentum continues throughout these pages: Brazilian model Daiane Sodré commands the streets of downtown Los Angeles with photographer Diego Bendezu, while newcomer Letícia Hall channels Ziggy Stardust in a glam-rock fever dream by Jack Bridgland. Pop provocateur Adéla embraces beautifully undone glamour in Gucci, while creative polymath Athena Calderone proves that great style extends far beyond the closet. Ravyn Lenae, Arrow de Wilde, and Freya Skye compose the soundtrack to what's next, each reshaping the future of R&B, rock, and pop on their own terms. And because the women leading culture today are asking the most compelling questions, Miley Cyrus, Kaia Gerber, and Rachel Sennott step into the interviewer's chair, bringing curiosity and wit to the forces defining this moment. As you step into fall, take a cue from the women shaping the season ahead: reinvent boldly, dress fearlessly, and turn the volume all the way up. As Chaka Khan reminds us, "I'm Every Woman." It's all in you. MS. V

When it comes to building a legacy of sophistication, these legendary tastemakers are not playing games

MICHAEL KORS As the designer celebrates his namesake brand’s 45th anniversary, he chats with collaborators Inez & Vinoodh about his legacy of classic American glamour Interview INEZ & VINOODH

Imagining New York City without Michael Kors is nearly impossible. For more than four decades, he’s woven himself into the city’s sartorial DNA, shaping not only the way Manhattan dresses, but the way it dreams. From his Fifth Avenue flagship to larger-than-life campaigns illuminating Times Square—and instantly recognizable pieces that have become wardrobe staples worldwide—Kors has transformed a fashion label into a New York state of mind. Here, the designer sits down with photography duo and longtime V family members Inez van Lamsweerde & Vinoodh Matadin to discuss timeless style and building a universe that never goes out of fashion. KEV PONCE

Vittoria Ceretti and Anok Yai in the Fall 2023 Michael Kors Collection Campaign, shot in Washington Square Park. Image by Inez & Vinoodh, courtesy of Michael Kors.

Christy Turlington, Michael Kors, and Linda Evangelista at the Michael Kors Spring/Summer 1991 Ready-to-Wear runway show. Courtesy of Michael Kors.

MICHAEL KORS: KORS This is so much fun. I love that we’re doing this. INEZ VAN LAMSWEERDE: This is adorable and so cute. When I think of you, I see someone who is obsessed with making women feel amazing. VINOODH MATADIN: It’s also because you’re so generous! IVL: You actually are in the business of making women look and feel incredible, IVL and that’s always been the case. You actually care more about the woman, her life, and her personality than whether she’s wearing a red shoe or a blue one. I do think that’s why your career and brand are so unbelievably successful, because it’s completely linked to your philosophy of how you think of women. When I describe you to people who don’t know you, that is what we always say because there are very few people who aren’t driven by ego or by pure creativity. It’s really more of a service you offer to women. Obviously it’s the most glamorous parts of the world, but you’re more so in service to the people that buy your clothes, rather than saying, “I need to lay my creative egg.” Is that correct? MK: You are more than correct. You know, I think it’s funny—you both have a very MK creative only child [Charles Matadin], so you’ll understand this analogy. I grew up [in a time] where I was always around adults as an only child, and with a

Heroes

Michael Kors. Image by Inez & Vinoodh, courtesy of Michael Kors.

family that treated me like I was one of the adults. There was something about me when I was growing up, and it’s still there today: I’m always observing and watching people. It’s a rush to me that New York never lets me down. From the people-watching perspective, I think I’ve always been this observer, learning what it is that makes someone project themselves a certain way. IVL: It’s all about the projection. IVL MK: I always say everyone makes a choice [about how they look]. MK So when people say they’re not interested in fashion, then I’m like, well, even if you say you’re not interested, you still made a choice today when you got dressed. I know it sounds crazy, but I used to love those makeover shows where they take someone and turn them into a new person. They cut your hair, they change your eyebrows, they put the right color on you, the right shoes. Suddenly you see someone look in the mirror and they stand differently. So I’m still of the firm belief that if you take someone who maybe isn’t having their best day, my job ultimately is to make them look like they are ready to take on the world. If someone is already confident, I want them to be even more confident. I am a realistic optimist. I don’t think fashion is going to change the world’s problems. But at the same time, I do think people can put something on and it can make them feel emboldened, stronger. IVL & VM: VM Agreed! MK: The coolest thing that ever happened to me was when I was at MK an event back in 2016 at the White House, and the Obamas were leaving. It was January, and I saw Nancy Pelosi there, and everyone

said, “Oh, what are we going to do? Woe is me!” And she looked at me and said, “We have to organize. We can’t agonize.” I had just seen a photograph of her wearing a Michael Kors bright fuchsia dress. It looked unlike anything I had ever seen her wear. It was not what she would normally be in, so I said to her, “You know, I saw that dress on you, and I loved it, but it didn’t seem like something you would choose.” And she said to me, “Well, I got the dress and wore it to an event, and someone was sitting next to me at lunch, and said, ‘You’re already the strongest, smartest, most powerful woman I know. But in that dress, you look even stronger, more powerful, and smarter.’ So now, every time I want that extra burst of confidence, I put that Michael Kors dress on.” IVL: That’s exactly true. When we shoot with you for the campaigns, IVL we hear this kind of story from you all the time. The [on-set] team and everyone around us always looks at us like, “How do you concentrate? Michael is talking to you all the time,” but this is how you’re constantly living. There is story after story of these amazing moments that you relive by retelling them, and that’s how we spend the day with you every time we shoot. It’s so beautiful to always hear you have these incredible new stories, enthusiastic about the latest thing that happened, or the thing that happened in 1994. VM: All these stories create images in our brain, and that helps us VM take the picture, too. That’s how it works with us.

HEAD TO VMAGAZINE.COM FOR THE FULL STORY 49

JEAN-MARC HOUMARD

Andy Warhol, Jacqueline Schnabel, Jean-Michel Basquiat, Julian Schnabel, and Kenny Scharf at Indochine, 1984. Image by Roxanne Lowit, courtesy of the Estate of Roxanne Lowit.

After 42 years, Indochine’s legendary restaurateur has no reservations Text ELYSSA GOODMAN The restaurant’s red neon sign is buzzing when I get there, cursive letters forming its name: Indochine. Set back from a hallway inside a collection of 1830s row houses on Lafayette Street is the restaurant that’s known thousands of luminaries over its 42 years. It was the artists who came to eat–Andy Warhol, Thierry Mugler, Jean-Michel Basquiat, Grace Jones, and countless others. Those who were unafraid of a spotlight or a camera flash, or who had learned at least to appear that way over time; as well as the people who wanted to be around them and still do. Among them all was Jean-Marc Houmard, co-owner of Indochine with Huy Chi Le and Michael Callahan. Houmard began at Indochine as a busboy with Le and then became a maître d’. But when original owner Brian McNally wanted to leave the restaurant behind in the 1990s, Houmard, Le, and Callahan stepped in; they’ve owned it together ever since. Houmard, always in the front of the house, has become in that time the restaurant’s most recognizable face. On the night I visit Indochine, Houmard floats catlike in a dark suit, with stylishly tousled hair and dark beard. He passes the restaurant’s signature banana leaf wallpaper, its fresh plants, its gaggle of patrons in black leather jackets sipping cocktails from martini glasses. He says hello, he shakes hands. Seventies-era soul purrs overhead. The lighting is dark enough for privacy, light enough to wonder who you might see. Houmard greets me with a double kiss, one on each cheek. I’ve never been here before, I tell him. I felt I had to be invited. He raises an eyebrow and shakes his head no, absolutely 50

not. “Well, now you are invited,” he says. And if anyone would know, it’s him. The nights, the stories, he alone must have known. But he’s willing to share. In fact, the restaurant is releasing a new edition of its 2009 book Indochine: Stories, Shaken and Stirred in a run of just 1000 copies, available for $50 in person at the restaurant. It comes in a dark black box printed with bamboo, a metallic red “Indochine” on the cover to match its signature neon, all secured inside with a black ribbon. The book is printed with new images from the last 17 years of the restaurant’s history, alongside new interviews with the likes of Linda Evangelista, Debi Mazar, and Dianne Brill, among many others. It’s not a bad life for a self-described nerd from Switzerland who came to New York for a six-month law school internship and never left. Originally from “an industrial area with a lot of watchmaking which is, you know, not very pretty or interesting or chic,” he laughs, he went to law school in Geneva. This was after a stint in the Swiss military–required by all male citizens–as a topographer, no less. “I was not very good at it. I survived. I didn’t think I would survive because it’s so against anything that I believe in. The discipline, the marching in order,” Houmard said. “But I found it an interesting experience in the sense that I realized humans can adapt to any situation. My first week, I thought I would just faint, die, go to jail. And then I got used to it.” New York called him to a different life, one that wasn’t meant for practicing international law as he had originally intended. “The reason I kept postponing my return was [New York] was a world that I didn’t know in

Heroes

Switzerland. Downtown New York, in the mid-‘80s, was just so vibrant and incredible. It was the opposite of what I had done in Switzerland. I just studied really hard [there], and I didn’t go out very much.” Even as a busboy, first at lauded art restaurant El Internacional and then at Indochine, he could skip lines and get into any club he wanted, legendary nightlife spots like Area, Palladium, and Save the Robots among them. “It felt like a life that I needed to experiment [with] for longer than six months,” he continued. “I’m gay, but I wasn’t out back then, and I think that was a factor for sure, to be in New York and be able to be who I was.” There are two great kinds of people in New York: people who come here hoping to finally be themselves, and people who learn who they are once they get here. “It’s probably the case for many men of my generation who want to move away from where they were from and find themselves,” he says, adding that the freedom you’d find in New York then was quite possibly unparalleled. “All the clubs were very embracing. Studio 54 was very gay-friendly, and it felt like it was part of the culture. It was not just the gay bars. It was being able to be accepted in all the cool places, the cool clubs. That was a big factor of my finding my roots in New York.” By 1992, Houmard, Le, and Callahan–then busboy, maître d’, and manager, respectively–purchased a struggling Indochine from McNally. There was a recession, and the spectre of the Gulf War still loomed large. The East Village was still industrial, a place for many artists because it was affordable, and it could be unsafe. Houmard remembers getting mugged more than once walking the few blocks back to his apartment nearby. To make the restaurant work, they were there around the clock. He took reservations by phone during the day and changed into his suit at night for work; they washed tablecloths at the laundromat down the street and ironed them the next morning. But eventually they didn’t have to struggle anymore. Calvin Klein threw a birthday party for his then-wife Kelly, and everything, everyone came roaring back. They haven’t left since. Houmard’s pursuits also extend beyond Indochine. His other New York venues past and present–some with his Indochine partners and others–have included the renowed drag bar Bar d’O, home to the great artists Joey Arias, Jean-Marc Houmard at Indochine, ca. 2022. Image by Wanda Acosta, courtesy of Jean-Marc Houmard.

Linda Evangelista at Indochine, 1991. Image by Arthur Elgort.

