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M AY B E SH E’S B OR N W I T H I T. M AY B E I T’S MA Y B E L L I N E.® Adriana is wearing New Color Sensational™ Lipcolor in Red Revival, #645. ©2009 Maybelline LLC.

CRISPER COLOR from pure pigments. CREAMIER FEEL from nourishing honey nectar. Lipcolor so rich, so stunning…it’s sensational.

In 48 captivating shades.


hello Editor-in-Chief Creative Director Stephen Gan

Advertising Directors Jorge Garcia Giorgio Pace

Senior Editor-at-Large Karin Nelson

Advertising Manager Francine Wong

Associate Editor Jacob Brown

Marketing and Events Taylor Choi

Features Editor Christopher Bartley

Financial Comptroller Sooraya Pariag

Photo and Bookings Editor Pippa Lord

Advertising Coordinator Vicky Benites

Senior Fashion Editor Jay Massacret

Distribution David Renard

Market Editors Catherine Newell-Hanson Yuki James

Communications Starworks

Contributing Fashion Editors Panos Yiapanis Joe McKenna Nicola Formichetti Jane How Olivier Rizzo Jonathan Kaye Clare Richardson Fashion Editors-at-Large Beat Bolliger Sofia Achaval Jacob K Consulting Creative/ Design Direction Greg Foley Art Director Mac Lewis Senior Designer Sandra Kang Design Stephanie Chao Byron Kalet Cian Browne Senior Fashion News and Special Projects Editor Derek Blasberg Music Editor T. Cole Rachel Art Editor Simon Castets Contributing Beauty Editor Roopika Malhotra Production Director Melissa Scragg Contributor/Entertainment Greg Krelenstein/Starworks Visionaire Cecilia Dean James Kaliardos

Special Projects Kyra Griffin Dominic Sidhu Kiko Buxó Kristina Kim Assistant to the Editor-in-Chief Steven Chaiken Creative Imaging Consultant Pascal Dangin Administrative Assistants Annie Hinshaw Farzana Khan Online Editor Christopher Bartley Online Design and Production Ryan Dye Copy Editor Traci Parks Interns Christin Malen Andreassen Regina Maria Arnadottir Emily Bonner Ronald Burton Amber Chandler Tiffany Chang Lewis Chong Madelene Fisch Chantal Hughes Olivia Kozlowski Madeline Lieberberg Shawn Lisle Charlotte Macke Catherine Blair Pfander Jonathan Shia Stephen Smith Catherine Strassman Gwen Sung Edward Tang Thien Tran Alyssa Wood Nathalie Wouters

PICTURE PERFECT V60 Mert Alas & Marcus Piggott David Sims Willy Vanderperre Sebastian Faena Cedric Buchet Sølve Sundsbø Tyen Terence Koh Simon Procter Deborah Schoeneman Alex Needham Rie Rasmussen Mark Jacobs Ken Miller Brian Molloy Sharif Hamza Chad Pitman Daniel Sannwald Johan Sandberg Adrian Gaut Samuel François Charles Varenne René Habermacher Aimee Walleston Benjamin Lennox Kim Howells Greg Harris Lester Garcia Ben Pogue Ana Finel Honigman Linlee Allen Grace Kapin Jessica Main Stéphane Pelletier Jamie Chung Katherine Krause Román Lata Ares Jared Abbott Carla Masdeu Special thanks Art Partner Giovanni Testino Candice Marks Lucy Lee Jemima Hobson Sarah Frick Smith Lindsay Thompson Art + Commerce Anne du Boucheron Management Artists Kori Shadrick Julian Watson Kona Mori Malin Huber Blown Rose Ltd. Roz Norman Anya Yiapanis Intrepid Marianne Houtenbos Rita Ackermann Chloë Sevigny Adam Horovitz Michael Stipe Harmony Korine Andrew Richardson Tom Sachs

Cover photography Mert Alas & Marcus Piggott Styling Panos Yiapanis Makeup Lucia Pieroni (Streeters) Hair Luigi Murenu for John Frieda (Streeters) Manicure Lorraine Griffin using Sisleya by Sisley Photo assistants Gareth Horton and Maurizio Bavutti Stylist assistants John McCarty and Julia Hackel Tailor Caroline Thorpe Makeup assistant Stevie Huynh Hair assistant Akki Shirakawa Tattoo Darryl Gates for Stylist studio director Ashley Fletcher Stylist studio assistants Anna Grzegorczyk, Simona Meirane, Natascha Robert Digital technician Emmiliano Grassi and Timothy Wright (DTOUCH) Retouching Dreamer Productions Production Lalaland Special thanks Big Sky London Shorts, boots, belt Prada Gaffer-tape bustier stylist’s studio On eyes and lips, Clé de Peau Beauté Volume Mascara 1 and Lipstick 15 On hair, John Frieda Sheer Blonde Crystal Clear Shape and Shimmer Hairspray This page photography Johan Sandberg Styling Yuki James Makeup Asami Taguchi Hair Miki Model Alana Zimmer (Supreme) Manicure Bethany Newell for Dior Beauty (The Magnet Agency) Photo assistant Andrey Chepusov Stylist assistant Ronald Burton Postproduction Studio Damato Suit and hat Louis Vuitton Earrings and brooch Tiffany & Co. Compact Estée Lauder Golden Alligator Compact


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Coat Dsquared Jacket BOSS Black Hat Christophe Coppens Bag Roger Vivier Necklace, earrings, ring Mikimoto Lipstick Guerlain Kiss Kiss Fabulous Rouge #531



Photography Johan Sandberg Styling Yuki James Model Alana Zimmer (Supreme)

There is an old Chinese proverb that says when you have only two pennies left in the world, buy a loaf of bread with one, and a lily with the other. It’s a lovely approach to life. Practical? Many would say no. But beauty, as we see it, is not a simple indulgence, but rather something spiritual, and in tough times like these, it serves as a kind of salve. Just ask Elizabeth Taylor. In our profile of the legendary hairstylist Alexandre de Paris, we recount how the actress, after falling ill on the set of Cleopatra, was asked by her attendants what would make her feel better. “Bring me Alexandre!” was her reply. For Taylor, there was no better medicine than a magnificent hairdo. And God love her for it. This issue is our celebration of beauty and its rather magical ability to transform, strengthen, and provide a sense of escape. For it, we’ve assembled the industry’s most renowned talents and talked to them about the extraordinary people who inspired them, the iconic looks they have created, and their take on the future of beauty. As you’ll see in part one of our Beauty 2010 portfolio, that ranges from the far-out to the reassuringly familiar. Our cover star, Cameron Diaz, has always been known for her golden girl persona. She has danced and giggled her way across the big screen for the last decade, but now, with two new films— a heart-wrenching drama and a horror flick—she is showing a markedly different side: tougher, darker, more serious. We’ll be honest, we find it more alluring, and it just goes to show that beauty is an ambiguous thing. Not unlike Lady Gaga. The unconventional pop star has reached the top of her game by saying whatever the hell she wants and pushing the boundaries of the avant-garde. As she explains in her interview, people can call her image crazy, but she simply sees it as beautiful. It’s an attitude that’s won us over. The world could use more beauty right now—in all its incarnations. Consider this issue our lily to you. Ms. V

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28 partieS Visionaire and Calvin Klein go white; Le Baron heats up Moscow; Solange Knowles tangos with Mango; Belvedere has flavor 30 HeroeS Legends of the beauty world nominated by their admirers: Alexandre by Oribe, Christiaan by Jimmy Paul, and Sandy Linter by Aaron De Mey 35 cool aS ice Mary Frey’s sno-balls once defined the downtown scene 36 tHe wild Heart Stevie Nicks costumes up for a new tour with Fleetwood Mac 37 craSH courSe Rie Rasmussen makes movies like a soldier heads to battle 38 trial By fire Terence Koh photographs revolutionary new band Salem 39 Bird’S tHe word/HiStory of rock Crazy London punk girls hit the runway; Bulgari opens an exhibit in Rome


40 Happy BirtHday, Stefanel! Celebrate an Italian fashion empire fifty years in the making 41 Hot in Spain Now more than ever, it’s time for a blast of Mediterranean fun 42 Solar power How Visionaire harnessed the sun and brought color to a black-and-white world 44 newS flaSH Beauty takes an ’80s-glam turn 45 Heavy metal v-Bay This season it’s all about black, leather, and studs 46 donatella after dark A tabloid-style tribute to fashion’s favorite blonde 48 next Big tHingS The fashion, art, music, and books that’ll be big this fall 50 maSter of venice Chanel pays bygone Venice an opulent visit 52 tHe new new look The iconic Christian Dior silhouette has inspired women through all of its various iterations

54 cameron’S new groove Actress Cameron Diaz sheds her slapstick image to take on a more serious role, that of desperate mother. Photographed by Mert Alas & Marcus Piggott 112 v-mail The crazy kids of Venice Beach are enjoying their summer. Join them!

V FASHION FALL PREVIEW 2009 64 74 84 94 102

eigHt portraitS By david SimS a toucH of claSS By willy vanderperre lady gaga By SeBaStian faena forever young By SeBaStian faena Beauty 2010

Hat, dress, bag dolce & gabbana Earrings and bracelet tiffany & co. Ring van cleef & arpels

Photography Johan Sandberg Styling Yuki James Model Alana Zimmer (Supreme)


maceration should never be rushed. Belvedere’s distinctive maceration technique involves slowly soaking pure fruit in our luxury vodka. treat yourself to the world’s superior, most natural, flavored vodka. Belvedere black raspberry. taking your time is half the fun.

party Corey Saucier Alex Loomans

Hamish Bowles

Michal Ayeboua

Camilla Nickerson

Christian Louboutin Gabriel Mann

Italo Zucchelli

Tyra Banks Francisco Costa Name TK Paz de la Huerta Cecilia Dean

James Kaliardos

ViSiOn in White

Greg Boust Chloë Sevigny

Elettra Wiedemann Ben Hill

Calvin Klein Collection hosts a party at The Standard Hotel in celebration of Visionaire 56 SOLAR, The Standard, NYC, June 1, 2009. Cocktails by Belvedere Vodka

Name TK

Alexander Wang

Byrdie Bell and Julia Restoin-Roitfeld

Craig McDean

Keytt and Alex Lundqvist

Malcolm Carfrae

Marie-Ange Casta

Solange Knowles

Doutzen Kroes

Anne Christensen

Max Irons

Iris Strubegger Barbara Garcia


Christine Tosio Arlenis Sosa

MangO tangO

Garrett Neff

Le Baron celebrates MasterCard’s Cycles and Seasons, a fashion and art initiative, Moscow, April 10, 2009

Mark Ronson

Monica Cruz

Jon Kortajarena

Mango presents its annual fashion scholarship and a party with performance by Solange Knowles, El Botón, Barcelona, May 2, 2009

Will Defiel

Moises and Oscar de la Renta

André Balazs Horacio Silva

Jin Youn Lee and Isaac Andic

Riley Keough Dasha Yastrebova

André Saraiva

Nati Abascal

in the bag

Belvedere and Estelle host the launch of Jonathan Kelsey’s “Belvie” bag, NYC, April 29, 2009


Viviane Orth, Aline Weber, Flavia Lucini

Jonathan Kelsey

Jessica Stam Night dancer

Lily Aldridge

Sophia Lamar


Visionaire photo Billy Farrell/PMc; Mango photo Pep Blancafort; Cycles photo courtesy Cycles and Seasons; Belvedere photography Andrew Tyson; Design Kiko Buxó

Diane von Furstenberg

AJ Abualrub

ALEXANDRE BY ORIBE He defined tHe craft of tHe coif and tHe cult of celebrity Hairdressers. alexandre’s legendary creations inspired a legion of imitators—and a young oribe canales was watcHing


“When I was a kid I was never really interested in fashion. I loved beautiful women and all that, but I think the first time I saw anything that Alexandre had done was Cleopatra. As a kid, I was obsessed with seeing that movie and because there was nudity my mother wouldn’t allow it. Once when I was at a drive-in I snuck in and got to see it—the images of Elizabeth Taylor as Cleopatra were so beautiful and amazing. At that time I didn’t know I wanted to be a hairdresser, but I was definitely obsessed with the way she looked. In my career, I had the opportunity to make his acquaintance. I actually had two run-ins with him—one fantastic and one not so fantastic. The first time, I was doing an Azzedine Alaïa show with The Girls—Christy had her short, cropped hair—it was a famous, famous fashion show. After the show, Alexandre came backstage to congratulate me, to tell me the hair was just spectacular. It was the most incredible moment because for him to love it, I was like, Oh my God! I felt like I was on top of the world. Then the second time, my

Powder type photography Stéphane Pelletier using Lancôme Blush Subtil Duo in stylish coral; Brush still-life photography Jamie Chung

