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walk like an egyptian Is our world getting smaller or are there just more people doing more intelligent and exciting things and getting them out there in faster and more futuristic ways? That’s what we asked ourselves when we started commissioning our first-ever, unofficial “international issue.” V was global from the very start, but this time around we made a concerted effort to edit together the best and brightest from the four corners of the Earth— fashion from the Far East, rock from the wilds of Sweden, and art fresh from the sinking streets of the Venice Biennale. Sure there’s plenty of top-notch threads from the four capitals of style, but we’ve tried to explore life off the beaten path. If you’re talking about out of the ordinary, the subject of Lady Gaga is unavoidable. The year’s breakthrough pop sensation seemingly plopped out of the sky (or possibly flew in from another planet). Things may be speeding up, but Gaga makes a case for artistry and extremes, which we can totally relate to. Is she the next queen of pop? Surely no one’s name flickers across more Twitter updates and blog posts in this day and age. Whether or not she gets crowned as such, she proves that being your own freaky self can be immensely rewarding. Things are coming fast and heavy on the fashion front this season. We open with legendary Linda Evangelista as photographed by Sebastian Faena counting down the colors of the season. Then Mario Sorrenti lands in Times Square to survey the most experimental architecture around. Hint: it’s not in the streets, it’s in the dresses. Kate Moss takes a trip to Cornwall with a gypsy caravan, Naomi Campbell and Karl Lagerfeld fly over to Moscow for a nouveau czarina look, and in Los Angeles, Hedi Slimane finds that Amber Valletta is ready for her next act. Will Davidson rounds things out with a tale of two cities—Moscow and Barcelona—and a love story that stretches across thousands of miles. Now that sounds like a trip worth taking. Mr. V


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Communications Starworks

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Contributing Fashion Editors Jane How Nicola Formichetti Joe McKenna Panos Yiapanis Olivier Rizzo Clare Richardson Jonathan Kaye

Special Projects Kyra Griffin Dominic Sidhu Kiko Buxó

Fashion Editors-at-Large Beat Bolliger Sofia Achaval Jacob K Consulting Creative/ Design Direction Greg Foley Associate Art Directors Sandra Kang Byron Kalet Senior Designer Stephanie Chao Design Cian Browne

Art Editor Simon Castets Contributing Editor T. Cole Rachel Production Director Melissa Scragg Contributor/Entertainment Greg Krelenstein/Starworks Visionaire Cecilia Dean James Kaliardos 80

Administrative Assistants Annie Hinshaw Farzana Khan Online Editor Christopher Bartley Online Design and Production Ryan Dye Copy Editors Traci Parks Jeremy Price Interns Regina Maria Arnadottir Sean Baker Emily Bonner Ronald Burton Benjamin Caruba Amber Chandler Lucy Head Cobbs Marcus Holmlund Ryan Jordan Olivia Kozlowski Michael Liu Charlotte Macke Timothy Mitchell Alison Munn Catherine Blair Pfander Charlotte Rey Stephen Smith Rob Spalding Catherine Strassman Zoe Tarmy Thien Tran Alyssa Wood Nathalie Wouters

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V61 Mario Testino Mario Sorrenti Hedi Slimane Sebastian Faena Karl Lagerfeld Will Davidson Richard Burbridge Guido Mocafico François Berthoud Iain McKell Jason Schmidt John Norris Tim Walker Karen Kilimnik Kirsten Dunst Rachel Zoe Simon Procter Marie Chaix Nancy Spector Ken Miller Aimee Walleston Anthony Cotsifas Blythe Sheldon Anthony Kaufman Karen Langley Jessica Main Sophie Delaporte Adrian Gaut Sharif Hamza Matthu Placek Brett Lloyd Stevie Westgarth Xevi Muntané Hannes Hetta Akari Endo-Gaut Daniel King Alisa Gould-Simon Christian Brylle Ben Toms Celestine Cooney Elizabeth Yarborough Linda Heiss Victoria Tang Ming Liu Cecilia Glik Clarisa Furtado Alexey Kiselef Andrey Artyomov Christopher Katke Sheila Marquez Mote Sinabel Maggie James Charles Varenne Rachel Park Jamie Chung ChinaTown Julia Vendrell Johan Bengtsson Angela Campos Junichi Ito Charles Fox Jeff Groen Sara Coe Rebecca Voight Special thanks Art Partner Giovanni Testino Candice Marks Lucy Lee Jemima Hobson Sarah Frick Smith Lindsay Thompson Art + Commerce Anne du Boucheron Management Artists Julian Watson Elizabeth Ward Zaki Amin Katie Fash Cally Ellison Kim Pollock Patrick Stretch Elizabeth Norris Pippa Mockridge Splashlight Studios Smashbox Studios Fast Ashley’s Studios Zak Kaghado Roman K Rachel Gessert Didier Fernandez Jennifer Ramey Kyle Hagler Gabe Hill Erick Jussen Anna Dyulgerova Michelangelo Pistoletto Elmgreen & Dragset John Baldessari Sturtevant Nathalie Djurberg Mike Bouchet

Cover photography Mario Testino Styling Nicola Formichetti Makeup Linda Cantello Hair Oribe at Oribe Salon Miami using Oribe Hair Care Manicure Gina Viviano (Artists by Timothy Priano) Photo assistants Roman Harper and Edwin Montoya Stylist assistant Emily Eisen Lighting designer Chris Bisagni Red camera technician Santiago Gonzalez Red camera digital technician Dai Yoshida Production assistant Timothy Mitchell Catering Broadway East Retouching R&D Coat and glasses Marc Jacobs On skin and eyes, Giorgio Armani Sheer Bronzer 8 and Maestro Liquid Eye Liner On hair, Oribe Royal Blowout Heat Styling Spray V61 Plexiglas typography photographed by Jamie Chung

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Title: Women’s Bottom Publication: V Magazine Issue: Sept. 1, 2009



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132 ParanOid Park/BLOw hard A film portrays New York after 9/11; balloons invade the art world 134 man Of the minUte Designer Peter Dundas brings on the ’80s like no one else 136 eaU La La! Richard Burbridge photographs the season’s most intoxicating scents 140 Grande finaLe V toasts designer Olivier Theyskens’ final collection for Nina Ricci 142 PUmP UP the stam! Jessica Stam does the Rachel Zoe workout 144 fashiOn withOUt BOrders Cool designers from eight global fashion capitals 150 the CrystaL methOd Donatella Versace taps Brit wunderkind Christopher Kane for the relaunch of Versus 151 east is west Meet Jennifer Woo, queen of Chinese high fashion retail 152 made in sPain Designer Stuart Vevers blends tradition with modernity at Loewe 154 irOn maidens Studs and black leather storm the runway 156 news fLash The hot tip on fashion happenings

158 v fOr viCtOry Meet Lea Groesland, the newest winner of the V A Model search! 160 v-Bay Disco is hot again, and so are these accessories 162 GaGa Over GaGa Lady Gaga’s limit-pushing image and inescapably catchy melodies have made her a star. But it’s her artistic vision that puts her solidly on the path to pop royalty. Photographed by Mario Testino 256 v-maiL Visit the cuties of Barcelona

V FASHION FALL 2009 170 180 200 210 222 232 240 252

COLOr me Linda By seBastian faena Live frOm new yOrk By mariO sOrrenti kate & the GyPsies By iain naOmi: stranGer in mOsCOw By karL LaGerfeLd amBer’s next aCt By hedi sLimane wiLd thinGs By mariO testinO Let’s dO it aLL Over the wOrLd! By wiLL davidsOn Oh snaP! By Christian BryLLe

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98 Parties Proenza Schouler in Florence, Calvin Klein in Paris, Prada in Venice 108 a Life Less Ordinary Artist Bas Jan Ader vanished at sea. His art lives on 110 Best in shOw The Guggenheim stages the Oscars of art 112 GirLs Like Us Iconic punk band the Slits releases a vicious new album 114 sex and the shOemaker Legendary sexologist Dr. Ruth interviews Nicholas Kirkwood 116 maker’s mark Haunting street artist Richard Hambleton makes a longdeserved return 118 heavens tO Betsey Betsey Johnson brings thirty years of favorites to NY’s Opening Ceremony 120 On tOUr with the sOUnds A swing through northern Europe’s summer rock festivals 122 POrtrait Of a Lady Artist Karen Kilimnik and Kirsten Dunst collaborate on an exclusive project for V 124 wOrk in PrOGress Photographer Jason Schmidt pays Venice a visit for the city’s 53rd biennale 130 BLOnde amBitiOn Aussie pop sensation Micky Green takes the world by storm

Proenza photography Egon Ipse for Pitti W; Calvin photography Stéphane Feugère; Prada photography Studio Guindani


FIERCE IN FIRENZE Proenza Schouler’s Jack McCollough and Lazaro Hernandez debut their Resort 2010 collection at the Pitti Immagine trade show in Florence, Italy

Yvonne Force Villareal

Stefano Tonchi Priscilla Alexandre

Chloë Sevigny

Darren Spaziani Kate Fleming

Amy Greenspon

Suzy Menkes Bee Shaffer

Jen Brill

Margherita Missoni

Jack McCollough

Lazaro Hernandez

Liya Kebede Alessandro Geraldini

AN AMERICAN IN PARIS Calvin Klein Collection hosts an intimate dinner in honor of creative directors Francisco Costa and Italo Zucchelli during Couture in Paris

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Prince Emmanuel-Philibert de Savoie

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Fondazione Prada hosts the opening of their John Wesley exhibit during the Venice Biennale

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Lorenzo Martone

Olympia Scarry

Roman Abramovich Dasha Zhukova

Marc Jacobs Cecilia Dean

Rem Koolhaas

Franca Sozzani

Carine Roitfeld

Francesco Vezzoli

Anish Kapoor

Germano Celant

Patrick Demarchelier


Vladimir Restoin-Roitfeld

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Renzo Rosso

John Wesley

Patrizio Bertelli Miuccia Prada

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Opposite page: High-Waisted Stretch Short Mirrored Studded Clutch bebe This page: Round Shoulder Cropped Denim Jacket with Skinny bebe Makeup Fiona Stiles (The Wall Group) Hair Giannandrea (The Wall Group) Model Valeria Dmitrienko (Women Management) Manicurist Christina Aviles (Opus Beauty) Photo Assistants Dax Henry, Trever Swearingen Art Department Alex Bain Production Bobby Heller, Chalalai Haema Project Coordinator Stanley Quintanilla Digital Technician Luis Jaime Digital Package / Retouching



One Of the mOst influential artists Of tOday vanished at sea almOst 35 years agO. Bas Jan ader’s emOtive, ephemeral pieces defined a new sensitivity, But his greatest wOrk Of art might have Been his Own disappearance In one of Bas Jan Ader’s installations, Light Vulnerable Objects Threatened by Eight Cement Bricks (1970), the Dutch-born artist placed a birthday cake, a vase of flowers, and other crushable objects on the floor of a gallery, each under a brick suspended by a rope. The artist then ceremoniously cut each rope, allowing the bricks to drop and destroy the objects. Five years later, Ader— who always dressed his angular frame head-to-toe in navy blue and also smoked blue cigarettes—set sail on the Atlantic, alone, as part of a conceptual art piece and was lost at sea. Ader was, himself, a light, vulnerable object, intent on placing himself in harm’s way. And by making his own life a heartbreaking work of art, he elucidated the nature of tragedy: his disappearance serves as a metaphor for the fragile nature of human existence. Born in 1942, Ader arrived in California in 1963 and lived there until his disappearance. He completed his M.F.A. at Claremont Graduate School in 1967, and resided in that city for years afterward, teaching at local colleges. As a sort of homecoming for a man who will never return home, the Claremont Museum has slated a comprehensive retrospective of the artist’s work, opening in January of 2010. Pilar Tompkins, the show’s curator, is determined to transcend the moribund elements of Ader’s work and life story. “Comedy and tragedy are two sides of the same coin,” she explains, “which is why I wanted to title the show ‘Suspended Between Laughter and Tears.’” Apropos of an emphasis on the humor in Ader’s work, the exhibition will focus on a critical journal Ader produced from 1969 to 1970 with fellow California conceptualist William Leavitt. Cheaply produced via mimeograph, Landslide ran for eight issues. In part parody, the journal included content from imaginary Fartforum critics, among others, evidence of a time when lampoon and humor more obviously informed Ader’s practice. The journal also led Ader to try his hand at more performance-based art. As Leavitt describes it, “Landslide was meant as a satirical jab at the world of art criticism—a world which had, in part, formed us as artists. Along with the printed journal, we had performances. Those were our ways of exploring a new area in art without fessing up to the consequences should something go awry in a form we were uncertain about. The two performances we did were absurdist processes; one involved our burning road flares in the shape of a landslide on a slope.” But to discount the melancholy in Ader’s work is to tell only half the story, or even less. One of his most famous works, I’m Too Sad to Tell You (1971), involved the artist filming himself, in black and white, sobbing silently into the camera. As with most of his 108

later pieces, it was performed without an audience. These works That you’re not going to drown? In terms of seamanship, it resisted evanescence only because they were documented, most seemed pretty foolhardy. And it precluded any further developof them in 16 mm black-and-white film. ment of his work, didn’t it?” In 1970, Ader began what was to become an ongoing “fall” Before Ader set sail on a miniscule, 13-foot pocket cruiser, he series. The black-and-white films of these performances feature enacted the first part of In Search of the Miraculous at Claire S. the artist tumbling off roofs and trees, and riding his bicycle into Copley Gallery in Los Angeles. Part of the piece involved a group an Amsterdam canal. During this time period, another California- of his students performing sea shanties, which are thought to based artist, Chris Burden, also was making conceptual work be bad luck when sung on dry land. Ill tidings were also evident that explored the boundaries of bodily damage. In Burden’s in the model name of Ader’s vessel: the Guppy 13. He set sail infamous Shoot piece, the artist was shot in the arm by a friend off the coast of Cape Cod in July of 1975; the boat’s hull was wielding a .22 caliber rifle. Burden, whose varsity tight end looks found off the coast of Ireland ten months later. With his disapcouldn’t have been more in contrast to Ader’s delicate physique, pearance at sea, it is assumed that In Search of the Miraculous often made work involving such displays of perceived mortal never reached its intended culmination. Ader had planned the peril, and his self-imposed fasts and crawls through broken artwork as a trilogy, with his voyage as part two (part three was glass pushed the Duchampian question of “What is art?” to its to be a museum show back in the Netherlands). But as with I’m absolute limit. Compared to Burden’s performances, the violence Too Sad to Tell You, Ader’s melancholy would go without further of which is obvious, Ader’s works appear almost balletic. But explanation. He had embarked on a voyage of artistic self-annihilooks, as Burden points out, can be deceiving—and the distinc- lation, bobbing toward miracles unknown in a boat small enough tion between art and self-destruction is important. “It’s kind of to be scuttled by a few too many tears. Aimee Walleston like an actor: people get the work mixed up with the person, and they make assumptions,” he says. Much as Burden is the blood- Still from Bas Jan Ader’s Nightfall, 1971. and-guts counterpart to Ader’s ethereal vulnerability, it is Burden Courtesy Bas Jan Ader Estate, Patrick Painter, Santa Monica, CA who remains alive to create art. His take on Ader’s final work is a slap in the face to those who romanticize young death. “His last “Bas Jan Ader: Suspended Between Laughter and Tears” runs piece was pretty extreme. In Search of the Miraculous is basi- January 30–May 16, 2010, at the Claremont Museum of Art, Clacally a suicide, right? It’s a poetic title, but what’s the miracle? remont, CA.