Raven O, Sherry Vine, and more (who still have their Bar d’O reunion at Indochine); as well as ACME, Kittichai, Tijuana Picnic, and The Nines. There’s an Indochine in Istanbul now, and soon he and his team will be doing the food at Bar Marmont at the Chateau Marmont in Los Angeles. Houmard also opened the Tribal Hotel in Granada, Nicaragua, and designed their accompanying villas. The design–interior and exterior–is “somewhat of a side hobby,” he says: he designed his home on Fire Island as well. By now, Houmard is sitting with me at the bar. A plant vibrant with lush fronds towers above us. He likes to sit here, he tells me. You can see the whole restaurant– people chatting, laughing, drinks shaking, chopsticks ready to slide into their signature spicy beef salad (it is, in fact, delicious). Being a restaurateur means creating a place you’d want to visit every night, especially if you describe yourself as a more introverted person, as Houmard does. Because he’s social for work, he sometimes prefers a quiet night at home with a French film and his dog, Milo, a black Cavapoo. So Houmard’s fingerprints remain all over Indochine: the music choice; the lighting; the creative clientele. The comfort of having someone know your name if you’re a regular. Margaritas with fresh lime juice at the bar. How it feels “chic, but not fancy,” and the list goes on. Perhaps those are some reasons Indochine has been so successful for so long: it hasn’t changed, but in a good way. It’s a place you can consistently return to for a fabulous night out–as Houmard says, if it ain’t broke, don’t fix it. He’ll keep going until he doesn’t want to anymore, he says. But that day is far away for the moment. “If I can keep doing this, and still enjoy showing up and having fun, I think that’s my goal. Sometimes I wonder if I should, I don’t know, move somewhere, but where would I move?” Houmard laughs. “I’m very lucky that things turned out as well as they did, because it was not certain. To be able to enjoy it after all these years, there’s no reason to not do it anymore.” The joy he sees on a regular basis makes him stay. “They don’t know who I am, but when I walk in and I hear a table saying, ‘Oh, thank you for taking us here. It was such an amazing place and was such a good time for me,’ that’s why it’s still worth it for me to show up.” 51

Our fall game plan includes all the essential art exhibitions, vibrant art books, and dazzling luxury design you need to win major culture points this season Text ARACELI OLAECHEA LANDA

Making Marie Antoinette (Important Flowers, 2026) by Andrew Durham is published by MACK.

THE 90S: ART AND FASHION AT TATE BRITAIN EXAMINES A GOLDEN ERA OF FASHION

LET THEM EAT CAKE… AGAIN! SOFIA COPPOLA’S MARIE ANTOINETTE TURNS 20

From October 8, 2026 to February 14, 2027, Tate Britain revisits a cultural shift in Britain’s artistic landscape with The 90s: Art and Fashion. The first major exhibition chronicling the era’s creative impact through art, fashion, and photography, it is guest-curated by Edward Enninful, former British Vogue Editor-in-Chief. Featuring more than 100 works, the exhibition includes visionaries like Nick Knight, Juergen Teller, Damien Hirst, Gillian Wearing, Alexander McQueen, Vivienne Westwood, Hussein Chalayan, and more.

Sofia Coppola’s 2006 film Marie Antoinette, starring Kirsten Dunst as Antoinette, has since become one of the decade’s defining cultural touchstones. Photographer Andrew Durham, a longtime collaborator of Coppola’s, followed the project from set to its Cannes premiere. In time for the film’s 20th anniversary, his book Making Marie Antoinette arrives, published by Sofia Coppola’s Important Flowers imprint. The volume also includes an oral history by writer Keaton Bell and an intimate conversation between Durham and Coppola.

THE SAINT LAURENT UNIVERSE ACCORDING TO ANTHONY VACCARELLO When Anthony Vaccarello was appointed creative director of Saint Laurent in 2016, he inherited one of fashion’s most storied houses and quickly established a distinct point of view. Over the past decade, he has shaped a design language defined by sharp lines, deep necklines, strong shoulders, and narrow-waisted silhouettes. The 1980s remain a recurring reference, visible in towering boots and tailoring reworked in velvet, sequins, and metallic finishes. His menswear follows a similar path, built around lean suiting and broad shoulders. In recent seasons, he has shifted away from embellishment, focusing instead on refining the house’s core codes. That refinement has extended beyond the runway. Nowhere is it more visible than at Rive Droite, the concept space Vaccarello launched in Paris and Los Angeles in 2019. Conceived as an extension of the house, it evolved into a platform where clothing rests alongside sculpture, photography, vinyl records, rare books, and collectible design. The space has hosted projects ranging from Helmut Lang’s resin sculptures to exhibitions of Jean-Michel Basquiat’s work, alongside collaborations with Gio Ponti, Sho Shibuya, Vanessa Beecroft, and Madonna. Vaccarello’s ambitions did not stop there. In 2023, he launched Saint Laurent Productions, making the house the first luxury brand to establish its own film production company. Since then, it has supported filmmakers like Pedro Almodóvar, David Cronenberg, Jacques Audiard, and Paolo Sorrentino. Ten years on, Vaccarello’s legacy cannot be measured solely in collections. His greatest achievement may be the world he has built around them, continuing to transform Saint Laurent’s role as a cultural force.

Photo by Gray Sorrenti, courtesy Saint Laurent. 52

V News

Photos by Christophe Coënon, courtesy Louis Vuitton.

WHAT DOES IT MEAN TO OWN SOMETHING? LOUIS VUITTON HAS AN ANSWER For Louis Vuitton, ownership is tied to longevity and the belief that a well-made object should not simply last, but should acquire character over time. As the house marks the 130th anniversary of its Monogram canvas, it is amplifying Care & Repair, a global restoration service dedicated to extending the life of its creations. Available in Louis Vuitton stores worldwide and through the Louis Vuitton app in select markets, the service is supported by eleven workshops across the globe. At a dedicated atelier outside Paris, artisans undergo years of specialized training before working on clients’ pieces. Here, bags are cleaned, leathers recolored, hardware restored, and trunks structurally rebuilt. Exotic skins receive especially careful attention,

reflecting the expertise required to care for the nearly 600,000 items that pass through the workshops each year. The renewed emphasis on repair reflects a broader shift within luxury, where durability is increasingly valued alongside novelty. For Louis Vuitton, however, restoration is less a new direction than a continuation of its heritage. Since the house’s founding in 1854, craftsmanship has been rooted in the idea that exceptional objects should remain in use, evolving alongside their owners rather than being discarded and replaced. Care & Repair reinforces that philosophy, ensuring pieces can be preserved and passed on for generations to come.

BOUCHERON’S 168-YEAR LEGACY ON VIEW AT CHRISTIE’S, ONE OF THE WORLD’S LEADING AUCTION HOUSES

Interior spread, Grace: Now, courtesy Phaidon. American Vogue, December 2024. Photography credit: Steven Meisel. Caption: Kaia Gerber in Marc Jacobs. Courtesy of Boucheron

Boucheron brings its extraordinary legacy to New York through a collaboration with Christie’s, presenting Boucheron: In Focus — A Monograph of a Visionary, on view at Christie’s New York from October 9-18, 2026. Conceived as a journey through the house’s history and creative evolution, the exhibition highlights both historic masterpieces and contemporary designs, from 1858 to today. It also features the 2026 Carte Blanche High Jewelry collection, Boucheron’s annual platform for unrestricted creativity and technical experimentation.

A FREELANCE DECADE, FULLY ILLUSTRATED IN GRACE CODDINGTON’S GRACE: NOW Since stepping away from her role as Vogue Creative Director in 2016, Grace Coddington has continued working independently with many of fashion’s most celebrated names. Grace: Now, published by Phaidon, chronicles that work in her third installment of fashion portfolios. It features more than 200 images made with photographers like Annie Leibovitz, Steven Meisel, and more, with Coddington’s recollections of each shoot. Contributions from Anna Wintour, Marc Jacobs, and others round out a volume celebrating her work’s enduring imagination.

COSIMA VON BONIN’S ECCENTRIC UNIVERSE TAKES OVER LOEWE FW26

Courtesy of Loewe

For years, German artist Cosima von Bonin’s oversized textile whales, octopuses, dogs, and more existed primarily within museums and galleries. This season, they arrive in Loewe’s latest collection. Von Bonin’s unmistakable cast of soft, slightly melancholic figures live between humor and sadness, comfort and detachment, combining playful imagery with an undercurrent of unease. This tension drew Loewe’s Jack McCollough and Lazaro Hernandez to her practice. Her motifs surface throughout the collection’s graphic patterns, garments, and accessories, including Loewe’s most recognizable bags. 53

This fall, a selection of smashing chanteuses is hitting all the right notes Photography GABRIEL PEREZ SILVA Fashion GORGE VILLALPANDO

Ravyn wears dress FERRAGAMO Mini DolceVita stainless steel case with alligator leather strap LONGINES Double tube ring RACHEL KATZ

RAVYN LENAE THE HYPNOTIC HEROINE CRAFTING HAPPINESS FROM HEARTBREAK 54

V Girls Slug Bodysuit and skirt SAINT LAURENT by Anthony Vaccarello

Ravyn Lenae loves love. “I think love is the core of everything when you really break it all down,” she says. Love, this essential part of being human, shapes every connection, and it’s a feeling she channels into her creative process and her music. Working in the studio has become an experience the singer finds grounding, a therapeutic exercise while her blossoming career creates a busy schedule. The singer also prioritizes her own judgement. “I think it’s in my nature to push back. I’m an Aquarius. My life motto is to reject things that don’t feel right and reject any loss of autonomy,” she says. Her work is uniquely personal and evades categorizations. Instead, she experiments with sounds and styles, and stays curious. On some tracks she takes on a pop persona, a similar vibe to Remi Wolf, Solange, and Addison Rae. In others, Lenae possesses the emotive vocals and lyricism of Olivia Dean, an artist she admires. She furthers her artistic vision and development of her aesthetic with visuals. Her music videos take on the look of ‘80s and ‘90s MTV. “Maybe the makeup isn’t as glamorous or polished, instead feeling lived in or a little undone. My hair feels a little wild. I like combining elements that feel pop and polished while also breaking them down,” she says. Her career has been a

continuous commitment to being herself. Rather than following trends or succumbing to critique, Lenae trusts her vision and process of exploration. Lenae has driven her career into the spotlight with hard work and belief in herself. She signed with Atlantic Records in 2016 and has been writing and releasing music at a steady pace since. The 27-year-old broke into the mainstream with her 2024 hit “Love Me Not,” a moment that “was everything to me,” she says. She’s since collaborated with artists like Steve Lacy and Kaytranada, opening for SZA and Noname. The next journey Lenae takes is to Blue Island, the name of her new album, released August 7. She describes the imaginary destination of Blue Island as a place where genuineness and being yourself is key. Lenae recommends visitors to Blue Island to bring not only authenticity, but an eyeliner, favorite necklace, best friend, or whatever makes them feel most themselves. The message of the album centers on identity–Lenae sees it specifically as “a proclamation and a rejection of the identities people have put on me,” she says. Blue Island serves as the singer’s reclamation and redefinition, emphasizing the importance of being boldly yourself without apologies. AILBHE KILLALEA 55

