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tilDa Swinton Karen elSon John lYDon anD Summer’S hotteSt faShion, muSic, art, anD lit it’S Gonna Be a Scorcher!

65 Summer 2010

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CATCH THE WAVE Editor-in-Chief Creative Director Stephen Gan Senior Editor-at-Large Karin Nelson Features Editor Christopher Bartley Managing Editor Emma Reeves Associate Editor Jacob Brown Photo and Bookings Editor Kristina Kim Assistant Photo and Bookings Editor Evelien Joos Executive Assistant/ Special Projects Editor Steven Chaiken

Advertising Directors Jorge Garcia jgarcia@vmagazine.com Giorgio Pace gpace@vmagazine.com Advertising Manager Francine Wong fwong@vmagazine.com Advertising Coordinator Vicky Benites vbenites@vmagazine.com 646.747.4545 Online Advertising Rob Tilberis digitalsales@vmagazine.com 917.560.6820 Financial Comptroller Sooraya Pariag Production Director Melissa Scragg

Senior Fashion Editor Jay Massacret

Distribution David Renard

Fashion and Market Editors Catherine Newell-Hanson Yuki James

Communications Starworks

Consulting Creative/ Design Direction Greg Foley

Special Projects Kyra Griffin Dominic Sidhu

Art Director Sandra Kang

Assistant to the Creative Director Kiko Buxó

Senior Designer Stephanie Chao

Assistant Comptroller Farzana Khan

Design Cian Browne Jakob Hedberg

Administrative Assistant Annie Hinshaw

Contributing Fashion Editors Joe McKenna Panos Yiapanis Nicola Formichetti Jane How Clare Richardson Olivier Rizzo Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sofía Achával Fashion Assistant Nikki Igol Contributor/Entertainment Greg Krelenstein/Starworks Senior Fashion News and Special Projects Editor Derek Blasberg Art Editor Simon Castets Contributing Editor T. Cole Rachel Copy Editors Traci Parks Jeremy Price

Max wears Swimsuit Dior Homme Bracelet Shamballa Jewels Nathalie wears Bikini Versace Earring Van Cleef & Arpels Watch Chanel Bracelet and ring Bulgari

Online Editor Christopher Bartley Online Manager Ryan Dye Creative Imaging Consultant Pascal Dangin Marketing and Events Consultant Taylor Choi Interns Samantha Adler John Ciamillo Christian Escobar Martha Glass Hayley Koustis Olivia Kozlowski Molly Mamourian Laura Marciano Maryellen McGoldrick Alex O’Neill Karin Öström Eduardo Ramirez Jasmine Rydell Eric Schlosberg Catherine Strassman Matthew Stutz Silvia Velencoso Segura Gillian Tozer Suzanne Weinstock

Visionaire Cecilia Dean James Kaliardos

V65 Inez van Lamsweerde & Vinoodh Matadin Glen Luchford Hedi Slimane Sebastian Faena Simon Procter Jason Schmidt Mickalene Thomas Diane von Furstenberg Chad Pitman Matthew Williams Beth Fenton Ana Steiner Marshall Heyman Mark Jacobs William Van Meter Anthony Kaufman Aimee Walleston Ken Miller Robbie Spencer Brian Molloy Dan Forbes Shu Akashi Amy Troost Adrian Gaut Nagi Sakai Cuneyt Akeroglu Ceyda Balaban Mario Brotha The Boys Collective John Ortved Nick Stillman Alexis Georgopoulos Catherine Blair Pfander Gerard Estadella Barbara Arcuschin Jonathan Shia Trish Coon

Cover photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna Makeup Lisa Butler for TEMPTu (Tim Howard Management) Hair Christiaan using Kiehl’s Manicure Deborah Lippmann for Deborahlippmann.com (The Wall Group) Lighting technician Jodokus Driessen Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Tony Irvine, Hissa Igarashi, Karin Öström, Jasmine Rydell Digital technician Brian Anderson Studio manager Marc Kroop Location Pier 59 Studios, NYC Printing Box Dress Yves Saint Laurent Earrings Louis Vuitton On lips, Dolce & Gabbana Make Up Classic Cream Lipstick in charm

V65 disco-ball typography designed by Byron Kalet Computer-generated imagery and retouching by Impact Digital 18

Photography Nagi Sakai Styling Catherine Newell-Hanson

Special thanks Art Partner Giovanni Testino Amber Olson Candice Marks Lucy Lee Neil Cooper Kona Mori The Collective Shift Jae Choi Aeli Park Marc Kroop Brenda Brown Box Pascal Dangin Justin Burruto Art + Commerce Jimmy Moffat Lindsay Thompson Sarah Frick Smith CLM Erick Ruales Cale Harrison Betsy Hammill Nick Bryning Yann Rzepka Kim Pollock Jerry Stafford Christopher Farrar Toby Bannister Jed Root Will Shen Streeters Jerry Morone Ford NY Paul Rowland Sam Doerfler IMG Kyle Hagler Jennifer Ramey View Imaging The Standard New York Kelley Blevins View Digital Industrial Color Brands Steve Kalalian Dana Schenendorf Splashlight SOHO Ahmad Larnes Corie Beardsley Yanna Wilson Jack Studios Roy Schwalbach Ron Fillman Pier 59 Studios Sandbox Studios Phil Caraway Pippa Lord


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foreword

Max wears Swimsuit Diesel Nathalie wears Swimsuit Dsquared Sunglasses Ralph Lauren Eyewear Trinity bangle (worn on right arm) Cartier Ring Piaget Gold bracelet (worn on left arm) Gucci

SOAK UP THE SUN

20

Photography Nagi Sakai Styling Catherine Newell-Hanson

We’re not going to lie: some issues are simply more fun to put together. Summer is one of them. Swimsuits, music, sexy bods, and beach reads—it’s like a trip to a tropical isle in 128 pages. And from the punk progenitor John Lydon to the seminal actress Tilda Swinton to the singing siren Karen Elson, we’ve invited an intriguing crew of travel companions to provide the entertainment. Setting it off is our cover girl, Scarlett Johansson. A total 21st-century starlet, Johansson has managed to find success in a variety of ways: acting on the big screen, treading the boards, modeling for major fashion brands, singing the blues—and no matter the incarnation, she never fails to mesmerize. As these portraits by Inez van Lamsweerde & Vinoodh Matadin reveal, she’s also quite the knockout. It may be 80 degrees outside, but in our world, that’s no reason not to be thinking about Fall clothing. Consequently, our fashion pages are filled with the best looks from several seasons: Glen Luchford collaborates with art group The Boys Collective on a collage of Spring pieces; Sebastian Faena flies to Buenos Aires with the Pre-Fall collections in tow; Simon Procter captures the glamour of Couture; and van Lamsweerde & Matadin, with a little help from contributing fashion editor Joe McKenna, combine them all into one electrifying thirty-page story. By the looks of it, this summer’s gonna be a scorcher! Ms. V


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contents

Beach, please! 24 PARTY PAGE Fashion week fêtes from the Big Apple to the Eiffel Tower 26 WHERE WERE YOU…ON THE BEACH Some of our friends show us how they do summer by the seashore 28 HEROES Artist Mel Ramos knows a little T&A can go a long way. Former Sex Pistol John Lydon stages his own postpunk revival 32 GREETINGS FROM MUSCLE BEACH The boardwalk known for its bulging biceps gets a pop-culture boost this summer. Here, we preview the gun show 34 HIGHLY DEVOLVED Devo’s new album isn’t just experimental music, it’s a musical experiment 37 BIRD SONGS Karen Elson got famous in front of the camera. Now, she’s making herself at home behind the mic 38 HAPPY BIRTHDAY, NAOMI! Artist Mickalene Thomas’s celebratory tribute to La Campbell 40 WANDERLUST/MUST-SEE TV Writer Sophie Ward on travel; NYC band TV Baby on television 42 SOUNDS LIKE SUMMER Your seasonal mix tape, fresh from Coachella 46 WORK IN PROGRESS Artist Rob Swainston lies down on the job 48 ALL ABOUT ELISA Diane von Furstenberg introduces us to fashion and film’s latest It girl 50 HERE COMES HAKAAN We’ve got our eyes on the rising Turkish designer 52 SUDDENLY THIS SUMMER... What to read, wear, spritz, and see at the start of the season 54 25 YEARS OF DONNA An ode to the New York fashion icon 56 V-BAY 25 shades to keep you cool as the weather gets hot 57 BATHING BEAUTY The best summer beauty products from five of our favorite beach babes

122 FLASH OF GENIUS Lady Gaga exposed! Matthew Williams shoots an all-access photo diary 126 SENSE AND SENSUALITY Freethinking, shape-shifting, gender-bending actress Tilda Swinton transforms cinema into a total sensory experience 128 V-MAIL Meet the summer hotties of Buenos Aires

V FASHIOn Summer 2010

60 BODY ELECTRIC BY INEZ VAN LAMSWEERDE & VINOODH MATADIN 90 POSTER CHILD BY GLEN LUCHFORD 106 PARADISE LOST BY SEBASTIAN FAENA 116 LONG LIVE COUTURE BY SIMON PROCTER

Nathalie wears Swimsuit Michael Kors Sunglasses Balenciaga Earrings Van Cleef & Arpels Love bracelet Cartier Cable bangles and ring (worn on left hand) David Yurman Chain-link ring (worn on right hand) Dior Fine Jewelry Studded ring (worn on right hand) Jack Vartanian Max wears Swimsuit H&M Bracelet Shamballa Jewels

Photography Nagi Sakai Styling Catherine Newell-Hanson 22

Makeup Kaoru Okubo for NARS Cosmetics (Management Artists) Hair Tuan Anh Tran using Bumble and bumble (L’Atelier NYC) Models Nathalie Edenburg (Marilyn) and Max Motta (Ford NY) Manicure Megumi Yamamoto for Louis Licari Salon (Susan Price) Photo assistants Maciek Jasik and Peter Panszczyk Stylist assistant Molly Mamourian Digital technician Danielle Atkins Casting Anita Bitton (Establishment NY) Catering Monterone Location Fast Ashley’s Studios, Brooklyn

100 HOT FOR SCARLETT Hollywood veteran, Broadway star, recording artist, advertising commodity—Scarlett Johansson’s road to stardom is all her own


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Alexander Wang

Jade Jagger Derek Blasberg and Kate Bosworth Ellen von Unwerth and Anouck Lepere Jason Schwartzman and Josh Hartnett

Ryan McGinley and Kelly Osbourne

Fashion week Fêtes From new York and Paris, Featuring PartY animals, wild animals, suPermodels, and a dash oF grace Jones! it was all a blur Photography Gerard Estadella Editor Derek Blasberg

Kelly Rutherford Oliver Theyskens

Jared Leto Tinsley Mortimer

Gareth Pugh

Pixie Geldof and Henry Holland

Jessica Stam

Matthew Williamson and Lindsay Lohan

Paul Sevigny Trish Goff Lauren Santo Domingo

Terry Richardson

Dree Hemingway

Patrik Ervell Cassie Coane and Harley Viera-Newton

Kirsten Dunst Natasha Poly

Irina Lazareanu

Daphne Guinness

Sophia Lamar

Agyness Deyn

Sophia Bush

Clémence Poésy Rolf Snoeren, Grace Jones, Viktor Horsting, and friend

24

Lazaro Hernandez and Chloë Sevigny

Lou Doillon


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Where Were you... on the beach?