This fall, The sluggish arT economy geTs a boosT wiTh The firsT annual arT awards—The guggenheim’s answer To The oscars—orchesTraTed by The one and only rob PruiTT 110

Artist Rob Pruitt may seem an unlikely candidate for the altruistic impresario behind the Guggenheim’s First Annual Art Awards, the museum’s own version of the Oscars, which takes place this October. But perhaps no one else is dashing or daring enough to throw a spotlight on the tepid art atmosphere at the moment. Pruitt’s bad-boy stripes have been well earned—from his early career send-ups of adolescent machismo and 1970s blaxploitation themes (produced with former partner Jack Early) to his infamous participatory Cocaine Buffet (1998), he has tested the limits of art-world decorum. His fusion of Pop Art (how else to explain the glittery panda paintings?) and homespun conceptualism has also found form in the instruction-based project 101 Art Ideas You Can Do Yourself (1999), a set of deadpan recipes for creativity, including “Arrange flowers in unexpected combinations.” His directions for the Art Awards are just as straightforward: “Gather together hundreds of art lovers; ask them to vote on their favorite artists, exhibitions, etc.; honor the

winners with extravagant gestures at glittering ceremony; have fun; be irreverent; and support worthy causes.” Conceived as a performance-based artwork, the Art Awards will recognize excellence in eleven categories, including “Artist of the Year,” “Solo Show of the Year in a Gallery,” “Solo Show of the Year in a Museum,” “New Artist of the Year,” “Curator of the Year,” and a “Lifetime Achievement Award,” among others. The nominations will be made by a council of more than one hundred artists and art world professionals, and final votes will be cast by a broader representation of the community. The winners will be announced at an awards ceremony designed by Pruitt on October 29th in the rotunda of the Guggenheim as a shared fundraiser for the museum, White Columns, and Studio in a School. Nancy Spector Rob Pruitt at the Guggenheim in NYC, March 2009 Photography Adrian Gaut Styling Akari Endo-Gaut Contributing art editor Dominic Sidhu



punk icons The sliTs dressed, sang, and made music however The hell They wanTed, simply because They had no oTher choice. This fall, Their firsT album in 3 decades seals The band’s sTridenT rock legacy and adds a chapTer To iT The Slits are sort of feminist. “Not in a politically correct sense, more in a lifestyle sense,” says Ari Up, the lead singer of the first female punk band, whose new album, Trapped Animal, is out this fall. “We were in an explosion where we didn’t have time to follow rules. We were too busy fighting for our identity.” That explosion was the British punk scene of the late 1970s, which centered around a gang of spike-haired amateurs raising their fists against corporate culture. Their ammunition: a style of shocking non sequiturs and an unprecedented degree of nihilism. Because the movement erupted quickly and was relatively small, Up and her cohorts thought more about everyone involved and less about themselves as the only girl group. In spite of touring with punk royalty like the Clash and the Buzzcocks, they never attained the same iconic status. “We were written out of history,” she says. Up and her crew were among a handful of female artists (Patti Smith and Chrissie Hynde among them) who broke with pop archetypes, wrote their own songs, and played music that captured their experiences as distinct from men. Women in the punk movement either fell into the lot of stupid girls or gained respect by acting like one of the guys. The Slits mocked the former category, but didn’t conform to the latter. Their name served as a taunt, both 112

a reference to genitalia and an intimation of violence. Where the Sex Pistols’ “Bodies” detested the human form because childbirth and abortions are a “fucking bloody mess,” the Slits’ “Love und Romance” satirized how men ridiculed love. “Call you every day on the telephone, break your neck if you ain’t home!” yelped Up. On “So Tough,” they mocked Sid Vicious’s failing, junkie posture, “He is only curious, don’t take it serious,” then delivered the knockout, “Don’t fuck things up by getting sick...again!” The Slits don’t sound like other punk bands. Up’s voice possesses the pitch and clarity of a manic opera singer, ranging from a quavering bray to a Nico-esque drone. At 15, the German expatriate pushed her way to the center of reggae parties in London, and, with guitarist Viv Albertine, bassist Tessa Pollitt, and then-drummer Palmolive, incorporated those sounds into her music. The band swapped reggae mixes while on tour with their friends the Clash, who are credited with inventing the hybrid. But where the Clash browsed the genre, covering Junior Murvin’s “Police and Thieves” and recounting nights at the Hammersmith Palais, the Slits forged a singular mix. Speaking with an inscrutable accent of German, British, American, and Jamaican, Up insists, “We invented world beat without knowing it.” Their second album, Return of the Giant Slits, delved into African rhythms and free jazz. The Slits were, and continue to be, instinctive arbiters rather than visionary plotters. As the first punk girl group, their ethos of caring about not-caring was complicated by the gender barrier: they had to work harder than their male counterparts to gain recognition, which meant caring more intensely about being apathetic. This paradox is explored in their hit “Typical Girls”: “Don’t create/Don’t rebel/Have intuition/Don’t drive well,” a lone imperative flanked by admonishments. At a time when Farrah Fawcett’s tawny look defined beauty, the Slits wore lace gloves and tutus and socks in their matted hair, paving the way for ’90s riot grrls and fashion eccentrics like Madonna, Björk, and Chloë Sevigny. On the cover of their 1979 debut, Cut, the band appeared topless, slathered in mud and dressed in loincloths. Some feminists maligned it as a primitivist pinup, while others lauded it for the same reason. The editor of the British music magazine Melody Maker said of them, “They look terrible. They’re fat, they look disgusting.” But Albertine contends that the image’s sexual nature was an afterthought. In Zoë Street Howe’s book Typical

Girls? The Story of the Slits, out this September, she says, “We didn’t think of ourselves as sexy at all. I mean, my little girl’s 8 and she’s aware of sexuality and how to flounce and flick. We weren’t aware.” Though theoretically liberating, she added, “You can see...we’d eaten quite a lot.” Punk delights in a conspicuous pastiche of the outlandish (rubber tights) and unremarkable (safety pins). Likewise, the Slits assert they had no choice but to play by their own rules. Malcolm McLaren and Island Records labelmate Bob Marley were apprehensive of them because they were the first self-created girl group, not an industry concoction. McLaren wanted to outfit them as a disco troupe. Marley initially name-dropped them on “Punky Reggae Party,” but took them out when he discovered they were women. As a result of such prejudice, the band’s sloppy determinism persists today. They still insist that they knew how to play, when most punk bands didn’t know, and celebrated the fact. Albertine offers Howe this apologia: “We couldn’t play what men could do, those sort of 4/4 times, never speeding up, never slowing down, couldn’t do it! I don’t know if women really can.” The years of attacks, bouncing between labels and managers, and various creative differences took their toll, and the band split in 1982. Up resurfaced in the ’90s as a dance-hall queen in Jamaica under the name Madussa, and has shuttled between Kingston and Brooklyn since 1987. She and Pollitt reunited as a new incarnation of the band in 2006, with the Sex Pistols’ drummer Paul Cook’s daughter, Hollie, on keyboards, drummer Anna Schulte, and a guitarist named No. They released an EP the same year, and Trapped Animal, their third full-length, continues their funky punk-dub, with added elements of hip-hop, electronic music, and dance-hall. Up is now 47, and the shrieks of her youth have mellowed into assured raps. But she remains as paradoxical as ever. “I am the essence of punk,” says Up. “But I’m uncomfortable calling myself that. It’s unacceptable to shock today. If I did now what I did back then, I’d be thrown in jail.” Blythe Sheldon The Slits (from left: Bruce Smith, Tessa Pollitt, Viv Albertine, Ari Up) in New Mexico, 1981 Trapped Animal is out in October 2009 from Narnack Records. Typical Girls? The Story of the Slits is out in September 2009 from Omnibus Press



Designer nicholas KirKwooD brings some Danger bacK to fashion with his twisteD anD tantalizing heels. but how DiD the straight, well-mannereD, miDDle-class british boy grow up to create the most erotic footwear in the worlD? we haD to call Dr. ruth westheimer to finD out


way a woman walks in these heels—her buttocks move and her entire body moves in a different way. And it’s true that from the back you don’t look at the neck, you don’t look at the hair. You really look straight at the shoes. NK You know if you think about it, women get breast jobs or Botox, but high heels automatically lift your legs and all your muscles. It’s like surgery in a way, but it’s much cheaper. DR That’s a good point. NK These are the Rodarte bondage boots from the Fall show. DR This is terrible. Yes they’re really in prison. How do they put them on? NK It takes a very long time. DR Who has the time for that? NK It took about twenty minutes from what I heard. DR For each one?

NK Each pair. It’s actually quite regal because you have to have two people doing it for you. The person wearing them has to lie back and just let these two handmaidens wrap them around and get them on. It’s like back in Versailles and waiting twenty minutes to have your corset done up. DR Very interesting. If I could have two good-looking men doing it, I could see that. Then I might reconsider. Nicholas Kirkwood in Paris, July 2009 Photography Sophie Delaporte Styling Hannes Hetta Contributing art editor Dominic Sidhu Nicholas wears Sweater Prada Pants Paul Smith Shoes, from left: Satin and metallic slingback with Swarovski pearls, F/W 2009; Suede and python open-toe boot, F/W 2009; Black-and-gold Venetian mask heel, S/S 2009

Location Atelier Pilar, Paris Retouching Emmanuel Pineau Grooming Nathalie Nobs Photo assistant Yvon Gherman

DR. RUTH Okay, let me see those famous shoes. NICHOLAS KIRKWOOD I designed these for Rodarte last Spring. They were inspired by C-3PO. DR I tell you, the poor woman who has to wear that. If she has to make a living by wearing that, then that’s just terrible. This makes me think about prison. Do you know what they used to do in China? NK Oh, foot binding. DR Terrible. That’s what you’re doing. This is the modern version of it. NK They’re actually inspired by this robot, so you have the exposed wire and all that stuff. But the difference between this and the foot binding is, at least at the end of the day, you can whip them off. DR Okay, that’s true, but you have to promise me that you will pay to have the feet massaged of every young woman who buys your shoes. NK I’ll massage them personally. Now here is another little piece inspired by origami and this idea of standing on something very precious like pearls. DR Oh that’s actually very beautiful, I have to say. If you can make one like this for me, with a tiny little heel. Are those real pearls? NK They’re actually made by Swarovski. DR Oh, I do like Swarovski. I have a whole collection, I have all their animals. Now we are talking. I have a dollhouse, my dollhouse has all of the little crystal teddy bears and all of those things. NK I love that. I’ve worked with Swarovski for several seasons. I’m working now on a jewelry collection for them, launching in the Fall. I’ve always loved the idea of hidden treasures, and when jewelry connects to the body, particularly the neck and wrist, it’s so sensual. I wanted to create this intense play between the masculinity of industrial metals, such as oxidized copper shaped almost like a chisel, and the feminine beauty of micro pavé peachcolored crystal. DR Oh very interesting... NK So what would be your assessment of a girl wearing these shoes? DR First of all I would say she probably has a lot of money to buy your shoes. I hope if she wears that shoe that it has an impact on her soul. That it has an impact on her heart. I would like her to volunteer for a nonprofit organization in these shoes. NK Would you say that this is probably a single girl trying to find a man in her life? DR Probably. No husband would buy her $1,100 shoes, unless she promises him some good sex. With this she would have to promise him some position she has never tried before. NK These have little bar windows. DR Don’t show me any prison shoes anymore. I would like to know if any woman ever designed such torturous heels. Probably only a man can do that. Only a man who doesn’t like women! Is that your case? NK Oh no! I love women very much. For me it’s a way of putting them on a pedestal, and making them more special— DR [Interrupts] Because you don’t have to wear them! I can tell what you’re after, now that I think about it. A shoe to some extent is sexually arousing to a man because of the

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MAKER’S MARK Artist richArd hAmbleton stAlked the streets of ’80s new York And left A trAil of hAunting grAffiti works in his wAke, Yet somehow Art historY wrote him out of its pAges. A new exhibition pulls him from the shAdows And revisits An unsung legAcY

In oft-eulogized 1980s New York, it was not uncommon to encounter sidewalk crime scenes—stark, chalk-drawn outlines of fallen bodies fringed with even more ominous smears of bloody red. But were they real, or was it all just Richard Hambleton messing with us? Hambleton began drawing his “Image Mass Murder” pieces in the early 1980s, a morbid public representation of the violent decay then plaguing his adopted hometown. Traveling across the U.S. and his native Canada, he drew these corpse outlines on sidewalks in purportedly low-crime areas in cities from Los Angeles to Winnipeg. The drawings were less political state116