For most of the 20 th century—which is to say, those dark ages before Botox injections and microdermabrasion—movie stars, royals, and cultural luminaries alike sought out a decidedly less invasive beauty fix: their hairdresser. But not just any old coiffeur would do. In the middle of shooting Cleopatra, Elizabeth Taylor, the film’s namesake star, became very ill. When asked if there was anything that would make her feel better, she reportedly instructed her attendees, “Bring me Alexandre.” She was, of course, referring not to her doctor or her paramour, but to Alexandre Raimon, the flamboyant and mysterious hairdresser known simply as Alexandre de Paris. (His salon logo, an image of him as the sphinx, was drawn by his close friend, the playwright Jean Cocteau). Alexandre took the first flight to London and as Taylor lay on her sick bed, propped up by a team of nurses, he proceeded to give her what became known as his “artichoke” cut. To this day it remains one of the most iconic looks in the history of hairdos. It certainly made an impact on Oribe Canales, then a boy growing up in North Carolina, who was himself destined to become a single-named hair impresario. In fact, when Oribe’s career took off in the ’80s, he heralded the return of the over-the-top glamorous hairstyles that hadn’t been in vogue since Alexandre’s heyday in the ’50s and ’60s. Oribe is quick to note that times were different then, but Alexandre’s groundbreaking career had paved the way for the recognition of the hairstylist as an indispensable collaborator, a highly regarded craftsman, and a powerful creative force. Here, he discusses his hero, in his own words. Grace Kapin

good friend Naomi Campbell, you know, she always wants to look fantastic, of course. Karl Lagerfeld did a fashion show, a couture show. It was the first show that Claudia Schiffer did, and it was somewhere around the Champs Élysées. So Naomi talked Karl Lagerfeld into letting me sneak backstage to put this spectacular wig on her. I should’ve known better. I managed to get backstage, I managed to put the wig on her, and then all the other girls wanted me to do them but I didn’t do anyone else but Naomi. Anyway, Alexandre had a fit and I don’t blame him. It was very disrespectful on my part, but it’s just one of those things—Karl and Naomi both wanted me to do it. Apparently I was the talk of the social scene that night and for weeks after. I still think of Alexandre as The Man, the guy that I would love to be like. I could never, I mean, it was a different time, and he was just so theatrical and chic and technical. The ’60s were an amazing time for hairdressers. He had Grace Kelly and Sophia Loren, Greta Garbo, The Duchess of Windsor… He used to

go crazy! You know, when he did Jacqueline Kennedy, he did a chignon with real diamonds all over it. He did so many of the most iconic and elegant women in the world. If there was one legacy that he left, I think that he made our profession something to be proud of. Sometimes hairdressers are just treated like handmaidens or whatever. But he became a very special person in Paris and he made hairdressing chic and not just some little trade where you just trim somebody’s hair. Even before I went to Paris, the name itself, Alexandre de Paris—it sounded so elegant! He was very well respected and really brought something to the look of that era. And at the end of the day, fashion is genius and all that, but, in general, when you look at a person, the hair frames the face. The hair is so important.” Elizabeth Taylor and Alexandre on the set of Franco Zeffirelli’s The Taming of the Shrew, 1966. Courtesy Alexandre de Paris archives



He sHocked fasHion editors witH His radical Hairstyles and translated tHe rawness and attitude of ’80s new york into some of tHe most inspiring imagery ever Before Christiaan, chic hair came via hot rollers. He preferred the simplicity of the razor. From the runways of Comme des Garçons to the pages of i-D, Christiaan produced a series of hairstyles that defined the energy and electricity of New York in the 1980s. The Dutch stylist is credited with inventing the undercut, a revolutionary style that was shaved underneath in the back and on the sides. It debuted on a hapless supermodel during a shoot for Vogue, elicited shock from the legendary fashion editor Polly Allen Mellen, and then raced around the world in a matter of minutes—reportedly seen on the streets of Manila during the revolts against Ferdinand Marcos’s totalitarian regime not weeks after it was shown on the Paris catwalk. In Pittsburgh at around the same time, a young Jimmy Paul was reading his first issues of Vogue and spotted his hair-heroto-be in its pages. They met face to face at a 1993 Stephen Sprouse revival show at Club U.S.A., when Jimmy assisted Christiaan for the first time, fitting over fifty heads with Sprouse-style multicolor dreadlocks. Though a generation apart, each has left his trademark on fashion’s most famous heads—Jimmy in his defining work for Dior Homme, Christiaan in his continued collaborations with photographers like Arthur Elgort and Inez van Lamsweerde & Vinoodh Matadin. Now they discuss transformative haircuts, the birth of style referencing, and the impact of the photograph seen here. Christopher Bartley

CHRISTIAAN Let’s begin with this picture because I’m so curious to hear why you’ve chosen me for this story. JIMMY PAUL Well, first of all, I’m trying to be more creative in my life because I can be quite uptight. V asked me to think about someone who inspired me when I was a kid and I was trying to be really spontaneous, and not think about it. I’ve worked for Garren, and I’ve worked for Oribe, and of course they’re these great guys, and of course they’re my heroes too. But the first thing I thought was Christiaan. And I remembered this photo. I’m from Pittsburgh, and my mom is a hairdresser, but she’s not the kind of hairdresser who reads fashion magazines. But I started to look at Vogue when I was a kid, and I always read the credits. Vogue had this amazing front-of-book column called Hair Now, and you were always in it. And then you invented the undercut, this haircut that I pretty much lost my mind over. I remember asking my 32

mother, Is Christiaan the best hairdresser in the world? And she said “Well I’m sure he’s one of them,” even though she really had no idea. Then I moved to New York, and I saw you on the train one time—long before we had ever met—giving full Christiaan, with the colors, the Sprouse, and the hairdo, and I was like, Oh my God that’s Christiaan!—like it was David Bowie or something. I got the sense that this is someone who is a true bohemian. I was assisting in the salons by then, with these really uptight guys who were all about dry, clean, and pressed hair, and they were really mean to me. So I saw you and just thought, This is someone who lives the life of an artist, but he’s doing hair. The other impact of this picture to me is that this was a commercial male model. So for you to give him this radical haircut, I thought that was such a powerful thing for you to do. Because his hair was this young guy’s money, am I right? C And the guy was such a sport of it. He knew about the haircut, but up until then it was only done on women. But there was no trauma or anything. JP So beautiful. And it would always have this incredible movement. C Bonnie Berman was the first one to get it. JP Who I really want to talk about, because she was this sensation. C It was on a Vogue job in London with Polly [Allen] Mellen. It was after lunch, and something had to be done. Because Bonnie’s hair was longer, every time she put it up it kind of bagged out. You’d never get this beautiful head shape, and we’d always be sticking pins up there to hold the hair. So I thought, why not just shave it off. And Bonnie and I and Arthur [Elgort] thought about it and then we shaved it while Polly wasn’t there. She walked into the room halfway through, and screamed, “Oh my God,” turned around, and we didn’t see her until dinner. Two days later we went to Paris to do the Comme des Garçons show, and Bonnie was the first one out. JP Major. I mean Comme des Garçons in, like, 1984. It does not get better… So, prior to this image, this look was done only on girls. That’s my favorite thing in fashion, to take something and then do it on the guy. I love working with women, but to do something radical like that on a man is incredible. I used to do Dior Homme, and this always influenced me in a way. It’s the foundation. C I never thought too much about boys and girls because for us it’s just about heads and hair. But after the Comme des Garçons show, I walked back to my hotel room at the Crillon, and there was a line of people waiting for me to give them this cut. And not just kids, all kinds of people, women of every age. That’s when I went on a rampage, and it just went all over the world. JP That’s amazing. C But then back in New York, of course, American Vogue thought it wasn’t womanly, Alexander Liberman thought it wasn’t classic. But we convinced GQ, because Jim Moore was cool, and we did this whole session you see here. JP Wow, I didn’t know that. So GQ was the first to publish this look. C And then it ran in i-D as an outtake, but really it’s always been a sort of private picture of ours. JP So many hairdressers today are businessmen, but I always admired that you lived the life of an artist. You could’ve

been a sculptor or a painter, but instead you did hair and lived this bohemian life in a very unbohemian world. I wish I could be more like that. C Well, are you getting there? JP [Laughs] I just think we’re of a different nature. I’m a little bit more uptight, but I’m working on it. C I only see you as a kind character. JP I get into the rigidity of work, and then I get really nervous. My fantasy of you is that you’re on your own path, so I look up to that. C Well you grew up in a different world, I grew up surrounded by that kind of attitude and sensibility. People just exploded into doing things in a singular kind of way, not connected to anything else. There’s so much structure now, and the goals, and the reasons why… It really changed at the end of the ’80s, toward the ’90s, when working just became a different thing. In the ’70s you never went to work expecting to get direction or a reference of any sort. The direction was always just, “Make it fabulous!” But today there’s no way you can show up and just say, “Okay what do we feel like doing?” It’s all worked out. I remember a little bit of pressure in the earlier years from the editors for the hair to be looking clean, beautiful, flowing, in the “definitive style,” which basically meant WASP—natural but WASP. But there was nothing to do with characters out of earlier movies, or any kind of style referencing. It just did not exist. JP It happens all the time now. C I never go to a job now without everything being thought-out beforehand. Now my only thought is, Will I be able to do what they are looking for? Back then it was, What shall I do? JP But I still think when someone hires you or me, they know us, and even if they have a picture of what they want, they want it pushed. C The fortunate thing is that we’re all still working with people who can make the best of what we do, people who can make what we do look ten times better. Like that picture of Björk that Inez [van Lamsweerde] took in the New York Times Magazine a few weeks ago, with all of that crazy hair. I didn’t even see that, because I was running around the entire time! And then it comes out and suddenly you’re reinvigorated for the next day. JP Another reason I picked you for this story is because you’re still working, so it’s not just about nostalgia. You’re still a force in the business. C I was never nostalgic, never too futuristic, so even though things around me changed, it didn’t really matter to me. I just wanted hair to be real and natural and easy. I’ve always been independent too, I’ve never been connected to anyone. JP Which is really amazing. C I’ve always thought, it’s just Christiaan. Even though I could have made more money, I never wanted to be beholden to anything. I remember when Marianne [Houtenbos, Christiaan’s wife] first got pregnant, and I was on the verge of a franchise and big business and all of that. And I suddenly decided that wasn’t where I wanted to go. I wanted to be like a painter or a writer, someone who just works. And actually when I turned that down, all of this happened, and it really sparked all of this stuff with the undercut, and I just went fully in that direction. Male model Marcus on the set of a shoot for GQ, 1984 Photography Arthur Elgort



Her glossy, tecHnicolor ’70s makeup establisHed tHe art of beauty and tHe role of tHe makeup artist. if it weren’t for tHe pioneering genius of sandy linter, linda, kate, and gisele would be a lot more familiar witH tHe eyelasH curler Back in the early ’70s, when Sandy Linter was just starting out, having a makeup artist on a fashion shoot was a foreign idea— quite literally. In Europe there were people like Barbara Daly, who did the covers for British Vogue, and Heidi Morawetz, who made up all of Guy Bourdin’s girls. But in America, models did their own faces, which, for the most part, entailed gluing on fake eyelashes. Along with the late, great Way Bandy, Linter—a firecracker from Staten Island, who looks like Debbie Harry and talks like a young Madonna, and infamously dated the supermodel Gia for a short time—changed all that, creating dramatic, high-gloss images 34

that defined what it meant to be a makeup artist. Working with photographers like Francesco Scavullo, Deborah Turbeville, Chris von Wangenheim, and Albert Watson, Linter created some of the most iconic images of the past three decades. And her 1979 book Disco Beauty, a step-by-step manual for traffic-stopping fuchsia lips and azure eyes, remains an inspiration today. Just ask Aaron De Mey: “It’s Technicolor makeup!” says Lancôme’s artistic director, himself a sucker for striking color. Well before De Mey found himself working at the same company as Linter (she serves as Lancôme’s Beauty at Every Age Expert), he regarded her as his hero. “Her work is extravagant, yet also extremely sophisticated and defined,” he explains. “Even when she has to do something conventional, she pushes it to the limit.” Here, the two discuss the high times of her three-decade career. Karin Nelson