Bar Refaeli in Kauai, Hawaii, 2006 Terry Richardson in Zihuatanejo, Mexico, 2008

Rachel Chandler and Theo Wenner in Harbour Island, Bahamas, 2008

Summer iS a time for friendS. We put ourS to Work, aSking them to Send in their barely-there SeaSide SnapS Miranda Kerr in St. Barths, 2009

Gaia Repossi in Corsica, 2009

Koudlam and Olivier Ruggiu in Goa, India, 2008

Jacquelyn Jablonski at 15 months old in Sea Bright, NJ, 1993

Raquel Zimmermann in Kauai, Hawaii, 2008

Angela Lindvall with sons William Dakota and Sebastian in the Bahamas, 2009

Gia Coppola in Harbour Island, Bahamas, 2008 Coppola photo Rachel Chandler

26


mel ramos

FOR DECADES, THE ART LEGEND HAS DEPICTED OUR CONSUMER CULTURE ON GALLERY WALLS. AS LONG AS THERE ARE HOT GIRLS AND BIG LOGOS IN THE WORLD, MEL RAMOS WILL KEEP PAINTING THEM 28

“There’s nothing else in this crazy world/except for cars and girls,” sang New York punk band the Dictators on the 1975 album Go Girl Crazy. This lyric could also be the mantra for painter Mel Ramos, who is known for his depictions of streamlined female figures in pop-bright settings. In Ramos’s world, women appear as happy, nubile American dream machines, as slick and shapely as Pontiac GTOs. For decades, Ramos, who turns 75 this year, has captured women lolling around with exotic animals, decked out as sexed-up superheroes, or emerging as living treats from giant candy-bar wrappers. The artist, who continues to make paintings in this vein today, picked his eye-pleasing theme— pretty, naked women with faces and bodies airbrushed to infinity—in the mid 1960s and stuck with it, a devotion unmatched by many contemporary artists. Paging through the back catalog of his oeuvre is like leafing through a stack of Playboy maga-


zines. (In fact, Playboy Press published a monograph titled The Girls of Mel Ramos in 1975.) But despite the campy sex appeal of these works, there remains something strange hiding in the clover. They are not pure bliss, nor are they scripted fantasy without subtext. Like Tom of Finland’s Kake, who was endlessly put through his paces as a soldier of seduction and became an erotic icon in the process, Ramos’s women are more than blank-slate objectified longings. Ramos, a trained art historian, makes a comment on culture via his army of nude, smiling goddesses. “This notion of ‘sex sells’ is everywhere in media,” Ramos explains. And the artist’s paintings are a near-perfect embodiment of that thought, in all its pedantry and mystery. Pretty faces and bodies, in the world of Ramos, become the totems of a culture loyal to the products it creates. In each work, a Ramos vixen is typically

united with a prop, be it a zebra, a huge cigar, or a giant box of Velveeta cheese. But it’s the girl (often named in conjunction with her product, as in Bisquick Barbie or Toblerone Tess) that the viewers want—and can never have. That Ramos often uses the semi-altered visage of a famous woman in Hollywood (Uma Thurman was a recent favorite, but Megan Fox might be stealing her thunder) makes this out-of-reach idealism even more revealing of our everyday, celebrity-invested lives. Ramos drew cartoons as a child then fortuitously met painter Wayne Thiebaud—known for his poker-faced idealizations of consumer objects, and clearly a big influence on Ramos’s style and subject matter—at a career day event in high school. Subsequently he enrolled at Sacramento Junior College, where Thiebaud was teaching. “He just charmed the hell out of me,” Ramos admits. In his years of study, Ramos developed a love

of abstract expressionism. Realizing “the bottom of that barrel had already been scraped,” however, he began painting the superhero characters from his youth and soon gained recognition from New York’s pop-art elite. And from that point, he says, “My so-called career was launched.” Aligned with artists including Roy Lichtenstein and Tom Wesselmann, in the ensuing years he has continued to explore our ceaseless desire for beautiful, well-designed objects. In every Lola Cola, Tobacco Rhoda, and Caramia Caramello, we find the unspoiled siren of a world in love with things. Aimee Walleston

Five Flavor Frieda, 2005. Artwork Mel Ramos Mel Ramos: 50 Years of Pop Art is out in May 2010 from Hatje Cantz


hero

John lYDon

After his father’s death in 2009, John Lydon listened to “Death Disco,” a chugging dirge from his defunct group Public Image Ltd’s classic 1979 album, Metal Box. “I broke down emotionally,” he somberly recalls. “I remembered I wrote that song about the death of my mother. Immediately, it encompassed the death of my father. I felt a serious longing to get back out and express those emotions.” With a pink Bic he lights the first in a series of Marlboro Reds and cackles, “I’m profiteering on my dad’s death!” Lydon is in a Los Angeles photo studio, fulfilling press obligations for the American leg of Public Image Ltd’s reunion tour. His trademark Kid ’n Play-goes-punk bleached boxtop is standing at attention. At age 54, he has two silver hoops in each earlobe and is missing a tooth. One collar of his linen button-down sticks up like a cocked dog’s ear and suspenders hang from his baggy pin-striped trousers. His face has 30

Grooming Lina Hanson (The Magnet Agency) Photo assistants Micah Baird, Travis McCoy, Carmen Chan Production Kim Pollock Location Smashbox Studios, L.A.

PUNK ROCK’S vALIANT AND vICIOUS LEADER STILL HAS PLENTY TO SING (AND SHOUT) ABOUT. FOR THOSE WHO THOUGHT JOHN LYDON WAS LIvING OUT A qUIET LIFE IN THE CALIFORNIA SUNSHINE, THINK AGAIN. HERE COMES THE RETURN OF PUBLIC IMAGE LTD

a healthy, rosy glow that could be attributed either to sunny “I can express much more in PiL,” Lydon says. “Public Image California (he’s lived in L.A. for twenty years) or to the succes- is about delving into what it is to be a human being, whereas sion of Coronas he’s downing. He leans in close to the tape the Sex Pistols is immediate resourceful answers to social recorder and lets out a thunderous belch. “Corona,” he says in problems. I started out thinking I could cure the world’s ills. I a robot voice. realized you’ve got to learn to change yourself before you can change others.” The announcement that Lydon was reforming the legendary post-punk group expectedly unleashed a collective moan on the It didn’t take long for the band members to start dropping like Internet. Lydon, who was known to the new generation mainly flies. From the outset, the drummers came and went like somefor appearing on reality programs and shilling for Country Life thing straight out of Spinal Tap. Wobble departed acrimoniously butter, would be the only original member participating. But the after the rumbling masterpiece Metal Box, and in 1981 Levene concerts made the detractors regret all of the Hater-aid poured moved on following the enigmatic, synth-laden Flowers of over the band. The reviews were universally phenomenal. Romance. “I learned not to like him as a human,” Lydon snickers, “We surprised the doubters,” Lydon says. “It was delicious his eyes narrowed to tiny slits. “Keith had mental problems. All irony. I’m not used to praise. I’ve lived in a world of serious kinds of self-inflicted abuses that became intolerable. He makes doubters for thirty years.” you feel dirty to be around. He contaminates everything.” After the dissolution of this founding trio, PiL became Lydon Lydon is, of course, otherwise known as Johnny Rotten, the and whomever he was working with at the time—a total of thirtyflame-haired howling id of punk progenitors the Sex Pistols. PiL nine members before the band’s demise in 1992. was formed in 1978 after the Pistols disintegrated amid lawsuits, Herculean drug abuse, and a tragically short career of flicking Although Wobble and Levene made PiL’s most celebrated the V to the establishment and anyone who got in their way. records, they weren’t first on Lydon’s list to call in for the tour. “I was upset with the way the Pistols fell apart,” he recalls, “They’ve priced themselves out, even though I helped launch “and the resulting court case and all of that nonsense and bol- their careers and they’d still be nobodies but for me. On top of locks. I wanted to work with friends and approach it as such.” that, Public Image has covered so many different types of music, Lydon recruited his childhood bud Jah Wobble on bass and there are very few people that could work all those different ex-Clash guitarist Keith Levene. angles.” Lydon turned to late-’80s members Lu Edmonds and Public Image represented a musical leap from the Sex Pistols, Bruce Smith, as well as new bassist Scott Firth. offering complete freedom from the already regimented bound“There’s not a battle of wills and egos,” Lydon remarks. “It’s an aries of punk. The Pistols created a new genre through techni- absolute appreciation of each other.” It’s such a blessed union that PiL will soon begin working on a new album. cally rudimentary rock skills delivered in a full-throttle, snarling blast. Public Image cast its net exponentially wider, using punk “Absolutely there will be new material,” Lydon says. “That’s the as a foundation, but encompassing dub, Krautrock, disco, and point of all of this.” William Van Meter experimental dissonance in their cutting-edge sound. The cryptic, personal lyrics were leagues away from the Pistols’ “Anarchy John Lydon in Los Angeles, March 2010 in the U.K.” musings. Photography Hedi Slimane


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212 229 0009 | www.glossstudio.com Client: Express • Job#: 100951 • Pub: V Magazine • Trim: 10” x 13.375” • Dmax: ∑300 • LS:175 Date:3.19.10

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Mechanical Approval


moment

Bodybuilder Lauren Powers, 2003

Competitors at Memorial Day Classic, 2004

Bodybuilder in the mid ’80s

Arnold Schwarzenegger, 1966

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Americans will spend the summer getting buff in air-conditioned chain gyms, but the men and women of Muscle Beach are doing it the old-fashioned way—on the boardwalk, in the sun, decked in Day-Glo gear. Opened in 1934 in Santa Monica, (before moving to the current Venice Beach location in 1960), the outdoor gym that came to be known as Muscle Beach is considered the home of bodybuilding in all of its juiced-up glory. It’s where Arnold Schwarzenegger, Joe Gold of Gold’s Gym, Jack LaLanne, Steve “Hercules” Reeves, “The Blond Bomber” Dave Draper, and pioneering female bodybuilder Abbye “Pudgy” Stockton got huge. And where muscle freaks and fitness fanatics have lived

out the American dream in string tanks and spandex. “It’s a sideshow, it’s a circus,” says Joe Wheatley, producer for Muscle Beach events, which are in full force beginning with Memorial Day’s Muscle Beach International Classic and Armed Forces Championship. “It’s one of the most liberated places you’ve ever been.” It’s also about to see something of a revival. Two documentaries, Where Muscles Were Born and Buff Enough, are in the pipeline from Arthur Seidelman, the director of Arnold Schwarzenegger’s first film, Hercules in New York. A parallel project, the reality television show Muscle Beach Hustle, starring twelve professional bodybuilders, is gearing up to begin shooting on location during the summer competition calendar. Then August sees the opening of The Expendables, an ’80s throwback co-written, directed by, and starring Sylvester Stallone, along with Dolph Lundgren, “Stone Cold” Steve Austin, and Mickey Rourke—plus a cameo from Schwarzenegger—about guys with big guns who overthrow a South American dictator. As it turns out, everyone loves big American guns. Mark Jacobs

Powers, Schwarzenegger, Memorial Day Classic photos courtesy Getty Images. Bodybuilder photo courtesy Corbis

GREETINGS FROM MUSCLE BEACH

THE STRIP OF BOARDWALK THAT BECAME HOME TO THE WORLD’S MOST BULGING BICEPS IS HAVING A MOMENT IN THE SUN


Grooming Lina Hanson (The Magnet Agency) Photo assistants Micah Baird and Justin Donias Production Kim Pollock Location Mutato Muzika, L.A.