But with success, a dark side to Hambleton’s smooth-talking persona emerged. “The more he attained a critical mass of recognition and reward, the more desperate would be his reactive need for self-destruction,” McCormick says, adding that his selfsabotaging urges were acted out “on an unimaginably perverse scale.” As with Haring and Basquiat, rock-star behavior was Hambleton’s MO. “This may be a trick of memory,” McCormick continues, “but I seem to remember snorting lines of heroin off of the issue of People magazine that featured him.” After years of drug addiction, Hambleton still lives in the Lower East Side. He is a reclusive, slightly gaunt figure who disdains press but can be seen interviewed on YouTube, shakey but evidently flattered by the attention, however reluctant to discuss his work or recent personal history he may be. Begun in the mid’80s, his “Beautiful Paintings” are morbidly lovely (and possibly inspired by his early encounters with Ecstasy, a novel drug at that time). Though the golden-hued seascapes promise escape, they are also acts of self-negation: some of his later canvases incorporate blood drawn from his own syringes. When Valmorbida and Restoin-Roitfeld first visited Hambleton’s studio, “We both had chills,” Valmorbida says. “The place is so unique, like entering into a page of history. The first thing Richard said to us was to please excuse the way he looked, as he had not slept or stopped painting for three days. We believed him.” After some cajoling, Hambleton began pulling work off the shelves, though after so many years in the shadows, he was—and still is— ambivalent about the idea of staging an exhibition. As street-art expert Marc Schiller of the Wooster Collective says, “It’s surprising how many young, dedicated, and extremely talented street artists there are who have never heard of Richard Hambleton. It’s depressing, actually, because Richard is one of the true legendary figures [in street art].” Assessing the impact of those early paintings, Schiller is emphatic: “His haunting black silhouettes are truly iconic. They were part of the fabric of the city.” Hiding away in his studio, his public art long since painted over, Hambleton had seemingly blended into the urban landscape. This fall the outlines of Hambleton’s influence are once again there for everyone to see. Ken Miller

ments than aesthetic interventions, a jarring subversion of those locations’ docile environs. Hambleton’s art was a sort of apolitical social commentary, a keen reflection of the times in which he lived. Following the chalk drawings, he initiated a series of quickly executed wall paintings of primitive figures, lurking like cave paintings in the city’s dark corners and side streets. Dipping into the night with a can of black paint hidden under his trench coat, Hambleton would execute each painting in a matter of seconds, his brushstrokes expressive and hypercool. It is this second body of work that is being presented this September by curators Andy Valmorbida and Vladimir RestoinRoitfeld, in collaboration with Giorgio Armani. Restoin-Roitfeld claims that Hambleton, as much as his friends Keith Haring and Jean-Michel Basquiat, deserves credit for “classifying his work as public art and [turning] graffiti into commercial success.” Known as the “Shadowman” series, these paintings evoke both the playful sidewalk tribalism of the work of Haring and Basquiat and the harsh gallery gloss of Robert Longo’s 1980s “Men in the Cities” images of spasmodically tumbling yuppie stockbrokers. Unsurprisingly, Hambleton quickly became a darling of the emerging East Village art scene. In 1982, he asked critic, curator, and fellow downtown denizen Carlo McCormick to contribute an essay for an exhibition in Milan. “Richard was good-looking and quite smooth,” McCormick recalls, “with a stunning array of beautiful girlfriends.” As evidence of this early success, RestoinRoitfeld cites an International Herald Tribune article from 1983. “It spoke about the new craze in the New York art scene,” he Shadow Jumper, 2007 says, “and how if you wanted to get involved you needed to Artwork Richard Hambleton Courtesy Woodward Gallery, NYC spend at least $10,000 for a Basquiat or $15,000 for a Haring or Hambleton.” Before long, Hambleton was being exhibited in European museums and invited to participate in the 1984 and “Richard Hambleton–New York” runs September 15– 1988 Venice Biennales. October 2, 2009, at 560 Washington Street, Door 37E, NYC



Top left: Debbie Harry in Betsey Johnson zebra halter dress. Photo Bob Gruen. Top right: Betsey Johnson floral printed dress on the cover of Seventeen, 1989. Bottom left: Printed cotton Lycra bodysuits, mid ’80s. Bottom right: Hangtag from the mid ’80s. Photo Jesse Frohman

Fall 2009: Betsey Johnson Archive Curated by Opening Ceremony

heavens to betsey

“There is life after death!” Betsey Johnson shouts from a perch in her electric yellow New York showroom, tugging with one hand on her trademark denim Capri shorts and with the other, adjusting her wild mane, also a trademark, which does not have a hair in place. “People can be born again!” Johnson is speaking specifically about her collaboration with downtown retail emporium Opening Ceremony on a collection inspired by her early designs. “It’s the biggest bow I can get from the world.” It’s about time that Betsey Johnson, who has been designing bright, fun, embellished clothing for more than four decades, received some heavy praise from the fashion community. Her world of fluorescent ruffles has remained constant for so long, it’s easy to forget the contributions she has made. Even she will tell you that she’s found herself in a sparkled, neon rut at times—but Johnson has spawned some of the biggest moments in fashion 118

history. This is, after all, the woman behind Edie Sedgwick’s costumes in Ciao! Manhattan, Debbie Harry’s best Blondie stage outfits, and Penelope Tree’s sexy, slit-to-there look for Truman Capote’s infamous Black & White Ball. Growing up in puritanical 1950s Connecticut as a devout cheerleader and dancer who made her own costumes, the young Johnson had a knack for sprucing up an appearance. While she was in high school she opened her own dance studio—she taught, a friend played the piano—in Terryville. After graduation, she intended to study dance in New York while attending Pratt in Brooklyn, but since that college provided her neither the time to dance nor the opportunity to design her own festive outfits, she transferred to Syracuse, where at least there was a football team she could cheer for. At the end of college, she won a Mademoiselle magazine challenge that sent her to New York for work experience and to London on a research trip. During her “guest editorship,” she worked first in fabrics then covered for an editor who was on maternity leave. When the editor came back she bopped around the office, working for anyone who needed help. An illustration gig at the magazine turned into a tiny mail-order fashion company that she ran single-handedly from her five-story walkup in Brooklyn. She would advertise in ladies’ rooms and put handwritten thank-you notes in every order. In the meantime, Johnson worked for a variety of stores and brands, namely Paraphernalia and Alley Cat, making sure her name showed up somewhere on the label, as she knew that one day she would be her own brand. She spent her off-time hanging out with the Velvet Underground (founding member John Cale is the father of her only child, Lulu), Andy Warhol, Debbie Harry, and Patti Smith, whom she’s since seen in East Village

Edie Sedgwick in Betsey Johnson for Paraphernalia fishnet dress, 1965

delis sporting original Betsey Johnson pieces. “It was crazy, passionate, frantic, and poor!” Johnson says, remembering when she would sew samples onto herself, cut from the same stuff as parachutes and Yankees uniforms. It was her work from this period that resonated with Opening Ceremony. Not that it was easy for her to provide looks to them for their research. “I saved nothing,” she says. “I didn’t have the closet space—you move and you think, ‘I just can’t deal with that. I’ll take a vase.’” The rest of her vintage she thinned in $10 bargain bins at sample sales. “I’m embarrassed to say I didn’t know who Opening Ceremony was when they first contacted us,” Johnson says. When she became a grandmother, she moved uptown to be closer to her daughter and granddaughter. And she’s the first to admit that her move away from gritty downtown affected her aesthetic: “We were still in a cutesy place in many of our collections, but since meeting [Carol Lim and Humberto Leon of Opening Ceremony] I’ve gone back. Why not bring back my tattoo print? A revival of the zippers?” she says, noting that when her vintage pieces were in her showroom, buyers would inquire about ordering them. “I feel born again with Opening Ceremony—like they’ve given me and my brand a whole new lease on life,” Johnson says. Does she feel good enough to do a cartwheel, yet another of her trademarks? “Absolutely,” she says, explaining that her flips began early in her career, when she was so excited and full of energy, she couldn’t contain herself. “I feel better than ever now, because I have something I didn’t have before: acknowledgement.” Derek Blasberg

Photography Daniel King Styling Catherine Newell-Hanson

Models Tabea Koebach and Megan McNierney (Marilyn) Stylist assistant Lewis Chong Makeup Walter Obal for Make Up For Ever (Jed Root) Hair Michael Long

Betsey Johnson says her new opening Ceremony revival ColleCtion makes 30 years of living under the high fashion radar totally worth it

Fall 2009: Betsey Johnson Archive Curated by Opening Ceremony

Betsey Johnson cotton Lycra floral dress, 1987









diary Guitarist Felix Rodriguez gets a little sun backstage at Arvikafestivalen, Arvika, Sweden, July 2

Postshow excitement at Pitkä Kuuma Kesä, Helsinki, Finland, June 27

The wet crowd at Southside Festival, Neuhausen, Germany, June 20

Helsinki puts drummer Fredrik Nilsson in a wild mood Singer Maja Ivarsson finds time for a smoke onstage at Peace & Love Festival, Borlänge, Sweden, June 26

Felix woos the crowd at Peace & Love Festival, Borlänge, Sweden, June 26

A look of focus and determination from keyboardist Jesper Anderberg at Hurricane Festival, Scheeflel, Germany, June 19

Felix and Jesper get ready to take the plunge

on tour with thE SounDS

bassist johan bengtsson documents his band’s summer swing through northern europe’s rock festival circuit 120

You can take the band out of Sweden, but you can’t take the Sweden out of the band. Case in point: the Sounds. The indie dance-rock heroes have had little time to relax since the April release of Crossing the Rubicon. Actually, since before that. Over a year ago they negotiated a break from Warner Music Sweden, made the decision to self-finance a new recording, played a string of high-pay festivals, funneled the money into studio time and producers’ fees, shopped the finished tracks, decided on a boutique label distributed by Universal, and put out the album. Then came summer. By June, the Sounds had edged further than ever before into the pop mainstream, thanks to an arena tour in support of Gwen Stefani’s No Doubt. Night after night they played in front of American crowds numbering in the tens of thousand. According to keyboardist Jesper Anderberg, the band was hesitant to agree to the tour at first. “We’ve been a headline band for so long, opening up for someone else seemed like a risk,” he says. But as anyone who has caught one of the summer shows will tell

you, singer Maja Ivarsson and Stefani share a lineage, one that descends straight from Debbie Harry. Both are punked-out frontwomen with pop flairs, wearing their sex on their leather biker jacket sleeves—it was a match made in Valhalla. Of course, these photos are not from that tour. Halfway through the No Doubt dates, the Sounds took a break and headed back to their homeland to headline a string of festivals in nine cities across Germany, Sweden, Finland, and Switzerland. The band’s bassist, Johan Bengtsson, whose father is a photojournalist, snapped shots not just backstage but from onstage as well, sometimes while playing. Pretty cool. “We love playing in America. California is great,” says Bengtsson. “But then you go back to the places you started, the places you wrote the music—it’s a refreshing energy. Plus we can sleep in our own beds between dates.” Jacob Brown The Sounds on tour June–July, 2009 Photography Johan Bengtsson










LAS vEgAS 2010

portrait of a lady


Photography Karen Kilimnik Fashion editor Kirsten Dunst

From left: Scarf Marc Jacobs Bangle Dior Beaded tassel earring Dior Pearl necklace with silver clasp David Yurman Blue chalcedony necklace (under scarf) Oscar de la Renta Multistranded faux pearl necklace Chanel Ballet slippers Repetto Crystal bangle Marc Jacobs Contributing art editor Dominic Sidhu 122


WoRK in PRo

Michelangelo Pistoletto Arsenale

The mirror offers its surface to physical life as a witness to its unlimited extent in space and time. When the mirror is shattered, its reflective power is not lost, it is multiplied as many times as there are fragments. As in fractals, every mirror shard, regardless of its size, preserves the properties of the large mirror, which reflects the totality of that which exists. During the performance, the breaking of each framed mirror is like a small galactic explosion that multiplies the particles of reflection and remains in the exhibition as the memory of a precise instant of the past, ceaselessly reflected in a new present. Every broken mirror painting is therefore a document of an event marking a precise moment in the flow of time. The black coating that appears behind the shattered mirror suggests the dark void that contains the lights of the firmament. It appears also, however, as a black hole that swallows those lights in order to expel them again in a new explosion. Two mirrors remain intact to represent, through their reciprocal reflection, the unending regeneration of light and life. Michelangelo Pistoletto 124


The 53rd Venice Biennale serVed up iTs fair share of arT sTars and hijinks, Turning The sinking ciTy inTo a microcosm of The arT world aT large. here are six arTisTs who dreamed Big Photography Jason Schmidt

elMgReen & DRagset Nordic Pavilion Danish Pavilion

Chilling at the pool in front of the Nordic Pavilion after finally finishing installation. It took more than a month to build “The Collectors,” a show spanning two neighboring venues—the Nordic and the Danish Pavilions in Venice. We have transformed the exhibition spaces into the private homes of some fictional art collectors. Mr. B is floating facedown in the pool. Poor guy! The houses are filled with weird traces of our made-up inhabitants—their dramas and passions. We like staging never existing realities: forever-closed Prada stores in the middle of the Texan desert, fake subway stations in the Meatpacking District of New York, or closed down nightclubs in East London. We like sad stories told with humor. Many of our works are like 3-D novels or movies in which the main characters are never revealed. Well, time for a last cigarette in the sun before the crowds start pouring in, eager to go on art safari at this year’s Venice Biennale. It’s all about watching and being watched, isn’t it? Behind us some fashion shoot is already taking place. Strike a pose! Elmgreen & Dragset