AARON DE MEY You are to me one of the first makeup artists as we know them today. How did this passion come about? SANDY LINTER I was a child of the ’60s, and in the ’60s, all I did was look at magazines—Vogue, Seventeen. What really caught my eye more than the clothing was the makeup. And the girl. I was always studying the face. My mother was a makeup fanatic, so the bathroom was loaded with makeup, but she didn’t know how to use it. By looking at the photos, I could figure out what to do with it, and so I started making her up every morning before she went to work. I was 14, 15. Naturally, I always thought I was fabulous because of her. I would sit at the dinner table with 1963 makeup on. I thought I was Twiggy. And instead of her saying “Get that off,” she was like “Can you do that to me tomorrow morning?” ADM Who had the best face for makeup of everyone you worked on? SL Roseanne Vela. When I worked with her it was magical. I could do anything to her. I could actually be inventive and not do what’s

happening currently—you could feel like you were being artistic. There were other moments like that with Cheryl Tiegs, who was the sweetest, most beautiful girl. She was big. I mean, every part of her body had a contract. And she had Peter Beard. We’d be hired by Sears to go to Montauk. We would stay at Gurney’s Inn, right next to Richard Avedon’s place. Bloody Marys came out at ten. And I used to do something on her that she called “Mermaid Eyes,” which was about five different shades of blue. I used to do Peter’s makeup too. Why? I don’t know. ADM You’ve worked with so many amazing photographers and models. Tell me about some of the most exciting moments and most inspirational people. SL Patti Hansen. She was a living, breathing rock and roll girl. Even before she met Keith! We used to go to work wearing exactly what we wore to Studio 54. There are a lot of photos of me in fuchsia leggings. We used to wear these clear stripper heels. Patti used to wear them with tight leopard pants, black ripped T-shirt, eye makeup smudged from the night before. She was a style icon. The advertising clients used to say to me “Can you do anything with her? She looks horrible.” I’d be like “Ahhhh! She looks gorgeous! What are you talking about?” Chris von Wangenheim. I worked with him for Italian Bazaar and American Vogue. He was a really intense guy. If you saw him laughing it was fake. One time, he took Lisa Taylor and put her in a bathtub with a tray of perfume. She had the most beautiful breasts. A real golden girl. And society—he loved that. She was disinherited by her family. Everything was drama, drama, drama. But that was a beautiful picture… Bob Richardson. I loved him. He was a kind, sweet man. So elegant. Everything was simple and easy for him. In those days, we’d ride around the city in a van until the photographer said, “Stop here.” One time we stopped at a little café and he had a model named Nina and a male model. And I had red hair with bangs at the time, really fabulous red hair and they stuck me in the middle of the photo. It ran in Vogue! ADM What photographer understood makeup the best? SL [Francesco] Scavullo. He really studied the girl. Way Bandy was his makeup artist. But I got the reputation for doing blondes well. So whenever a Cheryl [Tiegs] or a Kim [Alexis] was there, I was there. Most of the time people would treat blondes by putting brown mascara on them. When I got a Patti Hansen, I’d go full throttle. And that registered well for Scavullo. ADM What was your favorite time period for makeup? SL The ’60s. In the ’90s when Meisel resurrected the look of the ’60s, I was so happy, because I lived through dreadful periods when people wore no makeup. When I was a kid I got into makeup to look sexier. It wasn’t a corrective thing. It was to look hotter. ADM What do you consider your most controversial photo? SL A Deborah Turbeville shoot I did for Vogue. She had these very pale girls and she photographed them in bathhouses downtown. Deborah was a pure artist, but when she did the bathhouse photos, she stepped over the line. The letters to Vogue were outrageous. People thought it looked like Auschwitz—the girls were so bony. Today, they’d look fine. But they were not typically beautiful. They weren’t arranged in sexual, beautiful poses. They were awkward looking. She went over the line, but in those days all the photographers went over the line. It wasn’t about money. No one had the concept that you could ever make money.

Bitten Knudsen in Sandy Linter’s Disco Beauty, 1979 Photography Bill King Courtesy Sandy Linter


d Haynes

Tod Michael Stipe and

Adam Horovitz’s bike with a GURU sticker, March 5, 2009

Mary’s dog, Guru, in front of his namesake

Mary Frey

Chloë Sevigny and

Mary and Chloë


In the mId ’90s, downtown summers revolved around mary frey’s guru, a humble sno-ball shack that magnetIzed a generatIon of scene makers (plus fIdel castro), and developed a socIal model that would be welcome today. here, 7 guru heads remember the good old days Nolita in the ’90s was a different landscape than it is today: Kim Gordon and Kathleen Hanna’s X-Girl boutique, the Beastie Boys’ X-Large skate store, the newly opened Supreme, and the rave shop Liquid Sky were the palms that lined Lafayette Street. There were still remnants of Blade’s and Dondi’s murals on the playground walls. And on the corner of Lafayette and Great Jones, nestled between a car garage (owned by a Russian race car driver) and an antique dealer (who sold pot along with the furniture), there was Mary Frey’s GURU—a summer paradise shack serving finely shaved clumps of flavored ice, also known as sno-balls. With a few coats of paint and some hardware supplies, Frey and childhood friend Edward Segrave transformed the modest hut, once a gas station cashier’s office, into an oasis named after her pet Rottweiler. GURU offered over thirty organic flavors of ice, including pomegranate, lemon, fresh mint, and ginger, and specials like Thai iced tea, “clockwork orange,” and dark chocolate. (The secret ingredient: condensed milk, which made

Mary serving sno


Tom Sachs behind the sno-bar

Mark Gonzales outside of GURU

Mario Sorrenti with one of Mary’s sno-balls

the special sno-balls extra creamy.) GURU even offered caninefriendly chicken and beef balls—all served up in Chinese take-out containers branded with the GURU sticker. Over the course of three short summers (from 1996 to 1998), GURU became a eight-by-ten foot refugee kingdom with Frey as its bikini-clad ruler, shaving 600-pound blocks of ice to a sound track of reggae, funk, and ’70s soul booming out of a makeshift ghetto blaster. Frey served free sno-balls to homeless passersby (one, in particular, would insist on trading stolen vegetables). And regulars included a motley crew of locals like Chloë Sevigny and Tom Sachs (both of whom would hop behind the bar and work for fun), Shalom Harlow, Lauren Hutton, Marc Jacobs, Leonardo DiCaprio, Chuck Close, Beck, and Fab 5 Freddie. Fidel Castro even stopped by when he was in Manhattan for a U.N. meeting. Every Thursday, Sachs and DJ Joe Hova would break out their turntables and GURU would morph into a late-night, yard-style, street party with vodka-spiked sno-balls. People fell in love at GURU, including Frey, who met her husband, Mario Sorrenti, there. In the summer of ’98—GURU’s final season—Frey would often be spotted indulging in one of her sno-creations, a few months pregnant with Sorrenti and her first child. Ten years later, GURU’s model of DIY egalitarian cool could be the antidote to our recession summer blues. Here, recollections of GURU, as told by the sno-bunnies who helped make them. Dominic Sidhu

My brother told me about a place that was open late that made sno-balls for people and dogs, and sometimes this guy would show up with a Jamaican-style sound system on a hand truck and it was just a bike ride away from my apartment. Every few years you get a really special summer. GURUS (I had to put an “s” on the end of it ’cause I’m from NYC) was where we’d hang out at night for one of those special summers. I would ride to GURUS proud like Pee-Wee. Adam Horovitz

It was for Mary, not the sno-balls, that we went. It was precell phone times so GURU played a big part in spontaneous social gatherings—meaning, also, accidental hookups. Some even left GURU on a date. It was an emotionally charged place. Rita Ackermann

I was friendly with Mario, who was obsessed with Mary, so we used to go there at night for the vodka sno-balls. I knew her before she had GURU. You’d see her out in New York. We all wanted to get her number, but she was a little aloof. Andrew Richardson

I met Mary in 1993 when I started working for her at Liquid Sky. She was the toughest, sexiest, coolest, most creative girl I knew. One day she up and left to open the sno-ball stand of her dreams. I scurried along in her footsteps to help in any way I could, from trips to the hardware store to painting the sidewalk. Mary was the epitome of DIY. I remember her right arm growing 1/2 inch bigger than her left from hauling all the ice. Chloë Sevigny

We built sound systems and organized “Yard Style,” an informal semiregular gathering of friends who liked records. “GURU’s Yard Style” is probably my first serious homemade sound system. It was very cold in the winter. My fondest memories were waking up in the dark at five thirty a.m. to go buy bread with Mary to be served with the gumbo. Even more so was every moment with the best dog ever—Guru, RIP. Tom Sachs

The first time I went to GURU I had arrived in NYC with Antony Langdon after shooting Velvet Goldmine. We were jet-lagged, it was hot as blazes, and so we went there. He introduced me to Mary and there was this other beautiful girl there, who was serving sno-balls. I took her picture. It was Chloë Sevigny. We ate fantastic sno-balls and laughed and laughed. Michael Stipe GURU sno-balls were like lightning in a bottle. I once saw a man with a large bullet hole through his shoulder order a cherry snoball and then skip away while singing a nursery rhyme. There was New Orleans voodoo frozen inside the ice. After eating four or five sno-balls in a row I would sometimes hallucinate while staring at Mary behind the counter. Her fingers were always stained red and purple and sometimes her face would morph into a goat’s head. She had the most beautiful goat’s head in all of New York. Harmony Korine



the wild heart

She eScaped a ’70s rock-Star deStiny and left a trail of breakupS and addictionS in her wake. now the legendary SongStreSS Stevie nickS iS at peace with her fleetwood bandmateS and ready to channel her wicked and witchy legacy into a Summer reunion tour that will. go. Smoothly.


Stevie Nicks in New Haven, CT, October 1975 Photography Fin Costello Stevie Nicks’s The Soundstage Sessions LP and Live in Chicago DVD are out now from Reprise Records. Fleetwood Mac is currently on tour

Photography courtesy Getty Images

Few entertainers in the history of rock and roll have carved out a path as mystic and mythical as that of Stevie Nicks. Both as a solo artist and member of Fleetwood Mac, Nicks has conjured a musical and visual aesthetic that is completely and uniquely her own—an amalgam of twirling black lace, ribbon-covered tambourines, crystal visions, and white-winged doves. Having overcome the dizzying excesses, epic breakups, and competing egos typically associated with one of the most successful and dramatic supergroups of the 1970s, Nicks remains an unstoppable force. Now 61, she has aged better, both physically and artistically, than almost any of her peers, and, with the recent release of a careercapping live album and DVD, she continues to be venerated as an icon in both music and fashion. This summer, Nicks will spend her time doing what she does best—touring the world with her old friends and lovers in Fleetwood Mac and generally casting a beautiful spell wherever she goes. T. Cole Rachel

T. COLE RACHEL It’s hard to think of anyone else who has a cultural mythology surrounding them in the same way that you do. Do you find that people tend to have crazy expectations when they meet you? STEVIE NICKS People always think that I’m going to be this little airhead blonde, when I’m actually quite pragmatic and serious. I’m also really funny, or at least I think I’m really funny. I’m really not what they expect, at least when it comes to my personality. In regard to my music, I guess people know me pretty well. When I write music, I know it’s not just for me. When I finish a song and put it out there into the universe, I realize that it belongs to everyone. I think about the fact that each song might become a kind of mantra for someone out there and that’s the joy of it. When I was 15, I wrote my first song about a sad relationship that ended before I wanted it to end. Even then, I wrote it thinking that maybe I’d play it at a school assembly in hopes that someone would identify with it. I always wanted to affect people. TCR You became famous at a time when there really weren’t a lot of female rock stars. Did you find it difficult to get people to take you seriously as a songwriter and not just view you as this beautiful singer? SN I think it would have been a real problem had I not been in Fleetwood Mac. But being in the band, I had the power of two— Christine McVie and me. People couldn’t really write us off. I never once felt like a second-class citizen in some kind of boys club and neither did Christine. She had actually been playing in bands for years before Fleetwood Mac, and I think her power and confidence really rubbed off on me. The two of us together were really like a force of nature. Even Lindsey [Buckingham] couldn’t stop us. TCR Your personal style gets referenced so much now in fashion. When did you first realize that your aesthetic had become a thing in popular culture? SN I’ve never really paid attention to what other people thought of my look, but I can tell you where it came from. When I went on tour with Fleetwood Mac for the very first time after the first album had come out, I just packed a suitcase with a bunch of my normal, everyday clothes. Then, the first night of the tour I found

myself in a dressing room in El Paso, Texas, with everything I owned scattered across the floor just thinking, This is not going to work. Nothing fit right, nothing looked good, nothing felt comfortable. When the tour ended I met this designer named Margie Kent and I drew her this little cartoon of how I wanted to look. I still draw the same cartoon all the time, whenever someone gives me a tambourine or a record to sign. It’s just this little stick figure of a girl wearing a handkerchief skirt, platform boots, a little black top with Rhiannon sleeves, and a top hat. I wanted to look like some kind of waif-y urchin, something Dickensian. I wanted the heavy boots to balance everything out. I wanted it to look old and antique, a little bit worn. I had a shoemaker make the platform boots for me out of suede, and Margie made me lots of ponchos and little silk jackets and flowy chiffon things that hung down to the floor. That became my stage outfit and remains so to this day. TCR Night of a Thousand Stevies, the long-running Stevie Nicks tribute party that happens here in NYC, is now in its nineteenth year. Does it blow your mind that hundreds of people get together to dress up like you and sing your songs? SN It’s wonderful. It makes me think that Margie and I had the right idea all those years ago. It makes me think that all those images we came up with really did what we wanted them to do. There’s a “Gold Dust Woman” image and a “Stand Back” image and an “Edge of Seventeen” image. I totally understand how it would be the most fun dress-up party ever! So if I were actually going to Night of a Thousand Stevies and trying to decide what to wear, I could go with the brand-new white ruffle-y dress and top hat, or I could go with a full-on black Stevie Nicks outfit with the Rhiannon sleeves, or maybe the white Belladonna outfit with the white leg warmers and white poncho. I’ve always loved to dress up. Halloween was always my favorite night when I was a kid. I looked forward to it for months beforehand and I was all about planning my outfit. Luckily my mom could sew, so I’d tell her that I wanted to be Martha Washington or something like that and she’d do it. So I have to say, I’m thrilled by that event. God bless Night of a Thousand Stevies. [Laughs] TCR I saw the recent Fleetwood Mac show at Madison Square Garden and I was really struck by how sweet all of you were toward each other. It seems like everyone is in a very good place these days. SN I think so too. I think that having children has really changed Lindsey. He has two daughters, so now he really has to deal with women. He comes from a family of boys himself, so I think having daughters has been a good thing. He also has a 10-year-old son, but basically the girls rule at his house. I really think it has changed him though, and I think it’s made it easier for him to accept who I am and to deal with me. He’s less apt to argue with me these days and he’s more apt to understand what I say and not take it personally. I think he understands now that I really do always have his best interests at heart. He used to understand that, back in the beginning, but after we broke up he didn’t feel that way. It was really unfortunate because that’s when the whole band started to split apart. So now, the band is actually a little bit more like it was back in the beginning. TCR And it only took thirty years for that to happen. SN [Laughs] I know. It’s okay though because otherwise we wouldn’t be on tour right now. TCR What do Lindsey’s kids think of you? Are you like the crazy aunt? SN They like me a lot. They totally get it. You know, they’re in the dressing room saying, “Can I wear that cape?” or “I need to put on those boots!” TCR It’s interesting to hear you talk about how Lindsey has changed. How do you feel you’ve changed? SN Well, aside from being 25 pounds heavier and a lot older, I don’t really think I’ve changed all that much. I think I’m still very much who I was at 15. I’m still very excited by my writing, I’m still very excited by performing. I find a lot of joy in doing what I do. I certainly wouldn’t want to stay home now and do nothing!