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HIGHLY DEVOLVED

For its new album, devo invited the ad men and the internet along For the ride, a move that could be revolutionary or spell disaster with a capital d In a funny way, Devo—the highly stylized cult sensation of a band— is finally catching up to the concept that brought it into being. When Gerald Casale and Mark Mothersbaugh, art students at Kent State University, formed it in 1973, they were interested in the concept of “de-evolution”—the idea that people don’t evolve but “devolve” into herd mentality. For the duo’s new album—their first in twenty years—they’ve hired an ad agency and are using focus groups and Internet voting to decide the songs that should be on it and how it should be marketed. If nothing else, the Devo guys understand synergy. “We’re getting ready to unleash new material on the world and prove that de-evolution is real,” says Casale, who, besides being Devo’s bass guitar and synthesizer player, has directed music videos for Rush, Silverchair, and the Foo Fighters. (You might not recognize him, however, without his signature yellow construction outfit and red flower-pot hat, a look the band has traded in for silver suits and molded face masks.) The idea for Project Reboot Devo 2010 (not their phrase, but one that seems applicable) originated when the band wrote a song called “Watch Us Work It” and licensed it to Dell for a faux music-video commercial a couple of years ago. Suddenly labels started calling them up asking for music. After all, the parameters of the music industry have changed since Devo’s prime: these days all the money is outside of selling records. When they were last making music, says Mothersbaugh, “there was a set-in-stone methodology. When we suggested things like a Devo TV network or Devo aerobics tapes, they thought we were crazy. People would say, Stop being funny, just do another ‘Whip It.’ After a while, we lost interest.” But the managers of a Swedish band called the Teddybears convinced them there were different business models than what they were aware of. “The Teddybears sold thirty thousand CDs [not very many] and made five million dollars off of licensing,” explains Casale. The last time Devo made an album, they were splicing tape together with a razor blade. Times have changed. (“I’ve got a dozen people in my studio who have never spliced tape together in their life,” says Mothersbaugh, who’s scored and developed sound tracks for films like Nick and Norah’s Infinite Playlist and Cloudy with a Chance of Meatballs). Their jerky, electro-pop sound, however, is basically the same: “We use new technology. Back then we were using the equivalent of what circuit benders are now. But a good chunk of the lyrics could have come out on a record twenty, thirty years ago,” says Mothersbaugh. To decide what tracks should make the new album, which is tentatively titled Fresh and will be released in June, they have asked listeners to vote on thirty-second snippets online. And to help relaunch their “brand,” they’ve hired the ad agency Mother LA. When the band was first starting out, says Casale, “we were unusual because we had a worldview and wanted to be in every arena. Now, like Lady Gaga, you’re sort of encouraged to do that. You can’t just put a picture in a weekly magazine and a poster in a record store.” This time around, Mother LA has set them up with a campaign that might have been put together for General Mills or Miller Light. How will the band know if their experiment is a success? “I think we’ll all know,” says Casale. “People will talk about us. There will be songs on some commercials. We’ll be licensed to video games and movies. People will want us to tour.” And if it fails? “Then it didn’t work,” says Casale. “Then it’s like, bands shouldn’t use ad agencies.” Marshall Heyman

Devo (from front to back: Bob Casale, Josh Freese, Gerald Casale, Bob Mothersbaugh, Mark Mothersbaugh) in Los Angeles, March 2010 Photography Hedi Slimane Devo’s Fresh is out in June 2010 from Warner Brothers 35


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sound

bird songs

Modeling Made Karen elson a star, but she didn’t get free until she started to sing. now her debut albuM is one of the year’s Most anticipated releases, and it’s been a long tiMe coMing Karen Elson, The Supermodel, was a total accident. It’s a familiar story: uncomfortably gawky, too-tall, too-skinny teen from a small town (she was born and raised in “cold, gray, grim” Oldham, located in the North of England) gets teased about her looks at school; gets spotted by a top model scout; gets sent to castings in fashion capitals around the globe; and (in her case) gets cover of French Vogue before the year is up. Early on, at photographer Steven Meisel’s prompting, she shaved her eyebrows and earned the adoring moniker “Le Freak.” With her unmistakably shocking-red hair and almost translucent-white skin, she has since become the face of campaigns for designers like Giorgio Armani, Chanel, and Yves Saint Laurent. In 2005, in true model-meets–rock star style, she married White Stripes front man Jack White aboard a boat in the middle of the Amazon. Not bad for a girl who, just a decade earlier, worried she might never leave her hometown.

Then there’s Karen Elson, The Singer, a member of music’s freshman class, a first-timer navigating unfamiliar territory. As an unsuspecting and ill-prepared new model, this scenario (however well it worked out in the end) had left her dizzy. But well before she ever set foot on a runway, family and friends had been praising and encouraging her to sing. She sang in the choir, and, at 14, even joined (albeit briefly) her school’s newly founded, come-one, come-all student Salsa band. “It was all the kids who’d been studying music since, like, age 4, and then I walk in like, ‘Yeah! I’m into this!’ It lasted maybe no more than a month,” Elson laughs. “But it was fun. I felt different. I wanted to do something different.” Stuck in Oldham, however, she saw no reason to pursue it. “Where I grew up, there weren’t many people who managed to break out of the sleepy English mold. So I don’t think I would have had the motivation. I just didn’t have it in me.” Modeling didn’t just get Elson out of the house—it propelled her into an entirely new state of mind. “It’s sort of like the weird Wizard of Oz metaphor,” Elson explains. “It’s like I was living in a black-and-white world, and then all of a sudden the world turned Technicolor. And, you know, you can never really go back to your black-and-white world anymore.” In 2003, she ignored popular opinion (“If you’re a model-slash-anything, it’s so easy for people to dismiss it,” she says, “Like ‘Oh, pretty girl—everything’s so easy for you.’”) and went into the studio to lay down vocals for a version of Robert Plant’s “Last Time I Saw Her.” In 2006, she recorded a duet with Chan Marshall—a remake of the Serge Gainsbourg/Jane Birkin hit “Je T’Aime…Moi Non Plus (I Love You…Me Neither).” She began performing with brash and bawdy New York City cabaret troupe the Citizens Band in 2005—that same year, she married White, moved to Nashville, and secretly, from the comfort of her bedroom closet, began to write her own songs. Elson’s first record, The Ghost Who Walks, is the meta-

phorical cymbal-crash at the end of a very long musical drumroll. Taking obvious direction from her new down-south surroundings (Nashville, she says, “had a profound effect upon the sound of the record”), Elson penned music and lyrics for all but one of the twelve tracks, whose intricacies range from darkly up-tempo, Weimar-inspired melodies to languishing folk songs to lonesome country lullabies. Backing by members of the Citizens Band, Dead Weather, and My Morning Jacket, as well as her husband, who acts as both drummer and producer, perfectly compliments her delicate, easy-flowing lilt. When she previewed the album at this year’s SXSW, and again in New York and Nashville, she received praise from critics and fans alike. “I still find myself thinking ‘Oh, please! Please like it!’” Elson admits. Still, if she looks completely at home in front of a microphone, it’s because she is. “I definitely feel like I’ve arrived,” she says. “If anything, I want to push myself even further, just to feel good about being alive in the world. It’s something I have to do, I don’t have any choice in the matter.” Martha Glass Karen Elson in New York, March 2010 Photography Glen Luchford Styling Ana Steiner Camisole Dior Karen Elson’s The Ghost Who Walks is out in May 2010 from Third Man Records / XL Recordings Makeup Lisa Houghton (Jed Root) Hair Jimmy Paul for Bumble and bumble (Susan Price) Manicure Sheril Bailey (Jed Root) Photo assistants Lance Cheshire and Matt Pandolfe Production Kona Mori On-set production Leone Ioannou Production assistant Stacy Thiel Retouching House Special thanks Jack Studios, NYC

37


Top Giorgio Armani Necklace and earrings from New York Vintage

happy birthday, naomi! The supermodel has garnered boTh infamy and icon sTaTus in her 40 years on This planeT. in an exclusive collaboraTion wiTh arTisT mickalene Thomas, we capTure some of The magic ThaT is miss naomi campbell

One couldn’t speak of the past two-and-a-half decades of fashion without mentioning Naomi Campbell. Along with a handful of other girls—all of whom we know on a first-name basis—her life has been intertwined with the fashion of our time. From runways to editorials to campaigns, Naomi Campbell has been an icon for a quarter of a century. 38

Not that fashion is her only focus: she’s thrown herself into both scandal and charity work; she’s dated extravagant men and lead an extravagant lifestyle; and she’s even dabbled in music, both as a recording artist and music video muse (though she’s had much greater success with the latter, working with the likes of Michael Jackson and George Michael). To mark this milestone in fashion history and her career, and to celebrate her 40 th birthday on May 22, we asked Naomi to take a trip down memory’s catwalk. Derek Blasberg

DEREK BLASBERG You were discovered at 15. Do you remember that fateful day in Covent Garden? NAOMI CAMPBELL Yes! I remember it very well. But I had no idea it would lead to such an incredible career. I know I’ve been very fortunate and blessed with my day job, and it’s given me the opportunity to meet some incredible people along the way. DB It’d be impossible to discuss your career without discussing the barriers you broke for black models. Were you conscious of this while you were modeling?

NC Seeing black and ethnic girls on the catwalk and in advertising campaigns has always been something I’ve felt passionate about, and there have been significant changes in the industry over the past twenty-five years. But it wasn’t easy all those years ago, and in some ways it’s not easy now. I had great support from some of the models and designers, though, and I was definitely conscious that times were changing. DB So you still think it’s tough for black models today? NC Yes. Things started to improve with Italian Vogue’s black issue, but there’s still a lot that needs to be done. I feel strongly that women of color still need a voice in fashion, and deserve to be represented. I’d like to draw attention to the “territorialism” that still exists in the industry. DB Do you have maternal instincts toward the new ethnic girls? NC Of course. I like to use my experience to help encourage all the younger girls, but most importantly those from ethnic backgrounds. There is some amazing emerging talent in this industry and every girl needs to work hard. And every girl deserves the