John BalDessaRi Palazzo delle Esposizioni

I planned the design for the façade to appear as a giant tourist postcard. I see it as the façade of a Roman villa, flanked by two palm trees and a seascape from Southern California in a Venetian setting. Tourists, instead of buying a postcard, can take pictures of themselves standing in front of the façade and use that as a postcard that they can e-mail to their friends. John Baldessari

work in progress


Danish Pavilion

Knowledge is for cutting. VoilĂ ! Sturtevant

work in progress

nathalie DJuRBeRg & hans BeRg Palazzo delle Esposizioni

The Experiment resembles a surrealistic Garden of Eden gone wrong. It consists of thirty-four large sculptures, composed of arrangements of owers made out of materials I normally use for my animations: clay, silicon, latex, wire, and Styrofoam. Three new clay animations are projected throughout the sculpture installation. A special surround-sound audio track composed by Hans underscores the thematic relationships between the ďŹ lms and the sculpture. Nathalie Djurberg

MiKe Bouchet Arsenale

I was originally interested in how a house could be a culturally unsettling object. Houses of this type touch a nerve. They engage a tremendous fantasy regarding shelter, and they are also anathema to architects. My idea had nothing to do with the sub-prime mortgage crisis in the U.S. Between the mix of architectural references and plastic materials, I find these houses almost psychedelic. It’s worth noting that millions of people worldwide live in these glorified film sets. After the house sank (it was officially designated a shipwreck by the Italian Navy), I had planned to restore it to its original, sparkling-new state. When it was lifted from the water, I decided to leave it exactly as it is. I like the slightly off-kilter column, ripped vinyl siding, and missing back porch. It is a sculpture, and like much of my work, how it looks is the result of a process. In this case, sinking into the sea. My original idea had to do with making Venice “dirty” with a brand-new suburban home, but the home itself was “dirtied” by Venice. I like that it looks like everything else there—a bit water-damaged, slightly askew, and sitting on the sea. Mike Bouchet

Production assistants Rose Jerome, Laura Elizabeth, Toby Bannister Special thanks Pier 59 Studios, NYC Lighting technician Butch Hogan Digital technician Jason Cannon (Milk Digital) Production Sarah Frick Smith Stylist assistants Alisa Post, Kelly Brown, Michael Liu, Thien Tran, Peter Boardman, Lauren Thiel, Jay Yoon Manicure Rica Romain (The Wall Group) Photo assistant Aubrey Mayer Makeup Itsuki (The Wall Group) Hair Thomas Dunkin for Sebastian Professional (The Wall Group)



AustrAliAn pop stAr Micky Green wAs terrified of the stAGe, but it’s AMAzinG whAt A hit record cAn do for A Girl’s confidence. now the world is wAtchinG And it won’t trip her up for one second To see her perform live, a vision of lips, wiggling hips, and coy, over-the-shoulder glances, one would never guess that Micky Green, the platinum blonde knockout from Sydney, Australia, was ever remotely apprehensive about taking the stage. “I was absolutely petrified,” laughs the 25-year-old, her green eyes glinting. “Even when I performed [in the past], I was drumming so I was in the back and everyone else was in the front. It was really difficult to sing my own songs and have everyone looking at me.” The current pop phenom, whose debut album, White T-Shirt, an infectiously catchy dance record that went gold in France last year, picked up a set of drumsticks at age 11 and never put them down. At 18, she left Sydney for Paris to embark on what proved to be a successful modeling career, booking ad campaigns for the likes of Diesel and Dior, and writing songs all the while. “I really had fun modeling and it was definitely a good period,” recalls Green. “But when I got my recording contract, I was like, Okay, well I don’t need to model anymore.” Though Green still occasionally acts as mannequin, the overwhelmingly enthusiastic response in France to her first single, “Oh”—a slow, jazzy number she wrote at 17 for an ex-boyfriend—has proven she’s as talented behind the mic as she is in front of the camera. And her recent collaboration with Sebastian Professional, a luxury hair-care brand known for casting It-girls as their beauty muses (like Charlotte Ronson in 2008), will no doubt add fuel to her flame. “Micky Green is a self-made star,” says Reuben Carranza, director of North American Professional Salon for P&G Salon Professional, “whose infectious energy, rocker edge, and vocal talent is inspiring.” Stage fright be damned, Micky Green is stealing the show. Catherine Blair Pfander Micky Green in NYC, July 2009 Photography Sebastian Faena Styling Sofia Achaval 130

T-shirt designed by Micky Green exclusively for Sebastian Professional, available in salons Bra Agent Provocateur Jewelry Micky’s own See more of Micky Green and exclusive behind-thescenes footage of this shoot on

W W W . P O U P O U L A P I N . C O M A R T W O R K











C O L E T T E ,



PARANOID PARK Director Zeina Durra’s feature-length film DeBut is a portrait of Both herself anD post-9/11 new York

“You’re not in the CIA, are you…or Mossad?” Asya asks Javier, her swarthy Mexican lover, as they lounge in bed post-sex. Director Zeina Durra’s feature-length film debut, the black comedy The Imperialists Are Still Alive! is filled with such scenes of over-thetop paranoia, desperation, and off-kilter glamour. Set in New York after September 11th, the film stars French actress Élodie Bouchez, who plays Asya, a young Arabic artist whose politically extremist artworks are attracting unwelcome attention. And she has every reason to be suspicious. But while Bouchez’s portrayal is unfailingly over-the-top, Durra’s picture of New York looks like reality. “No one of our generation really does natural-looking film,” explains the 32-year-old director, who shot Imperialists on Super 16 and prides herself on the film’s realistic portrait of New York now— from the clothes (Margiela) to the clubs (a password-protected speakeasy behind a Chinatown deli) to the characters (Whit Stillman, Rita Ackermann, and Sophie Auster make appearances). “So many films tell you ‘This is the good guy’ and ‘This is the bad guy,’ which is completely not my perspective on film. Life is so much more complex. Anyone can be put into either of those roles.” Imperialists centers around the disappearance of Asya’s exboyfriend Faisal. He is thought to have been kidnapped by the CIA for suspicious activity, which sends Asya and her Middle Eastern hipster coterie into a tailspin. Because she produces incendiary artwork involving nude bodies, keffiyeh scarves, and fake machine guns, Asya believes she’s under investigation. In the middle of the night, she scrawls THEY MAY BE LISTENING on a notepad with Sharpie and flashes it to Javier, too scared to utter a word and risk being recorded. In one absurdly hilarious scene, the two of them pack her mock weapons into Bergdorf Goodman bags and dump them behind a Chinatown fruit stand.

Outlandish as it may sound, Durra claims that Asya’s behavior is an honest reflection of how she and her expat friends felt living in the city in the weeks and months following the attacks. “It’s not necessarily paranoia,” explains Durra, who was born and raised in London but has roots scattered across the Balkans and the Middle East, from Bosnia to Palestine. “We grew up in a world of closed systems. Our parents would say, ‘Don’t be public about your views,’ ‘Don’t say what you think.’ After 9/11 all the stuff we grew up with became a reality. Even though we look back now and laugh at how ridiculously we behaved.” Imperialists is the follow-up of a short film Durra created in 2005 called The Seventh Dog, which was filled with the same political undercurrents, dark comedic elements, and penchant for style. Durra’s aesthetic is antiflash and antigloss; she favors reality, one that’s often based on her own experience. The daughter of a Bosnian/Palestinian mother and Jordanian father, her outlook

is fiercely international, though her favored setting is New York. Topics of displacement and diaspora are common within her family’s history, which explains why they so often make their way into her films. Her grandfather, the Jordanian nationalist Said Durra, was jailed in Lebanon in the 1920s for his poetry and political affiliations; her Bosnian grandmother escaped her wartorn home at the age of 80. “Meanwhile I’ve been living this great life in New York!” Indeed Durra’s home of ten years has informed her films as much as her family’s storied political past. “New York is a city full of expats,” she says, “and this is a film about people like us.” Christopher Bartley Still from Zeina Durra’s The Imperialists Are Still Alive! 2009


Balloons enter the realm of serious art. meet Buster Balloon, their master

Buster Balloon’s solo show begins September 8, 2009, at Half Gallery, NYC. 132

Photography courtesy Pioneer Balloon Company

In a time when shark carcasses and elephant dung are lauded artists’ mediums, balloons seem a little quaint. Child’s play, you might say. But the colorful, phallic latex tubes favored by twisters— as those who craft shapes from balloons call themselves—have more potential than most realize. They form figurative representations of Americana: happy puppies, sad Elvises, ice cream cones, vintage autos. And then they deflate, quietly losing their shape and their identity, until they are swept into the waste bin. In a matter of days, balloon sculptures play out the transformation our culture is most obsessed with: the disintegration of youth into decrepitude. Buster Balloon just sees their fleeting nature as “job security.” This September he unveils a show of his creations at Half Gallery on New York’s Lower East Side. “I became fascinated with drawing and sculpting when I was 3 and then discovered magic when I was 5,” he explains. “In high school, I worked in every imaginable medium, including wire, Styrofoam, and crumpled butcher paper. At 18, I discovered balloons.” And yet it was only recently that 38-year-old Buster found himself embraced by the art establishment—thanks to an association with Jeff Koons. Koons’s staff found Buster on the Internet and recruited him to help on a project. While it may have taken a while for his work to be accepted, Buster never doubted his chosen medium. He had no choice, he says. “None of the others spoke to me the way that balloons have.” Jacob Brown



EightiEs rock-star ExcEss has bEEn an Enduring touchstonE for dEsignEr PEtEr dundas. and now that minis arE hugE and sEquins ubiquitous, all EyEs arE on fashion’s savant of nouvEau glam Peter Dundas is rather frank about the state of Emilio Pucci before he stepped in: “It was a sleeping beauty,” says the Florentine house’s new head designer, whose first collection debuted for Fall. Indeed, if that were the case, Dundas was definitely the man to wake it up. The Norwegian designer, who also helms the French fur house Revillon, has earned a reputation for highoctane, body-con clothing that makes a woman feel “like a star.” It’s a design sensibility he established during his three-season stint at Emanuel Ungaro, beginning in the fall of 2006. There, he set the bar for neo-eighties rock goddess attire with his high-cut asymmetrical gowns and skimpy, crystal-encrusted minis—both of which reappeared in his first collection for Pucci, along with decadent fox furs (something he’s mastered at Revillon), overthe-knee suede boots, and skin-tight black python pants. “I suppose I will always do that kind of power dressing,” he explains. “I believe in animal instincts—they’re stronger than anything else.” And if it seems like Dundas is following his own instincts at a house synonymous with psychedelic pop prints, he is. But then, Pucci isn’t just about prints; it’s a brand built on the idea of glamour, movement, and freedom. “So how do you translate that into a little black dress?” asks Dundas. It seems, with his Fall collection, he’s found an answer to that. Karin Nelson

Photography Ben Toms Styling Celestine Cooney

Emanuel Ungaro F/W 2006

Emanuel Ungaro S/S 2007

Amy wears Jacket and dress Revillon F/W 2009 Imogen wears Dress Emilio Pucci F/W 2009

Emanuel Ungaro F/W 2007

Emilio Pucci F/W 2009

Photo assistant Griffin Kusama Stylist assistant Rebecca Connelly Models Amy Greenhough (Select) and Imogen Morris-Clarke (Next) Makeup Andrew Gallimore (CLM) Hair Panos (CLM)


new dvd Isabella Rossellini’s Green Porno series is as far as you can get from your average blue movie. Aired on the Sundance Channel in 2008, the collection of short films and skits explores the fascinating fornications of the natural world—as written, directed, and performed by the actress and beauty icon herself. From in-depth sexual studies of garden dwellers like worms and bees to skits in which Rossellini acts out parts of the reproductive process of whales, Green Porno is the most creative and bizarrely camp sex ed. lesson ever. Sean Baker Green Porno is out in September 2009 from HarperStudio.

new PHOtO BOOk

new FLasHBack

You can thank Juergen Teller, Nan Goldin, Wolfgang Tillmans, and their ilk for moving photography out of the studio and shedding its stodgy trappings concerning “craft.” Shoot, a new book by Ken Miller, brings together two generations of photographers who have stripped down the art of image-making and focused their lens on the spontaneous rather than the controlled. All of which has returned a certain degree of humanity to photography and influenced a legion of young snappers in the process. Jeff Groen

For the past twenty-five years, the lines between uptown and downtown have blurred not at 14th Street, but at 430 Lafayette. A new photo book chronicles the rise of the iconic restaurant Indochine from hip hangout to legendary Manhattan nightspot over the course of almost three decades. And the gang’s all here: from young Madonna to ageless Grace Jones and every scene-maker and fashion-head in between. Mr. V Marc Jacobs and Elizabeth Saltzman Walker dressed as Linda Evangelista, photographed by Roxanne Lowit, 1991. Indochine: The Restaurant is out in October 2009 from Rizzoli

Right: Thomas Jeppe’s Pendulum, 2008. Shoot: Photography of the Moment is out in September 2009 from Rizzoli

new aLBum There are a gazillion dudes creating soulful takes on classic Americana, but A.A. Bondy happens to be among the five or six of them who actually do it well. His debut album, 2007’s American Hearts, was a critically praised sleeper that flew under most people’s radar. If there’s any justice, Bondy’s much superior sophomore album, When the Devil’s Loose, will garner him the kind of attention generally showered on guys like M. Ward and Will Oldham. Bondy’s songs have a haunting, Southern gothic quality to them that’s perfectly suited for end of summer—the perfect sound track for back porch hand-holding or long, meandering walks at dusk. T. Cole Rachel A.A. Bondy’s When the Devil’s Loose is out from Fat Possum in September 2009