Photo assistant Travis Marshall

DIRECTOR RIE RasmussEn Is TakIng On ThE bOys Club Of mOvIEmakIng by pRODuCIng fIlms as ROugh, TOugh, anD TRuE-TO-lIfE as any RITChIE OR bEssOn bEfORE hER

“The films of most female directors seem like they were made by a woman,” explains Rie Rasmussen, whose feature-length directorial debut premieres this fall. “I just see myself as a storyteller.” In Human Zoo, that story begins in the darker recesses of human nature, set against the backdrop of Yugoslavia at the height of the ethnic battles over Kosovo in the late 1990s, and ends with a comment on cultural migration and the psychological impact of war. Rasmussen, the Danish model and former Gucci girl of the early ’00s, did quadruple duty for the film—writing, directing, producing, and starring in it herself. She plays the protagonist, Adria Shala, a half-Serbian, half-Albanian illegal immigrant from Kosovo living in modern-day Marseille. Adria seems aggressive by nature—confrontational in public, aloof in her conversations with friends. But it’s soon revealed that her aggression is a symptom of nurture as the film flashes back to a war-torn Belgrade and de-

picts her near-rape and eventual escape at the hands of a deserting Serbian militant. The film then spins through a set of torturous scenes in which hits are staged, throats are slashed, and children are murdered, culminating with Adria gouging the eyes of a prostitute and biting off the finger of her philandering lover, Srdjan. Human Zoo depicts scenes of female rage and revolt that rarely flitter across the silver screen. What’s most intriguing about Rasmussen is not her supermodel past or multitasking talent, but her singular presence in an overwhelmingly male arena of action filmmaking. She brings her own sensitive spin to the typically bonehead genre, while maintaining a certain stylized brutality. “A war zone is a breakdown of society, a lawless jungle, in which dominant males thrive,” says Rasmussen. “I wanted to show that while violence is typically a masculine expression, women can and do learn the language.” She’s learned the language quite well. Rasmussen plumbs deep into her psychological study of Adria, who is shell shocked from years of war and unable to function in a new country under a more rigid, Western society. When her Vietnamese friend Mina is kidnapped and sold into prostitution, Marseille police prove useless, so Adria turns vigilante and takes matters into her own hands. She chops off the fingers of a suspect with a meat cleaver and shoots up a tanning salon–cum–whorehouse to rescue Mina. “In Marseille, Adria is living inappropriately outside the system as an illegal immigrant,” Rasmussen explains. “When the police fail to protect her friend she resorts to the methods she learned outside of society.” The plotlines of human trafficking and cultural migration were largely inspired by the real-life events surrounding Rasmussen’s adoptive sister, Lihn, whose mother worked as a prostitute in Moscow and sent Lihn into human traffic lines in hopes she would end up in Western Europe. “I want to tell stories of hu-

man separation and cultural differences,” Rasmussen explains. “The past affects the present, and you either learn or make the same mistakes until you do.” Rasmussen pushed herself to the limits for Human Zoo, but she’s used to being in the driver’s seat. Thinning the Herd, a short film she wrote and directed in 2004, proved her filmmaking chops. It was nominated for a Palme d’Or at Cannes that same year, and caught the attention of director Luc Besson, a man with an eye for gorgeous former models with acting aspirations. He cast her as the female lead in his 2006 romantic action comedy Angel-A, in which she stole the show as a tough and leggy platinum blonde. “I had another project of mine at his production company EuropaCorp at the time, and even though it delayed my personal film, I jumped at the chance to work, even just as an actress,” she explains. “Then after the worldwide press tour for Angel-A, I was frothing at the mouth to start my own project.” Filmed under perilous circumstances (the American and Croatian embassies were burned while they were shooting in Belgrade) and dogged by budgetary constraints in a dwindling economy (Rasmussen lost a fifth of her budget three weeks before principal photography began), Human Zoo was bound to be a roller-coaster ride. But it’s not about theatrics. The resulting film might just be the most complex and visceral action flick of the year, born from the mind of a former supermodel who is quite comfortable being the only girl in the room. Christopher Bartley Rie Rasmussen in NYC, May 2009 Photography Rie Rasmussen Jacket Tim Hamilton Pants Marc Jacobs Human Zoo is out in France in September 2009 from EuropaCorp 37



Mysterious new band saleM shares little with the world aside froM its songs, but good luck singing along Not six months ago, Salem emerged suddenly from the shadowy depths of the Internet, already possessed of full cult status. The band is a phenomenon. It has released no real album, has no record deal—what music has been published, has been pressed on vinyl in limited runs of five hundred and given titles like Yes, I Smoke Crack EP. It has played only a handful of shows (one in Rome, another in artist Terence Koh’s basement), and as of yet, has no tour plans. The band has granted few interviews, the only one of any substance showed up in Butt’s last issue and read more like collaborative theater than journalism. False rumors swirl; no one knows much about its members. Perhaps in a time of uncertainty, utter vagueness is appealing. But regardless, Salem is the band everyone is talking about, the author of the most interesting electronic music to be produced by Americans in years. 38

According to front man John Holland, whatever mystery surrounds the group is not intended. “There’s no mystique going on here,” says the 24-year-old, who lives in the living room of a 1-bedroom apartment in a part of Bushwick that seems only barely safe. His walls are decorated with pentagrams, crowns of thorns, bits of dead tree branch, and a severe, American Gothicstyle self-portrait painted by his grandmother. A shelf holds five or six pairs of nearly identical slouchy leather boots. A large and rambunctious mutt runs around. “We have this thing where we don’t want everyone to know what we’re doing all the time. We are just very close and sometimes we like to keep things to ourselves.” The “we” that is Salem—aside from Holland, there is Heather Marlatt, who sings, and Jack Donoghue, who makes the beats and raps—met in high school and college, but as of the last year or so, have lived apart, Holland in New York, Marlatt in Detroit, Donoghue in Chicago. They collaborate on songs by e-mailing tracks around to each other. The music draws from Chicago and Detroit’s ghetto-house scenes (subgenres with names like juke and footwork lend Salem tracks their deep bass, repetitive lo-fi raps, and overall gritty inner-city sensibility). But elements like Marlatt’s dreamy, floating, slightly garbled vocals make Salem its own beast entirely. Listening to Salem is like listening to beautiful songs being sung in foreign languages. The emotion and gist of the meaning are there, but the details are fleeting. On about half the tracks, it is Holland singing, his voice slowed down and distorted. He purposely obliterates the words. “I want the lyrics to be there, ’cause

I want the song to be about a certain thing,” he explains. “But I don’t want anyone to know what that thing is. It’s too personal.” To that end, Salem publishes its lyrics nowhere, and Holland has no plans to ever do so. He’s hesitant to shed any light on them at all. But he offers, in a roundabout way, to illustrate the emotional place that inspires him and his bandmates. “Me and Heather and Jack, we have these really ideal situations we would like to be in. To be lying in a big field with goats or butterflies. Or not butterflies, but, like, animals. Or in a big sandpit riding dirt bikes. We have all these ideas of things we would like to be doing because none of us are very happy.” Pressed, Holland agrees to contextualize a single song, an unreleased track called “The Boy by the Sea.” “I know how to think about these things but not always explain them,” he says. “But this song is about a boy. He’s on an island. And he looks out at the ocean. And the ocean wants to be a sea.” There’s an awkward pause during which he looks around at the objects hanging on his walls. It’s unclear whether he is thinking, or waiting for a response. Then he asks, “Do you understand?” The answer is no, but somehow that seems right. Jacob Brown

Salem in Rome, Italy, May 2009. Top left, from left: John Holland, Heather Marlatt, and Jack Donoghue Photography Terence Koh

Makeup assistant Rimo Ozaki Special thanks Street Studio using Threefour Digital Photo assistant Ben Monetto Stylist assistants Katie Franklin and Louby McLoughlin Makeup Hiromi Ueda (Julian Watson Agency) Hair Hiroshi Matsushita using Bumble and bumble


bIRd’S THe wORd

london’s lAtest cRAzy giRl bAnd teARs it up fRom the stAge to the RunwAy Its name may be borrowed from an eerie 1768 painting by Joseph Wright of Derby, but An Experiment on a Bird in the Air Pump is more than just a twisted rock trio. The band consists

of 23-year-old twins C-Bird and X-Bird and their 24-year-old friend D-Bird (the aliases are meant to sound like “a sisterhood of superheroes,” but they let slip their birth names, Chareen and Christina Aceto and Dee Sekar). The instrument-swapping threesome formed in April last year after film student X-Bird sent D-Bird a piece of video art she’d made to play at the latter’s club night Decasia—itself named after an obscure Bill Morrison film. Since then, “the Birds” have trashed the boundaries between music, art, and fashion. They have performed as part of an art piece by Martin Sexton involving pentagrams and a vintage Harley, and this past season provided the sound track for Giles Deacon’s runway show. The girls relished the idea of subverting the fashion week norms. “We all wanted to do it because we are curvy women, we’re not 6 feet tall, and we’re not a size zero,” notes D-Bird. The trio was less flattered to be included alongside bands like Romance, S.C.U.M, and Ipso Facto in a recent NME piece on the “new goth movement” supposedly sweeping the U.K. The Birds argue (like many Goths before them have) that just because you wear head-to-toe black and like the odd spider-web patterned lace garment, it doesn’t mean you can be pigeonholed so neatly. “I think we’re creating our own genre,”

says D-Bird, who points to the band’s swamp rock, surf, and punk influences. The trio also admirably refuses to see anything particularly unusual about the fact that they’re nonwhite women working in one of the most rigidly segregated musical genres in existence. “We’re just women who love playing rock music,” says C-Bird. You’ve got to love a band that fuses the influences of such disparate heroes as Tina Turner and Chris Cunningham, that formed two days before a gig having never picked up a guitar, and that wants to be produced by Dave Grohl (they’re huge Nirvana fans). “London’s only exciting if you make it exciting,” declares X-Bird. “We make it exciting.” Alex Needham

An Experiment on a Bird in the Air Pump in London, May 2009 Photography Benjamin Lennox Styling Kim Howells From left: C-Bird wears Jacket Topshop Necklace H&M Earrings her own; D-Bird wears Jacket Diesel Dress Dr. Noki Necklace and earrings H&M; X-Bird wears Jacket Topshop Necklace stylist’s own


An exhibition in Rome tRAces 125 yeARs of bulgARi’s jAw-dRopping jewels And stoRied celebRity heRitAge Forget the natives. When in Rome, do as Andy Warhol did: the pop legend once said he always made it a point to visit the Bulgari store “because it was the best exhibition of contemporary art.” As it happens, this year the legendary jewelry house is holding a retrospective exhibition, through mid-September, at the Eternal City’s Palazzo delle Esposizioni in honor of its 125th anniversary. While Bulgari has long been synonymous with gobstopper-sized grande dame jewels and the Memphis-feeling Parentesi styles that Warhol was so enamored with, the house has a more multifaceted past—starting with its founding patriarch: like Virgil’s Aeneas, Sotirios Boulgaris—a country mouse silversmith—left Greece to conquer Rome at the end of the 19th century. Within a few years, he set up shop on Via Condotti, the Fifth Avenue of Rome, filled it with fine silver and objets d’art, and called it “The Old Curiosity Shop,” a moniker borrowed from a Dickens title. (The jeweler also cunningly romanticized his own name to the more Roman-sounding Sotirio Bulgari.) While the five hundred–plus piece exhibit will include a few of these nonjewelry items and some of the early, Parisian-influenced and Art Deco pieces, much of the show will revolve around the

bold, multicarat stunners Bulgari became famous for. During the ’60s, when everything Italian (Fellini, Campari, Vespas) became popular with the demimonde, Bulgari rose to prominence thanks to its dramatic signatures—cabochon-cut stones artfully pieced together, hefty gold chains with Hellenistic coins, and the serpentlike tubogas straps, all of which attracted a glittering clientele that included Sophia Loren, Monica Vitti, and Elizabeth Taylor. Taylor, who wore her baubles both on- and offscreen, was the most loyal—and fanatical—of the bunch: Richard Burton, Taylor’s husband number five (and six) famously declared, “I introduced

Liz to beer, and she introduced me to Bulgari.” The actor frequently bestowed the house’s gems onto his wife, including the 50-carat Burmese sapphire sautoir necklace he gave her for her 40th birthday—just the kind of token of affection she reveled in: “I used to get so excited,” she once said. “I would jump on top of him and practically make love to him in Bulgari.” Jessica Main Veruschka wearing Bulgari in Vogue, March 1970 Photography Franco Rubartelli Courtesy Condé Nast Archive. © Condé Nast Publications 39


Left: Carla Bruni and Beverly Peele in a Stefanel show, Venice, Italy, 1991

Stefanel Fall/Winter 2009

Stefanel Fall/Winter 2009

For the ItalIan sportswear label that celebrates 50 years In the bIz thIs Fall, FashIon begIns and ends wIth those knockout knIts 40

Photography Greg Harris Styling Lester Garcia

Left: Stefanel Spring/Summer 1994. Photo Giuseppe Pino

Above: A commercial for Fall/Winter 1987 “L’Amore Addoso.” Photo Dominique Le Rigoleur. Left: Stefanel Spring/Summer 1994. Photo Giuseppe Pino

Photo assistants Mauricio Lopez and Hiroki Kobayashi Special thanks Milk Studios, NYC Makeup Karan Franjola Hair Anthony Turner Models Barbara Garcia and Anna Laticia (Ford NY)

happy birthday, stefanel!