Dress Emilio Pucci Necklace from New York Vintage

same opportunities, independent of race or color. DB Who have been some of your inspirations in the fashion industry? NC I’ve been so fortunate, I’ve worked with so many wonderful individuals: the world’s most talented designers, photographers, stylists, and fellow models. But one of my biggest inspirations in fashion has been Azzedine Alaïa, who is like family to me. He is so talented, so creative, and he has been a wonderful friend. DB I’m sure it’s impossible to name them all, but who are some of your favorite photographers? And designers? NC After Alaïa, Dolce & Gabbana, Marc Jacobs, Ralph Lauren, Anna Sui, and the late Gianni Versace, Alexander McQueen, and Yves Saint Laurent. There are so many incredibly talented photographers I have worked with across my career, I could fill up this entire magazine! But Steven Meisel, Paolo Roversi, Jean-Paul Goude, Mario Testino, Mario Sorrenti, and Patrick Demarchelier are the first that come to mind. I have worked with them since I was 16 years old and feel privileged and blessed to still work with most of them today. DB Who has inspired you outside of fashion? I would be remiss not to mention Nelson Mandela as someone who has affected your life in a positive way. NC Madiba is an incredible human being who has taught me a lot about life and told me to always have an opinion and speak my mind and to use who we are to help others. He has taught me not to be afraid or ever held back by fear. He is and has been a highlight of my life, and I am blessed to have had the opportunity to spend time with him and learn from his great wisdom. He has shown the whole world that no matter the difficulties and strug-

gles you encounter, you should always stand up and be heard. DB Let’s talk about the good ol’ days! What are some of your favorite memories from the first half of your career? NC There are so many! But one that stands out to me is the Versace 1991 runway with Cindy, Linda, and Christy—that was a real highlight! For me, the ’80s were an exciting whirlwind— a lot of traveling, fun, and adventure in the world of fashion. It was also the beginning of many great, lifelong friendships. I first met Steven Meisel and Rifat Ozbek then, so it was also a time in which I developed great relationships with people who I still work with today. I remember the ’90s for making amazing pictures. It was all about fusing fashion and music. But of course being the first black cover girl of French Vogue was a really memorable occasion, and an achievement I feel proud of. DB Naomi, you’ve been no stranger to controversy and the occasional scandal in the past two decades. NC Nobody is perfect! But I can say that I have learned from my mistakes and have worked very hard on correcting my previous wrongdoings. I will not be held hostage by my past behavior. I am a work in progress and I always try to treat people with respect. DB You’ve held charitable fashion shows in New York, London, and soon Moscow. NC I was always taught to give to others if you are in a position to do so. I decided a few years ago that the modeling industry could be used in a way to help give back to those less fortunate, so the Fashion for Relief concept was created as a fun way to raise money for incredibly worthy causes. I enjoy the planning process, and I’m still always overwhelmed in a very positive way by how generous and supportive individuals and designers have

been with me. I am also passionate about mothers and babies, and my role as the Global Ambassador for the White Ribbon Alliance. I feel that providing them with basic necessities is crucial. Moscow was a new concept to Fashion For Relief: art and fashion coming together. The show was called NEON, and the focus was improving the lives of women and children in need, but also aiding in the development of emerging creative talents in art, fashion, and design from underprivileged backgrounds. DB Apart from the obvious—your boyfriend—what do you like about living in Moscow? NC Moscow is a great city, and I feel very welcome there. The people, the culture, the food, and the architecture are all wonderful. But while I spend a lot of time in Moscow, I travel so much with work that I’m never really based anywhere full-time. DB Have you ever thought about a career outside of fashion? NC No! I love my day job and feel very blessed to do what I do. DB But what would you have chosen to do if modeling wasn’t an option? NC That isn’t anything I’ve ever considered. This path was chosen for me!

Artwork Mickalene Thomas using crystals by Swarovski Styling Brian Molloy Contributing art editor Dominic Sidhu Makeup Renee Garnes for Lancôme (Artists by NEXT) Hair Amoy Pitters (The B. Lynn Group) Stylist assistant Grace Kapin Location Standard Hotel New York Special thanks Nadine Johnson, Stephanie Smith, Lehmann Maupin


Makeup Pep Gay for pepgay.com (Streeters NY) Hair Bok-Hee (Streeters NY) Photo assistant Angelo D’Agostino Stylist assistant Jasmine Rydell

release

WANDERLUST

WRITER SOPhIE WARD ChANNELS A LIfE ON ThE ROAD INTO hER SELf-PUBLIShED DEBUT As a model, Sophie Ward spends a great deal of time traveling the world—infinite hours every year on the tarmac, in taxis, and on trains. But after a decade of being, as she says, a “blank canvas” for someone else’s vision, Ward now debuts her own: The Beginning of an Inexplicable Journey. Part travelogue, part memoir, the book is an inquiry into all things rich in imagery and tactile in sensation. Wherever the locale, from coastal surf to garden party, cobblestone street to solitary bedroom, Ward never stops searching and ruminating, creating emotional landscapes and poetic observations en route to catharsis. She mentions Joseph Campbell, Walt Whitman, German fairy tales, Lewis Carroll, Ram Dass, and Bob Dylan as influences—a host of seekers. An examination of Ward’s “idyllic perfect childhood,” of death (Heath Ledger was a friend of her sister, the model Gemma Ward), and ultimately an affirmation of life and how to live it, Inexplicable Journey begins in a beautiful place—Perth, Australia, where the writer grew up. But there is a sense of unease. “Even in such a place, you want to move. Even in heaven, you’ll want to escape,” she posits. Ward releases the book this May through Paper Castle Press, her own imprint, though she’s hesitant to limit the fledgling publishing house to just books. The company has produced

MUST-SEE TV NEW YORK BAND TV BABY TRANSLATES TELEVISION’S POP AND STATIC INTO A NEW ALBUM–CUM–ART BOOK

In 1977, former ad exec Jerry Mander published a controversial, utterly heretical (for an American) book arguing that television should be banished. If people watch whatever you give them—and reality television proves they will—the stage is set for brainwashing. TV’s powers, Mander warned, were those of an “otherworldly magician.” The New York band TV Baby, consisting of A.R.E. Weapons’s Brain McPeck and Matt McAuley, uses the addictive, escapist allure of television as inspiration. “The vibe is TV illuminating a dark room: creepy and intimate and comforting,” says McPeck, who commands the guitar, while McAuley sings and plays saxophone. The sound is grimy electronic Americana—Elvis and Little Richard filtered through Lou Reed and Suicide—and TV Baby presents itself in sitcom-length durations. “We create our own shows, live and on record, in TV form: twenty-minute chunks, no commercials,” McAuley says. A CD of the band’s first album will be released alongside a book based on the theme of TV, with visual contributions by artists, writers, and filmmakers like Jim Jarmusch, Alan Vega, Carlo McCormick, and Nate Lowman, who submitted a photo of the O.J. Simpson car chase. Together, the book and album approximate TV’s polyphony—static and all—while simultaneously validating Mander’s prediction of a televisual society “vibrating together to the same electronic drumbeat.” Nick Stillman Untitled, 2010. Artwork Nate Lowman. TV Baby’s self-titled debut album is out in June 2010 from O.H.W.O.W 40

giclée prints by California artist Danny Roberts, for starters, and there is a glimmer in Ward’s eye at the mention of Paper Castle becoming an actual destination, something of a utopian outpost for fellow seekers. California is mentioned as a possible location. Somehow, that oft-mythologized promised land seems perfectly apropos: it may be the site of that eureka moment Ward pines for. Alexis Georgopoulos

The Beginning of an Inexplicable Journey is out in May 2010 from Paper Castle Press Sophie Ward in New York, April 2010 Photography Amy Troost Styling Catherine Newell-Hanson Dress and shirt Prada Cuff Proenza Schouler


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It’s the long, hot season when musIc takes center stage, from monster rock fests to the bar down the block. fresh off the coachella cIrcuIt, these fIve acts are wrItIng the sound track to summer 2010 Photography Chad Pitman Styling Catherine Newell-Hanson Text T. Cole Rachel

When Miike Snow released its self-titled debut album in the summer of 2009, most people viewed the newly hatched musical entity as some sort of mystery. Was this a band? One dude with a weirdly spelled name? A DJ? Turns out, Miike Snow is a kind of pop supergroup (from Sweden, of course—the motherland of all the best pop supergroups), and the band’s debut would eventually go on to be a sleeper hit. Nearly a year later, Miike Snow is still on the road, tearing up festival stages all over the world. Fronted by American vocalist Andrew Wyatt and backed by the genius production duo of Christian Karlsson and Pontus Winnberg (also known within pop-producer circles as Bloodshy & Avant), the band creates music that is equal parts electronic wizardry and brilliant song craft. It’s a combination that has served Miike Snow well, even if the buzz was a slow build. “It took a while 42

for people to really recognize us as being a band,” explains Wyatt. “Then, after things started to take off, we just basically never stopped touring. Even at the risk of totally imploding from working so much, we want to take advantage of all the opportunities that come our way.” “We are the product of Swedish engineering,” adds Wyatt, who credits his Scandinavian cohorts for the group’s exceptional production and meticulous live show. “Playing small rooms is usually the most fun, but our music generally works well in big spaces. It sounds good being played really, really loud.” From left: Pontus wears Shirt Calvin Klein Collection; Andrew wears Shirt Ann Demeulemeester Hat JJ Hat Center; Christian wears T-shirt Osklen Suspenders his own

Hair Wesley O’Meara (The Wall Group) Grooming Myles Ristaino Photo assistants Jason Geering and Sloan Laurits Stylist assistant Karin Öström Digital technician Mario Torres Production Betsy Hammill Location Sandbox Studio, NYC

miike snow


Makeup Fredrik Stambro using Chanel (L’Atelier NYC) Hair Fernando Torrent using Leonor Greyl (L’Atelier NYC) Photo assistant Jason Geering Stylist assistant Karin Öström Location Sandbox Studios, NYC

florence and the machine

When Florence Welch says she has no idea what her own music sounds like, the British indie-pop sensation isn’t just being cheeky. As it turns out, she is just as befuddled as the rest of the world when it comes to untangling what her work as Florence and the Machine is really all about. “It happens all the time,” she says. “People at airports and cabdrivers will ask me what kind of music I make, and I still find myself saying things like, Well, it’s kind of soft, but also quite loud at times, there are a lot of drums, but also a harp, it’s kind of tribal, but still kind of choral—what does that even mean? I have no idea.” The general inscrutability of her band’s sound has apparently served Welch well, not only garnering her a rabid fan base in the U.K. but also earning her debut album, Lungs, a Brit Award earlier this year. Still, despite having played on some of the world’s biggest outdoor festival stages, Welch is nervous about bringing her act stateside this summer. “A big U.K. festival like Glastonbury is basically like the apocalypse,” she jokes. “The conditions are so bad and the people so off their faces that nothing else really matters. It was nice to play someplace pretty and warm like Coachella. I bought a new outfit—something bright and flowing that looked good in the sunshine. You want to sound good, but I also like to give people something nice to look at.” Florence wears Dress Mark Fast Headpiece AND_i


Hair Franco Gobbi for Redken (Art Department) Grooming and makeup Francelle for NARS Cosmetics (Art + Commerce) Photo assistants Jason Geering and Sloan Laurits Stylist assistant Molly Mamourian Digital technician Mario Torres Location Cult Studios, NYC

the xx

With the possible exception of Vampire Weekend, few emerging artists in the past couple of years have caused the kind of global stir and received the same massive outpouring of critical praise as London-based gloomsters the xx. The band’s debut ranked high on every 2009 “best of” list in the known universe, propelling them on a nonstop worldwide tour that shows no signs of letting up. “It’s been incredible,” says bassist/vocalist Oliver Sim. “I still can’t even believe that we actually released an album, to be honest. It’s all too much to process.” The band’s upward trajectory has been meteoric, but not without problems. Along the way, one of its founders abruptly quit. Meanwhile, the remaining members had to quickly adjust to abandoning their regular lives back in London as well as to the media portrayal of them as a group of sullen, sun-deprived wallflowers— a perception only furthered by the minimalist melancholy of their songs.