Arrow wears tailored jacket with shearling collar & shoulder trim DAVID KOMA Darcy Tokyo shorts GUESS

ARROW DE WILDE THE REBELLIOUS RACONTEUR REVIVING THE ROCK SOUND 56

Slug Ski jacket sleeves DSQUARED2 High Waist Athleather Tight DKNY DolceVita stainless steel case with alligator leather strap LONGINES

Rejections of the status quo run through punk’s history. Its spirit remains alive and well, too–in Arrow de Wilde, the lead singer of LA-based band Starcrawler. De Wilde grew up surrounded by creativity. As the daughter of a drummer dad and a photographer mom, de Wilde’s early years were spent at concerts, in studios, and with musicians talking about a shared love for sonic rebellion. Accordingly, she lists Johnny Thunders, Cheap Trick, Hanoi Rocks, and Redd Kross as influences. De Wilde’s exposure to art was not limited to music, however–she also cites horror movies like The Texas Chain Saw Massacre as a key source of inspiration for her performances. Starcrawler’s story begins at de Wilde’s Los Angeles high school. Knowing she wanted to start a band, de Wilde kept her eyes peeled in the halls, until one day she saw Henri Cash, with his long hair and leather jacket. “I didn’t know him but I went up to him and just said, ‘you look cool, do you play guitar?’” de Wilde said. “And luckily he did!” De Wilde and Cash began bringing on other members, eventually forming Starcrawler in 2015. Since releasing their debut song, “Ants,” in 2017, they have carried with them an unapologetic confidence and undeniable

flair. People have taken notice, including Elton John and My Chemical Romance’s Gerard Way. They’ve retained their sense of individuality the whole time. “I think this goes for any genre of music: if it’s truly what you love and what comes natural to you and you don’t have to overthink it, then it’s what is meant to be,” de Wilde said. “Writing a rock song is pretty much all I know how to do (at least right now), so it’s the music that I make. I think when people try to force something that’s not actually true to themselves is when a lot of shitty music gets made.” Touring the country this fall, Starcrawler wants to show audiences what they’ve got. Fake blood, loud screams, and thrashing energy are the expectations of a Starcrawler show, and yes, they deliver. “To us it’s all about having a good time, writing and playing music that we love, putting on a good live show for others, and just hopefully creating special memories not just for us, but also for the people that like and support us and our music,” said de Wilde. Starcrawler’s latest single, “ON 2 U” is out now on all major streamers. The time for Starcrawler is now because, in the words of Arrow de Wilde herself, “life is just too damn short!” GEORGE PIPER 57

FREYA SKYE

THE SONGBIRD SENSATION WRITING HER NAME IN STARDUST

Makeup Leah Darcy (A-Frame Agency) using YSL Beauty Hair Virginie Pineda (The Visionaries) using GHD Hair & K18 Casting Kev Ponce Fashion Market Editor Gabby Buchan Production Cynthia Hadden (Lyric Productions) Photo Assistants Leila Keftaro, Victor-Gabriel Hofer Styling Assistants Juan Vega, Sophie Saunders Makeup Assistant Reina Zuniga Location Smashbox Studios

Freya wears leather blouson with a tortoiseshell pattern FERRARI STYLE Silk chiffon gown ALBERTA FERRETTI Ring LOREE RODKIN

Slug Reversed Dress COACH Furry shearling jacket 7 FOR ALL MANKIND

Freya Skye was five years old when a karaoke machine appeared under the Christmas tree, and she has been singing ever since. At 13, she represented the UK at the Junior Eurovision Song Contest. By now, at 16, she has amassed over 2.5 billion streams and sold out more than a hundred shows worldwide. She also released a debut EP in February called Stardust that charted in both the US and UK. “I don’t really believe in coincidences,” she says of that first karaoke machine. “Music has always had a way of finding me or maybe I’ve always had a way of finding it.” Skye created Stardust with some of pop’s most in-demand names — like songwriter Julia Michaels and Grammy-winning producers Mattman and Robin, known for their work with Selena Gomez and Taylor Swift — but the songs are unmistakably hers. “Each song is a piece of who I was when I wrote it,” she says. “They’re messy, honest, and a little bit broken on their own but together they tell the full story.” Lead single “silent treatment,” about being ghosted without explanation, has clocked over 38M streams on Spotify. “It’s not a hyper-specific story, it’s a specific feeling,” she says. “Everyone has been on one side of that silence or the other.” Writing with Michaels left a mark beyond the songs. “She’s so grounded, genuinely kind to write with, and within ten minutes she knew everything about me because I’m an open book,” Skye says. “When someone that secure in themselves is sitting across from you, you end up writing braver.”

Her shows have grown from 200-capacity rooms to 7,000-seat venues in under a year, and she has fought hard to keep them accessible — partnering with Ticketmaster to ensure her tour tickets can only be resold at face value. “Keeping tickets as affordable as possible is so important, especially with my fanbase where we’re all teenagers and young girls,” she says. “You never want to close people out.” The devotion goes both ways. “They’ve been queuing since seven that morning, dressed up, giving everything they have. I’m just giving it back to them.” Freya Skye’s new single “Bad Taste” is out soon and her film Zombies 5: Secrets of the Sea, in which she plays Nova, is now in production. Her world is only getting bigger, fashion included. In July, Hollister named her the face of its fall “Made for This Moment” denim campaign, a partnership that will also see the brand sponsor her upcoming tour dates across North America, the UK and Europe. She wears it all lightly: the Oscar de la Renta gown she wore at the Zombies 4: Dawn of the Vampires premiere made her feel “like a completely different, more grown-up version of myself for a night,” she says, though at home she’s happiest in “the comfiest thing I own, some huge hoodie.” Wherever it all goes next, Skye says, she’s ready for it, because her passion remains: “Music is the part of me I can never turn off.” DRU RYDER

Photography RICARDO BEAS Fashion CASSIE JEKANOSKI

Anjali wears cropped 1/4 zip alumni pullover ALO YOGA Bodysuit HUNZA G ℅ PARALÍA and LIV NASUTA Chambray shirt (worn around waist) TOMMY HILFIGER Tights LOS ANGELES APPAREL Piqué ankle socks LACOSTE Pacific bone flats AMIRI

Jiayi wears Sofia bodysuit FLEUR DU MAL Large molten hinged cuff ALEXIS BITTAR Tights FALKE Cable long socks GUESS Leather sneaker DESIGUAL

Models Claire De Lozier (Fusion), Lais Hames (Supreme), Jiayi Liang (New York Model Management), Juliet Lloyd (New York Model Management), Anjali Kambham (State) Makeup Marco Campos (Forward Artists) using Tom Ford Hair Chika Nishiyama (Forward Artists) using Redken Director of Editorial Film Mynxii White Fashion Market Editor Copelyn Bengel Production Tianyun Lan Casting Director Emma Farachi Photo Assistants Alex Aptsiauri, Emmy Laurie Makeup Assistant Sara Jade Hair Assistant Ayako Saito Styling Assistant Amara Korinko Location AgX Brooklyn

As ‘80s-style sneakers reign supreme on runways, it’s time to hit the street–or the aerobics studio–à la Olivia Newton-John

V Trends

Claire wears bodysuit POLO RALPH LAUREN Harmony belt HARMONY UNDERGROUND Large molten hinged cuff in silver ALEXIS BITTAR Tights FALKE Classic baby cashmere socks LORO PIANA The 400 Bleecker runner MARC JACOBS

Lais wears scoop-neck bodysuit ARMANI EXCHANGE Jacket in technical nylon (worn around waist) MONCLER HardWear medium link bracelet in yellow gold TIFFANY & CO. Tights LOS ANGELES APPAREL Mirage sneakers AMI PARIS Stylist’s own socks

Juliet wears scoop neck bodysuit ARMANI EXCHANGE Nylon crinkle zip-pp colorblock windbreaker LOS ANGELES APPAREL Tights FALKE Classic baby cashmere socks LORO PIANA DC-642 sneaker DSQUARED2 61

Consider your bathroom shelf beauty’s ultimate front row. V rounded up fall’s must-have skin essentials that are filled with formulas you’ll keep reaching for long after sweater weather arrives Photography KEITH GREENBAUM Beauty Editor KEV PONCE 8

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(1, 12, 15) Dior Backstage Glassy Glow Stick DIOR MAKEUP The easiest route to glass skin comes in stick form. Dior’s glow-giving balm sweeps across the face, eyes, lips, and décolleté, leaving behind a luminous, light-catching finish that looks effortlessly fresh from every angle ($44 each, available at dior.com) (5, 19) Eau de Coton & Eau de Popeline Eaux de Toilette GUERLAIN In Guerlain’s Les Eaux collection, the fragrances wear like your favorite fabric. Each scent pairs ingredients with elegance and unfolds in subtle layers, inspired by the eponymous textiles draping the body ($250 each, available at guerlain.com) 62

(2, 11) Prisma Flash Lip Balm ARMANI BEAUTY

(3, 9) Fix MicroWand & TRINITY+ Microcurrent Devices NUFACE

(4, 14, 21, 24) Absolue Longevity MD Collection LANCÔME

Consider this your five-minute facial. NuFACE’s sleek microcurrent devices visibly lift, sculpt, smooth, and depuff while defining brows, eyes, and lips. You’ll get the kind of results usually reserved for a facial appointment

Powered by Mitopure®, Lancôme’s latest innovations are designed to anticipate, intercept, and visibly reset the effects of aging before they settle in. Effective skincare doesn’t wait for the signs of aging; it gets there first

($195 & $495 bundle, available at sephora.com)

($155, $155, $155 & $175, available at lancome-usa.com)

(7) Neroli & Basil Deodorant SALT & STONE

(8) Dior Backstage Airflash Mist DIOR MAKEUP

A stroll through the Palais Royal lives inside of Solférino’s Thé au Palais Royal, blending airy oolong tea with lush ambrette. It captures the romance of an iconic Paris garden in every spritz

Your everyday essential just got an upgrade. Salt & Stone’s aluminum-free deodorant pairs odor protection with prebiotics, niacinamide, and seaweed extracts that keep the skin cared for long after application

Think of it as the final—and most important— step. Dior’s featherlight setting spray locks makeup in place while hydrating skin with hyaluronic acid, keeping your face looking fresh for a long night out

($330, available at bloomingdales.com)

($20, available at revolve.com)

($39, available at dior.com)

Part lip balm, part statement lip, Armani’s Prisma Flash wraps lips in buttery hydration, a pearlescent sheen, and rich color that stays put, proving that comfort and high-impact payoff can coexist beautifully ($38 each, available at giorgioarmanibeauty-usa.com) (6) No. 3 Thé au Palais Royal Eau de Parfum SOLFÉRINO

Set Design Lana Boy (Art Department)

Prop Stylist Lucas Godlewski

V Beauty

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(10) Magnesium Bioavailable L-Threonate Triple Blend Capsules ARRAE A little calm goes a long way according to Arrae, whose thoughtfully formulated magnesium blend helps ease stress, supports better sleep, relieves tension, and restores balance, making everyday wellness feel refreshingly uncomplicated