An Italian fashion empire was just a glimmer in Carlo Stefanel’s eye when he bought four sewing machines and started his own company in 1959. But fifty years of knitwear innovation has built a brand recognized around the universe for its freespirited approach to design. The quiet family business that exploded into fashion has always prioritized one thing: the simplicity and versatility of the knit. “Stefanel’s first love is knits,” says Giuseppe Stefanel, current chairman and son of Carlo. “There’s a woman who wears them every hour of the day, every day of the year.” Which makes for 365 days of wrapping and twisting the finely-weft separates into style statements of her own. One could say Stefanel made knitwear modular—the sweater becomes a dress, the scarf becomes a poncho, and so on. “We’ve always been true to our DNA, while at the same time redefining knitwear as not merely a cardigan or a pullover,” explains creative director Maria Maria Indirizzo. Stefanel’s freedom with its own vocabulary encourages experimentation— its only rule of dressing is that you make it your own. For Fall 2009, that premise is especially enticing as the label revisits the 1980s with high-volume, heavy-shouldered looks, reimagined in signature tones of brown and gray, as well as an instantly covetable, graphic zebra-patterned jacquard. It’s the more-moremore decade rendered easier than ever. Long live Stefanel! Christopher Bartley

Stefanel Fall/Winter 2009

EL tOp ChEf After ten years at the center of the white-hot Spanish culinary scene, handsome and lively young chef Aitor Olabegoya finally has a restaurant of his own, Peixample. Olabegoya, who at 19 was named Spain’s best young chef, was hired away from his enviable post at the Hotel Arts Barcelona by entrepreneur Diego Flores to open what Olabegoya describes as a place to share the three most important things in life: fresh fish, organic Kobe beef, and a well-made gin and tonic. Jared Abbott


MUY MANGO! The retail world has long searched for the seemingly impossible solution to the high fashion vs. high street dilemma. How does a brand with more than a thousand stores in more than ninety countries create a product that appeases everyone, yet is still reasonably fashion forward? For Fall, the Spain-based megabrand Mango took another step toward a resolution. With a collection of spot-on pieces for the season, the clothing company, which is based in a former airplane hangar in Barcelona, is proving why it’s one of the world’s fastest growing fashion emporiums. Yet, they’re not too busy tracking trends and opening stores to keep an eye on who the cool kids are. They’ve lined up a killer crew of girls for their Fall ad campaigns: Scarlett Johansson, Daisy Lowe, Leigh Lezark, and Riley Keough, among them. Derek Blasberg



Nothing wrong with being gorgeous and well-connected, but it can have its downsides. Just ask Eleonora “Bimba” Bosé, front woman of bluesy three-piece rockers the Cabriolets. A former model and the niece of major Spanish pop star Miguel Bosé, she faced dismissive critics upon the formation of her band three years ago. But no more. In a country where the Top 40 ranges from bland pop to repetitive reggaeton, the Cabriolets stands out with its moody and contemplative (if still accessible) song style. Of course the fact that the band’s last show culminated with Bosé writhing naked all over the stage like a sexy tigresa, well that doesn’t hurt either. Jared Abbott

Dalí courtesy Getty Images; Olabegoya photography Sara Coe; Cabriolets photography Gorka Postigo; de Palma photography Ruven Afanador

It’S A pARtY! Luis Venegas, founder of Fanzine 137 and Electric Youth!, and Andrés Borque, a DJ better known as Niño Fixo, host a party called Es Una Fieshta! Held monthly in Madrid (at Sala Flamingo) and Barcelona (at Pop Bar/Razzmatazz), it has become the wildest jam in two towns, where all types of music are allowed without prejudice—from the Ting Tings to Melody (a Spanish child star),and Britney to Betty Missiego (a Peruvian pop singer). The themes and special guests change every month, but the rules remain the same: everyone must partycipate! Román Lata Ares

fANCY fEEt Ever since it was born seven centuries ago in Cataluña, the espadrille has been a part of Spanish culture. Yves Saint Laurent was the first to bring it into fashion when he showed it with a heel in the ’60s; and since then, it has been continually reinterpreted to become the classic it is today. La Manuel Alpargatera, a shop situated in the historical center of Barcelona, has, by far, the best selection of handmade styles. Need proof? Its customers have included Salvador Dalí and the Pope. Carla Masdeu Calle Avinyó nº7, Barcelona

LOUIS VUIttON bY ROSSY DE pALMA Designed in collaboration with the Spanish actress Rossy de Palma, Louis Vuitton’s limited edition hand fan, which went on sale in select LV stores in Spain last May, is a chic way to keep cool during the dog days of summer. All sales benefit Orphan Aid Africa, for which de Palma is an ambassador. Fanning oneself to help others? Now that’s hot. Grace Kapin 41

Stylist assistant Olivia Kozlowski Retouch Simon Kölbl 3-D design Rizon Parein Models Sophie Srej (IMG) and Reid Prebenda (Red) Photo assistants Nyra Lang and Phillip Romano Makeup James Kaliardos for L’Oréal Paris Hair James Francis (The Wall Group)



TALK ABOUT ILLUMINATED BOOKS. THE LATEST VISIONAIRE HARNESSES SUNLIGHT TO TRANSFORM BLACK-AND-WHITE ARTWORK TO COLOR AND INSPIRES A SET OF CALVIN KLEIN THREADS IN THE PROCESS The inspiration for Visionaire 56 SOLAR—an issue of blackand-white artwork that explodes into color when exposed to sunlight—was surprisingly mundane. “We learned about colorchanging threads while researching the SPORT issue,” recalls editor Cecilia Dean. “We were sent a sample of a really cheesy tourist shirt with some embroidered writing across the front that changed to pastels in direct sunlight.” The Visionaire team then tracked down the photosensitive thread and inks. Italo Zucchelli, creative director of Calvin Klein Collection for men, found inspiration in the futuristic materials. “The inks presented a very interesting concept,” he says. “I am always looking for new technology and innovative fabrics, and I am fascinated by the concepts of change and transformation.” While the design for a head-to-toe white suit with a hidden red-checked pattern flowed freely from Zucchelli’s imagination, the Visionaire team labored with a printer to create the desired effect on paper. “You have to find a chemical formula for every single color,” says Dean. “Every manufacturer said we couldn’t print photography using the photochromic inks… But we did it.” For this issue, Dean felt it necessary to use images that would work in both black and white and color. She began by approaching fashion photographers who already had a relationship with Calvin Klein. Then added fine artists to the mix. The result is a list that includes everyone from David Sims and Mario Sorrenti to Olaf Breuning and Ugo Rondinone. “Visionaire has assembled some of today’s most talented artists and photographers,” says Francisco Costa, creative director of Calvin Klein Collection for women, who sculpted an ethereal gown out of gauze affixed with hundreds of loops of the color-changing ribbon. The artists in SOLAR play deftly with the issue’s concept, embedding messages or images within their work. In Peter Lindbergh’s black-and-white photograph of a desert landscape, a mysterious, beautiful face emerges in color. In Yoko Ono’s contribution, a blank-seeming spread with the word “dream” bursts into the brightest blue sky. And in the case of Alex Katz’s paint-by-numbers image, the subject is Kyra Griffin, who works at Visionaire. “She posed for the painting, but it wasn’t exhibited and none of us saw it,” notes Dean, adding that since the issue’s inspiration sprang from recombining familiar elements into something strikingly new, “this was the perfect opportunity to share it.” Ken Miller Photography Daniel Sannwald Styling Jay Massacret Color-changing suit and dress made of photochromic threads; white trainers, ballet flats Calvin Klein Collection Visionaire 56 SOLAR is out now. 43




NEw YORK NIGHTS After a nearly ten-year hiatus from the runway, makeup artist François Nars made a blockbuster return at Marc Jacobs Fall 2009 show. Each of the sixty unique looks—created along with hairstylist Guido Palau—was a throwback to the unadulterated decadence and showmanship of New York in the 1980s. Could the return of such extreme beauty be a reaction against our dismal economic situation? “Possibly,” offers Nars. “It is maybe an illusion but that’s what fashion is. It just helps you look and feel better.” Grace Kapin

GOLD RUSH Hair guru Oribe’s latest offering, 24k Gold Pomade, is the ultimate in beauty bling. The lightweight conditioning formula is infused with real gold flecks that offer a sexy iridescent shimmer that will see the wearer through a day spent poolside. Plus, the glinting gold container looks especially festive on the bathroom counter. Catherine Blair Pfander

wHITE HOT Sticky summer nights are best countered by a clean summer scent. Stockholm-based perfumer Ben Gorham, founder of Byredo Parfums, designed his latest fragrance, Blanche, to evoke “an untainted feeling, almost transparent nature.” Opening notes of white rose and pink pepper fade to violet, neroli, blonde woods, and musk—a bright blend certain to freshen up even the most “tainted” nightcrawlers. Stash a bottle in your purse for a reenergizing effect. Catherine Blair Pfander



SCI-FI EYES Thierry Mugler has a habit of inspiring cult worshippers. Ever heard of a little fragrance called Angel? Now the brand’s year-old makeup line is having a similar effect. Mugler’s new Latex Mirror collection for eyes, which includes a futuristic, coneshaped Latex Khôl eyeliner, makes defining lash lines an out-of-this-world experience. Roopika Malhotra

Just walking to Poppy King’s south-of-Canal Street office, you’re likely to see somersaulting toy puppies and waving plastic kittens. “Chinatown is so kooky and all over the place,” the Australian creator of Lipstick Queen says. “I love its quirkiness.” The neighborhood’s eccentricity is what inspired King’s latest project—a line of lip-gloss pencils named Chinatown. “It sounds bizarre, but we figured out a way to deliver the sheer, wet texture of a gloss in a crayon,” King says. Unlike their chubby lipstick cousins, which often go on dry and matte, Glossy Pencils impart moist, perfectly even pigment with a subtly shiny finish. And they don’t leave your fingers sticky. In five juicy neon hues, they’re ripe for summer—and beyond. “I like sophisticated, timeless brights,” King says. “These aren’t teenage colors.” Roopika Malhotra

Oribe, Choi, Mugler, Lipstick photography Jamie Chung Nars photography Luca Cannonieri

Amid the backstage whir of fashion week, NYC manicurist and spa owner Jin Soon Choi—hunched over in tight quarters, dressed in head-to-toe black, diligently focused on her work—almost seems to disappear. Yet the nails she steadily and quietly decorates (at Derek Lam and Oscar de la Renta, to name a few for Fall) have made a big impact: beauty giant M.A.C has teamed up with Choi on a collection of six runway-inspired polishes, debuting this September. “They’re a direct translation of what we see at the shows,” Choi says. “I even used Beyond Jealous, a charcoaled bluish green, on the models at Doo.Ri.” Each creamy shade has a high-shine finish, and is heavily-pigmented to cover nails in a single swipe. “Whether you’re prepping for the catwalk or just going out,” Choi says, “who has time to sit through two coats?” Roopika Malhotra








Tough Times mean Tougher accessories. look for sTuds, buckles, and anyThing in black leaTher