“I think people imagine that we come off the stage after a show and immediately go somewhere to cry,” says Sim with a laugh. “There is this perception that we spend all of our time wallowing about in the darkness. We really don’t take ourselves as seriously as people seem to think we do. In fact we are generally quite happy people—really!” While the band is excited about the prospect of summertime festivals, one thing does concern them: hot weather. “Because of our dark color scheme, we generally melt if we play in the sun,” says Sim. Clockwise from top: Jamie wears Jacket and watch his own; Oliver wears Jacket Bess; Romy wears Jacket Maison Martin Margiela All T-shirts Calvin Klein Underwear


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wale

“I’ve been dedicating myself to greatness,” says the rapper Wale in response to what he’s been up to lately. “I call it my no-days-off campaign. I’m either performing, in the studio, doing research, writing, reading scripts, responding to my fans on Twitter, or talking to people like you. I’m always working. It don’t ever stop.” Since dropping his debut album, Attention Deficit, in late 2009, Wale has evidently held true to his mission to never take a day off. He tours tirelessly and is quick to shout out his long list of collaborators, which includes Mark Ronson protégé Daniel Merriweather, Gucci Mane, and Lady Gaga, who pops up to sing the hook on Wale’s single “Chillin.” When asked if he’s surprised by Gaga’s runaway success since the two worked together, he shrugs. “Nah, we knew that was gonna happen. The way she carried herself, she knew she was the shit.” Working with a variety of artists outside his genre and touring extensively in the U.K. (including spots at superfestivals like Glastonbury and Reading) has garnered Wale an audience unusual for a rapper from D.C., but he sees it as fitting. “My taste has always been all over the place,” he explains, “and my audience reflects that. Thanks to people like Kanye West, Jay-Z, and MIA, the divides in music culture are much smaller. Music is music now, which is how it should be.” Wale wears Jacket G-Star T-shirt Express All other clothing his own

For Wale: Hair Fernando Torrent using Leonor Greyl (L’Atelier NYC) Grooming Fredrik Stambro using Chanel (L’Atelier NYC) Photo assistant Jason Geering Stylist assistant Karin Öström Location Sandbox Studios, NYC For Julian Casablancas: Grooming Rebecca Plymate for Davines (See Management) Photo assistants Mark Champion and Jason Geering Digital technician Mario Torres Location Jack Studios, NYC

Julian CasablanCas

Solo records from members of popular rock bands can be a mixed bag—excuses for wild selfindulgence, harbingers of band breakups, or the auditory evidence of clashing egos. In the case of Julian Casablancas—better known as the front man of preeminent NYC rock band the Strokes—a successful solo record indicated none of these, or maybe a little bit of all of them. “The past year has been really liberating, really exciting,” says Casablancas, who has spent the better part of 2010 touring in promotion of Phrazes for the Young, his first solo record. After kicking off with a string of ambitious multimedia spectacles in Los Angeles (“I thought the shows were great, they blew minds appropriately”), Casablancas took a more scaled down version of the show on the road—an endeavor that proved to be a learning experience, even for a seasoned rock and roller like himself. “You don’t want people to show up and say, ‘What the fuck is this? Bring out the Strokes!’ I wanted to give people a good experience that might also be something they wouldn’t expect from me.” In addition to solo festival dates throughout the summer, Casablancas will rejoin his Strokes bandmates this fall for a series of much-hyped shows. While he insists that the eagerly anticipated new record is easily the “most collaborative” thing the band has ever done, the subject of returning to his day job is still a tricky topic. “It’s so hard to talk about,” he says. “The truth is not hurtful or insulting to anyone, but I don’t know how to talk about it without sounding insulting.” In regard to the festival circuit at least, Casablancas is a little more forthcoming. “It’s great to play to a crowd that doesn’t necessarily know you—or may even not like you at all—because it makes you work harder. Working hard is a good thing. Julian wears his own clothing


WORK IN PRO GRESS Photography Jason Schmidt

LIE TO ME

Artist rob swAinston goes to the ground for his All-consuming instAllAtion work Jason took this photo of me in my studio two weeks before a recent show of mine at BravinLee Programs. There are a lot of clues about my practice in this photo. The one that stands out here is the fact that I am lying down. Jason had me go through a number of poses that were just a little off. For the last photo my wife, Alison, suggested that I just lie on the ground. It is true that horizontal is a normal position for me in my studio. I like to be entirely surrounded by my work, a sort of gesamtkunstwerk. This habit has just been driven home for me by my friend Dani. Upon seeing this photo he produced (unbeknownst to me) a collection of photos taken on his iPhone of me lying down at various times and in numerous positions in my studio. Rob Swainston 46


talent


all about elisa

ACTRESS ELISA SEDNAOUI HAS THE LOOK, THE BRAINS, AND THE BODY TO MAKE IT BIG. DESIGNER DIANE VON FURSTENBERG MEETS THE GIRL OF THE MOMENT I had heard of Elisa years ago. I had heard about this very beautiful, very special little girl who used to spend her long vacations at her dad’s house in Luxor, Egypt. I had heard about her via her godfather, my friend, the shoe designer Christian Louboutin. He told me she would grow up to be a star. Years passed, and I finally met Elisa. We met in a crowd of people we knew. She too had heard about me and we both knew we would be friends. She came for lunch in my studio. We had salad and chicken and talked about life. Immediately we had a connection. She reminded me of myself as a young girl, and I think she identified with me too. Since that day we continue to communicate through e-mails, and she comes to see me every time she’s in New York. I love to hear about her life. What is more exciting than the life of a gorgeous, intelligent young woman? Every day is an adventure. Every day you meet people who will change your life forever! Elisa is serious. Not boring, but serious! She is serious about her life, her career, her decisions. She is well-read, speaks fluent French, English, Italian, and Arabic, and is both very simple and very sophisticated. She is not a girl. She is a young woman. As a matter of fact, I think she was always a woman—maybe that is why I like her so much. I know she will become a big movie star, and I wanted to be

the first one to photograph her as a star. I wanted to do her first real portrait. I am glad she agreed. Diane von Furstenberg DIANE VON FURSTENBERG Elisa, what is the oldest memory you have of yourself? ELISA SEDNAOUI I have this image of me in Cairo belly dancing on the kitchen table, the babysitter clapping her hands to the music coming from the radio. DVF What did you want to be? ES At the time I don’t think I was really conscious about it. I was playing and inventing many stories, like most of the kids. Later I thought I would become a diplomat. DVF Who is the most important person in your life? ES I would say my mother. I’m very lucky: she is the most openminded person I know. I will never forget the day when I was 14 and I had my first boyfriend and she looked at me very seriously and said, “I just want you to know that I’m here for you and if ever something bad happens I will help you without judging you.” DVF Tell us about your life, your childhood—living in a small Italian village and at the same time among very sophisticated people. ES It was made of extremes. I learned to adapt myself, from the more cosmopolitan environments of big cities like Cairo and Milan, to small places like Luxor or the countryside in Italy. People live different lives, have different beliefs, senses of humor, and ways of expressing emotions. Life can be lived in so many ways and still I know it would be possible for us to all live together in respect. DVF When did you start to model? ES I shot the first pictures as a model when I was 14, but I finished high school before dedicating myself to it as a career. DVF When did you do your first movie? ES Three years ago, I shot it in Lithuania and France. It’s called Eastern Drift and was screened for the first time at the Forum section of this year’s Berlin Film Festival. It’s a thriller about a man involved with the Russian mafia, escaping throughout Europe. DVF What was the experience of being the lead in Bus Palladium? To be a woman in love with two men? ES Well…it was real fun. And it was a beautiful challenge to be among young, creative, and daring actors, learning on the road the rhythm of a comedy. It was great to have the chance to play the role of a modern young woman who allows herself the freedom to follow her instincts. She’s still looking for herself and both men give her something that she needs. DVF What kind of actress do you want to be?

ES I wish to tell stories of our existence. I try to show the great beauty of our soul. Tilda Swinton, Meryl Streep, and Monica Vitti are great inspirations. DVF In what city do you feel most at home? ES I feel at home in two diametrically opposite places: New York and Luxor, Egypt. The extremes. DVF What is your favorite book? Movie? ES I have many. I love Bukowski’s work, and Garcia Márquez’s. But right now I would say it is The Selected Letters of James Joyce. Natural Born Killers by Oliver Stone, and Stranger Than Paradise by Jim Jarmusch. But I also love Wim Wenders’s Paris, Texas and David Lynch’s Twin Peaks and Mulholland Drive. DVF If you were not an actress, what would you like to do? ES I would explore different forms of expression, most likely photography and movie directing. I am fascinated by editing as well. DVF If you were a flower, what would you be? ES A lily. DVF What is your biggest fault? ES Perfectionism. DVF Quality? ES Determination. DVF If you had one single wish to change the world, what would it be? ES That people could laugh more. DVF What is beauty to you? ES Positive energy. DVF Ten years from now, where would you like to be? ES Living in a South American hacienda with my tribe and still inspired to create and enjoy. Elisa Sednaoui in New York, January 2010 Photography Diane von Furstenberg Styling Yuki James This page: Trench Diane von Furstenberg Briefs Eres Bracelet Diane von Furstenberg by H.Stern Shoes Lanvin Opposite page: Silver bracelet Diane von Furstenberg by H.Stern Eye bracelet JAR Shoes Diane von Furstenberg Makeup James Kaliardos for L’Oréal Paris Hair Jordan M (Susan Price) Photo assistant Paul Park Digital technician Jesse Adler (MILK Digital) Special thanks Nathan Hutt

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hit

HERE COMES HAKAAN

EVERYONE’S TALKING ABOUT THE TURKISH DESIGNER WITH A FLAIR FOR DRAMA When it comes to pre-show buzz, few labels have been as hotly touted as Hakaan. But then few labels can count Mert Alas, one half of the iconic photo duo Mert Alas & Marcus Piggott, as part of the team. A close friend of 39-year-old Turkish-born designer Hakaan Yildirim, Alas has been helping out with the creative direction; and from the looks of the first collection, shown during London Fashion Week, all the hype was warranted: Lara Stone, Natalia Vodianova, Natasha Poly, and Anja Rubik were among the majors who hit the runway in feather minis, fur-trimmed cashmere vests, and some of the most inventive leather pieces seen this season. Needless to say, it was a sexy, sharp, immensely luxurious Fall show—an auspicious start for this burgeoning house.

Photography Cuneyt Akeroglu Styling Ceyda Balaban Stretch leather pants and leather “escalier” dress with cord stitching Hakaan F/W 2010 50

Makeup Niamh Kavanagh Hair Yumi Nakada-Dingle using Aveda Model Fei Fei Sun (Elite Paris)

V How did you meet Hakaan? MERT ALAS Hakaan is an old friend of mine from Istanbul, and I love his ideas and his manner of making things, he is an undiscovered jewel! V What made you want to get involved with the brand? MA Hakaan has asked me to help him develop the brand and its identity. I love editing the collection and casting my opinion. V What is the philosophy behind the brand? HAKAAN YiLdiRiM Celebrating the female form. Sculpting the body closely with luxury fabrics in strong shapes, Hakaan exudes confidence and strength in femininity. V What was the inspiration for the Fall 2010 collection? HY Fall 2010 is inspired by Swiss painter H.R. Giger, known for his aesthetic of “fantastic realism.” Hakaan shares his passion for architectural and industrial design. V Who is the Hakaan woman? HY She is sexy, confident, and ambitious. She is aware of how she looks her best. She is defined in her style with an understanding of fabrics and workmanship.


suddenly this summer...

…DavID YURMaN IS ThINKING BIG To celebrate its 30th anniversary, the iconic jewelry house is opening an expansive three-floor townhouse boutique that will serve as its definitive flagship. Located on Madison Avenue, the new shop boasts a whopping 2,000-square feet of sumptuous, mid-century inspired interiors meant to evoke Yurman’s background as a sculptor. It’s ample space to house the jewelry maker’s vast selection of women’s designs, as well as the ever-expanding men’s collection designed by son Evan. In the market for more high-end pieces? Try the third floor, a bridal and couture suite selling baubles like this jeweled South Sea Pearl Necklace worth $44,500. Catherine Blair Pfander

...DUTCh PhOTOGRaPhY COMES hOME

…PaRIS IS ROCKIN’

Philip Andelman, “Three Days in Paris,” runs May 21–June 1, 2010, at Milk Gallery, NYC

…WE’RE SMELLING SWEETER ThaN EvER Slip into sun-soaked summer days with two new fragrances from Prada’s Ephemeral Infusion Collection: Tubéreuse and Vetiver. With notes of blood orange and woodsy dynamone, the warm, botanical Tubéreuse is best suited for nights spent dancing at a tropical retreat. With hints of exotic ingredients like purple ginger, Madagascan pepper, and tarragon, the brighter, lighter Vetiver would make a perfect daily go-to. Skip the new pair of sandals; a fresh signature scent is the best accessory of the season. Catherine Blair Pfander

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Anastasia, 1994. “Pretty Much Everything: Photographs 1985–2010” runs June 25–September 15, 2010, at FOAM Fotografiemuseum, Amsterdam.