Y-3 photo Dom Smith

new kicks Shoes tend to make the man, and this Fall Y-3 serves up a new series of kicks in collaboration with New York artist MOMO, known for his conceptual collage work and urban intervention projects. The result is three color-blocked designs in high-top styles, designed to brave everything that city streets have to offer. Charles Fox

new art American artist Tauba Auerbach’s clever abstract paintings typically stem from inquiries on topics like chaotic dynamical systems and binary code. But, as it turns out, she’s equally inspired by personal experience. In her latest solo show at Deitch Projects, the artist says, “I find I’m going back to scary moments I had as a child.” Her series of “crumple” paintings (wherein patterns of halftone create a trompe l’oeil crumpling) were inspired in part by a fever dream she had as a child. Breaking from the visual, Auerbach is also confronting another childhood bête noire: performance. “I did piano recitals as a kid, and I was so nervous that I couldn’t even hear the sound of the piano,” says the artist, who will perform at the opening with her collaborator Cameron Mesirow (of the band Glasser). Aimee Walleston Above: Tauba Auerbach’s Shatter III, 2009. Photo Adam Reich. Courtesy Deitch Projects, NYC. “here and now / and nowhere” runs September 3–October 17, 2009, at Deitch Projects, NYC 135


l’EAU AMBRÉE BY PRADA The mosT inToxicATing fRAgRAnces of The fAll seAson ARe DRiven BY equAllY AlluRing PeRsonAliTies, fRom DAPhne guinness To nAomi cAmPBell. heRe’s An eARlY sAmPling Photography Richard Burbridge 136

As anyone who has attempted to describe a Prada dress will tell you, there’s no easy way to nail down its gestalt. Traditional sartorial descriptions (A-line, knee-length, cute) fall dissatisfyingly short; full comprehension requires it be worn on the body. Likewise, Prada’s ancillary creations—the Venetian Fondazione, the Marfa installation, the cult that is Miu Miu—defy casual one-liners, and that includes the newest women’s fragrance, L’Eau Ambrée. Debuting this Fall as the latest installment of the Prada Classics line—previously a trifecta of amber-based men’s and women’s scents—the perfume is richer in both scent and hue. Its layering of citron, may rose, and, of course, amber result in a series of sophisticated and artful contradictions—a Prada signature if there ever were one. The scent hits the nose as feminine yet ungirlish, powdery yet crisp, familiar yet wholly original. A spritz produces a subtly calming effect—a result, perhaps, of the ingredient opoponax, otherwise known as sweet myrrh, which was once doled out as the antidote to hysteria and hypochondria. And, perhaps most importantly, there’s the understated allure: the subtle scent has prompted more than one appreciative bystander to lean in closer to get a better sense of the enigmatic. Jessica Main

DAPHNE BY DAPHNE GUINNESS As a designer, stylist, writer, filmmaker, and contemporary art collector, Daphne Guinness has dabbled in various forms of selfexpression. To many, she is a muse—a modern-day marchioness who treats her appearance as a work of art. And her scent is no exception: along with Comme des Garçons, she has created her first signature fragrance, simply called Daphne. The fragrance was conceived nearly three years ago. Guinness had decorated herself in her own concoction for years—a personal blend of incense, iris, amber, patchouli, and orange—and decided to recreate it for Comme des Garçons after being approached by CEO Adrian Joffe. According to Guinness, it was a fulfilling experience. “Having such support from people who understand what you are talking about, and who have a similar outlook on life is so rare,” she says. “It has been wonderful.” After the scent itself was finalized, Guinness moved on to the packaging: a simple, round bottle bearing only her name, enveloped in a red velvet pouch inside a small white box that is linen on the outside and black lacquer within. The fragrance’s appearance was as important as the smell. “I directed every step,” Guinness explains. “The whole thing is an extension of me. It reflects the way I live—very, very simply, but I’m extremely complex at the same time.” Derek Blasberg


IDOlE D’ A RMANI BY gioRgio ARmAni Immediately following Giorgio Armani’s presentation of his couture Privé collection this summer in Paris, guests filed out of the Trocadéro, past the Eiffel Tower, and into a darkened black box lined in velvet. As the likes of Megan Fox and Cate Blanchett waited patiently, a screen went up and the ad for Mr. Armani’s newest fragrance, Idole, debuted. It followed a voyeur climbing up a flight of glowing stairs towards a beautiful woman sitting in front of a mirror. She speaks in Italian, of course, and the audience fell in love with her. After the commercial ended, Mr. Armani himself appeared in the darkened box as a wall separated, and a recreation of the commercial was staged—a staircase lit up, the attendants became the voyeur, and everyone fell in love with the girl all over again. We may never be able to look like the idol, but, as Mr. Armani suggests, we can at least smell like her. A rich, opulent blend of spice (ginger and saffron) and floral (Egyptian jasmine and rose), Idole transforms every woman into an adored creature. Derek Blasberg

fragrance anTHOLOgY BY D&G

Printing Box

Marilyn, Madge, Scarlett, and Sophia are among the names that spin through the Dolce & Gabbana carousel of inspiration. For the launch of the D&G Fragrance Anthology, the duo called on a range of supermodel icons, from Tyson Ballou to Naomi Campbell, to inspire five scents based on archetypes of human identity. From La Lune, a burst of lily and tuberose embodied by Claudia Schiffer, to L’Amoureux, a rush of bergamot and juniper represented by Noah Mills, the unisex collection pushes a mix-and-match, no-rules approach to wearing fragrance. The most befitting, however, is L’Impératrice (translation: the empress), a candy-pink elixir of kiwi and watermelon with Campbell as ambassador. “The character is charismatic and vibrant, and these are qualities I try to exude,” says the supermodel, an expert nose with a burgeoning perfume empire of her own. “I think we were as drawn to the fragrances as they were to us.” Christopher Bartley


Special thanks Pero Lee (Nina Ricci) Hair assistant Gerard Hawe Set assistant Rhea Theirstein Printing Touch Digital Ltd Studio Curtain Road Photo assistant Francesca Foley Stylist assistants Siobhan Lyons and Sivan Currie Set design Shona Heath (CLM) Makeup Sam Bryant (D&V Management) Hair Malcolm Edwards (D&V Management) Model Kinga Rajzak (IMG)


Photography Tim Walker Styling Jacob K

grande finale

Designer Olivier Theyskens ampeD up The glam rOck fOr his final nina ricci cOllecTiOn, Turning OuT sOme Of The mOsT pOwerful clOThes Of his career. his nexT mOve is a quesTiOn mark, buT his fall shOw was an emphaTic exclamaTiOn

Presently, Olivier Theyskens doesn’t want to talk about his Fall collection for Nina Ricci—nor any of his work for the French house where he was artistic director from November 2006 until March of this year, when the two parties severed ties, eight months ahead of their contract’s expiration. According to his spokesperson, he’d rather let his final collection speak for itself, which is fine. Filled with deeply romantic, alienlike looks comprised of sharp-shouldered jackets, long willowy trousers, hard-rock dresses, and towering 10-inch platform boots built like stilts with little or no heel, it made a powerful

statement on its own. It was, in many respects, his strongest collection to date. Speaking backstage directly after the show, Theyskens explained that it had been inspired by the night, and indeed there was a moonlit magic to it all, with its long, dark shadows and shimmering details. The Belgian designer does dreamy, ethereal clothing like no other, and that has become both his greatest strength and weakness. Fashion editors adore him for his impeccably crafted poetry; corporate executives simply see his work as uncommercial. Unfortunately, in today’s world,

few companies have the time or money to invest in the former. But the irony is that—with its tailored jackets and elegant silk trousers—Theyskens’s final collection for Nina Ricci was also his most salable. As for that outrageously high footwear? Chop off the platform (which is how Theyskens always intended them to be produced), and you have some of the season’s chicest boots. Karin Nelson Clothing, hats, shoes Nina Ricci Gloves Ines Gloves Tights Falke Earring Pou Pou Lapin



Low-weight, high-rep workouts will help you get toned arms just like Jessica’s. Jessica wears Jumpsuit Diesel Black Gold Jewelry Alexis Bittar Leandro wears Swimsuit Dolce & Gabbana



1. LET’S GET PHYSICAL Find someone to work out with! It’s a great way to stay motivated and make friends fast.

Jessica wears Sweater and boots Marc Jacobs Bodysuit American Apparel Earrings Alexis Bittar Leandro wears Jacket Ralph Lauren Black Label Shorts Puma Sneakers Louis Vuitton Kanye West Collaboration Headband American Apparel Watch Swatch



Make like Jessica and pile on the black leather. It’ll make you sweat like a mutha and burn off all those extra calories.

Jessica wears Top Gucci Shorts and headband American Apparel Boots Louis Vuitton Gloves stylist’s own


3. dancercise

Do a little dance with yourself to get your body moving and the blood flowing.

Photo assistant Andrew Tonkery Stylist assistant Brad Goreski Production Aya Larkin Makeup Christian McCulloch Hair Mark Townsend Models Jessica Stam (IMG) and Leandro Maeder (Wilhelmina)

Jessica wears Jacket, blouse, leg warmers Chanel Leggings Adidas by Stella McCartney

5. KeeP Me HanGin’ On

After all your hard work, take a little break and hang on to something. This will help stretch you out and keep you loose.

Jessica wears Jumpsuit Balmain Shoes Emanuel Ungaro Wristbands American Apparel Earrings Alexis Bittar Leandro wears Pants Gucci Shoes Yves Saint Laurent Headband American Apparel

Luk King Hei

Shoes Christian Louboutin

Qiu Hao

Boots Christian Louboutin

Yang Du

Shoes Christian Louboutin

Zhang Da

Photo assistant Charmaine Tang Stylist assistant Gum Gum Special thanks Shyalala Makeup Candy Law Hair Tavin Liu Models Liu Dan, Dinara C (Style HK), Patti, Chin His (Model Genesis HK)

FAShIon WIT ho hong kong

Photography Victoria Tang Styling ChinaTown

Photo assistant Suzanna Santa Maria Stylist assistant Harry Lambert Production Murray Arthur Special thanks ProVision Models Nicola Haffmans (Next), Anastasija Kondratjeva (Models 1), Morwenna Cobbold (Independent), Tatiana Cotliar (Select), Hartje Andresen (Elite) Makeup James O’Riley (Premier) Hair Hiroki Yoshimori

U T bOR DER S EighT ciTiES, 36 DESignERS. STylE TakES a glObal TOUR


Photography Brett Lloyd Styling Stevie Westgarth

Manjit Deu

Mark Fast

Mary Katrantzou

David Koma

Derek Lawlor

Shoes Versace

Shoes Charles Anastase

Boots Charlotte Olympia

Shoes Charlotte Olympia

Shoes Versace




new york

Photography Xevi Muntané Styling Julia Vendrell

Txell Miras

Guillem Doz

Photography Christopher Katke Styling Yuki James

Manuel Bolaño

Andrea Llosa

Tim Hamilton


Makeup and hair Victor Alvarez using Giorgio Armani Cosmetics and Tecni-Art Products Models Angelina Nawojczyk (Group), Kinga Lukomska, Leticia Zuloaga, Andrea Lapanje (Traffic)

Hutson Shoes Marc Jacobs

Belt D-Lirio

Models Chris Clayton, Joe Edney, Barbara Garcia, MJ, Nikita Russ (Ford NY) Makeup Sara Glick Hair Wesley O’Meara (The Wall Group)

copenhagen Photography Christian Brylle Styling Sheila Marquez

Antonio Azzuolo

Prabal Gurung

Malene Birger


Ivan Grundahl


Boots Marc Jacobs

Shoes Versace

Jewelry Monies

Shoes StĂŚrk Earrings Monies

Shoes Malene Birger Earrings Monies

Necklace Monies

Makeup and hair Lasse Pedersen (6agency) Models Caroline Clot, Freja Beha Erichson (Unique), Agnete Hegelund, Malene Knudsen (2pm) Production Stage 7




Photography Cecilia Glik Styling Clarisa Furtado

Photography Alexey Kiselef Styling Andrey Artyomov

Pablo Ramirez


El Camarin


Sergey Teplov

Boots Mariano Toledo

Necklace Aires del Sur Boots stylist’s own

Earrings Julio Toledo for Fahoma Boots Paruolo

Boots Ay Not Dead

Shoes Topshop

Alena Akhmadullina Shoes Topshop

Makeup Estefania Novillo using Lancôme Hair Esteban Colombo for Estudio H Models Paula Gandolfo, Romina Senesi (Pink Models Management), Tetyana Melnychuk (Mayger Models), Raisha Reinhold (Hype Management)

Makeup Alexey Molchanov using Lancôme Hair Dmitry Golubev Models Lia Serge, Lys Inger, Stasya Izyumova (Avant), Daria Zhemkova, Nikita (Black)

Photo assistant Catalina D’Andreiz Stylist assistant Manuel Aversa Makeup assistants Marian Diaz and Paula Cigliutti Hair assistant Carolina Gonzalez Digital technician Diego Speroni

Hair assistant Ayrat Gadelshin Special thanks Baibakov Art Projects


Photography Mote Sinabel Styling Maggie James

Konstantin Gayday Shoes stylist’s own

Nina Donis

Gosha Rubchinsky

20,000,000 Fragments

Shoes stylist’s own

Shoes Lanvin



Shoes Lanvin

Makeup Uda Hair Olivier Schawalder Models Sachi Natsui (Friday), Ari Yoshida (Eva), Yukario Kakiuchi (Energy), Anna Kanehara (Moana), Lei Hattori (Satoru)

Akira Naka

Ylang Ylang

Shoes Lanvin

Shoes Lanvin



With the relaunch of the Versus fashion collection, Donatella Versace, the mother of racy italian couture, anD christopher Kane, the rising son of British Design, proVe that the Bigger the rocKs, the stronger the statement. here comes phase one of Versus 2.0

Photography Anthony Cotsifas Styling Linda Heiss Diamond gladiator sandals with Swarovski crystals Versus


Photo assistant Karl Leitz Retouching RWRetouching

Christopher Kane has been a busy man. Aside from designing his own line, as well as one for Topshop, the Scottish wunderkind has been working with Donatella Versace to revive Versus, Versace’s younger bridge line launched twenty years ago by Gianni. And if this Fall’s high-octane accessories collection— which includes futuristic silver calfskin clutches and fetish heels adorned with opulent, quarter-sized Swarovski crystals—is any indication, the guy hasn’t run out of creative juice. A good thing, as he’s also heading up the Versus men’s and women’s clothing collections, set to launch next Spring. Karin Nelson



China is a destination for many things. now, thanks to Lane Crawford styLe impresario Jennifer woo, it’s the asian Continent’s first stop for fashion “These are Givenchy couture,” says Jennifer Woo, playful and girlish, lifting up a rather dramatic black heel. “And this?” She rattles a black chain fastened with pearls. “Lanvin. The dress too. You can find them all on the first floor.” The president of luxury retailer Lane Crawford is speaking to a client in rapid-fire Mandarin. The woman, her eyes flickering, is making mental notes. Jennifer Woo, the young woman at the helm of a nearly 160-yearold retail establishment, has been called a fashion ambassador, a curator, and a visionary; and last year was honored by Chinese Vogue with an Icon Award for establishing Lane Crawford as the premier destination for China’s best-dressed. The family-owned Lane Crawford, founded in 1850 in Hong Kong as a shop selling imported goods to British colonial families, is, today, China’s equivalent of Barneys New York. And that’s thanks to Woo, who helps the Chinese stay ahead of the international fashion curve. “They are very fashion savvy,” claims Woo, who has introduced brands like Balenciaga and Balmain to China for the first time.