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Location Cult Studios, NYC



Photography Adrian Gaut Styling Catherine Newell-Hanson


1 BOSS Black boots $575 2 Alexander Wang mock croc boots $760 3 Giorgio Armani boots $1,245 4 Versace boots $1,160 5 Giuseppe Zanotti Design glove $1,140 6 ChloĂŤ Sevigny for Opening Ceremony wedges $625 7 G-Star jacket $550 8 Cesare Paciotti bag $1,050 9 Reiss bag $415 10 D&G clutch $3,720 11 Alexander Wang denim-effect boots $720 12 Diesel belt $320 13 Diesel belt $70 14 Guess by Marciano bag $115 15 Emilio Pucci shoes $1,150 16 Cesare Paciotti boots $920 17 Rock & Republic shoes $295 18 Cesare Paciotti boots $845 19 Versace bag $3,200 45


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Makeup Asami Taguchi (L’Atelier) Hair Jordan M Models Valeria Dmitrienko (Women) and Doug Porter (Major) Photo assistants Kaita Takemura and Will Kannar Stylist assistant Thien Tran This spread: Bangles David Yurman

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The queen of evening glamour has never shied away from making a sTaTemenT— in her work or her personal sTyle. for women who wanT To embody The fearless versace spiriT This season, There’s no shorTage of ways To do iT Photography Sharif Hamza Styling Catherine Newell-Hanson

NEXT big ThiNgs

1. NEW jackEtS Australian-born industrial designer Marc Newson is best known for his groundbreaking work in furniture, jewelry, airplanes, and, now, fashion design. Newson’s collaboration with denim label G-Star consists of a superluxe selection of minimalist jackets—five styles for men, four for women. Only one hundred pieces of each style will be available this July through eighteen exclusive retailers, including Colette, 10 Corso Como, Moss, and Maxfield. Catherine Blair Pfander


Photography Ben Pogue

2. NEW LEatHER Designer Bartholomew Dougherty knows his way around an awl. Radioactive Flesh, his new collection of one-ofa-kind leather vests and jackets, requires him to spend twenty to thirty hours hand studding the collars, sleeves, lapels, and backs of each re-tailored, relined vintage piece he sells. Amid the studs he often paints on some kind of obscure graphic. The vest pictured here features the third hexagram from the I Ching’s “King Wen” sequence. Yeah. These leather jackets go there. Jacob Brown


Available at Seven New York. Custom commissions are available at

3. NEW kIckS The deliciously implausible footwear collaboration between Yohji Yamamoto, the harbinger of Japanese innovation, and Salvatore Ferragamo, the ambassador of Italian classicism, is actually producing some fancy new kicks. Vara, the classic pump which has for three decades been a Ferragamo icon, inspired a lace-up sneaker with expressive shapes and clean, undulating lines. It will, inevitably, become a collector’s item. Grab a pair at Yohji and Ferragamo boutiques this Fall. Catherine Blair Pfander




Following its successful collaboration with Lanvin, Swedish label Acne has teamed up with Michael Zobel, a German jewelry craftsman who came out of retirement for this one last gig. It was worth it. A juxtaposition of polished and primitive-looking metals and precious stones, the sculpted fine jewelry has the feeling of sci-fi handmade armor, as imagined by the Aztecs. They are, in a word, otherworldly. Katherine Krause Available exclusively at Browns in London 5


Special thanks Pure Space Studios, NYC

Fraternal twins Dean and Dan Caten have taken inspiration from lumberjacks and Paris Hilton for their Dsquared runway collections, but the design duo had Kool Herc, Grandmaster Flash, and other seminal hip-hop figures on the brain for their debut line of eyewear. In partnership with Marcolin, the range of oversized, metallic-framed sunglasses harks back to a forgotten era of design, and is available for men and women this summer. Mr. V



This July, in a show at New York’s Half Gallery, legendary street skater Mark Gonzales will present a series of watercolors, canvases, and hand-painted skateboards inspired by the mythic patterns found in Navajo rugs and blankets. “My idea of this show is to bring the viewer into a place of feeling,” Gonzales explains. By soaring over sidewalks, he’s given his performances an iconic luster. Here, sailing over the history of Native American design, Gonzales gives his art a similarly transcendent beauty. Ana Finel Honigman “South West” runs July 9–August 29, 2009, at Half Gallery, NYC.


The backstory to Major Lazer’s take-no-prisoners debut, Guns Don’t Kill People…Lazers Do, reads like the plot of a long-lost Schwarzenegger action vehicle. The mythical Major Lazer is a Jamaican commando who lost his limbs in the secret Zombie War of 1984. Given prosthetic, lazer-firing arms and a rocket-powered skateboard by the U.S. government, Major Lazer hides out as a dance-hall nightclub owner when not being called upon by the C.I.A. to fight vampires. Got that? In reality, Major Lazer is the musical alter ego of Diplo and Switch—two of the world’s most sought after DJs and producers ever to slay imaginary monsters with completely over-the-top, beat-heavy jams. Guaranteed to zap every party you throw this summer. T. Cole Rachel Major Lazer’s Guns Don’t Kill People…Lazers Do is out now from Downtown


Roman Polanski’s 1962 international breakthrough Knife in the Water was followed up three years later with the equally bracing Repulsion, which follows Carole, a fragile and beautiful young woman played by Catherine Deneuve, as she slowly cracks up over the course of a terrifying weekend spent alone in her London apartment. It remains a landmark of the psycho-thriller genre—churning with claustrophobia, sexuality, and psychosis—and thanks to Criterion, sees the light of day again this summer. Mr. V Repulsion is out in July 2009 from the Criterion Collection




As iconic American photographer Robert Adams proved in his infamous series “Summer Nights,” the midnight hour has some interesting friends in darker places. Originally published in 1985, “Summer Nights” is re-released this September from Aperture, with an extended title: Summer Nights, Walking. Re-edited, re-sequenced, and printed with thirty-nine previously unpublished images, the book exalts the aftershocks of twilight in images Adams began making in the 1970s around his hometown of Longmont, Colorado. Snapping away into the night, Adams, the quintessential Western American photographer, produced a body of work in which the illuminative sources—often floodlights and moon glow—become the primary subject matter. In his images, the tactile beauty of a warm summer evening becomes anachronistically more evident when placed against the sad sprawl of ever-looming industry. Aimee Walleston Summer Nights, Walking is out in September 2009 from Aperture

10. NEW SHOW 11. NEW EP 11

She’s been a fixture on New York’s downtown music and art scene for years, but Sahra Motalebi’s career as a weird and visionary musical artist continues to gain momentum with each successive release. This fall she unveils the Tender Mortal Means EP (released via her own label, Static Recital)—a five-track sampling of Motalebi’s spooky musical incantations. Tracks like “Pearling” and “Migrators” burst at the seams with hand drums, chiming bells, and vaguely medieval flourishes—all held together by her remarkable voice, which veers from a deep, Patti Smith-like sing-speak to an ethereal chant, often over the course of a single song. T. Cole Rachel Tender Mortal Means is out in September 2009 from Static Recital

Born in 1975 at the apex of conceptual art, the Mexican-born, Los Angelesbased artist Mario Garcia Torres developed a lingering fascination with the pioneers of that particular art movement. From John Baldessari, whose work he once translated into karaoke, to Martin Kippenberger, whose project to build a museum on a Greek island was documented by Torres in a slide show, the artist pays a nostalgic homage to legendary tales of the art world. For his solo show at San Francisco’s Wattis Institute, Torres researched the story of “9 at Leo Castelli,” a brief, barely-documented exhibition of ephemeral sculptures curated by Robert Morris at the infamous New York gallery in 1968. The catalog of Torres’s show serves as an archive of both exhibitions, aimed at “adding another layer to [the former’s] foggy narrative.” Simon Castets “The Exhibition Formerly Known as Passengers: 2.11 Mario Garcia Torres” runs July 7–August 1, 2009, at the CCA Wattis Institute for Contemporary Arts, San Francisco.



master of venice

Last May, KarL LagerfeLd returned the fLoating city to its days of heady gLaMour with his chaneL cruise show Photography Simon Procter

Over 3 tons of sand had been shipped in to level out the beach, along which a boardwalk had been constructed. Outside Venice’s Hotel Excelsior, the tents—used as changing rooms by wealthy tourists for more than a century—had been removed and replaced with hundreds of lights to illuminate the space between the audience and the sea. “This is like the set of a movie I actually want to be in,” said artist Francesco Vezzoli, taking his seat—a beach chair—as the sun set and the show began.

A production of blockbuster proportions, Karl Lagerfeld’s Cruise offering for Chanel was a tribute to Coco’s own experiences on the Italian Riviera. “From 1919 to 1929, she came here every summer for vacation,” Lagerfeld explained. “She had several lovers during that period, and they always stayed on the Lido.” Today, most would agree, Venice is more touristy than high society. But for the fleeting minutes of this show, the glamour of yesteryear had returned. Such was Lagerfeld’s intention, as

evidenced by his references. “[Vittore] Carpaccio for the patterns, Titian for the color, the Bestigui ball, the lesbian painter Romaine Brooks,” he rattled off as a model arrived at the after-party still wearing her wig inspired by a certain Venice icon. “And, of course, Peggy Guggenheim,” he added with a smile. Derek Blasberg

Front row at the Chanel Cruise 2009/10 collection, Venice, Italy, May 2009


THE NEw NEw Look

Christian Dior’s reshaping of the fashion silhouette was so riCh anD raDiCal, it still serves as inspiration toDay. for pre-fall, John galliano Charts a new Course for the new look Christian Dior fully intended to reenergize the fashion world when he presented his first couture collection in February of 1947. World War II had ended, but money was scarce, and, in Europe, clothing was still being rationed. After years of wearing broad-shouldered potato sack suits, cobbled together from their husbands’ wardrobes, women were in need of something new. And with its cinched waists, padded hips, and full, flowing skirts (some of which used more than 80 yards of fabric), Dior’s collection offered them a sense of opulence and supreme femininity. “I have designed flower women,” Dior was quoted as saying. Carmel Snow, then the editor of Harper’s Bazaar, had a more general take on the silhouette: “Your dresses,” she told him, “have such a new look.” The collection’s impact on both the industry and individual morale was immediate. The house was inundated with orders. Dior was invited to stage a private presentation of the collection for the British royal family. And the following season, U.S. couture clients returned to the shows in droves. Somehow, amid today’s tough economic times, the spirit of the New Look seems relevant again. “The New Look was one of hope, defiance, of keeping morale high,” says John Galliano, who has drawn inspiration from the silhouette and evolved it since his first couture collection for Christian Dior in 1997. “I think women then, and today, want to escape, want to dream, want to look beautiful.” For this year’s Pre-Fall collection, the lines have changed a bit: the skirt is slimmer, the shoulders a little sharper, but the essence is the same. It is a look built on the idea of luxury, fantasy, and modernity. “My role is to capture the spirit of the now and the new, “ says Galliano. “To be more Dior than Dior, as well as true to the woman of today.” Karin Nelson

Suit Dior Pre-Fall 2009 Shoes Dior Pre-Spring 2009 52

Suit Dior Haute Couture Spring 1997, John Galliano’s first couture collection Shoes Miss Dior Fall 2009

Makeup assistant Melanie Sergeff Hair assistant Stephanie Farouze Special thanks Gerald Chevalier (Dior) Models Ilze Bajare, Lisette, Agnes Buzala (Next), Stella Maxwell (Viva), Maria Babikova (Marilyn) Makeup Inge Grognard (Jed Root) Hair Ed Moelands for Sebastian Professional (Jed Root)

Photography Simon Procter Styling Charles Varenne

Suit and shoes Dior Haute Couture Fall 2007

Suit Christian Dior, the original 1947 “New Look” Shoes Dior Pre-Fall 2009

Coat and belt Dior Haute Couture Fall 2008 Shoes Dior Fall 2009

ameron’s new groove

Ten years ago she sTole hearTs and liT up The silver screen wiTh a slew of roles as The blonde and beauTiful good-Time girl, buT even cameron diaz herself knew she’d have To hiT rebooT before conquering hollywood again. now she’s back wiTh 2 challenging new roles ThaT mighT jusT change The course of her career Photography Mert Alas & Marcus Piggott Styling Panos Yiapanis

Powder type photography Jamie Chung


Shorts, cardigan, boots, belt Prada Gaffer-tape bra stylist’s studio On hair, John Frieda Sheer Blonde Crystal Clear Shape and Shimmer Hairspray

Jacket (worn as bustier) Givenchy by Riccardo Tisci Boots Prada Gaffer-tape shorts and bra stylist’s studio On hair, John Frieda Frizz-Ease Dream Curls Curl Perfecting Spray

Pants Yves Saint Laurent Gaffer-tape bustier stylist’s studio On eyes, Clé de Peau Beauté Intensifying Cream Eyeliner in deep black

Gaffer-tape bra stylist’s studio On eyes and lips, Clé de Peau Beauté Volume Mascara 1 and Lipstick 15