(13, 22) Skinny Scrunchies, Set of 4 SLIP®

(16) Debloat Daily Digestive Gummies LEMME

These covetable hair scrunchies help minimize hair creases and reduce breakage, utilizing the same silk as their signature, award-winning Slip® Pure Silk Pillowcase

Lemme’s daily gummies combine clinically studied probiotics and prebiotic fiber to help ease bloating, support digestion, and keep your microbiome working at its best as you go on with your day

($37, available at revolve.com)

($45, available at revolve.com)

($30, available at revolve.com)

(18) Glow-Refresh Basil Cleanser DOLCE&GABBANA BEAUTY

(20) Large Brush No. 4 LA BONNE BROSSE

(23) Gua Sha SACHEU

Every good glow should start with a clean slate. Enter Dolce&Gabbana’s basil-infused cleanser, which melts away makeup and the day itself, leaving skin soft and hydrated without ever feeling stripped

A good hair day starts at the scalp. La Bonne Brosse’s Miracle brush massages, exfoliates, and detangles in one satisfying ritual, encouraging healthier-looking strands while turning an everyday routine into a moment of self-care

Equal parts beauty tool and daily ritual, Sacheu’s stainless steel gua sha cools on contact while encouraging lymphatic drainage and subtly sculpting the face with every effortless stroke

($52, available at dolcegabbana.com)

($198, available at revolve.com)

(17) Aire Sutileza Elixir Eau de Parfum LOEWE PERFUMES As bright citrus gives way to blooming florals before settling into soft woods and musks, LOEWE Aire Sutileza Elixir feels equal parts airy and grounded for the season ahead ($305, available at perfumesloewe.com)

($32, available at revolve.com)

An incandescent creative force, Athena Calderone has custom-built a life of style Photography LUIGI & IANGO Fashion ARUT ARUSTAMYAN Interview VICTOR CALDERONE

VICTOR CALDERONE: How have you seen yourself change since you moved to the city? ATHENA CALDERONE: I kept trying many different versions of Athena. I immersed myself in method acting. I was in therapy for the first time. We were very fortunate in that we had the wherewithal to invest in real estate young. We got married in ‘99 and before that, we bought an apartment in Dumbo together. Our best friend from the club was John Rawlins, an interior and architectural designer with an encyclopedic knowledge of design. He helped us design our home, and encouraged me to explore interior design. Victor and I bought and sold multiple apartments in the span of four or five years. Each one I would design with John. I enrolled in Parsons and started taking interior design classes. Around this time, Victor’s career took off. He was working with Madonna on the Ray of Light album, and we were thrust into this world of Madonna and Sting and Dolce & Gabbana. At the same time, I was figuring out who I was. People would ask what do you do, and I didn’t have that answer. It was debilitating. We were around Madonna for a few years in very intimate settings: she used to say to Victor, she’s so great, she’s so pretty, but why doesn’t she speak? I hadn’t found confidence in who I was and what I was meant to offer the world, and that made me get small. I didn’t want to be small. Neither one of us came from a family that traveled and we didn’t grow up with affluence or 64

culture, so when Vic’s career took off in 1997, he was getting all these DJ shows and opportunities– we were seeing the world together, discovering wine, food, flavors, and architecture. I was so alive with curiosity and soaking everything in. I got pregnant in 2002 and stopped studying acting. I threw myself into family life and homemaking. I know that sounds archaic, but I was struggling in the acting world. I put a lot of pressure on myself, I didn’t feel I was succeeding. When I got pregnant, I thought I was putting me on hold, but what I didn’t realize is that the home and my family life would eventually be what gave me that sense of self. It led me to me being a mom, cooking a meal, setting the table. It was all of my senses coming alive. The home became

this incubator for me to express myself. At the same time, I was going to Parsons, and I started interning at an interior design firm, even when my son was young. So many people think design is new for me. I always say they happened simultaneously. My first book was my cookbook that won a James Beard Award, and that became my focus for my mid-30s. Now I’m more focused on design. Being a mom gave me so much connectivity to myself and my family. It pushed me–I used to get in my own way and let fear stop me.

HEAD TO VMAGAZINE.COM FOR THE FULL STORY

Athena wears gabardine wool blazer and trousers DOLCE&GABBANA Sixteen Stone necklace in platinum and yellow gold with diamonds TIFFANY & CO.

Makeup Georgi Sandev (Forward Artists) Hair Mari Watase (87 Artists) using Oribe Manicure Leanne Woodley (See Management) using CND Fashion Market Editor Copelyn Bengel Styling Assistant Gabby Buchan Photo Assistant Francisco Betancourt Production Louis Guillemain (2b Management) Cinematographer Santiago Montes

When Athena Calderone arrived in New York City from her native Long Island in 1995, she shaved her head, pierced her septum, and rimmed her eyes in smoky black. She was determined to leave her small town behind and discover what shape she wanted her life to take. That desire took her to nightlife, where she started as a bartender and met creative people–artists, designers, drag queens, and more–for the first time. She wanted to take everything in–she remembers the first time she ate sushi, when she started going to galleries and museums. Now she knows who she is, and her curiosities are always evolving and changing, the way she herself has. Athena’s roots in design and food began in the late ‘90s and early 2000s. They’ve resulted in a multitude of successes, including but not limited to founding her lifestyle brand EyeSwoon, a recent Architectural Digest cover, her own furniture collection, and a James Beard Award for her 2017 cookbook Cook Beautiful. She also walked the Gucci Cruise 2027 show and will soon appear in the upcoming David Weil film Tyrant alongside Charlize Theron. “I needed to experiment and follow so many crumbs of life,” she says. “I think some of the success is coming because I’ve done the work.” Here, the multihyphenate discusses her artistic development, the influence of nightlife, and her paths to self-expression with her husband, lauded DJ Victor Calderone. ELYSSA GOODMAN

Silk jacket GUCCI 65

CRAFTING Every unforgettable story begins on paper before it comes to life. From the world of Dune to the high-stakes suspense of Lucky, Anya Taylor-Joy is turning the page to a bold new chapter. Dressed in bespoke paper creations by fashion’s latest visionaries, the actor reminds us that the most compelling narratives are crafted with equal parts imagination and style Photography NICK KNIGHT Fashion ANNA TREVELYAN Interview MILEY CYRUS

Anya Taylor-Joy wears crinoline corset dress with draped tracing paper MATTHEW DAVID ANDREWS Wire and wire powder mesh adorned hat with tracing paper embellishments JENNY BEATTIE Sixteen Stone earrings in platinum & yellow gold with diamonds, necklace in platinum & yellow gold with diamonds, Bird on a Rock ring in platinum & gold with diamonds TIFFANY & CO. Jennifer Marina Joy-Morancho uses Meisterstück Gold-Coated LeGrand Fountain Pen MONTBLANC

he nature of paper is that it’s always in a state of becoming: a story, a journal, a script, and now, a dress. Few know this better than Anya Taylor-Joy, whose own love of the written word has inspired a monumental creative collaboration between V, photographer Nick Knight, stylist Anna Trevelyan, a coterie of designers, and Montblanc, known for their own dedication to the life of a page. For the September issue of V, the likes of Matthew David Andrews, Noel Stewart, Jenny Beattie, AGRO Studio, Macy Grimshaw, Thevxlley, Gaurav Gupta, Miguel Castro Freitas for Mugler, and Zac Posen for GapStudio produced original dresses made entirely of paper for Taylor-Joy to wear. In a world that’s increasingly so digital, there’s ever more beauty in the tactile. This collaboration becomes a love letter to fashion,

punctuated with the words “I love you my angel,” written by Taylor-Joy’s own mother in Montblanc’s Meisterstück pen when she visited the set of the photoshoot. No matter the folds and creases of life, Taylor-Joy has come to see the world through pages of her own, whether as a longtime keeper of journals; an avid reader; on scripts she helps bring to life as an actor in films like Dune ’s third installment, arriving later this year; or as a producer, on series like Lucky and movies like Sacrifice. As she continues writing the chapters of her life, Anya Taylor-Joy spoke to dear friend Miley Cyrus for V about building a character, escaping the pressures of fame, managing expectations, and finding the beauty in one’s imperfections. ELYSSA GOODMAN

This spread Crinoline corset dress with draped tracing paper MATTHEW DAVID ANDREWS Sixteen Stone earrings in platinum & yellow gold with diamonds, necklace in platinum & yellow gold with diamonds, Bird on a Rock ring in platinum & gold with diamonds TIFFANY & CO. Miss Z mesh pump CHRISTIAN LOUBOUTIN

This spread Custom gown constructed from engineered paper panels layered over a tulle base GAURAV GUPTA COUTURE Bird on a Rock drop earrings and wide ring in platinum with diamonds TIFFANY & CO. Cassia lace-up pump CHRISTIAN LOUBOUTIN

This spread Custom coat, skirt, pumps MUGLER HardWear large link earrings in yellow gold TIFFANY & CO. On Skin DIOR MAKEUP Dior Forever Skin Veil, Dior Forever Skin Glow in #0N, Dior Forever On Set Powder in #01 Fair On Eyes DIOR MAKEUP Diorshow Overvolume Mascara On Lips DIOR MAKEUP Dior Addict Lip Glow Oil in #077 Rosy Candy

Jacket constructed from crinoline & tracing paper and skirt constructed of tracing paper AGRO STUDIOS HardWear large link earrings and knot ring in yellow gold with diamonds TIFFANY & CO.

Paper suit jacket THEVXLLEY HardWear large link earrings in yellow gold and knot double row ring in yellow gold with diamonds TIFFANY & CO. A message to Anya from her mother, Jennifer Marina Joy-Morancho, using Meisterstück Gold-Coated LeGrand Fountain Pen MONTBLANC

Custom piece constructed of tracing paper MACY GRIMSHAW Suede stiletto pump ELISABETTA FRANCHI Sixteen Stone narrow earrings and knot double row ring TIFFANY & CO.

MILEY CYRUS: I LOVE THAT YOU JOURNAL. HAS WRITING ALWAYS BEEN YOUR WAY OF MAKING SENSE OF YOUR EMOTIONS AND EVERYTHING GOING ON IN YOUR HEAD? ANYA TAYLOR-JOY: ABSOLUTELY. IT STARTED FIRST WITH WANTING TO REMEMBER MY DREAMS. I’VE ALWAYS HAD AN ACTIVE DREAM LIFE–SOMETIMES IT FEELS MORE REAL THAN THIS ONE! WRITING IS SUCH A SANCTUARY.