…ThERE’S aNOThER REaSON TO GO UPTOWN Things rarely change on New York’s Upper East Side. But as James Sherwin, the general manager of The Mark (and the maestro of its reincarnation), puts it, “we’re turning this corner of town upside-down.” In truth, the hotel, which now boasts wildly elegant décor by Jacques Grange and delectable “comfort food” by Jean-Georges Vongerichten (read: cheeseburger with brie and black truffle dressing), has become the city’s chicest hot spot. Knock back a few cocktails in The Mark Lounge and head upstairs—the reasonably priced rooms boast Italian bedding, Bang & Olufsen TVs, and a shoe shining service by John Lobb. Just our cup of tea. Mr. V

…GRaPEFRUIT IS GOOD ENOUGh TO WEaR As if the thought of Belvedere’s new Pink Grapefruit flavor, made with fresh ginger, Spanish spring lemons, and a hint of vanilla, wasn’t mouthwatering enough, Matthew Williamson has created a sultry, eye-popping caftan to accompany it. The sheer silk cover-up, with a vibrant palm-tree print inspired by Leigh Lezark, will be available in a limited edition at Matthew Williamson boutiques. See ya at cocktail hour. Trish Coon

Van Lamsweerde & Matadin: Artwork Inez van Lamsweerde & Vinoodh Matadin. Courtesy the artists; Mota: Photography William Waldron

Being a tour photographer isn’t always as wild and crazy as it’s cracked up to be. Often, there’s a monotonous cycle of show, tour bus, sleep, and sound check. But for photographer/video director Philip Andelman, who spent three serendipitous days last summer documenting the Beastie Boys and the Dead Weather in Paris, it was a different experience: “Dressing up the Beastie Boys like baguette delivery men, playing pétanque in the Palais Royale, racing through the Louvre…” recalls Andelman. “There was this giddy feeling of summer camp.” This month, the snapshots will go on view at NYC’s Milk Gallery. “I wanted to share this incredibly intimate time,” Andelman explains, “and these very personal pictures.” Karin Nelson

In 25 years, Inez van Lamsweerde & Vinoodh Matadin have explored the beauty, brutality, and absurdity of fashion. The Dutch photography duo has also managed to make celebrities and ordinary people look infinitely smart, sensitive, and psychologically astute. This summer, Amsterdam’s FOAM museum stages a show of over 300 photographs spanning the team’s career. Fashion images from French Vogue and this magazine sit next to portraits of eccentrics like Björk and Antony Hegarty alongside advertising work for labels like Balenciaga and Yves Saint Laurent. Viewing this recontextualized imagery at FOAM, one may stumble upon new meaning and subtexts within the duo’s deliciously twisted world. Our personal favorite is this beauty portrait commissioned for SELF magazine back in 1994—one of the couple’s first pictures published in America (along with their work in Visionaire). Fashion magazines were never the same again. Christopher Bartley


Isabella wears Swimsuit Calvin Klein Swimwear

…rIo CoMes to MIaMI

Photography Amy Troost Styling Catherine Newell-Hanson

Just in time for summer, the Brazilian sportswear label Osklen is bringing its flirty, colorful dresses and eyecatching swimsuits to Miami Beach with a brand-new shop. The company’s second American outpost—after a Soho flagship in New York—is a sharp contrast to the lo-fi style of Southern Florida. All sharp corners in a cool shade of gray, with wood shelving and silver hardware, it evokes a kind of minimalist locker room. But then, what better way to display the latest wares from the sultry shores of Ipanema? Jonathan Shia

...PrInt MaKes a CoMebaCK Some things go down fast and furious, short-lived but with far-reaching consequences. Such was the story of Avalanche, the art magazine dreamed up in 1968 by Willoughby Sharp and Liza Béar. Published from 1970 to 1976, Avalanche dedicated its pithy contents to The Artist, rather than The Critic—cover stars like Joseph Beuys, Bruce Nauman (left), Lawrence Weiner, and Vito Acconci were given full-reign to use the pages as exhibition space, offering an inside view of the conceptual, performance, and land art then emerging in the U.S. and Europe. Sharp’s passing in 2008, as well as the recognition, in recent years, of the rich, intimate documentation of what amounts to a who’s-who of the ’70s avant-garde, has made the long out-ofprint issues increasingly sought after. Now, Primary Information will be issuing a boxed facsimile edition of Avalanche’s complete run. Like the recent FIlE box set (JRP), this timely historical reissue promises to inform artists, underground publishers, writers, designers, publishers, curators, and critics as much as it will inspire them. Alexis Georgopoulos

…flowers don’t have to be fussy

Calvin Klein: Makeup Sil Bruinsma for Dior Beauty (Streeters NY) Hair Leonardo Manetti for Ion Studio (Community NYC) Model Isabella Oelz (One Management) Photo assistant Angelo D’Agostino Digital assistant Jonathan Pilkington

“You have to have flowers in your house,” says Carlos Mota. “Without them it’s not alive.” Mota should know. The Venezuelan-born style director of EllE DEcor has been enhancing interiors for twenty years, with flowers figuring prominently in looks from Oprah’s home to Valentino’s parties to Chanel’s events. Yet Mota’s new book, Flowers cheap and chic: Arrangements with Flowers from the Market or Backyard (Clarkson Potter), serves up countless suggestions to transform a home with flowers and displays that anyone can cobble together. “It’s almost like a cookbook, demystifying flowers,” says Mota, whose passion for flowers is rooted in his Latin heritage: “We like bright; we like happy; we like loud; we like spicy, sexy things.” Ultimately, for Mota, the goal is to bring beauty into people’s lives. “Life is so short, and it’s so hard to find a beautiful moment,” he says. “Why can’t you have a beautiful moment in your house?” John Ortved

...GreeK traGedy hIts the art world An incorrigible wise guy, Maurizio Cattelan likes to take on the big topics—death, religion, money—and turn them into droll, self-referential jokes. The resulting objects are simple, sly, and surprising. Take, for instance, his sculpture, exhibited this June on the Greek isle of Hydra. Visitors to the island’s former slaughterhouse will be confronted with a tombstone labeled “The End.” The piece, entitled We, 2010, is just one of many that belong to Greek art collector Dakis Joannou, and under his direction work is being exhibited each summer on the island. Can droll one-liners hold their own against the Aegean’s beauty? Let’s just say that Cattelan knows a thing or two about stealing the show. Ken Miller We, 2010 is on view at the DESTE Foundation, Hydra, from June 16–September 30, 2010


tribute

Donna Karan S/S 2010 Silk crepe jersey draped dress This spread: Cuff Robert Lee Morris See a retrospective celebrating 25 years of Donna Karan on vmagazine.com

25 YEARS OF DONNA

She StarteD aS faShion’S frienD to the worKing woman, but iconic DeSigner Donna Karan haS mixeD plenty of SenSuouS DreSSeS in with the Smart SuitS—all imbueD with that particular SenSe of new yorK cool. here we celebrate power DreSSing the Donna way Photography Shu Akashi Styling Catherine Newell-Hanson 54


Donna Karan F/W 2010

Wool and silk “Mikado” sculptural evening dress

Makeup William Murphy for Dior (Joe Management) Hair Sarah Sibia (See Management) Model Tiiu Kuik (Marilyn) Photo assistants Shohei Shoji, Dave Ngo, Quang Trinh Location Chelsea Piers Pier 62, NYC Postproduction Nucleus Imaging NYC

“Reflecting back, theRe aRe many unfoRgettable memoRies, fRom moments of angst to moments of ecstasy.”–donna kaRan


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v-BAY Photography Adrian Gaut Fashion editor Catherine Newell-Hanson

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This summer, we’re looking aT The world Through glasses ThaT are rose-colored...or TorToiseshell, or ZeBra-sTriPed, or luciTe. Pick your own Pair, and geT ready To see Things a loT differenTly 1 Chloé, $295, available at saksfifthavenue.com 2 John Galliano, $415, Bergdorf Goodman 212.753.7300 3 Theo, $445, theo.be 4 Giles for Cutler and Gross, $495, Selima Optique 212.677.7690 5 Prada, $205, prada.com 6 Guess, $68, guess.com 7 Alexander Wang for Linda Farrow, $325, openingceremony.us 8 Dsquared, $290, saksfifthavenue.com 9 Balenciaga, $325, solsticestores.com 10 Oliver Peoples for Balmain, $595, Bergdorf Goodman 212.753.7300 11 H&M, $15, hm.com 12 Stella McCartney, $220, iloristyle.com 13 Victoria Beckham Eyewear, $449, Bergdorf Goodman 212.753.7300 14 Dior, $325, dior.com 15 Dolce & Gabbana, $300, dolcegabbana.com 16 Diesel, $120, diesel.com 17 Baby Phat by Kimora Lee Simmons, $59, Modo 800.223.7610 18 Raf Simons for Linda Farrow, $350, lindafarrowgallery.com 19 Tom Ford Eyewear, $360, neimanmarcus.com 20 MiCHAEL Michael Kors, $125, similar styles available at 1.866.709.KORS 21 Emporio Armani, $175, emporioarmani.com 22 Armani Exchange, $70, armaniexchange.com 23 Aldo, $12, aldoshoes.com 24 Ralph Lauren Eyewear, $375, ralphlauren.com 25 Retro Super Future, $164, bloomingdales.com See more sunglasses on vmagazine.com


sizzle

daria WerboWy

Lancôme Tropiques Minérale Loose Bronzer

“This is the best bronzer for summer. No shimmer, just great natural color, and it’s easy to use.”

BATHING BEAUTY forecast calls for sun. five beach babes share their favorite summer products

Photography Dan Forbes Beauty editor Catherine Newell-Hanson

Joan collins

Clinique Dramatically Different Moisturizing Lotion and Cellex-C Age-less 15 Skin Signaling Serum

“The first beauty product I use before I go in the sun is Cellex-C Age-less 15 Skin Signaling Serum, followed by Clinique Dramatically Different Moisturizing Lotion, followed by a foundation matched to the color of my skin and a light dusting of translucent powder. I always wear sunglasses and a hat, because the sun’s rays are horrifyingly destructive to your face and once you have sun wrinkles, no amount of Botox or fillers can eradicate them.”

carolyn murphy

Estée Lauder Bronze Goddess Sun

Indulgent Lotion for Face SPF 30 “It helps skin develop a natural tan while protecting against the sun.”

shala monroque

René Furterer Brume Hydratante Après Soleil

“What I really love about it, apart from its moisturizing powers, is its scent. I don't ever have to wear perfume.”

alexandra richards

Mario Badescu Nucleic Moisturizing Hair Rinse

“It conditions hair and keeps it smooth, even after you’ve been in the ocean.”