Powder type photography Stéphane Pelletier

“I’m not goIng to be the 23-year-old Ingénue agaIn. If I trIed to hold on to that, I’d be a pretty unhappy IndIvIdual.” –Cameron dIaz otherhood is a funny subject for Cameron Diaz. “I don’t declare either way if I’m going to have children,” she says one spring afternoon at the Chateau Marmont. “I don’t know what will happen,” she adds, with a laugh, “And I’m totally fine with that.” Up close, Diaz’s blue eyes seem too bright and light to be anything but color contacts, and her smile, full of shiny white teeth, would give the Joker serious competition for width. All that, combined with her extra long, skinny limbs, makes her look slightly as if her Shrek character got stuck in a medieval stretching machine—but in the best way possible. At 36, Diaz may not be rushing into actual motherhood, but Hollywood has already cast her in it. In her latest film, a drama called My Sister’s Keeper, she plays a mother for the first time. Indeed, it’s a departure from the romantic comedy parts that made her one of the world’s most bankable movie stars. “It’s not like doing this movie made me think I’m not loving something as much as I can,” says Diaz, insisting that playing a mother didn’t make her feel any closer to wanting to become one any time soon. In the film, an adaptation of a Jodi Picoult best-selling novel, Diaz plays Sara Fitzgerald, the devoted mother of a teenage girl dying of cancer. Her younger daughter, played by Abigail Breslin, was genetically engineered to be a perfect donor match (everything from stem cells to a kidney) to the sick girl, but has decided to become medically emancipated from her parents, with the help of a showboat lawyer played by Alec Baldwin. Diaz’s character is fiercely focused—arguably obsessed—with saving her daughter, even at the risk of ruining her marriage (to a man played by Jason Patric) and her relationship with her other kids. Heavy stuff—particularly for an actress best known for dancing and laughing her way across the big screen in blockbusters like There’s Something About Mary and Charlie’s Angels. “I took over that warrior mentality,” Diaz says about her role, which she researched by interviewing mothers of sick children. “I don’t judge her. I don’t know what it’s like to be a mother who has a child who is dying of cancer. How do you say, ‘you’re trying to save your daughter a little too hard?’” Diaz did her best to keep her own life—particularly her devotion to her close-knit Californian family, including her young nieces and nephews— separate from the haunting role. “You try not to impose it on the people you love,” she says about the character’s circumstances. “That’s when it gets scary. You don’t even go there.” Director Nick Cassavetes (The Notebook) was impressed with the range and determination that Diaz brought to the tough role. “I don’t know why other people don’t use her in dramatic roles,” he says, via cell phone, driving in his convertible through Los Angeles. “She jumped into a part that requires great emotional capacity and the ability to be sympathetic and not be pretty.”

Her costar, Sofia Vassilieva, who plays the dying daughter, felt nurtured by Diaz both on and off screen. “Cameron took care of me, fed me Holy Moly Guacamole, held me when I needed to cry, and always made sure I was okay,” says Vassilieva, who had to shave her head for the role. In the movie, Diaz also shaves her head—but it was really just a bald cap she wore over her hair during that day of shooting. “She provided this incredible sense of safety and security,” adds Vassilieva. Twirling her hair, Diaz dismisses any notion that she took the role with Oscar hopes, insisting she signed on because she wanted to work with Cassavetes, an old friend. Plus, she wants to move forward in her career by taking challenging roles, rather than trying to direct, produce, or write. This fall, she will also star in The Box, a horror film directed by Donnie Darko’s Richard Kelly. “I don’t make movies for my ego. I do them for my personal growth and to give something to an audience,” says Diaz. “I’m not going to be the 23-year-old ingénue again. If I tried to hold on to that, I’d be a pretty unhappy individual.” Maybe everyone should do a drama about death. It certainly seems to have put Diaz in a good mood. Or maybe she’s always like that. What does the woman who has to workout to not get too skinny have to worry about? Sure it’s a bummer that she feels like she can’t shop or dine out in Los Angeles without getting hassled by the paparazzi, but she tends to bring the party back to her own home, which she’s renovating. “It’s going to be such a girl palace for me and my girlfriends to hang out in,” she says, implying that she’s single, though she won’t say for sure. (Previous boyfriends include Justin Timberlake and Jared Leto). “It’s going to be dope!” She had just cleaned out her closet, offering her castoffs to women’s shelters, and has held on to some scores she found buried in her own stuff. Such could be considered recession shopping if Diaz, who’s always at the top of the Forbes lists, had been affected by the economic crash. (She hasn’t). “I have all these badass pants and coats from ten years ago,” she says, mentioning a pair of Viktor & Rolf trousers. “I really want to go back to more vintage-y stuff. Not kitschy vintage, but some amazing couture from ten or twenty years ago.” Even though she rarely shops anymore, besides a splurge at Bergdorf’s in New York last year, her closets are so full that she’s turning one of her bedrooms into a boudoir, where she can properly primp for events. Her reigning favorite red carpet outfit is the borrowed pink Christian Dior gown she wore to this year’s Oscars. When it comes to spending her hard-earned cash on herself, Diaz likes to take her friends on trips and build up her art collection. She recently bought two photographs by Massimo Vitali and often fantasizes about designing a home in Hawaii. She also supports environmental and educational charities. A new cause that she’s excited about is the Iraq and Afghanistan Veterans of America (IAVA). “For me, it’s really about empowerment,” she says of her philanthropic choices. “We need to live in a better world where people feel better about themselves.” As for how the public views her personal and professional choices, she doesn’t really give a damn. “I use my own judgment,” she says, sitting up a little straighter. “I don’t care how people see me. I know who I am and what I’m capable of.” Deborah Schoeneman

Pants Yves Saint Laurent Boots Prada Gaffer-tape bustier stylist’s studio On skin, Clé de Peau Beauté Powdery Foundation OC00 On hair, John Frieda Frizz-Ease Thermal Protection Hair Serum

Pants Yves Saint Laurent Gaffer-tape bustier and bra stylist’s studio

Dress Marc Jacobs Boots Louis Vuitton Gaffer-tape bra stylist’s studio

Makeup Lucia Pieroni (Streeters) Hair Luigi Murenu for John Frieda (Streeters) Manicure Lorraine GrifďŹ n using Sisleya by Sisley Photo assistants Gareth Horton and Maurizio Bavutti Stylist assistants John McCarty and Julia Hackel Tailor Caroline Thorpe Makeup assistant Stevie Huynh Hair assistant Akki Shirakawa Tattoo Darryl Gates for Stylist studio director Ashley Fletcher Stylist studio assistants Anna Grzegorczyk, Simona Meirane, Natascha Robert Digital technician Emmiliano Grassi and Timothy Wright (DTOUCH) Retouching Dreamer Productions Production Lalaland Special thanks Big Sky London









On brows, LancĂ´me Le Crayon Poudre Powder Pencil for the Brows in brunet

Hannelore On eyes, L’OrÊal Paris Bare Naturale Gentle Mineral Eyeliner in slate


On skin, L’Oréal Paris True Match Super Blendable Makeup in porcelain


On eyes, Lancôme Définicils High Definition Mascara in brown


On skin, L’Oréal Paris Men’s Expert Hydra Power Invigorating Moisturizer

Irina Hat Philip Treacy for Alexander McQueen On skin, LancĂ´me Bienfait Multi-Vital Glow Enhancing Moisturizer


On skin, LancĂ´me Men Hydrix Micro-Nutrient Moisturizing Balm

Hair Guido for Redken Makeup Diane Kendal Models Iris Strubegger (Supreme), Hannelore Knuts (Women), Alla Kostromicheva (Women Direct), Matt Krause (Next), Irina Kulikova, Kamila Filipcikova (IMG), Ludwig Persik (Request) Manicure Yuna Park (Streeters) Photo assistants Bjarne Jonasson, Greg Harris, Sloan Laurits, Johnny Duffort Stylist assistant Tony Irvine Makeup assistant Tricia Andrews Hair assistants Sandy Hullet and Anthony Turner Digital operator Jocelyn Baun (Boxworks) On-site retouching Scott Fenn and Ben Kelway Printing Box


Fragrance LancĂ´me Magie Noir

elegance isn’t being revived, it’s evolving. suddenly sophistication is subversive, with ladylike classics taking a spin in the style blender Photography Willy Vanderperre Styling Olivier Rizzo

Powder type photography Stéphane Pelletier


Blouse (re-tailored, with collar worn in reverse) and skirt (worn underneath tights) Yves Saint Laurent Boots and belt Prada Cuffs (worn throughout) Balenciaga by Nicolas Ghesquière Fishnet tights (worn throughout) Wolford

Coat Dolce & Gabbana Boots and belt Prada On lips, Chanel Rouge Allure Laque in dragon On hair, Bumble and bumble Styling Lotion

Dress and cuff Balenciaga by Nicolas Ghesquière Boots and belt Prada

Jacket, skirt, boots, belt Prada

Stole and shoes Miu Miu Belt Prada On hair, Bumble and bumble Holding Spray

Blouse (re-tailored, with collar worn in reverse) and skirt (worn inside tights) Chanel Shoes Miu Miu Belt Prada On lips, Chanel Le Crayon Lèvres in rouge

Jacket (re-tailored) and coat Jil Sander Belt Prada On eyes, Chanel Le Crayon Khol Intense Eye Pencil and Inimitable Mascara in black

Dress Ann Demeulemeester Beaded dress (worn as skirt) Giorgio Armani Belt Prada

Fur coat and suede vest Jean-Paul Gaultier Red jacket Dior Dress Ann Demeulemeester Belt Prada On eyes and face, Chanel Eye Gloss

Makeup Peter Philips for Chanel Hair Paul Hanlon (Julian Watson Agency) Model Iris Strubegger (Supreme) Manicure Christina Conrad (Management Artists) Photo assistants Antoine Breant and Romain Dubus Stylist assistants Donatella Musco and Charlotte Brière Digital capture DTOUCH Digital operator Christian Horvath

Photography Sebastian Faena Styling Nicola Formichetti 84

Powder type photography Stéphane Pelletier using M.A.C Pigment in violet

It would be easy to dIsmIss lady GaGa as just another pop puppet—were she not pullInG all the strInGs herself. the outspoken, rule-breakInG superstar Is makInG 2009 her year by sayInG what she wants, sInGInG how she feels, and never compromIsInG on the fashIon

Headpiece Nasir Mazhar

Dress Balmain On lips, M.A.C Lipstick in sweet thing

Bodysuit Bess Collar and sleeves American Vintage

Shirt Alexander Wang Bra DeMask On eyes, M.A.C Eye Kohl in phone number and Mascara X in black x

Dress Givenchy by Riccardo Tisci Hat Patricia Field Ruff Palace Costume Teddy bear from the Klein Residence

“It’s not my job to do somethIng that’s safe for people. I just do what I thInk Is beautIful.” –lady gaga

o the boys and girls with a disco ball, some sunglasses, a glue gun, and a dream, this is your moment. Lady Gaga from Yonkers, New York, a graduate of lower Manhattan nightlife, who came into this world as Stefani Germanotta, is a star. “Just Dance” and “Poker Face,” the first tracks from her 2008 platinum-selling, electro-pop debut album The Fame, both reached number one on the Billboard Hot 100 singles chart, a success not seen since the introduction of Christina Aguilera a decade ago. Gaga delivers herself to the masses wrapped in postfeminist sexuality, cynicism-free materialism, and a new generation’s excitement for “creative direction.” She is the number one proponent of the avant-garde statement costumes currently popular with entertainers like Beyoncé and Rihanna. Gaga’s distinct visual vocabulary includes a signature “hair bow,” a studied disinterest in wearing pants, and an evolving wardrobe of geometric, left-of-center fashions (a Hussein Chalayan–inspired bubble dress, for example). Considering that Gaga designed this persona on her own, along with the creative team she calls Haus of Gaga, her development is being watched with interest, particularly as her notoriety affords her greater access to the high-end resources and collaborators that can bring more polish to her artistic ambitions. “You always have to be ahead of the curve,” she says. “Right now I’m quite obsessed with 1950s monster movies. And it’s a leap. But when you focus on something and commit yourself to it, your lie can become true.” The following conversation with Gaga, who speaks with a slight Madonna-esque accent, happened during a photo shoot for an upcoming M.A.C beauty campaign, in which she will star alongside Cyndi Lauper. Questions were directed at Gaga’s reflection in a mirror through a space between her hair, which was being worked on by Danilo, and the arms of a makeup artist applying red rhinestones to her face. Mark Jacobs