MILEY CYRUS: What is it that makes you fall in love with a character? ANYA TAYLOR-JOY: It feels like less of a choice, more of an instinct. My body figures it out before I do–I start sitting differently, speaking the words aloud in a new voice. I believe every character has things to teach you. MC: Does music matter to you in movies? Can a score totally make or break a film for you? ATJ: Absolutely. I LOVE film scores and soundtracks. I make my own playlists for jobs but the few times I’ve been given a theme for a character whilst shooting, it totally changes the game. MC: What was it about Lucky that made you go, “I have to do this”? ATJ: At first, the opportunity to fully produce it alongside such impressive collaborators was hugely appealing but I didn’t want to jump in unless I felt I had something to add. Luckily, reading the book, I immediately saw the texture of the world. Through the empathy I felt for her, I knew this was material I could sink my teeth into and expand. MC: You executive produced Lucky and Sacrifice. What made you want to get more involved from the ground up? Was it fun exercising both sides of your brain? I always think of it as the head and the heart…the boss side and the creative side. ATJ: Exactly. It honestly felt like something I had always been doing, it just now had a job title. I’ve never been able to not think of the project as a whole–I’m obsessed with how something moves, feels, sounds. It’s all storytelling. As a producer, you get to help design the world your character lives in. I’m in love with all aspects of filmmaking so to have the ability to play in all the different sandboxes is a thrill. MC: When you step back into a world like Dune, how do you keep it fun for yourself? I imagine there’s so much pressure on a film that big, and I know you love to have a good time, so how do you make sure you don’t lose that? ATJ: I’ve never let that be a concern. Of course I hope fans will be happy with the end result, but I never forget that I myself am a fan. Of the world,

the filmmaker, the character. I approach every job the same way: with complete commitment to the present, an open heart, and wild curiosity. It’s all an adventure! MC: I know travel is such a huge part of your life, and unlike me, you actually love being away from home. What’s one of your favorite places you’ve ever been? And what’s the one thing you always pack besides your hot husband? ATJ: Ooooh, I loved trekking with gorillas in Rwanda. Africa in general is extraordinary. Japan is exquisite. On Dune I did a couple of side quests to Austria and South Korea. My blessing and my curse is I always travel with an insane amount of books. Nearly a full suitcase. Wish I could get behind a Kindle, but nothing beats holding a physical copy in your hand. MC: Dune has one of those fan bases that’s so passionate. Do you ever think about expectations? And whose opinion matters most to you? Is there someone in your life you’re still secretly trying to impress? ATJ: Oh wow. That cuts deep. I think I’m still trying to impress myself? I have absurdly high standards that can be exhausting at times. Not so much for other people but personally. I care so much about the creation that I want to make sure I’ve given it my best. Growing up has meant I’ve learned that sometimes perfection is in letting go. MC: Fame is part of the job, and it exposes parts of our lives that have nothing to do with the work. How have you learned to protect the parts of yourself that are just yours? ATJ: If anything, I think I’ve protected myself too much. It took me a minute to not feel hunted, to not want to hide. I’ve learned to take things less seriously by choosing which opinions actually matter to me and which are based on very little information at all. MC: What else outside of acting has been inspiring you lately? What are you finding yourself wanting to make outside of film? ATJ: Travel! Music. Older films. Nature. Clothessss. MC: I love that you journal. Has writing always been your way of making sense of your emotions and everything going on in your head?

ATJ: Absolutely. It started first with wanting to remember my dreams. I’ve always had an active dream life–sometimes it feels more real than this one! Writing is such a sanctuary. Even if you don’t see the value in what you’re writing in the moment, with time you’ll notice little clues. Oscar Wilde wrote, “I never travel without my diary. One should always have something sensational to read on the train.” MC: What’s one of your favorite looks you’ve ever worn? Mine is obviously the Bob Mackie you wore at my Hollywood Walk of Fame ceremony. You looked so gorg. ATJ: Thanks, angel. Any time I’ve worn Bob it’s been special. I wore a butter yellow Dior Haute Couture gown to my first Emmys with a low, low back and a huge canary yellow train. That one came in a dream and to see it come to life so beautifully was magic. MC: You have such a unique look. Did you ever have an awkward phase, or a time where you felt unsure in your own skin? ATJ: Oh yes, haha. I still do! I think that’s one of the lessons of life; we spend so much time analysing and trying to force our physical bodies to comply to whatever the current beauty standard is that we forget to enjoy its very existence. Whilst it still creeps up, I’m done with that. I’m way too grateful for the wonders it allows me to experience and the beauty it helps me produce. It’s my vehicle for fun :) MC: When you think about everything that’s still ahead, what genuinely excites you the most that we wouldn’t expect? ATJ: Expanding my unjaded heart. Getting sillier. Feeling everything. And stretching beyond my imagination. MC: What’s your favorite animal of all time? ATJ: Hardddd. It’s a toss up between a snow leopard, a hummingbird, and a killer whale. MC: Tell me a secret. I love you. ATJ: (I love you too)

Paper suit and hat THEVXLLEY Tiffany knot drop earrings and knot double row ring in yellow gold with diamonds TIFFANY & CO.

Crinoline corset dress with draped tracing paper MATTHEW DAVID ANDREWS Wire and wire powder mesh adorned hat with tracing paper embellishments JENNY BEATTIE Sixteen Stone earrings in platinum & yellow gold with diamonds, necklace in platinum & yellow gold with diamonds TIFFANY & CO. Jennifer Marina Joy-Morancho uses Meisterstück Gold-Coated LeGrand Fountain Pen MONTBLANC

Geometric paper gown crafted from bonded tissue paper GAPSTUDIO by Zac Posen Custom tracing paper smash headpiece NOEL STEWART Sixteen Stone narrow earrings in platinum & yellow gold with diamonds, ring in platinum & yellow gold with diamonds (left hand), knot double row hinged bangle in yellow gold with diamonds (right hand) TIFFANY & CO.

SHOWStudio Creative Director Calum Knight Makeup Lisa Eldridge (Streeters) using Dior Makeup Hair Sam McKnight (Premier Hair & Makeup) using Hair by Sam McKnight Manicure Chisato Yamamoto (Caren) using Dior Le Baume Set Designer Andrew Tomlinson Seamstress Ellie Grocott Casting Greg Krelenstein (GK-LD) Fashion Market Editor Copelyn Bengel Camera Operator Raquel Couceiro Photo Assistants Lara Sugar Hughes, Gil Warner, Madison Blair, Max Lancaster Digital Technician Joe Colley Fashion Assistants Aleena Klug, Valentina Monterrubio Set Assistant Patrick Dempsey Hair Assistant Valerie Benavides Makeup Assistant Nilofar Mussa SHOWStudio Art Director Michael Gossage Photo Intern Oldnightkid Wang Studio Intern Flora Ritblat

Photography JACK BRIDGLAND Fashion DAVEY SUTTON

“Keep your electric eye on me, babe,” David Bowie sang on the track “Moonage Daydream,” now a classic tune from his foundational 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The album launched a new chapter of Bowie’s career centered on Ziggy Stardust, a red-haired, bisexual alien glam rockstar sent to save Earth from a pending apocalypse. Ziggy’s look instantly became culturally indelible, and remains so even today, just like Bowie’s work. Indeed, this September marks the release of The Shel Talmy Recordings, a new compilation of works Bowie made in 1965 with the famed producer; as well as a UK tour of archival memorabilia from the artist’s collection sponsored by the Victoria & Albert Museum that kicks off this November. Bowie, a longtime friend and collaborator of V, created a style and sonic language that’s endlessly inspirational. This fall, it’s personified by model Letícia Hall, photographed by Jack Bridgland, and styled by Davey Sutton–exciting voices igniting the industry–as they channel Ziggy’s androgyny and avant-garde aesthetic. In flashes of bright red and spirited 1970s insouciance, it’s the embodiment of “I’ll be a rock ‘n’ rollin’ bitch for you,” as Bowie himself would say. We wouldn’t have it any other way.

Suit Letícia wears pinstripe blazer and earrings DOLCE&GABBANA Neck scarf RALPH LAUREN

Jacket, pants, sunglasses SAINT LAURENT by Anthony Vaccarello Panthère de Cartier earrings CARTIER 160mm Aquadorcet Patent Leather Pumps CHRISTIAN LOUBOUTIN

Long coat AMI PARIS Tiffany Knot Earrings in Yellow Gold with Diamonds TIFFANY & CO. For a fiery flush to the face, try MAC COSMETICS Mineralize Baked Powder Blush in Flirting With Danger

Floral jacquard fabric with sequins and crystals GIORGIO ARMANI Tiffany Knot Earrings in Yellow Gold with Diamonds and Knot Double Row Hinged Bangle in Yellow Gold with Diamonds TIFFANY & CO.

Merino wool fitted jumpsuit with Fair Isles jacquard, porte-jarretelle, rubber necklace, rubber bracelets JEAN PAUL GAULTIER

Satin draped top and rainbow drop pink red asymmetric earrings GIVENCHY by Sarah Burton Panthère de Cartier bracelet CARTIER

Pointed shoulder cape, sleeveless knitted vest, flare knit pants LOUIS VUITTON

Knit polo shirt and jersey leggings GUCCI Clash de Cartier earrings and ring CARTIER Ucia linen pump MANOLO BLAHNIK

Model Letícia Hall (IMG) Makeup Terry Barber (David Artists) using MAC Cosmetics Hair Brady Lea (A-Frame Agency) using Hair by Sam McKnight Manicure Jessica Ciesco using Dior Manicure Collection, Le Baume, & Dior Vernis #999 Cinematographer Charlie Blunden (CB Studios) Fashion Market Editor Copelyn Bengel Production Designer Joe Munro (Art Department UK) Digital Technician Tom North Photo Assistant Ryan Hackett Styling Assistant Emilia Zentner Executive Production Aleisha Digby Production Smera Kumar Location Camelford House

Jacket, dress, earrings CHANEL HardWear micro link ring in yellow gold TIFFANY AND CO. Doria Offenbee pump CHRISTIAN LOUBOUTIN

Ten years, one unforgettable muse. As Karlie Kloss celebrates a decade as the face of Carolina Herrera's enduring Good Girl fragrance, she sits down with fellow model-muse Kaia Gerber to reflect on her legacy Photography ROB RUSLING Fashion PATTI WILSON Interview KAIA GERBER 92

Karlie wears cape with rosette, bodysuit, pillbox hat with veil, ball earrings, bow slingback heel CAROLINA HERRERA

Pillbox hat with veil, ball earrings, leather gloves CAROLINA HERRERA 94

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KARLIE KLOSS: FOR 10 YEARS, I’VE BEEN WORKING WITH THIS TEAM, AND THEY’VE BEEN VERY SUPPORTIVE OF OUR WORK BECAUSE IT TIES INTO WOMEN SUPPORTING WOMEN. KAIA GERBER: YOU GET TO BE A PART OF THE ACTUAL DNA AND THE MESSAGING. IT BECOMES A GIVE-AND-TAKE RELATIONSHIP. AS I GET OLDER, THAT’S WHAT I’M LOOKING FOR.