“When they travel the world, they know where to go. They know these brands, they follow and chase them season after season. Before our buyers can even say, ‘We’re bringing this in,’ they’re knocking on our doors and asking, ‘Are you bringing it in?’” Born in Hong Kong and educated in England and at Wellesley College in Massachusetts, Woo returned home in 1999, diving headfirst into a job as an assistant accessories buyer at Lane Crawford. “That’s where I started, and I loved it. What was great about being a buyer is balancing art and science. You need to understand the business, but you also need to harness your own creativity.” For the next four years, she worked in marketing, finance, and even directly for her father, Peter Woo, the chairman of Lane Crawford Joyce Group. By 2003 she was president, at only 27. Four years later, Woo launched Lane Crawford in China’s mainland, opening an 80,000-square-foot store in the capital. She wriggles her Givenchy heel. “I busted my toe while playing tennis. I’m such a tomboy.” Dynamic CEO, athlete, multilingual globe-trotter—it’s this mix that makes Woo the epitome of modern China. “There are so many different facets of China. The China we know and see and interact with are the customers who walk through our stores, the individuals in our campaigns.” She is, of course, referring to the personalities in last year’s much-buzzedabout Lane Crawford ads. Shot by Inez van Lamsweerde and Vinoodh Matadin, they featured individuals like the artist Terence Koh, model Emma Pei, and photographer Victoria Tang, all of whom Woo handpicked to best showcase China’s most promising talents. The ad campaign, naturally, ran in both the East and West. “It’s about individuality,” she adds, “and how people can have different looks, but still be the same at the core.” Ming Liu Jennifer Woo in Hong Kong, October 2008 Photography Matthu Placek Dress and shoes Azzedine Alaïa 151



Designer stuart VeVers breathes life into loewe by referencing sleek style icons anD the label’s storieD past in equal measure

The Spanish luxury house Loewe has a reputation for fine leather goods that dates back to 1846. But when Stuart Vevers moved to Madrid to take the reins a year and a half ago, the label had lost a bit of its luster—though heavy on the technical expertise, there was no strong fashion direction. “I had just seven weeks to do the first collection, but I had a woman in my head from the start,” he says. “Paloma Picasso is very aristocratic, somewhat bourgeoise, polished, but sensual, chic, and quite bold. In a word, Spanish.” Vevers has continued to be inspired by this dark horse beauty, particularly for his Fall collection, which included sleek leather trench coats, knee-high boots, and jet-black haircalf skirts. Leather is Loewe’s stock-in-trade and Vevers, who has designed bags for the best of them, from Bottega Veneta to Louis Vuitton, found he still had something to learn from the house’s artisans. “I’ve learned how to make soft, light bags here. Loewe does unlined suede bags that are as perfect inside as they are outside. What I enjoy is pushing boundaries,” he adds. “Taking pony skin and draping it like silk is a challenge, but it’s worth it.” Rebecca Voight Stuart Vevers in Madrid, May 2009 Photography Simon Procter Styling Charles Varenne Stuart Vevers wears Jacket Loewe All other clothing and accessories Loewe 152

Photo assistants David Marvier and Aimee Sohier Makeup assistant Melanie Sergeff Hair assistant Stephanie Farouze Models Aleksandra Rastovic, Elise HÊlène Gatschene (Viva), Ilze Bajare (Next) Hair Ed Moelands for Sebastian Professional (Jed Root) Makeup Inge Grognard (Jed Root)

Jen wears Jeans Mango Boots Gucci Clutch Roberto Cavalli Necklace Burberry Prorsum Silver studded bangles Patricia von Musulin Black studded bangles Emilio Pucci Silver bangles Tom Binns Design Bra Pou Pou Lapin

Photography Sharif Hamza Styling Catherine Newell-Hanson 154

Stylist assistant Charlotte Macke Production Ashley Herson Retouching Silhouette Models Jen Messelier and Ariel Meredith (Ford NY) Photo assistants Kaita Takemura and Will Kannar Makeup Asami Taguchi using M.A.C (L’Atelier) Hair Jordan M. for Bumble and bumble Manicure Rica Romain (The Wall Group)

Say it with StudS and black leather. Fall’S moSt FerociouS lookS are high on attitude and make no pretenSe oF playing nice

Ariel wears Jeans Baby Phat by Kimora Lee Simmons Jacket H&M Boots Mango Bag Miu Miu Silver studded cuff Stephen Webster Spiked cuffs Tom Binns Design Studded bangles Fallon


Of the twenty artists participating in “Stages,” the cancer-fighting initiative from Nike and the Lance Armstrong Foundation, Tom Sachs offers the most venturesome take on living strong. “Lance’s Tequila Bike for Girls” is a boozestrapped, lightning-fast bar on wheels, complete with salt shaker, slice of lime, and shot glasses for four. It is unclear if this contraption is for girls or for getting girls, but either way, Sachs’s work embodies Armstrong’s lust for life. Elizabeth Yarborough “Stages” opens on October 2, 2009, in NYC.



Talk about killer shoes. An axe heel is one of the striking elements (along with blood-red piping on the sole) that British cobbler Rupert Sanderson incorporated in his first footwear collection for Karl Lagerfeld—a man who doesn’t mind a little irony in his fashion. (Remember the gun heel for Chanel?) The collaboration, which also yields less dangerous—but equally dynamic—heels, will continue for Spring 2010. Derek Blasberg

As everyone takes steps to add a little green to their day, it was just a matter of time before the color itself made an appearance in our beauty routine. Inspired by the Fall runway collection, Chanel’s verdant new nail varnish, Jade, hits stores in October along with a complimentary tickle-me-pink shade, Jade Rose. Catherine Blair Pfander



Barbara Streisand met husband number two there, Anjelica Huston and then-boyfriend Jack Nicholson were regulars, and it was the chosen hot spot of ’80s art heroes like Andy Warhol and Jean-Michel Basquiat. Now, Mr. Chow is heading down south to Miami, where a seemingly endless stream of iconic faces and dishes is destined to continue. Legendary bon vivants Michael and Eva Chow have thrown open the doors of their latest outpost, which boasts a 123-foot Swarovski crystal and gold leaf chandelier (designed by Chow himself), and artwork borrowed from the couple’s personal collection. Here’s to many more dazzling nights and damn delicious food. Mr. V



With over two thousand cases of various crystals lining the length of one wall, and exclusive pieces by the likes of Christopher Kane (above) and Andrée Putman, Swarovski’s new Crystallized store in Soho (the company’s third in the world) is New York’s answer to Jaipur’s Gem Palace. Customers can browse the range of dazzling baubles and customize them to their liking. In back, a café serves up equally mouthwatering treats. Rachel Park 156

Art is M.A.C’s middle name—quite literally. (Makeup Art Cosmetics.) Fitting, then, that for its latest project, the beauty giant enlisted three artists—the photographer Marilyn Minter, painter Richard Phillips, and illustrator Maira Kalman—to create original artwork inspired by the brand’s Fall colors. Known for her gritty, glamorous close-ups, Minter worked the collections’s glitter pigments into an image of a woman’s eye. Phillips gave one of his paintings a gorgeous makeover, and, in the spirit of makeup-as-artistic-medium, Kalman (left) used eyeliner and lipstick to sketch a characteristically charming portrait of a woman who came to interview her. Alisa Gould-Simon


The fashion/art collaboration is not a new idea; the trick to an effective one is keeping the integrity of both entities intact. This was Tommy Hilfiger’s priority when he approached the seminal photographer Sam Haskins about collaborating on his first book in more than two decades. Fashion Etcetera chronicles Haskins’s work from the ’60s up until today, with a foreword by the designer. In addition, Hilfiger has designed a T-shirt and tote to coincide with the project; and this September, an exhibition of Haskins’s work will go on display at Milk Gallery in New York. As Hilfiger explains, “For its on-the-button zeitgeist of sexy style, I find [Sam Haskins’s work] truly stimulating.” Derek Blasberg

Chanel photography 2A by Sylvere; Tom Sachs photography courtesy Galerie Thaddeus Ropac, Paris, and Sperone Westwater, NYC


maceration is not a sin. Belvedere’s distinctive maceration technique involves soaking pure fruit in our luxury vodka. Treat yourself to the world’s superior, most natural, flavored vodka. Belvedere black raspberry. It’s hard to resist what’s natural.

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V FOR VICTORY Six thouSand conteStantS entered the V a Model Search laSt SuMMer, but it’S winner lea GroeSland, with her reGal face, piercinG blue eyeS, and newly Minted ford contract, who eMerGeS aS faShion’S next Star “I’m very excited to do—oh, what is the word?—the shows,” says 15-year-old V A Model winner Lea Groesland. “That’s one of the things about modeling I’ve always wanted to do, as much as the pictures.” If the astounding success of previous winners Amanda Laine or Addison Gill is anything to judge by, there are plenty of runways in Lea’s future. The stunning Oslo native, with characteristically Norwegian blonde locks and milk-and-honey skin, will undoubtedly pique the interest of love poets and casting directors alike. That’s exactly what happened when designer Alexander Wang and V ’s editor-inchief, Stephen Gan, came upon her photos as they clicked through the thousands of online entries. They knew they’d found a star. Groesland was away at summer camp when she received a secret phone call from her mother. “She told me that I won! I was so excited, but we weren’t allowed to use cell phones at camp, so I couldn’t even tell my friends.” But now that everything’s out in the open, the spotlight seems destined to fall in Lea’s direction. Catherine Blair Pfander

Photography Hasse Nielsen Styling Clare Richardson See more photos and an exclusive video of Lea on 158

Makeup Maxine Leonard (Tim Howard Management) Hair Shon (Julian Watson Agency) Model Lea Groesland (Ford NY)

Jumpsuit Alexander Wang


Who said disco Was dead? it’s alive and kicking for fall 2009, in all its glitzed-out glory 2



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Photography Adrian Gaut Styling Catherine Newell-Hanson 1 Calvin Klein Collection shoe, $1,095 2 Acne shoes, $899 3 Giuseppe Zanotti Design boots, $1,395 4 Reiss bag, $265 5 Emporio Armani shoes, $665 6 Diane von Furstenberg clutch, $475 7 Maia N. python clutch, $1,800 8 Fendi shoe, $650 9 Sergio Rossi shoe, $1,090 10 Melissa VW Anglomania + Lady Dragon plastic shoes, $150 11 Poppy by Coach bag, $398 12 Reiss clutch, $175 13 GUESS by Marciano clutch, $125 14 D&G shoes, $1,940 15 Giuseppe Zanotti Design for Thakoon shoes, $1,150 16 Maia N. python bangles, $250 each 17 Gucci clutch, $1,590 18 Pierre Hardy shoes, $890 19 Salvatore Ferragamo clutch, $2 ,400 20 Baby Phat by Kimora Lee Simmons earrings, $25 21 Maison Martin Margiela wallet, $375 22 Fendi clutch, $690 160

Photo assistant Karl Leitz Retouching Rob Willingham


Metals are a solid investMent in tough tiMes. start at the feet with a pair of reissued classics by salvatore ferragaMo Photography Anthony Cotsifas Styling Linda Heiss

“Ferragamo’s Creations” Gold leather “F” wedge and gold mosaic tile platform originally created for Carmen Miranda Salvatore Ferragamo 161

She objectifieS her own body, glamorizeS Sexual experimentation, puSheS the outer limitS of the avant-garde, and probably takeS her craft way too SeriouSly. that’S why lady gaga iS the next queen of pop Photography Mario Testino Styling Nicola Formichetti Text John Norris By all rights, Lady Gaga should be exhausted. She has just spent a whirlwind weekend in Toronto at the MuchMusic Video Awards where she turned in an elaborate performance that culminated in fire shooting from her breasts, and afterwards was present for at least part of an ugly postshow confrontation between her pal Perez Hilton and members of the Black Eyed Peas; it was all over the tabloids. “We haven’t slept,” admits Gaga. “We just got off the plane and came here. It’s like, Get some orange juice and coffee, motherfuckers! Let’s get to work! It’s not every day you get to shoot with Testino.” Quite. Mario Testino, the man at whose altar the world’s most glamorous fairly genuflect, spends five hours with his lens trained on the year’s decade’s most outré pop star. Some might expect Testino would get the famously pants-less wonder to, well, class things up a bit. “It’s funny you should think that,” says Gaga, in a voice just raspy enough to make it clear she knows her way around a party. “Actually, Mario wanted me naked all day long. It was my stylist, Nicola, who kept sneaking in the designer stuff. He was like, ‘Put this Fendi belt on right now!’ We love clothes. But Mario, he really understands me, and he said, ‘I want this to be about you. I don’t want it to be about the clothes.’” “The concept was really shooting the essence of Gaga, who she is,” explains best friend Matthew Williams, creative director of the Haus of Gaga, the singer’s design collective. Gaga adds, “You know, the glasses, the hair, the tan—I’m known for that. So we just made me übertan.” And pumping through the speakers all the while? Naturally, “Poker Face.” 162