MARK JACOBS Have famous people been everything Gaga hoped they would be? LADY GAGA I was never excited to be friends with famous people. That’s never been the goal of this. I know my album is called The Fame, and that’s the subject matter, but it’s fame in the Warholian Studio 54 kind of way, not the stereotypical fame that people read about in tabloids and is considered very poisonous. MJ Why is fame important? LG To me, if something is good when it’s shallow, that’s enough. If it goes deeper that’s fine. I hope people read into the work but if they don’t… MJ You’ve spoken about the subtext of “Poker Face.” What is the subtext of “Boys, Boys, Boys”? LG I wrote the track as a mating call. I was dating this guy who was really into heavy metal and I wanted to write a pop song that would make him fall in love with me. So I wrote that record and we dated for two years. It reminds me of “Girls, Girls, Girls” by Mötley Crüe. The subtext is that even though I’m a very free and sexually empowered woman, I’m not a man hater. I celebrate very American sentiments about bars and drinking and men buying women drinks. It’s a very heavy metal sentiment that I celebrate

in a pop song. But I don’t think every record has to have this “Poker Face” subtext. MJ Has Gaga encountered an item of clothing too outrageous for her? LG I don’t consider my own clothing to be outrageous. It’s very strange to me the way people say, “Oh, Lady Gaga and another one of her wacky outfits!” Or, “You always dress so crazy!” The truth is that people just don’t have the same references that I do. To me it’s very beautiful and it’s art, and to them it’s outrageous and crazy. MJ It’s certainly more challenging than a pair of torn Levi’s and a tank top. LG I guess challenging and outrageous are two different things. There is a method to my aesthetic. I don’t just choose pieces based on their shock value. I really think that what I wear and what we design as a house is very beautiful and when people say it’s outrageous or over-the-top, to me we just don’t share the same references. Danilo, for example, knows who Thierry Mugler is. He’s very familiar with his work, he knows the lines, he knows the shapes, he’s seen the progression of his work and his archives since the ’70s. So if Danilo sees a piece that I’ve designed that’s Mugler-inspired, he says, “Oh, that’s amazing, I love it.” Whereas someone who doesn’t know Mugler might say, “Oh you look like a tranny robot.” They just don’t understand the reference. But it’s not my job to do something that’s safe for people. I just do what I think is beautiful. MJ The pop stars have been very territorial with the Mugler lately. Have you met Sasha Fierce? LG Have I met Beyoncé? No. MJ You once said you wish your live shows could change lives… LG I’m wondering why you asked if I’d met Beyoncé. MJ Because she’s really into Mugler right now. LG Right now. But I’ve been wearing Mugler for years. For me it’s not a one-off for a tour or a one-off for this album cycle. This kind of clothing, the period, the lifestyle of fashion and art and pop art as life, this is who I’ve been for years. But Beyoncé looks amazing. I love what Mugler did for her tour. But do you see my point? It’s not going to end after The Fame is over. MJ What about the teacup as accessory? LG That’s ridiculous. I like to drink out of china. People made a big deal of it. MJ What is the origin of the hair bow? LG Me and Matt Williams, he’s my creative partner and my best friend, we design and creative direct everything together, we were on the set of my “Poker Face” video. We were looking through books, and he was looking through a Gaultier fashion show, and Gaultier did all this amazing hair art with cats and giraffes, like crazy amazing. And I was yapping about bows. “I love bows!” I was imagining myself with hundreds of bows. “Bows are everywhere! Bows are the next big thing! They’re not on the street but they’re at the parties!” So he’s saying, “Yeah, I like bows, but everyone’s going to do it.” And I said, “Let me see that hair art. Go and put a fucking outfit on my head.” Lady Gaga’s The Fame is out now from Interscope Records. Lady Gaga is currently on tour

Corset and sleeves Richard Nicoll Headpiece Nasir Mazhar Bangle Balenciaga by Nicolas Ghesquière Corsage SOTU Productions

Bra DeMask Jacket vintage Gareth Pugh Fragrance Thierry Mugler Angel

Makeup Joanne Gair Hair Peter Savic Photo assistants Justin OfďŹ cer, Byron Nickleberry, Jason Lashever Stylist assistant Emily Eisen Executive producers Victoria Brynner and Gino Sullivan Production Kori Shadrick Production supervisor Jennifer Watko Production assistants Brett Harris and Grant Elam Digital technician Jenette Maloney Retouching Art + Commerce Imaging

EvErything nEw is old again. this fall it’s cool to drEss in a distinctly grown-up way, with all thE ElEgant accoutrEmEnts of a grandE damE Photography Sebastian Faena Styling Nicola Formichetti

Powder type photography Stéphane Pelletier using Maybelline Expert Wear Blush in potpourri


Constance wears Dress D&G Steel silver fox fur coat Richard Chai Necklace Alexis Bittar Earrings Fenton Bracelets and ring Kara Ross Hat Piers Atkinson Gloves LaCrasia

Eniko wears Red fox fur cropped jacket, skirt, shoes Salvatore Ferragamo Necklace Alexis Bittar Bracelet and rings Kara Ross Gloves LaCrasia Hat vintage On lips, Maybelline Superstay Lipcolor in spice

Eniko wears Black mink collarless coat with raccoon chevron hem Burberry Prorsum Earrings Fenton Ring (worn on left hand) Alexis Bittar Ring (worn on right hand) Kara Ross Gloves LaCrasia On hair, KĂŠrastase Double Force Controle Ultime Hairspray

Jacquelyn wears Jacket Louis Vuitton Dress Dolce & Gabbana Shoes Versace Fragrance Dolce & Gabbana The One

Eniko wears Dress Giorgio Armani Earrings and cuff Alexis Bittar Rings Kara Ross

Constance wears Dress Dior Red fox boa with tails Pologeorgis Shoes Cesare Paciotti Necklaces, bangles, rings Alexis Bittar Earrings Fenton On skin, Maybelline Mineral Power Natural Perfecting Powder Foundation in natural ivory

Eniko wears Dress, shoes, bag Marc Jacobs Silver fox stole Zandra Rhodes for Pologeorgis Necklace Tom Binns Design Knotted necklace Atelier Swarovski by Christopher Kane Bracelets Alexis Bittar Rings Kara Ross Hat Piers Atkinson Gloves LaCrasia Tights Wolford On hair, KĂŠrastase Mousse Volumactive

Makeup Lucia Pica (Management Artists) Hair Peter Gray using KĂŠrastase Models Eniko Mihalik, Constance Jablonski (Marilyn), Jacquelyn Jablonski (Ford NY) Manicure Rica Romain (See Management) Photo assistants Nick Demilio and Andrew De Francesco Stylist assistants Emily Eisen, Nathalie Wouters, Shawn Lisle, Ronald Burton, Justin Wolf, Michael Vendola Makeup assistant Brigitte Henry Hair assistants Masa Honda, Sarah Kim, Yoko Sato Production Sarah Smith Production assistants Tom Winchester and Toby Bannister Digital technicians Joshua Zucker and Jeronimo De Moraes (MILK Digital) Retouching Art + Commerce Imaging


Powder photography Jamie Chung using Dior Powder Mono Eyeshadow in amber plum; Brush still-life photography Sandy Sugarbush

In part one of an ongoIng serIes, we ask the world’s leadIng creatIve dIrectors, makeup artIsts, and haIrstylIsts to defIne what’s beautIful for the new decade. 2010 sounds lIke the future, and thIs Is what It wIll look lIke

Preserve and conserve the natural wonder. –Tyen Creative director Dior Makeup Photography Tyen Makeup Kim for Christian Dior

Studio Daguerre Lab Corinne Rodriguez (By Dahinden) Laboratoire Argentique L’Atelier Publimond Paris Model Tina Baltzer (Marilyn) Photo assistants Jose Gomez and Tarik Brixi-Jeed

On skin, Dior Diorskin Poudre Shimmer All Over Powder in pop diamond On eyes and lips, Dior Mascara Diorshow Iconic in extrême black and Rouge Dior Replenishing Lipcolour in hollywood pink

the future of beauty is color, texture, and confidence. –Peter Philips Global creative director Chanel Makeup Makeup Peter Philips for Chanel Hair Sebastien Richard Photography Sølve Sundsbø Styling Samuel François Jacket from the Chanel archive On eyes, Chanel Eye Gloss in rouge noir

Makeup assistant Valerie Joudelat Production Brachfeld Paris Retouching Digital Light Ltd Photo assistants Karina Twiss, Ashley Reynolds, Mathieu Boutang Stylist assistant Charlotte Collet Model Eniko Mihalik (Marilyn) Manicure Anny Errandonea (Agency Marie France-Thavonekham)

Model Kristen McMenamy (DNA) Photo assistant Vincent Lootens Digital remastering Dimitris Rigas

beauty for 2010: think bold, customized, digital beauty— makeup looks that express your personality, your style, your attitude. the only rule is that there are no rules. –Pat McGrath Creative director Dolce & Gabbana Makeup Makeup Pat McGrath Photography René Habermacher Opposite page: On eyes, Dolce & Gabbana Smooth Eye Colour Duo in fortune and Volumized Lashes Mascara in black On lips, Dolce & Gabbana Classic Cream Lipstick in ultra and Lip Gloss in tender This page: On lips, Dolce & Gabbana Classic Cream Lipstick in nude On nails, Dolce & Gabbana Nail Varnish in nude

The fuTure of beauTy is abouT individualiTy, abouT embellishing oneself based on one’s True idenTiTy, raTher Than puTTing on a mask. –Charlotte Willer Global makeup artist Maybelline New York Makeup Frank B Hair Laurent Philippon Photography Cedric Buchet Styling Brian Molloy Abbey Lee wears Dress Gucci On skin, Maybelline Mineral Power Luminous Blush in gentle pink Lakshmi wears Jacket Gucci

Stylist assistant Grace Kapin Catering Beltrami Food House Retouching Box Photo assistants Hans Neumann, Richard Rose, Daniel Disipio Digital technician Bradley Robinson Models Lakshmi Menon (Ford), Abbey Lee (Next)

On lips, Maybelline Color Sensational Lip Color in pink please

“Beauty will Become more sincere—a return to elegance, femininity, and sophistication.” –Olivier Échaudemaison Creative director Guerlain Makeup Mariel Barrera Hair Ashley Javier Photography Chad Pitman Styling Jay Massacret Clothing and accessories Louis Vuitton Sessilee wears On lips, Guerlain Rouge G in gemma Marloes wears On skin and lips, Guerlain Parure Gold in beige clair and Rouge G in giulette Hyoni wears On eyes and lips, Guerlain Mono Eyeshadow in l’instant nuit and KissKiss Lipstick in pinky boop

Photo assistant Alex Mucilli Stylist assistant Olivia Kozlowski Digital technician Mario Torres Models Sessilee Lopez (Major), Hyoni Kang (Ford NY), Marloes Horst (Next)

if you don’t mind getting a little sand between your toes, there’s no better place to scout a summer lover than Los angeles. Local cuties are known to don wispy nothings and stroll around Venice looking for cold beer and Boardwalk action—what are you waiting for? grab your best vintage shades and a laptop and get e-mailin’! Catherine Blair Pfander

V60 fALL PreView 2009

Photography Linlee Allen To see more V-mAiLers, or To BeCome one, VisiT VmAgAzine.Com. or e-mAiL A reCenT PhoTo (300 dPi), your nAme, Age, oCCuPATion, And CiTy of residenCe To VmAgAzine@VisionAireworLd.Com

my name is Chelsea i’m a 21 year old student from Venice e-mail me!

my name is Charlie i’m a 22 year old salesperson from Venice e-mail me!

my name is Vonk i’m a 29 year old editor from the west Coast e-mail me!

my name is item i’m an old-as-a-gutenberg year old impersonator from olympus mons e-mail me!

my name is jesse i’m a 33 year old designer from Los angeles e-mail me!

my name is kaiser i’m a 30 year old manager from the Valley e-mail me!

my name is Courtney i’m a 24 year old actress from Beverly hills e-mail me!

my name is Bradley i’m a 24 year old Creative director from Venice e-mail me!

my name is fatima i’m a 37 year old director from Los feliz e-mail me!

my name is Broah i’m a 25 year old surfboard salesman from Venice e-mail me!

my name is jessica i’m a 30 year old stylist from Los angeles e-mail me!

my name is dork i’m a 21 year old Legend from downtown e-mail me!

my name is tallulah i’m a 4 year old fluffer from Venice e-mail me!

my name is marcus i’m a 25 year old stylist from silver Lake e-mail me!

my name is Lex i’m a 20 year old writer from sydney e-mail me!

my name is Luke i’m a 29 year old salesperson from Venice e-mail me!

my name is molly i’m an 18 year old actress from Beverly hills e-mail me!

my name is hugh i’m a 27 year old artist from downtown e-mail me!

my name is Lizzy i’m a 21 year old salesgirl from west hollywood e-mail me!

my name is twinky i’m a 19 year old student from Venice e-mail me!

powder type photography jamie Chung using L’oréal Paris hip high intensity pigments Bright shadow duo in flamboyant V is a registered trademark of V magazine LLC. Copyright © 2009 V magazine LLC. aLL rights reserVed. printed in U.s.a. V (Bipad 96492) is pUBLished BimonthLy By V magazine LLC. prinCipaL offiCe: 11 merCer street, new york, ny 10013. postmaster: send address Changes to speedimpex 35-02 48th aVenUe, Long isLand City, ny 11101. for sUBsCriptions in the U.s. and Canada, address Changes, and adjUstments, pLease ContaCt speedimpex 35-02 48th aVenUe, Long isLand City, ny 11101, teL. 800.969.1258, Vmagazine.Com, e-maiL: sUBsCriptions@speedimpex.Com. for sUBsCriptions in the rest of the worLd, ContaCt the magazine Café, Comag U.k., taVistoCk road, west drayton, middLesex, UB7 7Qe, www.themagazineCafe.Co.Uk for BaCk issUes ContaCt V magazine, 11 merCer street, new york, ny 10013 teL. 212.274.8959. for press inQUiries ContaCt starworks teL. 646.645.6766



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Get into the groove with Cameron Diaz, Lady Gaga and more


Get into the groove with Cameron Diaz, Lady Gaga and more