In 2016, Karlie Kloss began her journey as the ambassador for Carolina Herrera’s Good Girl fragrance. Now, she celebrates a decade with the iconic fragrance, which has since become among the world’s bestselling scents. Exclusively for V’s cover, Kloss appears in a bodysuit, cape, and hat custom designed by Carolina Herrera Global Creative Director Wes Gordon. The ensemble was also inspired in part by a Robert Mapplethorpe photograph of Carolina Herrera and the designer’s own glamour–“those extraordinary volumes, dramatic collars, hats, and the confidence with which she wore them,” Gordon says–and by Kloss herself. “Karlie has this incredible ability to create a fashion image through movement. The cape was designed to be in constant dialogue with her movement. It doesn’t have one fixed silhouette… it changes as she walks, turns, and shifts,” Gordon says. “[Karlie] understands the language of Herrera instinctively, bringing elegance and a modern sense of glamour to everything she does. There’s a confidence and clarity to the way she wears clothes that always feels authentic.” In addition to her work as the face of Good Girl over the last 10 years, Kloss has continued to carve a path for herself–not just as a model but as a philanthropist, a women’s health advocate, a business owner, and more. In the midst of her own extensive career in fashion, Kloss is excited to be in a moment where she can be fully herself, embrace the work that moves her, and provide a platform for others to do the same. For V, Karlie Kloss chats with Kaia Gerber–the two have known each other since Gerber was a teenager. In that time, they have developed a working relationship as well as a connection as sisters of a chosen family. Here, they talk about Good Girl, modeling, coding, creativity, and the multifaceted nature of being a woman. ELYSSA GOODMAN KAIA GERBER: You’ve been the face of Good Girl for 10 years. In this industry, it’s no small feat to have a relationship with a brand like that, while continuing to evolve as a person. How has your relationship to that role changed over the last decade? KARLIE KLOSS: It’s been a privilege to be the face of Good Girl for over a decade. I’m so proud of the success of this brand, of this fragrance. To me, it has represented more than selling a product–the message and story behind it has always been so key to it and why it’s successful. It’s personal to me because it embodies the many facets of being a woman, this idea of the Good Girl with so

many other dimensions. I am not one job title, don’t size me up or judge me for one thing. There’s so many more parts of who I am, and that’s the case for all of us. Men as well. This has been part of why I have connected to it so deeply. Also the house: my first show I ever opened was for Carolina Herrera. I met her very early in my career, I was barely 15. You first walked Calvin for your first show, right? KG: Yeah. KK: Okay, same. KG: That was your first show too, right? KK: That was my very first show. The next season, the first show I walked and opened was Carolina Herrera. She was this extraordinarily chic, elegant woman. Female-run houses are rare, strangely, in an industry that predominantly caters to women. I always loved clothes that were made for and by women. What a force she is! So much of what she stands for comes through in her designs and her house. Now, Wes Gordon has taken over the helm and is doing a phenomenal job continuing that legacy. So much of who she is is embodied in this fragrance, and was deeply influential to me. Starting in this industry so young, the people I had the privilege to learn from and grow with, including Carolina, deeply informed my own ideas of role models, careers I could have, and ways I could move through the world. She was such a trailblazer. When I first got the call about doing this fragrance, it was more than 10 years ago, because of how fragrance works. They had been working on it for seven years before they engaged me. It was an incredible labor of love. You know when you’re a part of a project where you feel it has magic around it. It’s the right timing, the right team, the right intentions, and it takes off in a way you can’t imagine. That’s why I’m so proud that this fragrance has been so successful. It’s fun, like you said, to compound those memories. For 10 years, I’ve been working with this team, and they’ve been very supportive of our work with Kode with Klossy because it ties into women supporting women. It supports this idea that we as women don’t have to be one thing. KG: The advice my mom gave me early on was, “date to marry.” When you’re signing these contracts, there can be a pressure to sign everything coming your way. She had these longstanding relationships, and I admired that. You get to be a part of the actual DNA and the messaging. It becomes a give and take relationship. As I get older, that’s what I’m looking for. KK: That’s part of the beauty of collaboration in

our creative industry. When we started as young models, there was an element of, people say jump, I’ll say how high. You have to earn your stripes, put in the work, and do everything you can to learn and grow through all the experiences you can get your hands on. What’s been such an honor is to build confidence through these experiences. You have so much you bring to the table. I know, I see all the work you do as a creative and a collaborator, not just a canvas. KG: The nice thing about this industry is, when I was 16, I didn’t know what I wanted to say or what I had to say. There was an opportunity for me to build relationships. I was building the platform while I was figuring out what I wanted to use it for, and you did a good job of that. Early on in your career, the work often chooses you. You say yes to everything. At a certain point, if you’re lucky, that shifts, and you begin choosing the work instead. When did you first feel that change happen, and what makes something worth saying yes to at this point in your life? KK: It’s funny, it’s hard for me to think exactly when that moment was. When we were on the phone at the beginning of your career, you were in that phase of doing every single show, sleeping probably three hours a night. Because I had been there and saw you going through it, I remember saying to you, enjoy this moment. It will pass, and it will build your character in ways you can’t imagine. Take care of yourself, and enjoy the ride. I always say pressure is a privilege. What a privilege you and I have had to experience so much, so quickly. For me, a big shift was deciding I wanted to go back to school. I was burnt out from running on fumes for so many years. I was around 20, and I was interested in continuing to grow in different dimensions. I wanted to be stimulated and challenged intellectually. The irony is, I went back to school, learned how to code, went back to NYU, and started challenging my mind in different ways. It only led me back to my career in fashion because it reignited this excitement and admiration for this creative field with extraordinary people. I came back to it with so much more energy, appreciation, and excitement around what I could bring to it with a more entrepreneurial lens, investing in ideas or solving problems at the intersection of creativity and technology. Kode with Klossy was born out of this intersection. All this to say, the turning point for me was, “I don’t have to do this. I am so proud and privileged to be able to do this.”

HEAD TO VMAGAZINE.COM FOR THE FULL STORY

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Strapless bustier, embellished Camila pant, pillbox hat with veil, ball earrings, leather gloves, woven rope belt CAROLINA HERRERA 97

Bow sleeve mini dress and pillbox hat with veil CAROLINA HERRERA Stylist’s own tights

"KARLIE HAS THIS INCREDIBLE ABILITY TO CREATE A FASHION IMAGE THROUGH MOVEMENT. THERE’S A CONFIDENCE AND CLARITY TO THE WAY SHE WEARS CLOTHES THAT ALWAYS FEELS AUTHENTIC. " —WES GORDON, CREATIVE DIRECTOR OF CAROLINA HERRERA

Makeup Kabuki (Kabuki Magic) using AUGUSTINUS BADER skincare Hair Akki Shirakawa (Art Partner) using ORIBE Manicure Jin Soon (Home Agency) Fashion Market Editor Gabby Buchan 1st Photo Assistant Daren Thomas Photo Assistant Harry Kong Digital Technician Kilkwang Yoshi Park Director of Editorial Film Mynxii White Styling Assistants Adrian Reyna, Quinn Herbert Hair Assistant Christina Rendall Tailor Cha Cha Zutic Special thanks Macarena Cubino

INSPIRED BY CAROLINA HERRERA’S GOOD GIRL FRAGRANCE, PARIS-BASED CREATIVE STUDIO UNVEIL® DEVELOPED GRAPHICS BASED ON THE ICONIC BOTTLE TO CELEBRATE KARLIE KLOSS’S 10TH ANNIVERSARY AS THE SCENT’S ULTIMATE MUSE.

"I’M SO PROUD OF THE SUCCESS OF THIS BRAND, OF THIS [GOOD GIRL] FRAGRANCE. IT’S PERSONAL TO ME BECAUSE IT EMBODIES THE MANY FACETS OF BEING A WOMAN." —KARLIE KLOSS

T O THE M ANOR BOR N Regal silhouettes celebrate freedom, eccentricity, and brave selfexpression as fall fashion enters its grande dame era, defined by opulence and a flair for the extraordinary Photography ALVARO BEAMUD CORTÉS Fashion GRO CURTIS

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Opposite page Karyna wears Cocoon blazer and skirt in Snake Leather MATIÈRES FÉCALES Pump heels MATIÈRES FÉCALES FOR CHRISTIAN LOUBOUTIN Headpiece TOMMY SOLOVYOV Baptiste wears Vicuña db colbert pitched jacket fl, espresso natural grain calf 5 pocket pants with laces, black shiny stamped croc double t hardware oscar loafer TOM FORD This page Oversized double-breasted cashmere coat GIORGIO ARMANI Maxi Gancini slingback pump FERRAGAMO Stylist’s own headpiece

Silk & lurex dress and suede & goatskin leather pump VALENTINO Stylist's own headpiece

Tulip lurex jacket, linen gauze dress, patent calfskin mary janes, earrings, lambskin & gold-tone metal clutch CHANEL Stylist’s own headpiece Wool coat and pants DRIES VAN NOTEN Black feather mask TOMMY SOLOVYOV X VINCENT PRESSIAT

Puffer jacket, skirt, shorts, socks PRADA Stylist's own headpiece Coat, shirt, pants, hat PRADA

Coat and belt BURBERRY Burgundy rabbit felt hat with handmade embroidery VERONICA MARUCCI CHAPEAUX

Left to right Loose sleeves long coat, knee boot pointed toe high heel, short technical hat LANVIN Stylist’s own belt Tufted silk cashmere block jacket RICK OWENS X JULIA TROFIMOVA Cashmere knit long-sleeve top, leather Crater shorts, leather TacoNaska boots, leather cuffed gloves RICK OWENS Black felt hat with mask embroidery tridimensionnel by Djalel Chib ℅ VERONICA MARUCCI CHAPEAUX

Embroidered long skirt DIOR Earrings GIVENCHY by Sarah Burton Stylist’s own headpiece

Coat, belt, sandals BOTTEGA VENETA Stylist's own headpiece

Models Karyna Maziar (Elite), Baptiste Vicens Vivo (M Management) Makeup Annabelle Petit (Wise & Talented) Hair Mijo Majhen (Interlude Project) Fashion Market Editor Arut Arustamyan / Copelyn Bengel Digital Technician Mitko Frangov Photo Assistants Simone Triacca, Emil Kosuge Styling Assistants Ginevra Pesenti, Liana Sipos Production Sara Murru, Antonio Lonis (Interlude Project) Location Domaine de la Voisine

Coat, hat, gloves, boots GIVENCHY by Sarah Burton

The rising pop provocateur is ready to take on the world’s stage Photography JACK BRIDGLAND Fashion ANNA TREVELYAN Interview RACHEL SENNOTT 112

Adéla wears seamless stretch nylon jersey dress, crystal donna pump, stirrup motif bangle bracelet GUCCI

Crystal dress and donna pump GUCCI 114

Shearling coat, crocodile leather donna pump, paparazzo medium top handle bag GUCCI

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Seamless stretch nylon jersey t-shirt and leggings GUCCI