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V USA May AD6sp.indd 1

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f a s h i o n s u m m e r 2 0 1 0

Summer goeS pop, pre-fall getS extreme, haute couture rideS high, Scarlett changeS the game, tilda elevateS the craft, and gaga catcheS it all in a flaSh. the SeaSon iS about to go live 59


James wears (throughout) Unitard La Danse Sunglasses Marc Jacobs Earring his own Jamie wears Custom swimsuit Maria Ficalora Knitwear Earrings vintage Christian Lacroix from Rellik

body electric 60

Summer iS highly charged. up the voltage with acid brightS, animal printS, diSco detailS, and a flaSh of haute couture. your SuperconductorS are Sex and Skin Photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna


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4/20/10 3:58:30 PM


Jamie wears Dress Balmain


Jamie wears Dress and cuffs Rick Owens On skin, TEMPTU Air Pod Foundation in golden


Jumpsuit in triple silk organza with sequin embroidery Givenchy Haute Couture by Riccardo Tisci


Bikini top Emporio Armani Necklace Fred Leighton On hair, Kiehl’s Malleable Molding Paste


Dress CĂŠline Pre-Fall 2010 Hat Patricia Underwood Boots Giuseppe Zanotti for Balmain


Jamie wears Bag Miu Miu On hair, Kiehl’s Climate-Proof Shine-Enhancing Non-Aerosol Spray James wears Ring his own


Dress Yves Saint Laurent On nails, Lippmann Collection Long Wearing Nail Color in supermodel


Jamie wears Dress and shoes Lanvin Pre-Fall 2010 Earrings vintage Christian Lacroix from Rellik Fragrance Dior Eau Sauvage


Dress Chanel Boots Giuseppe Zanotti for Balmain


Jamie wears Top and skirt Azzedine Ala誰a Cuff Rick Owens On skin, TEMPTU Air Pod Highlighter in copper


Dress Miu Miu Hat Patricia Underwood Boots Giuseppe Zanotti for Balmain


Jamie wears Dress Stella McCartney Cuff Alexis Bittar Shoes Lanvin Pre-Fall 2010 Tights Falke


Cape ChloĂŠ by Hannah MacGibbon Cuff Vicki Turbeville Boots Giuseppe Zanotti for Balmain


Makeup Lisa Butler for TeMpTu (Tim Howard Management) Hair Christiaan using Kiehl’s Models Jamie Bochert (Women) and James Applewhite of the American Ballet Theatre II Manicure Deborah Lippmann for Deborahlippmann.com (The Wall Group) Lighting technician Jodokus Driessen photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Tony Irvine, Hissa Igarashi, Karin Öström Digital technician Brian Anderson Studio manager Marc Kroop Set design James Chinlund (The Magnet Agency) Choreographer Stephen Galloway Location pier 59 Studios, NYC printing Box


Dress Marc Jacobs On hair, Kiehl’s Creme with Silk Groom


poster child in an exclusive collaboration, new york art group the boys collective explores the surface of the fashion image by cutting, collaging, and setting fire to it Photography Glen Luchford Styling Beth Fenton Artwork Mario Brotha from The Boys Collective

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Daisy wears Dress Jean Paul Gaultier Cuff Natalia Brilli


Daisy wears Top Marc Jacobs F/W 2009 Shoes Azzedine Ala誰a F/W 2009


Lea wears Jumpsuit Pam Hogg Sweater (worn over shoulder) Paul Smith Bangles Tom Binns Design Earring Maria Francesca Pepe On skin, M.A.C Blush Ombre in springshine


This page: Daisy wears Dress Balmain Watch Rado


Tao wears Dress Danielle Scutt Jacket and sweater Meadham Kirchhoff Earring Tom Binns Design On eyes, M.A.C Liquidlast Liner in point black


Lea wears Leggings McQ Cape ChloĂŠ by Hannah MacGibbon Necklace Hannah Martin Shoes Pam Hogg On lips, M.A.C Lipstick in cyber


Tao wears Jacket Josh Goot Leggings Simon Preen Bracelet Burberry Prorsum Earring Scott Wilson for Qasimi


Makeup for Daisy Lowe by Frank B (The Wall Group) Makeup for Lea Groesland and Tao Okamoto by Inge Grognard (Jed Root) Hair for Daisy Lowe by Martin Cullen (Streeters) Hair for Lea Groesland and Tao Okamoto by Laurent Philippon (Calliste) Models Daisy Lowe (Next), Lea Groesland (Supreme), Tao Okamoto (Ford NY) Archival imagery featuring Kristen McMenamy, Kate Moss, Steve Buscemi courtesy of Glen Luchford archives Manicure Typhaine Kersual (Jed Root) Photo assistants Erin Ceve and Lydia Gorges Stylist assistants Ellie Campagna and Rebecca Dennett Lighting technician Jack Webb Digital technicians Nicola (Republik) and Sascha Heintze Production Kona Mori and Lindsey Steinberg (Art Partner) Locations Big Sky Studios, London, and Studio LNA, Paris

Shoes Lanvin F/W 2009


HOT FOR SCAR LETT

Scarlett JohanSSon haS proved that the road to hollywood SucceSS could lead through the ituneS Store, the Broadway Stage, or an ad for dolce & gaBBana. She’S drawn the Blueprint for the 21St-century Starlet in her own image Photography Inez van Lamsweerde & Vinoodh Matadin Styling Joe McKenna Text Christopher Bartley 100


Dress and belt Yves Saint Laurent Earrings Louis Vuitton


“I dOn’T FEEL LIkE A gIRL AnymORE.” –SCARLETT JOHAnSSOn

Earrings Louis Vuitton On lips, Dolce & Gabbana Make Up Classic Cream Lipstick in charm


White gold camellia cuff with black and white diamonds and white gold ring with pearls and black diamonds Chanel Fine Jewelry On hair, Kiehl’s Super Thick Volumizer

Makeup Lisa Butler for TEMpTu (Tim Howard Management) Hair Christiaan using Kiehl’s Manicure Deborah Lippmann for Deborahlippmann.com (The Wall Group) Lighting technician Jodokus Driessen photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Tony Irvine, Hissa Igarashi, Karin Öström, Jasmine Rydell Digital technician Brian Anderson Studio manager Marc Kroop Location pier 59 Studios, NYC printing Box


“WORkIng WITH THESE InCREdIbLE HAIR And mAkEup TEAmS, yOu gO In LOOkIng LIkE A SCHmOE, And yOu COmE OuT LIkE A mOvIE STAR.” –SCARLETT JOHAnSSOn

F

or someone with such a fiery name, Scarlett Johansson is remarkably cool. She walks down E. 76 th Street and right through the revolving door of the Carlyle Hotel with an assuredness that belies her age, wearing a light pink wrap cardigan, faded jeans, tall beige suede boots, and aviator sunglasses. “I’m exhausted,” she proclaims, tossing a messenger bag to the floor. Johansson is more beautiful in person than on-screen; she’s elegantly composed, smart, and well-spoken, but at the same time guarded. (Recent murmurings in the gossip pages included a squabble with Broadway cast mate Liev Schreiber and rumors that she and husband Ryan Reynolds were living apart. Neither hold any water.) If Johansson watches her words it’s only because her years in the business have taught her to be mindful of television reporters and magazine journalists. Not that she’s ever let them stop her from living life exactly as she wants, or plotting a career that lately has extended into brave new territory: the grueling Broadway stage, the reflexive genre of indie rock, and, as of this summer, the wild world of action filmmaking with Iron Man 2. Johansson is doing everything she can to do everything she can. And so far, it’s all turning to gold. Johansson straddles several genres and media platforms to deliver a sound, a look, and a style of acting all her own, effectively upping the ante on what it takes to stay relevant in the age of the ipad. Never far from our consciousness, she appears in multiple avatars: the indierock singer, the Broadway novice, the fashion model, and, of course, the perpetually cool star of the silver screen. And though there are several iterations of Scarlettness, they all return to the same quiet contradictions: approachable yet untouchable, smart yet not a showoff, beautiful yet unfussy, and, in the end, easygoing yet incredibly serious about the craft. As Liev Schreiber, Johansson’s cast mate in the recent restaging of Arthur Miller’s A View from the Bridge, explains, “Scarlett has a kind of freakish composure and maturity that you generally only find in Nobel peace prize winners. I think that’s part of what makes her so compelling to watch. Of course, beauty, sensitivity, and one of the fastest learning curves I’ve ever seen in my life probably factor in there as well.” Critics were just as impressed that the girl who has spent a career playing versions of herself had finally managed to transform. This wasn’t about bodacious Marilyn Scarlett, or ironic Woody Allen Scarlett, or pensive Sofia Coppola Scarlett. It was totally new, and it kind of kicked her ass. “It’s been so challenging,” the actress explains. “The hardest thing about it was not the hours or the labor—it’s only a two-hour show. But specifically this play, it really stays with you in a haunting way.” The story line, which follows an insular, working-class family in 1950s Red Hook who takes in a pair of Italian immigrants to tragic ends, showed off Johansson’s talent as a dramatic actress. performing alongside a Broadway pro like Schreiber, Johansson was given the opportunity to learn a thing or two. “Liev is brilliant to work opposite,” she explains. “He’s unbelievably generous, and he notices everything. He’s just masterful, and he challenges me to challenge myself.” In Iron Man 2, Johansson’s love of a challenge shifts from the psychological to the physical. The sequel to the thinking man’s action drama comes with the addition of Johansson as Natasha Romanoff, aka Black Widow, possibly the most seductive superhero since

Michelle pfeiffer’s Catwoman. The character pushed Johansson to the brink with months of athletic training, and required a little bit of thinking outside the box of big-budget action movies. “She’s a very intelligent actor,” explains Iron Man director Jon Favreau. “She asks the right questions and is cooperative and collaborative. It was wonderful watching her apply the work ethic and attention to detail, which no doubt comes from an independent film background, to a summer superhero movie.” The success of Iron Man has essentially been due to Favreau’s ability to convince a largely indie cast—from Mickey Rourke to Don Cheadle to Sam Rockwell—to bring their quirks and nuanced acting to the action arena. “I think Jon just takes people that he really respects and squeezes them into superhero costumes,” says Johansson, laughing. But slipping on a catsuit also requires a significant shift in frame of mind. Black Widow is about as far as you could get from the cynical teen Rebecca in Ghost World, or Charlotte the transient Ivy League youth from Lost in Translation. “This is a no-bullshit character,” explains Johansson. “It’s not that she’s nonfeeling, she just gets the job done. She’s part of something bigger, and she knows it. She’s this crazy badass, and she has no time for fucking around.” perhaps Black Widow also punctuates a long period of experimentation and growth, one that’s proven attractive to directors and casting agents alike. “I’m 25, and for some time I’ve played these characters who are kind of figuring it out, transforming from young girls to young women.” Johansson admits that she’s recently shed the anxiousness of youth. “I don’t feel like a girl anymore,” she explains. “And I feel like my life and career are on a different path than they had been. There’s a lot of road behind me. I feel at this point I really want to do work that is challenging to me. Not to say that I don’t look at my job and realize that I’m ridiculously fortunate, and purely an actor for hire. You never forget that it’s all so vulnerable.” These days, Scarlett as a woman is a brand in demand. In the past three years, Johansson has appeared in campaigns for Louis Vuitton (three times), Moët & Chandon, Mango, L’Oréal, and, most recently, Dolce & Gabbana Beauty. Designers and editors see her as an answer to fashion’s full-figured debate. But regardless of what others project, Johansson views her many forays into modeling as just another medium of communication—as well as a fun transformation. “It’s all in a day’s work for me,” she says. “Working with these incredible hair and makeup teams, you go in looking like a schmoe, and you come out like a movie star. You go through the works, and then you’re like this perfectly prepared sausage…no one ever sees what goes in.” Lately Johansson has logged time in photo studios and recording studios alike, working with singer-songwriter pete Yorn, who thought an actress might bring a bit of character to his duets record. As Yorn explains, “I wasn’t interested in a traditional singer. I was interested in more of a character.” By then, Johansson had already released her 2008 Tom Waits covers album, Anywhere I Lay My Head. But Yorn was still blown away by her artist’s intuition. “I was very impressed,” he says. “She was a natural. She immediately just did this aloof delivery that worked within the context of the songs. She knew how to play it.” And he thinks Johansson might just be the total package. “She is great across the board, as an actress and a person, and she has a good sense of herself. She is tied into the world on a spiritual level, like an old soul.” A good chunk of the world seems to think so too. Iron Man 2 is out in May 2010 from paramount pictures


paradise lost the buenos Aires underworld serves As A bAckdrop for the high drAmA of the pre-fAll collections Photography Sebastian Faena Styling Robbie Spencer