Bustier Fendi Sunglasses Haus of Gaga On lips, Giorgio Armani Sheer Lipstick in haute pink On hair, Oribe SuperďŹ ne Hair Spray

This spread: Necklace Louis Vuitton On eyes, Giorgio Armani Maestro Eye Shadow in sparkling gold

t is the year’s most inescapable song. From the “Mum mum mum mah” robo-Gregorian chant of the opening to the slinky verse to the singsong hook—it’s 2009’s “I Kissed a Girl,” “Since You’ve Been Gone,” and “Womanizer” rolled into one, at once sillier and smarter than all three. It’s one of those tunes against which resistance is futile. Even rockers like the Arctic Monkeys, Weezer, and Faith No More have busted out their own versions this year, much to Gaga’s delight. “I looove Faith No More! Their song ‘Epic’ was my burlesque number at the bar I used to work at! I used to fog myself and dance to it. When I found out they did ‘Poker Face,’ I was like, Shit!” Of course, it’s not Faith No More, nor influences David Bowie, Queen, or the Cure to whom Gaga is most often compared. Rather, it’s to the goddesses of platinum pop: Madonna, Britney, Christina, and Gwen—comparisons the singer finds a bit lazy. “Look, when I was a brunette, they called me Amy Winehouse. When I was a blonde, they called me Madonna. Then they called me Christina, then Gwen. I just don’t think most people’s reference points go back very far.” While she does share a name with Gwen (Gaga’s given name is Stefani Germanotta), while she once engaged in a bitchy back-and-forth in the press with Aguilera, and while she wrote a song for Spears (“Quicksand”), it’s Madge who seems closest to the mark: both are Italian-American girls who pulled themselves up by their bootstraps in the big, bad city, both are given to spectacle, both are sartorially adventurous and driven, and neither one apologizes for being pop. All interesting, you might say, but will we be talking about Gaga in thirty years? That, of course, is a much bigger question. Decadesspanning superstars may well be a thing of the past. But those who predicted Gaga would be a one-and-done dance-pop footnote have already had to eat their words. And as for her being branded trashy? We’ve all heard that before. “I remember the cover of Madonna’s ‘Vogue’ single and the lingerie and her hair—my mother was like, ‘Ucch,’” laughs Gaga. “But I used to play it over and over.” And now, all these years later, Queen Madge herself is attending Lady Gaga shows, or one last spring at least, at New York’s Terminal 5. That night, as Gaga recalls, there was a show on and off stage. “My sister texted me and she was like, ‘Madonna is 15 feet away from me. And there are two guys having sex in the audience. This is awesome!’ I just remember thinking, Wow, this is exactly what I wanted. I’ve got Madonna and I’ve got gay sex!” Gaga herself has copped to a certain degree of bisexuality, but says she never played it up because “I didn’t want my gay fans to think I was using their community for edginess. You know, Ooh, she’s edgy!” She considers her song “Future Love” to be in part an endorsement of same-sex marriage, and vows to never stop playing gay clubs, no matter how big things get. “With the exception of God, my family, and Matthew, and the Haus, and Vincent Herbert [who signed and discovered her], the gay community is the single reason that I am here today. I started out playing gay clubs in America, then I went to London to play G-A-Y, where I didn’t think anyone knew who I was, and there were thousands of people there. How could I ever turn my back on those people who really fought for me? And besides the loyalty factor, playing in gay clubs is fun.” And yet, Gaga says what she does is not camp. “See, we don’t see it that way. To us, it’s just beautiful,” she says. “The idea that Gaga is just kooky for the sake of being kooky is so wrong.” Hmm, where would people get that impression? The cone-head hair she

sports on occasion? Or the stilettos-on-the-shoulders outfit she wore recently? Or the moment at this shoot when Gaga, lying on the floor in shimmering blue Balenciaga, hikes up the dress’s hem far enough that the stylist feels the need to place down there a platinum blonde tuft that perfectly matches her hair? Tsk-tsk. But say what you will—and plenty have—Gaga goes for it. Whether with a lightning bolt painted on her face, big bows in her hair, space-age cat suits, or that Chalayan-inspired bubble dress with matching piano, she can evoke David Bowie, Grace Jones, Björk, Stacey Q, Klaus Nomi, or Suzanne Bartsch. Throw in some Sprouse here and Margiela there and it’s like hip fashion’s greatest hits. Well, some might say misses, but what the checkout aisle arbiters of taste have to say won’t keep Gaga up at night. “Us Weekly putting me on a worst-dressed list? I couldn’t care less.” On the other hand, she adds, “If Karl Lagerfeld called me an ugly hag, then I’d be upset. Because it’s Karl Lagerfeld.” Whatever his opinion, Lagerfeld might want to stand back from Gaga’s latest creation—the aforementioned fire bra unveiled in Toronto. As with most of her ideas, its execution fell on the shoulders of Matthew Williams, part tailor, part craftsman. He says of the bra, “It’s really just sparklers—the old sparklers on the tits trick.” But Gaga accuses him of modesty. “I called him from Hawaii and I was like, Matty, we need to make my tits blow up!” And he made it happen. No word yet on whether the bra will make an appearance on Gaga’s upcoming fall tour with Kanye West, another artist fond of outsized shows that spare no expense. But she does admit that the two are “exploring aesthetics and new technology that neither of us have traveled, and we are attempting an epic story.” Gaga talks a lot about her art, her work, the technology, the Haus, her creativity—and she knows it. “I’m sure to some people in the press it’s like to a nauseating degree,” she concedes. “There’s Lady Gaga again, yakking about her art.” But all that yakking is just part of Gaga fighting the good fight. She insists time and again that pop is not lowbrow, dance music is not soulless, and that she is not playing a character but creating something with meaning. Her sincerity of purpose is admirable. Considering the well of blank R&B ciphers and Disney eunuchs into which 21st-century pop has thrown itself, maybe a performer who talks about creative vision, aspires to be avant-garde, counts among her circle of creative people designer Benjamin Cho and violinist Daniel Bernard Roumain, and sings the praises of drag queens—just maybe that’s a good thing. Roll your eyes if you like— and yes, maybe she ought to wear her heart and art a little less on her sleeve—but Gaga truly believes in all this. For the day’s final tableau, the Lady slips into a brown leather Fendi bustier and boots; her Haus of Gaga circuit-board glasses lend her a savage, vaguely Aztec look. Mario Testino snaps away— the woman with an album (and song) called The Fame and a single called “Paparazzi” shot by a fashion photographer known for his images of that ultimate victim of fame, Princess Diana. “Yes, Diana was the most iconic martyr of fame,” says Gaga. “She died because of it.” But Gaga adds—and this is no small point in a world of YouTube, Octomom, and Real Housewives—her album should not be seen as a glorification of celebrity. Rather it’s about “the dream of wanting to make something of yourself,” a dream that Gaga is undoubtedly realizing. “I took off those circuit-board glasses and looked at the computer monitor and I cried. I thought, We did that! We’re doing something right!”

Lady Gaga is on tour with Kanye West in support of The Fame beginning October 11, 2009

“Us Weekly putting me on a worst-dressed list? i couldn’t care less. if Karl lagerfeld called me an ugly hag, then i’d be upset.” –lady gaga

Dress Balenciaga by Nicolas Ghesquière Shoes Acne On skin and eyes, Giorgio Armani Sheer Bronzer 8 and Smooth Silk Eye Pencil 4 On hair, Oribe Royal Blowout Heat Styling Spray

Makeup Linda Cantello Hair Oribe at Oribe Salon Miami using Oribe Hair Care Manicure Gina Viviano (Artists by Timothy Priano) Photo assistants Roman Harper and Edwin Montoya Stylist assistant Emily Eisen Lighting designer Chris Bisagni Red camera technician Santiago Gonzalez Red camera digital technician Dai Yoshida Production assistant Timothy Mitchell Catering Broadway East Retouching R&D Special thanks Splashlight Studios

Photo by Karl Lagerfeld

Hand painted python chain-strap baguette Fendi

Photography Jamie Chung

The many looks of linda amber’s second acT kaTe reTurns To naTure naomi Takes moscow Plus: The mosT radical fall fashion in The universe!

No supermodel has had more looks thaN liNda evaNgelista. here she proves she’s still the reigNiNg queeN of chameleoNs Photography Sebastian Faena Styling Sofia Achaval 170

Coat and hat Marc Jacobs On hair, Oribe Royal Blowout Heat Styling Spray and Supershine Moisturizing Cream

Jacket Y-3

Cape Y-3 Necklace Kentshire Galleries Ring Georg Jensen

Dress Chloé

Jacket G-Star Watch Georg Jensen On hair, Oribe Volumista Mist for Volume

Feathered dress Alexander McQueen Blouse ChloĂŠ

Coat Prada

Coat Gucci

Top Isabel Toledo Bodysuit (worn underneath) Bubbles Bodywear Belt (worn as necklace) Chanel On hair, Oribe Superfine Hairspray

Makeup James Kaliardos for L’Oréal Paris Hair Oribe at Oribe Salon Miami Beach using Oribe Hair Care Model Linda Evangelista (DNA) Photo assistants Aubrey Mayer and Devin Stylist assistants Alisa Post, Kelly Brown, Michael Liu, Thien Tran, Peter Boardman, Lauren Thiel, Jay Yoon Makeup assistant Yoshie Kubota Hair assistants Judy Erickson and Elivia Amarilla Manicure Rica Romain (The Wall Group) Production Sarah Frick Smith Production assistants Laura Elizabeth and Toby Bannister Lighting technician Butch Hogan Digital technician Jason Cannon (Milk Digital) Prop styling Ready Set Catering Ilili Special thanks Pier 59 Studios, NYC Printing Box

Freja wears Jumpsuit Yves Saint Laurent Sasha wears Overalls and boots Yves Saint Laurent

Bring on the theatrics. this season’s most architectural and extreme looks take a cue from the electric cityscape Photography Mario Sorrenti Styling Jane How

Freja wears Trench Richard Nicoll Bodysuit Maison Martin Margiela On skin, YSL BeautĂŠ Teint Parfait Complexion Enhancer in golden sand Sasha wears Bodysuit with cloud Maison Martin Margiela Boots Prada

Freja wears Jacket Giles Bodysuit Marc Jacobs Shoes Balenciaga by Nicolas Ghesquière Sasha wears Coat and boots Louis Vuitton On skin and eyes, Giorgio Armani Luminous Silk Foundation 2 and Maestro Liquid Eyeliner

Freja wears Dress David Koma Headpiece Recine Sasha wears Coat Stella McCartney Boots John Galliano Headpiece Recine

Sasha wears Jacket and pants Nina Ricci Headpiece J Smith Esquire Freja wears Tops, pants, hat Nina Ricci On lips, YSL BeautĂŠ Pure Lipstick in nude beige

Sasha wears Coat and pants with heels attached Alexander McQueen Hat Philip Treacy for Alexander McQueen Freja wears Coat and boots Alexander McQueen Hat Philip Treacy for Alexander McQueen

Freja wears Dress Dolce & Gabbana Shoes John Galliano Headpiece Recine On hair, Rodin Olio Lusso Sasha wears Dress D&G Neckpiece Véronique Leroy Boots John Galliano

Sasha wears Dress Balmain Headpiece Recine Freja wears Jacket and pants Balmain Hat Piers Atkinson

Freja wears Jacket and skirt John Galliano Headpiece Noel Stewart Boots Proenza Schouler On skin, YSL Beauté Touche Éclat Radiant Touch in luminous ivory Sasha wears Jacket and dress Azzedine Alaïa Headpiece Recine Boots Nina Ricci

Sasha wears Coat Givenchy by Riccardo Tisci Headpiece J Smith Esquire Boots Nina Ricci On lips, Giorgio Armani Lip Wax 1 Freja wears Jacket, pants, bra, shoes Balenciaga by Nicolas Ghesquière Headpiece Recine Glasses Bless

Makeup Frank B (The Wall Group) Hair and head sculptures Recine Models Freja Beha Erichsen and Sasha Pivovarova (IMG) Manicure Sheril Bailey (Jed Root) Photo assistant Johnny Vicari Stylist assistants Kerry Dorney, Alexandra Winston, Camilla Deterre Makeup assistant Khela Tyson Hair assistant Shin Arima Digital technician Zanny HandďŹ eld Lighting technician Lars Beaulieu On-site production Steve Sutton Production Katie Fash Printing Box

Caftan Isabel Marant Headpiece Ann Demeulemeester Boots (worn throughout), gold bangles (worn throughout), jacket, necklaces model’s own Socks (worn throughout) stylist’s own Silver bangles (worn throughout) Pebble London, Danielle Draper, Wilde Ones


Pack uP the caravan and get rollin’. in an exclusive collaboration for v with PhotograPher iain Mckell, the one and only kate Moss trades in the glitter of city life for a taste of gyPsy living Photography Iain McKell Styling Karen Langley

Jacket Guess Top Ashley Fletcher Vest vintage from Beyond Retro Leggings Future Classics Hat stylist’s own

Sweater ChloĂŤ Sevigny for Opening Ceremony Leggings vintage from Beyond Retro On face, Chanel Soleil Tan de Chanel Moisturizing Bronzing Powder in dĂŠsert corail

Dress Kenzo Briefs Agent Provocateur Earrings model’s own

Dress John Galliano On hair, James Brown London Scandalous Rock Chick Wave Spray

Poncho Stefanel Vest (worn underneath) Dsquared Bandana vintage from Rokit Briefs Agent Provocateur Hat stylist’s own Briefs model’s own