Fresh from rehearsal, Adéla slides into her car for a chat with Rachel Sennott. Her hair is bright pink and her long nails shine, flashing expressively as she talks. This month, the singer debuts her new album Prima, named by none other than Sennott herself. The two met through Sennott’s boyfriend, Blake Slatkin, who is Prima’s executive producer. As such, Sennott not only saw the album come to life step by step, she and Adéla also became good friends along the way. Viewers of Sennott’s I Love LA will also recognize Adéla’s song “FinallyApologizing” from its soundtrack. For Adéla, the last three years have been a whirlwind of both exposure and self-discovery. Though she made waves on The Debut: Dream Academy, she’s since created an entire universe for herself to traverse. In crafting singles like “KGB,” “Ain’t in LA,” her EP The Provocateur, and now of course Prima, she embraces the powerful, the political, and the personal to tell her own stories. The spotlight is hers alone as she builds a life of pop prominence. In her chat with Sennott for V, Adéla is earnest, ambitious, a person starting her life as a star. They talk about stage presence, touring, and developing an artistic practice as a person in the public eye. ELYSSA GOODMAN RACHEL SENNOTT: It was crazy seeing you open for Demi [Lovato]. I feel like opening for someone is challenging in a way because you’re there when people are still coming in, the lights aren’t all off, it’s a different vibe. I was so impressed with how people know [your] songs that aren’t even out yet, and are drawn in. It’s cool to have that live stage to see what resonates with people. ADÉLA: Oh yeah, it’s so real what you’re saying. Sometimes certain cities I would go off and be like, damn, these people do not know who the fuck I am. It’s quiet. Then by the end of the set or certain songs, I felt even though people don’t know me, it moved them. It’s always nice when what you like connects with people. RS: Totally, yeah. Seeing you on stage, I was like, I know that girl, but also that’s a totally different... you got into performance mode. Do you have a routine? Is there a ritual that gets you into that mode? A: Everybody’s a little bit different. I like to be locked in before a performance. I know there’s some people that like to be super hype. For tour, I did all my own makeup, and I found that helpful because it was a meditative thing. I’m basically myself, but I do find that something happens before I walk on stage where it’s time to turn it on. Then I see the [audience], and I’m like, okay, I got it. This is what I have to do. I understand. It’s a thing that comes over [me], like a Sasha Fierce vibe. Okay, I’m on stage. I’m Adéla, but not Adéla Jergová. RS: Yeah, it’s so funny. I’m the same in terms of quiet before something scary, in a car to an event. All I have to do is stand there, but still, I’m completely different. A: I do the same thing, and it’s so wild because I wish I was one of those people that could be like, yes, let’s go. Sometimes I feel bad because I see other people and they’re so extroverted before these things, but I’m like,

I need to literally be [quiet], and then right before I go on stage, I’m like, whoa! I’ll make a joke, and I’m like, okay, we’re doing it. But same thing with me with events. It’s high pressure, and you want to center yourself. RS: Totally. Yeah. You’ve talked about this in interviews, and I’ve heard you talk about wanting the album to sound like what it feels to be a 22-year-old girl. I’m 30, but I remember how visceral it feels, and all the songs feel visceral. Being that age, there’s so many things happening. It’s my family, where do I live, my relationship. There’s so many layers, and there’s some days you’re like, I’m this bitch. Some days you’re like, I’m different. What does that sound like to you? Were you going for different feelings, or how did you accomplish that? A: When we first started writing this album, I had a moment where I was like, “Oh my God, what do people want to hear from me? Is this even gonna be reciprocated? Is it gonna be received well? What do I do?” Because my first EP was one thing, it was about all this pent-up rage, and it wasn’t truly about me as a person. It was about an experience I had that was very public on a show. I was like, “but it’s time to be myself.” I started to think about all these external factors, and then I talked to Blake about it actually, and he was like, you need to not do this because what makes you special is the fact that you don’t give a fuck what people think and you always do what you want to do. I was like, oh word, that is my job as an artist. I’m sure you can relate. There’s so much pressure. And my EP didn’t go crazy, crazy. But as soon as you feel something you’ve created is loved by anybody, immediately the human reaction for some reason is, with the next thing you make, oh my God, are they gonna like this, too? Now there’s eyes on it. RS: It’s pressure. A: Yeah, and I’m sure writing season two [of I Love LA], you felt maybe more pressure than season one, right? RS: Totally, because then people have their impressions which, by the way, is great–they’re interacting with the art, they love it. Then you see stuff that’s like, if this season doesn’t start this way, or if she doesn’t…if you get caught up in all of that, you’re working from a place of the outside in, instead of the inside out. A: Exactly. That almost fueled me with a “fuck that.” It filled me with a rage, but not in an angry way. It made me want to be completely myself. “KGB” is such a crazy song, but it’s so my personality. It’s exactly about my upbringing, about my story, and it’s like, I can be stupid and make fucking dark jokes about my country’s terrible history and where I’m from, but I can also make a deeper song like “Ain’t in LA.” It’s beautiful and celebrates being from Slovakia and celebrates everybody who’s not from a major city, being like, we can be successful, too. We matter, too. And then I can make songs that are about fucking sex. Sorry, because I like sex! RS: It’s all in a day’s work. A: It’s all in a day’s work.

HEAD TO VMAGAZINE.COM FOR THE FULL STORY

Leather pant, jacket, horsebit earrings GUCCI 117

“I DO FIND THAT SOMETHING HAPPENS BEFORE I WALK ON STAGE WHERE IT’S TIME TO TURN IT ON.” —ADÉLA

Makeup Lilly Keys (A-Frame Agency) using MAC Cosmetics Hair Evanie Frausto (Streeters) using Redken Manicure Natalie Minerva (Forward Artists) using OPI Production Wyatt Whitaker (Someday Studio) Production Manager Bri Plewman Lighting Director Ryan Hackett Fashion Market Editor Copelyn Bengel Set Designer James Rene (Jones Management) Digital Technician Jake Schmidt Cinematographer Will Shaw Styling Assistant Damien Lloyd Hair Assistant Mikel Mitchell Lighting Assistant Jason Cook Production Assistants Drew Despres, Jhovanny Esparza Location Harvard House Motel

Crystal dress and donna pump GUCCI

The burgeoning hippie aesthetic takes flight as free spirits and femininity take fall fashion on a real trip

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Daiane wears faux fur coat and dove earrings SAINT LAURENT by Anthony Vaccarello Millenia necklaces (short) SWAROVSKI Necklace (long) PATRICIA VON MUSULIN

Jaxon wears shearling jacket, long sleeve v-neck knit, denim jeans DOLCE&GABBANA Clustered nuts pendant FRANCALANCI Talent’s own earring

Roama coat in ecru ISABEL MARANT Mid length strappy dress and punk bracelet RABANNE High rise straight denim TOMMY HILFIGER Vintage necklace MISSONI ℅ THE ARCHIVE x YANA Vintage bracelets THE ARCHIVE x YANA

Long belted coat, cargo baggy trousers, oxford shoes AMI PARIS Single-breasted tailored jacket, Lavalliere western shirt, slim trousers, Azelan in shiny calfskin in sooty brown, tulip necklace in brass in vintage gold CHLOÉ Faun hoops MISHO Vintage rings THE ARCHIVE x YANA

AMI

Mohair vest BRUNELLO CUCINELLI Relaxed shirt and high rise straight denim TOMMY HILFIGER Serpent belt KIESELSTEIN-CORD Necklaces MISSONI ℅ THE ARCHIVE x YANA Right arm (top to bottom) Extra large organic oval bangle DINOSAUR DESIGNS Seamaster Aqua Terra 30mm OMEGA Crescent cuff MISHO Walnut chain bracelet FRANCALANCI Shearling jacket in dark yellow LOEWE Denim jeans GUESS Shoes GIANVITO ROSSI

Dress with floral jacquard fabric with sequins & crystals GIORGIO ARMANI Petrea earrings and Pavana bracelet MONIES Amber choker VERSACE ℅ THE ARCHIVE x YANA Gold layered chain necklace DSQUARED2 ℅ THE ARCHIVE x YANA Pistachios necklace and walnut chain bracelet FRANCALANCI

Shearling coat BURBERRY Necklace and wooden bracelets PATRICIA VON MUSULIN Nature cuff BOHÈME by VÉRO Boots IRO

Mini embellished show dress AMIRI Motor boot BALENCIAGA Walnut earrings, pistachios necklace, walnut bracelet (left arm), pistachio bracelet (right arm) FRANCALANCI 18k gold plated choker LARUICCI Textured bracelet (left arm) and wooden bracelet (right arm) PATRICIA VON MUSULIN Vintage zebra bangle DIOR ℅ THE ARCHIVE x YANA For a look that’s all peace, love, and pigment, try MAC COSMETICS Multisculpt Matte Liquid Eyeshadow And All-Over Colour in Pinot Noir

Models Daiane Sodré (The Lions), Jaxon Rose (Wilhelmina) Cinematographer Jake Frank Makeup Lilly Keys (A-Frame Agency) using MAC Cosmetics Hair Teddy Charles (Nevermind Agency) Manicurist Rachel Sun (OPUS Beauty) using Aprés Fashion Market Editor Copelyn Bengel Photo Assistants Carla Frias, Juan Zarazua Styling Assistant Damien Lloyd Makeup Assistant Susan Zeytuntsyan Hair Assistant Kristen Barbagallo Production Danielle Gruberger Production Assistant Mylo Gosch Location Apex Studios

Who knew fall fashion could be this hot? When in doubt, make it sexy and lean into skin with lace, cutouts, and sheer textures that emphasize sultry silhouettes Photography DANIEL ARCHER Fashion GRO CURTIS

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Balat wears crystal embellished dress, soft-cup satin bralette with lace detailing, high-waisted lace briefs, pumps DOLCE&GABBANA Valery wears lace embroidered dress, socks, pumps DOLCE&GABBANA Svetlana wears macramé lace dress, cotton ribbed socks, Phantom sandal FENDI

Tops, shorts, socks, shoes PRADA

Dress GIVENCHY by Sarah Burton Grain de café ring CARTIER

Dress and shoes RALPH LAUREN COLLECTION

Dress and slingbacks CHANEL

Sweater, midi skirt DIOR Bracelet CARTIER Stylist’s own shoes and socks

Bodysuit, skirt, dove earrings, tights SAINT LAURENT by Anthony Vaccarello Raquel D’Orsay reptile-print pump GIUSEPPE ZANOTTI Bustier gown, jacket, stole GIORGIO ARMANI Stylist’s own shoes

Cut-out 90’s rib body in cotton and satin long skirt COURRÈGES Draped strapless gown with sculptural volume and an asymmetric front opening JIL SANDER Lace-Trimmed Gathered Cut-Out Long Dress in Iconic Organic Silk Georgette CHLO CHLOÉ É

Jacket and dress MIU MIU Stylist’s own shoes

Models Valery Flos (Supreme Management), Svetlana Lethelier (Tomorrow is Another Day), Balat Pal (Fusion Models) Makeup Lauren Reynolds (Bryant Artists) Hair Stelios Chondros (Julian Watson Agency) using Hair by Sam McKnight Manicure Maggie Donovan using The GelBottle & Aprés Casting Shaun Beyen Executive Producer Giorgio Tsintoukidis Lighting Director Ross Zillwood Fashion Market Editor Copelyn Bengel Set Designer Tina Hausmann Digital Operator Maximilian Mouson Cinematographer Evan Maragkoudakis (10AM) Production Manager Katie Bella Holmes Production Coordinator Johanna Leissner Photo Assistant Luca Schnell Styling Assistant Gianluigi Porcu Hair Assistant Florian Dovillez Makeup Assistant Marvin Glissmann Production Assistant Kalle Wiehn Set Design Assistant Robert Hausmann