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Dress Chanel Paris-Shanghai Mask Keko Hainswheeler Headpiece and beaded mantle Pam Hogg Gloves Marios Schwab Shoes Alexander McQueen


Blouse Givenchy by Riccardo Tisci Sheer tulle dress (worn underneath) J.W. Anderson Shoulder pieces Jean Paul Gaultier for Swarovski Runway Rocks Veil Dean Sidaway


PVC trench Valentino Rufed dress HUGO Sheer tulle dress (worn underneath) J.W. Anderson Dress (worn as skirt) Lanvin S/S 2010 Bodysuit (worn underneath) and headpiece Petrou\Man Necklace Butler & Wilson Gloves Aspinal of London Shoes Alexander McQueen Tights Jonathan Aston Jewelry (worn on face) stylist’s own


Dress Versace Mask made by stylist


Dress and bra Jean Paul Gaultier Shoes Alexander McQueen Veil made by stylist


Sequin skirt Dolce & Gabbana Blouse Viktor & Rolf Long dress (worn underneath) John Galliano S/S 2010 Veil Meadham Kirchhoff On lips, Lanc么me Color Fever Shine Lipcolor in hot nights


Dafne wears Black bustier dress Michael Kors Dress with lace detail at neck (worn underneath) Burberry Prorsum Long appliqué dress (worn underneath) Ziad Ghanem On him, T-shirt Armani Exchange

Makeup Estefania Novillo and Sofi Miguens for Lancôme (Frumboli-Novillo) Hair Nacho López Fagalde (Estudio H) Model Dafne Cejas (Ford NY) Photo assistant Sebastián Oszlak Stylist assistants Emilio Lacroze, Victoria Czernikowski, Elizabeth Fraser-Bell Digital assistant Marcelo Iovino Production Dolores Ferradas for South American Productions Production manager Bernardo Séré Retouching View Imaging Special thanks to the Faena Hotel and Universe


dior Haute Couture Gibson Girls riding high Makeup Pat McGrath Hair Orlando Pita Hats Stephen Jones

GivenCHy Haute Couture by riCCardo tisCi

Seventies glam gets hard Makeup Pat McGrath Hair Luigi Murenu


l o n g l i v e couture From warriors to Glamazons to Gibson Girls and beyond, tHe sprinG/summer 2010 Haute Couture ColleCtions sHowed visions oF empHatiC beauty. tHe ClotHes may be tHe stuFF oF Fantasy, but tHe notion oF women in power is anytHinG but Photography Simon Procter 117


CHanel Haute Couture

Sci-ďŹ romance Makeup Peter Philips for Chanel Hair Kamo

GiorGio armani privĂŠ

Moonlit magic

Makeup Linda Cantello Hair Oribe


valentino Haute Couture

Tribal goddess

Makeup Pat McGrath Hair Luigi Murenu Blindfolds Philip Treacy for Valentino Haute Couture

Gaultier paris

Indigenous avant-garde Makeup Tom PĂŠcheux Hair Odile Gilbert

Special thanks Nancy Walsh, Arianne Gold, Stephanie de Kertanguy (Chanel), Marisa Menzel and Souri Kim at KCD and Caroline Deroche Pasquier (Givenchy), Lisa Lawrence at Aeffe and Carolina Castro (Jean Paul Gaultier), Grace Cha and Ashley Calandra (Valentino), Ellie Hawke and Amy Robb (Dior), Jenia Molnar (Giorgio Armani)


album

This spread: Los Angeles, January 2010

Flash oF Genius a GaGa journal BY MaTTheW WilliaMs The camera loves lady GaGa, and lady GaGa has brillianTly Turned iTs invasive lens inTo yeT anoTher pop plaTform. now, as The creaTive direcTor of polaroid, she has found a way To capTure all her uncensored, over-The-Top, explosive couTure momenTs in a click and snap

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Clockwise from top left: Miami, 2010 New York, 2010 Los Angeles, 2010 Miami, 2009


This page, top left: New York, 2010 All other photos: Los Angeles, 2010


star

SENSE AND SENSUALITY

Tilda SwinTon haSn’T TranScended noTionS of gender and Sex aS much aS She’S obliTeraTed Them. now, aT 49, She’S adding age To The hiT liST in one of The year’S moST eroTically charged roleS 126

Tilda Swinton, the art-house goddess, holds vast chameleonic powers. “I’m always very interested in transformation,” she says. Indeed, variously blonde, brunette, and redhead (her true color), androgynous, angelic, erotic, repressed, and fucked-up, Swinton slides through performances (and even public life) like a magical shape-shifter from a faraway land. Ever since her work with seminal director Derek Jarman and career-defining turn in Sally Potter’s 1993 alt-classic Orlando, in which she played Virginia’s Woolf’s gender-bending protagonist— transcending the limits of both sexuality and mortality—Swinton has taken on roles that explore the nature of boundaries and the need to shatter them. “I’m intrigued with the way people feel circumscribed by society, or circumscribe themselves into one identity that they can’t morph out of,” she says on the phone from London. “This doesn’t make sense to me,” she continues. “So I like looking at people who hang their hat on one particular hook, and then go down with that ship,” she says with a laugh. Consider, for example, her Oscar-winning performance in Michael Clayton as a cutthroat lawyer—“a neurotic shark in pearls,” according to one critic—who is undone by her own tunnel vision. In Swinton’s latest film, I Am Love, a labor of love she devel-

oped for eleven years with Italian director Luca Guadagnino, she plays Emma Recchi, the refined Russian-born wife of an Italian textile tycoon. Eventually the character realizes she’s trapped on just such a sinking ship—albeit one that is lavishly decorated. “She has a very carefully chosen wardrobe, which is like a uniform,” explains Swinton. “A woman in that situation is never very far from a pair of Ferragamo shoes. It’s this idea of wearing these golden handcuffs,” she says. “Everybody puts on what they need to prepare themselves for the world, and a woman in that scenario needs to dress a certain way to pass muster.” For Swinton, Emma’s sleek, conservative outfits—all designed by Raf Simons for Jil Sander to reflect the film’s “period” Y2K moment—helped her to get under the character’s skin. “Dressing up is the majority of the preparation,” she says. “It’s all about disguising me as somebody else, and when you’re working to put together a portrait of someone, deciding how they present themselves to the world is one of the first things you do.” Like the costumes, the film’s central Milan location is highclass: a modernist art deco estate, known as Villa Necchi Campiglio, erected during the Fascist era. With its high ceilings and grand spaces, the property is a testament to the wealth and splendor of the characters, but also, as Swinton


points out, a symbol of their entrapment: it both defines and confines them. “Making any piece of work about rich people is dangerous business,” explains Swinton. Like Orlando, she says, I Am Love was meant to show how much of that lifestyle is stifling, censoring, and built on denial. Swinton should know. A descendant of a 14th-century Scottish King, the London-born Swinton was educated at the posh West Heath Girls School in Kent, alongside Princess Diana, and later at Cambridge University. “Going to boarding school put me off England for life,” Swinton once told The Times of London. I Am Love may showcase an elite lifestyle—the pristine architecture, the elegant fashions, and sumptuous plates of haute cuisine—“but we knew we wanted to deconstruct this,” says Swinton. “On one hand, you need to show it for all its elegance and grandeur, but on the other hand, you have to make sure that by the end of the film people are claustrophobic and would rather take off those golden handcuffs and roll around naked in that garden and be free.” Emma’s fate turns on an illicit love affair with a younger man, consummated out in the open. “That was the task of the film,” adds Swinton, “to make it about love, about the revolution of love and how it can really explode

a certain milieu. When real love breaks out, love that is about honesty and real encounters with real things, it’s anathema to that environment, and it really breaks things, and breaks the spell of that denial.” Swinton is intent on bringing about a parallel revolution in cinema. Together with Guadagnino—“she’s a filmmaker,” he says, “not an actress”—she is planning to develop more projects that emphasize “pure cinema,” she explains, “cinema that pushes [film] forward as ‘sense-ational’—that is, engaging all the senses… We want to make films that one can lose oneself in. Unexpected. Maybe unimaginable.” Swinton’s personal life suggests a similar freedom from convention. As widely reported, Swinton has been living with German painter Sandro Kopp, who is eighteen years her junior. The two met while filming the first installment of The Chronicles of Narnia, and the romance attracted attention from the tabloids, particularly since Swinton is also living with 70-year-old Scottish artist John Byrne, her longtime lover and father of her twin children. Swinton was unfazed by the salacious reports, calling the situation “really very dull” in the Daily Mail. Few actresses of Swinton’s age are as revealing when it comes to sexuality. I Am Love is the latest in a long line of

performances that expose Swinton’s soul as well as her body, beginning with 1997’s Female Perversions, in which her character’s sexual appetite consumes both men and women. In 2003’s Young Adam, her sexual relations with Ewan McGregor are particularly explicit. If transformation is a recurrent theme in her work, sex is, too. Why, you might ask, is it so important to explore one’s libidinous side? “How could one not?” she replies. “I don’t think of it as a side, as having corners. Life is a sensual business. And to deny it or edit it would be one big waste.” Anthony Kaufman Tilda Swinton in Paris, February 2010 Photography Inez van Lamsweerde & Vinoodh Matadin Silver and malachite scarab necklace Aurélie Bidermann I Am Love is out in June 2010 from Magnolia Pictures Makeup Linda Cantello for Giorgio Armani Cosmetics (Joe Management) Hair Christiaan using Kiehl’s Manicure Anny Errandonéa (Marie-France Thavonekham) Lighting technician Jodokus Driessen Photo assistant Eduoard Boutinaud Digital technician Brian Anderson Studio manager Marc Kroop Makeup assistant Cedric Jolivet Location Studio Rouchon, Paris Printing Box


By now, rising temperatures probably have you dreaming of sunny days in the sand. if you’re looking for that special beach bunny or boy to share your towel, why not warm up to one of these bathing suit–ready babes? most of them hail from Buenos aires (where winter is about to begin), so chances are whomever you pick will gladly join your warm weather fun. martha Glass

v65 summer 2010

Photography Barbara Arcuschin TO see mOre v-mAiLers, Or TO BeCOme ONe, visiT vmAGAZiNe.COm Or e-mAiL A reCeNT PHOTO (300 DPi), NAme, AGe, OCCuPATiON, AND CiTY OF resiDeNCe TO vmAiL@vmAGAZiNe.COm

my name is allison i’m a 25 year old Biker from Buenos aires e-mail me! allisonbmx@gmail.com

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VIVAGLAM

LIPSTICK AND LIPGLASS GOES TOWARD HELPING WOMEN, MEN AND KIDS EVERYWHERE AFFECTED BY HIV AND AIDS.


1947

The sound barrier is broken. ROLEX. FOR LIFE’S DEFINING MOMENTS.

OYSTER PERPETUAL DATEJUST IN 18 CT WHITE GOLD

V65  

The Summer of Scarlett

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