Coat vintage from Rellik Jeans Paul & Joe Earrings model’s own

Vest Dsquared Gray pants vintage Vivienne Westwood Gold Label from Rellik Jumpsuit (worn around waist) Stella McCartney Headpiece Lou Dalton Necklace David Yurman On eyes, Chanel Le Crayon Khol Intense Eye Pencil in noir

Makeup Karina Constantine using Chanel A/W 2009 Makeup (Streeters) Hair James Brown for James Brown London (Premier) Model Kate Moss (IMG/Storm) Photo assistant Clara Blomqvist Stylist assistant Ruth Hickman Stills production Nancy Housham Stills production assistant Jonny Wright On-site production Caroline McLachrie Printing Richard (Plus One) Retouching Henhouse Special thanks Sarah Doukas, Simon Chambers, Calvin Morris (Storm), Jennifer Ramey (IMG), Sun Bird (Eartheart), Kinetic Facilities Ltd., Effects Associates Pinewood Studios, Hammer Lab, and all the horse-drawn neo-gypsies

supermodel Naomi Campbell has made herself right at home iN the russiaN Capital of mosCow, with a wardrobe so opuleNt it Could oNly befit a 21st-CeNtury CzariNa Photography Karl Lagerfeld Styling Marie Chaix 210

Jacket, hat, shoes Dior Jumpsuit and belt Norma Kamali Gloves LaCrasia Anklet model’s own On lips, Chanel Rouge Allure Lipstick in maniac

Jacket, bodysuit, leggings Chanel Headpiece Chanel by Kamo Gloves LaCrasia Belt Norma Kamali

Coat Marc Jacobs Tutu (worn underneath) from On Stage Dancewear Shoes and socks Miu Miu Belt Norma Kamali

Coat Alexander McQueen Ruff (worn as headpiece) Junko Shimada Shoes Emilio Pucci Gloves LaCrasia On eyes, Chanel Inimitable Mascara Multi-Dimensionnel in noir

Jacket Dolce & Gabbana Headpiece Chanel by Kamo On eyes, Chanel Les 4 Ombres de Chanel Quadra Eye Shadow in spice and Le Crayon Khol Eye Pencil in noir

Jacket and pants Yves Saint Laurent Shoes Diego Dolcini Tights Falke Headpiece made by Kamo using Norma Kamali hat and Giorgio Armani bag

Makeup Peter Philips for Chanel Hair Kamo for mod’s hair Stylist assistant Rhianna Rule Production Anna Dyulgerova

Amber’s next Act Supermodel and actreSS amber Valletta iSn’t about to take the eaSy route to hollywood. She wantS the full experience—from Sci-fi to ShakeSpeare—and her new tweaked-out film Gamer iS proof of that. here She talkS about the faShion-film diVide and ShowS off the moSt eSSential denim lookS of the SeaSon Photography Hedi Slimane Styling Clare Richardson

In the new sci-fi thriller Gamer, supermodel-turned-actress Amber Valletta runs around with an orange-sherbet colored wig, a shaggy fur coat, blue boy shorts, and white-vinyl platform shoes. Haute couture? More like The Sims on acid. But Valletta, 35, who plays a wife and mother trapped in a twisted, virtual-reality social-networking game, wasn't fazed by the cartoonish costuming. “There is an aspect to it that is quite fashionable,” she admits. Still, Valletta points to a big difference between her outlandish avatar Gamer-wear, and, say, posing for a ’90s Versace spread. “It’s not like being in a still photograph where you can hide anything, either with retouching or positioning,” she says. “In the film, you're going to be able to see every angle of my body moving. Needless to say, I worked out pretty hard because those shorts were short.” If the wardrobe wasn't revealing enough, Valletta undergoes some harrowing moments— including attempted rape—in the film, which is directed by wunderkinder Mark Neveldine and Brian Taylor (Crank). “It wasn't a joyride to be in that space for three months,” she says of the shoot. “The character is hanging on by a thread. That’s how I felt through a lot of it, desperate and dehumanized.” The Tulsa-reared Valletta, famous for her string of Vogue covers, says she fell in love with acting several years ago, but didn't know where she wanted to go with it. “Now I know I don't want to be pigeonholed as the girl-next-door,” she says, though she may be most known for just such a role, the kindly object of affection in the Will Smith comedy Hitch. “There's nothing wrong with the girl-next-door, but I'd like to be the psycho killer and the warrior princess and the sex bomb and do serious material like Mamet or Shakespeare,” she continues. “I'd love to have the whole experience.” While waiting to find her next acting project, Valletta is working to save the whales. Along with environmental groups such as Oceana and the National Resources Defense Council, she hopes to begin lobbying in Washington, D.C., for an upcoming bill on whale protection. "Growing up," she says, "you get wiser." Anthony Kaufman


T-shirt Armani Exchange Customized Jeans Benetton Necklaces (worn throughout) David Yurman Belt stylist’s own

Jeans H&M Fragrance Dolce & Gabbana L’Eau The One

Denim vest Levi’s Skirt Balmain On eyes, M.A.C Mineralize Eye Shadow Duo in illusionary/burning ambition

Jacket Bess Shirt Gap Tank Calvin Klein Underwear Customized jeans Hudson Jeans

Denim shirt Levi’s Leather pants vintage from One of a Kind On hair, Bumble and bumble Shine Spray

Customized denim jacket Levi’s Jeans H&M Belt vintage from Rokit

Jacket Uniqlo Tank Gap Pants Haider Ackermann On skin, M.A.C Studio Moisture Cream

Photo assistants Rudolf Bekker, Jared Mechaber, Naj Jamai Stylist assistant Connie Berg Manicure Melissa Bozant Production Kim Pollock Production assistant Natalie Haze Retouching Magda Meissner Digital Industrial Color

Customized denim jacket Levi’s Tank Calvin Klein Underwear Pants Ashish

Makeup Christian McCulloch (Tim Howard Management) Hair Shon (Julian Watson Agency) Model Amber Valletta (DNA)

Jacket Dolce & Gabbana Tank Levi’s Jeans H&M On hair, Bumble and bumble Sumo Tech

Boho in Paradise Carmen wears Dress Dsquared Bra Pou Pou Lapin Blankets Denis Colomb


Warrior Princess Carmen wears Fur vest BOSS Black Dress Lanvin Cuffs Vicki Turbeville Rings Solange Azagury-Partridge On eyes and lips, Max Factor MAXeye Shadows in tigress and MAXalicious Lip Polish in bubble bath Blanket Calvin Klein Home

adoPt a neo-hiPPie, anything-goes aPProach to dressing With furs, fringe, and everything animal-Print Photography Mario Testino Styling Beat Bolliger

navajo sun Carmen wears Dress Roberto Cavalli Coat Missoni Boots vintage Dior from Albright On skin, Max Factor ColorGenius Mineral Blush in roses Blanket Denis Colomb

eastern Promises Anne V wears Dress and coat Burberry Prorsum Pants Haider Ackermann Belt Diesel Cuff Vicki Turbeville

gyPsies, tramPs, and thieves Carmen wears Coat Ralph Lauren Collection Skirt Etro Dress (worn as skirt) Blumarine Necklace Neil Lane Bra Pou Pou Lapin Boots vintage Dior from Albright From left: Blanket Denis Colomb Blanket Ralph Lauren Home Necklaces model’s own

animal instincts Anne V wears Jacket and leggings Diane von Furstenberg Necklace Gucci Boots vintage from Albright On skin, Rodin Olio Lusso Blanket Ralph Lauren Home

triBal council Carmen wears Dress Etro Coats DKNY Blanket Denis Colomb

indigo girl Anne V wears Dress Dior Shearling coat Diesel Boots vintage from Albright On skin, Kett Hydro Liquid Pigments in quartz Blanket Denis Colomb

Makeup Tom Pecheux Hair Marc Lopez Models Carmen Kass, Anne Vyalitsyna (Women), Tommy Dunn (Ford), Brett Robinson, Cameron Bailey (Click), Johnny Angel (Palermo Men) Photo assistants Alex Franco, Beau Bright, Aaron Thomas Stylist assistants Delphine Danhier and Danielle Cohen Makeup assistant Serge Hodonou Hair assistant Charles McNair Prop styling Peter Klein Lighting Chris Bisagni Production GE Projects Retouching R&D

let’s do it all over the world! Photography Will Davidson Styling Jay Massacret

Lovers who Dress toGether, stay toGether. romance bLossoms as the faLL 2009 coLLections unfoLD on the streets of moscow anD barceLona his & her D&G in front of the entrance arch to the all-russian exhibition centre, Moscow

Ali wears Shirt, jacket, skirt D&G Sweater united colors of benetton Shoes Yves saint laurent Gloves Dolce & Gabbana Hat stylist’s own Valentin wears Jacket and pants D&G Sweater uniqlo Shoes london underground Socks lanvin 240

his & her DoLce & Gabbana

in front of the central house of artists, Moscow Ali wears Top, skirt, belt Dolce & Gabbana Shoes Jil sander Gloves lacrasia Tights fogal Oh skin, lancĂ´me La Rose LibertĂŠ Highlighting Bronzer in goldenescent glow Valentin wears Jacket, pants, sweater Dolce & Gabbana Shoes Vans

his & her yves saint Laurent outsiDe the catheDral of christ the saVior, Moscow

Valentin wears Jacket, pants, hat Yves saint laurent Sweater banana republic Shoes london underground Ali wears Shirt, pants, shoes, hat Yves saint laurent

his & her Louis vuitton

in front of the fountain of the frienDship of peoples, Moscow Ali wears Skirt, blouse, hat, shoes louis Vuitton Valentin wears Suit louis Vuitton Shoes london underground

his & her Givenchy by riccarDo tisci in front of the catheDral of christ the saVior, Moscow

Ali wears Jacket, feather shrug, pants, shoes Givenchy by riccardo tisci Hat Granville Millinery company Valentin wears Jacket, pants, vest, shoes Givenchy by riccardo tisci

his Dior homme & her Dior

in parque Güell, barcelona Joan wears Shirt, pants, shoes, earrings, gloves Dior homme

Hana wears Dress, shoes, “Granville” bag Dior Top (worn underneath) american apparel Cuff robert lee Morris Tights wolford

his & her saLvatore ferraGamo

at the fountain in plaza san felipe neri, barcelona

Jon wears Jacket, shirt, pants, shoes salvatore ferragamo Hana wears Dress, shoes, gloves salvatore ferragamo On skin, M.a.c High-Light Powder in golden nectar

his & her huGo

in plaza san felipe neri, barcelona Joan wears Jacket, pants, shirt, shoes huGo Hana wears Jacket, pants, shoes huGo Top american apparel Cuff robert lee Morris

his & her Gucci

in front of the ostankino tower, Moscow Valentin wears Jacket and shoes Gucci Pants DeMask Ali wears Coat, top, boots Gucci Leggings alexander wang Cuff abraxas rex for alexander wang Gloves lacrasia On lips, lancĂ´me Color Design Sensational Effects Lipcolor in fast fashion

his & her caLvin KLein coLLection

in parque GĂźell, barcelona Hana wears Jacket, skirt, shoes calvin klein collection Tights wolford Joan wears Suit, shirt, shoes calvin klein collection

Moscow Team Makeup Alexey Molchanov Hair Dmitry Golubev Models Ali Stephens (Elite) and Valentin Savchenko (DNA) Stylist assistants Olivia Kozlowski, Andrey Artyomov, Tatiana Lisovskaya Production Roman Kostylkov Retouching Morph Imaging Special thanks Doll Wright (Elite) and Anna Dyulgerova

Barcelona Team Makeup and hair Shama (CLM) Models Hana Soukupova (IMG), Jon Kortajena (View Men Barcelona/Wilhelmina), Joan Pedrola (View Men Barcelona) Photo assistant Didi Maier Stylist assistant Paola Erazun Digital assistant Paul M Production Eddy Bravo Retouching Morph Imaging Special thanks Hotel Raval Barcelรณ

his & her burberry Prorsum

in the reD square, Moscow Ali wears Coat and hat burberry prorsum Shorts alexander wang Boots Gucci Tights and socks american apparel

Valentin wears Jacket, pants, snood, hat burberry prorsum Shoes london underground

his & her raLPh Lauren in front of la saGraDa faMilia, barcelona

Jon wears Suit and shirt polo ralph lauren Hana wears Dress ralph lauren collection Top american apparel Bracelet robert lee Morris On lips, M.a.c See Thru Lip Color in loving touch

Power dressing for the 22nd century Karl Lagerfeld

An erotic approach to elegance Yves Saint Laurent

Chic pieces, piled high Lanvin

Russian fairy tales retold John Galliano

Where East meets West Dior Tough glam for tough times Gucci

Urban warriors in the great outdoors Prada


coming up for V62 winter 2009/10: All eyes on pAris couture, Berlin Art now, BeAuty 2010 returns, And why the cruise collections Are heAting up! on newsstAnds noVemBer 1, 2009

going places?

“Abici Amante Donna” bicycle with “Selleria” leather accessories and removable fur saddlebags, fur coat, leather pants Fendi

Photography Hasse Nielsen Styling Clare Richardson

Stylist assistant TJ Gustave

Makeup Maxine Leonard (Tim Howard Management) Hair Shon (Julian Watson Agency) Model Polina Sova (Ford NY)

see you next issue!

Don’t worry if your spanish is a bit rusty, this fall we’re all speaking the universal language of love. meet nineteen Barcelonian cuties (and one sweet pup) who are ready for an e-mail correspondence—or, if you’re lucky and local, a little beachside aventura. mucha suerte, guapos! Catherine Blair Pfander Photography Sara Coe

v61 fall 2009


my name is Angelina i’m a 23 year old model from Barcelona e-mail me!

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my name is marc i’m a 33 year old stylist from Barcelona e-mail me!

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my name is Charlotte i’m a 23 year old fashion student from sweden e-mail me!

my name is sergio i’m a 16 year old student from Barcelona e-mail me!

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It's Lady Gaga's world, we're just living in it


It's Lady Gaga's world, we're just living in it