The Sweet Life The perfect recipe for a sparkling indulgence? Piaget’s latest Cocktail ring collection, where diamonds, emeralds, sapphires, amethysts, and more come together in dazzling creations designed to be savored Photography ADRIEN TOUBIANA Fashion RÚBEN DE MELO MOREIRA

Nyachuol wears Possession Decor Palace Rainbow ring, cocktail “Basily Dream” ring, Possession open bangle bracelet with carnelian, Possession open bangle bracelet with turquoise, Joyful Sharing Altiplano watch PIAGET 138

La Jonquille: Strawberry mousse, blackcurrant-violet flower center and Breton shortbread with toasted almonds WONDERLAND PÂTISSERIE By Rodolphe Groizard

Sunlight Decor Palace earrings, cocktail “Lychee Twist” ring, Possession Vibrant Palace ring, Possession Vibrant Decor Palace ring (left hand), cocktail “Minty Zest” ring (right hand) PIAGET Coat BURBERRY Hat and scarf ROMAIN KREMER

La crème de la crème! Le Dahlia: Calamansi center, an orange and carrot mousse, a lime ganache, all set on a carrot cake base coated in chocolate WONDERLAND PÂTISSERIE By Rodolphe Groizard

C’est du gâteau! Le Lotus: Passion fruit center and passion fruit mousse, complemented by pieces of caramelized pecans in a rich 70% dark chocolate cream, resting on a chocolate Breton biscuit with pecans WONDERLAND PÂTISSERIE By Rodolphe Groizard

Bela wears Cocktail “Basily Dream” ring, “Violet on the Rocks” ring (left hand), Possession decor palace rainbow ring, “Secret Blue” ring (right hand) PIAGET

Cocktail “Frosted Azur” ring and “Secret Blue” ring PIAGET Jacket and hat ROMAIN KREMER

Être pompette!

This page Cocktail “Sparkling Yuzu” ring, Possession Vibrant Palace ring, Possession Vibrant Decor Palace ring, Possession ring (right hand), cocktail “Basily Dream” ring, “Violet on the Rocks” ring, Possession open bangle bracelet with carnelian(left hand) PIAGET Leopard-print long coat AMI PARIS Top and hat MARCO Opposite page, left to right Sunlight Decor Palace Earrings, Cocktail “Secret Blue” ring, “Frosted Azur” ring, Possession open bangle bracelet with turquoise PIAGET Faux fur coat EMPORIO ARMANI Possession Vibrant Palace stud earrings, Cocktail “Sparkling Yuzu” ring, “Minty Zest” ring, Possession open bangle bracelet with carnelian PIAGET Faux fur coat EMPORIO ARMANI

Doux au toucher! La Rose: Mandarin center, pear mousse, rose whipped cream, and Breton biscuit with toasted almonds WONDERLAND PÂTISSERIE By Rodolphe Groizard

Models Bela Morelli (NEXT), Nyachuol Kuon (Select Models) Makeup Ugly Roscino Hair Yuri Napolitano (Interlude Project) Manicure Magda S. using Byredo hand cream Pâtisseries Wonderland Pâtisserie, Chef Rodolphe Groizard Casting Ikki Casting Fashion Market Editor Copelyn Bengel Production Sara Murru (Interlude Project) Digital Operator Marie-Amélie Martin (Dope) Set Designers Alina Prokopenko (Apris), Victor Komskii (CENTÁ) Photo Assistant Marine Grandpierre Set Design Assistant Emilia Bieniek Pâtisseries Assistant Samia Ourti (Wonderland Pâtisserie Manager) Location Studio Zero

Le cerise sur le gâteau! L’Armelle: Chocolate pearl enclosing passion fruit caramel, chocolatefilled macaron, passion fruit and caramelized apple center, apple mousse, almond ganache, and almond dacquoise sponge WONDERLAND PÂTISSERIE By Rodolphe Groizard

The Jonquille Recipe by Chef Rodolphe Groizard of Wonderland Pâtisserie, Paris Blackcurrant Insert

Ingredients - 100g blackcurrant purée - 5g candied violet petals - 1 sheet gelatin Method Place the blackcurrant purée in the Thermomix and heat at 50°C, Speed 3. Add the gelatin sheet, previously softened in cold water, followed by the candied violet petals. Blend at Speed 8 until the mixture is smooth and homogeneous. Pour the mixture into 4 cm diameter silicone moulds. Freeze until completely set.

Strawberry Mousse

Ingredients - 150g heavy cream (35% fat) - 200g Mara des Bois strawberries - 2½ gelatin sheets - 40g egg whites - 60g caster sugar - 6g water (10% of the sugar weight) Method Whip the heavy cream until it reaches a soft, whipped consistency. Transfer to a large mixing bowl and set aside. Whip the egg whites to soft peaks. Meanwhile, cook the sugar with the water to 118°C. Gradually pour the cooked sugar over the whipping egg whites and continue whisking until the Italian meringue has cooled completely. Place one quarter of the strawberries in the Thermomix and heat to 50°C. Add the gelatin sheets, previously softened in cold water and drained. Blend for a few seconds at Speed 10, then add the remaining strawberries and blend again until smooth. Gently fold the strawberry purée into the whipped cream. Then carefully fold in the Italian meringue using a rubber spatula until the mixture is smooth and evenly combined. Pipe or pour the mousse into 6 cm silicone moulds, then insert a frozen Blackcurrant Insert into the centre of each mould. Freeze for 24 hours before unmoulding.

Coating

Ingredients - 100g white chocolate - 15g grapeseed oil - 10g cocoa butter - Natural food colouring Method Melt all the ingredients together to 40°C, then blend until the mixture is smooth and homogeneous. Unmould the frozen spheres and dip each one into the coating using toothpicks. Allow any excess coating to drain off, then refrigerate until ready to use.

Toasted Almond Breton Shortbread

Ingredients - 60g butter - 60g icing sugar - 1 egg yolk - 1 pinch of Guérande fleur de sel - 4g baking powder - 95g plain flour - 50g toasted chopped almonds Method Using a stand mixer fitted with the paddle attachment, cream together the butter, icing sugar, and egg yolk until the mixture is smooth. Add the Guérande fleur de sel, baking powder, flour, and toasted chopped almonds, then mix just until a homogeneous dough forms. Transfer the dough into silicone moulds and bake at 140°C for 35 minutes. Assembly Using melted chocolate as an adhesive, attach each frozen sphere to a Toasted Almond Breton Shortbread base. Create the desired decoration using modelling chocolate or fondant (sugar paste), according to your design. Keep refrigerated until serving. And then bon appétit!

Meisterstück gold-coated classique rollerball MONTBLANC

Be the author of your own story and punctuate your life with the proper tools from Montblanc. Wherever the next chapter takes you, you’ll be ready Photography COREY OLSEN 144

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Envelope backpack in suede & leather and Meisterstück gold-coated classique rollerball MONTBLANC

Writing traveler briefcase in corteccia sfumato leather, Meisterstück gold-coated rollerball pen, fountain pen, ballpoint pen, 1858 automatic date 0 oxygen watch, brick red small notebook, heritage Rouge et Noir “Baby” special edition black rollerball pen, black medium notebook MONTBLANC

Set Designer Jill Nicholls Fashion Market Editor Gabby Buchan Photo Assistant Duncan Mellor Set Design Assistant Jim Connors Production Coordinator Thomas McCaffery, Hailee Hammond Production Assistant Juliet Lloyd Director of Editorial Film Mynxii White Location AgX Brooklyn

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Writing traveler handbag in corteccia sfumato leather and Meisterstück gold-coated classique fountain pen MONTBLANC 147

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The cosmos called—it has notes on your fall wardrobe. Inspired by Pandora’s new Talisman collection, each zodiac sign receives its own celestial style forecast, proving that this season’s best looks are already written in the stars

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Slug Nicoletta wears v-neck bustier GIORGIO ARMANI Wool toque NOEL STEWART Ombre tulle gloves THOMASINE Anchor chain necklace PANDORA Right arm Small-link chain bracelets, Talisman Virgo zodiac oversized medallion charm, Talisman Pisces zodiac oversized medallion charm PANDORA Left arm ME small-link chain necklace (worn on wrist), Talisman Gemini zodiac medallion charm, Sagittarius zodiac oversized medallion charm PANDORA

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High-neck puff sleeves ruffled mini dress CHLOÉ Essential wide black gloves HANDSOME STOLKHOLM Hat LE MAUVAIS GARCONS Right arm Talisman sun & moon reversible medallion ring, pegasus reversible medallion ring, gemini zodiac oversized medallion charm, ME small-link chain necklace (worn on wrist), elongated link chain necklace (worn on wrist), ME link chain Y-necklace (worn on wrist) PANDORA Left arm Talisman rose reversible medallion ring, two-tone link chain necklace (worn on wrist), ME metal bead & link chain bracelet, sun & moon oversized medallion charm, Taurus zodiac oversized medallion charm, Aries zodiac medallion charm, Capricorn zodiac medallion charm PANDORA

Models Nicoletta Abrantes (Select), Johannelys Garcia (Premium Models) Makeup Marie Dufresne (Capsule Agence) using YSL Beauty Hair Gor Duryan (Agence Saint Germain) using Kevin Murphy Manicure Romane Martini (The Wall Group) Fashion Market Editor Gabby Buchan Set Design Gaston Portejoie Production Valentina Gentilin (Canvas Represents) Styling Assistant Jaime Butel 150

Slug Johannelys wears stola coat BALENCIAGA Tête à Tête veiled pillbox hat from RELIK Charm hoop earrings, small link chain necklace (worn as earring), Talisman sun & moon reversible medallion ring, Talisman rose reversible medallion ring, anchor chain necklace (worn on wrist), Talisman scorpio zodiac oversized medallion PANDORA

September isn’t just another month—it’s fashion’s true New Year, where fresh chapters begin while wardrobes get the rewrite. Right on cue, Virgos and Libras celebrate another trip around the sun as this issue arrives, forecasting the pieces poised to dominate the season ahead. Will a sculptural hat become your new signature? Or is charm-heavy jewelry destined to punctuate every look? Consider this your celestial market edit, with the style gods already in alignment.

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Photography SAMUEL BRISTOW

Forget your go-to little black bag—this fall, Anthony Vaccarello is making a case for gold. With Saint Laurent’s Fall 2026 handbag lineup, the Cassandre Martelé clutch emerges as the season’s ultimate after-dark statement. Its hammered metallic finish and charm-adorned chain strap channel the opulent jewelry that defined the early collections of Mr. Yves Saint Laurent—who once famously declared that “[gold] is today’s black.” As you embrace radiance over restraint this season, be reminded that “an evening should glow; otherwise it’s a bit absurd,” as Mr. Saint Laurent put it. To be at your most luminous for fall, go bold, decadent, and be impossible to overlook. 152

Bag SAINT LAURENT by Anthony Vaccarello Cassandre Martelé Clutch ($5,200, available at ysl.com)

Fashion Market Editor Copelyn Bengel Prop Styling Laura Woolf Photo Assistant Etienne Pelissier Production WiB Agenc

Enter your golden era this fall with Saint Laurent’s Cassandre Martelé clutch

V162: READ IT & DREAM