V67 THE NEW YORK ISSUE

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67

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Senior Fashion Editor Jay Massacret

Fashion and Market Editors Catherine Newell-Hanson Yuki James 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

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GREEN IS GOOD V67 Mario Testino David Sims Mario Sorrenti Alasdair McLellan Terry Richardson Karl Lagerfeld Sebastian Faena Jason Schmidt Dan Colen Aaron Young Spencer Sweeney Nate Lowman Reed Krakoff Melanie Ward Sarajane Hoare Iman Paul Rowland Terry Tsiolis Max Snow Bela Borsodi Anthony Kaufman John Albert William Van Meter Aimee Walleston John Ortved Ken Miller Dan Martensen Patrick Cline Marcelo Krasilcic Fiorella Valdesolo Kenneth Cappello Kris Zero Adrian Gaut Amy Arbus Sarah Fones Amy Troost Nathalie Fraser Nagi Sakai Toby McFarlan Pond Lester Garcia Simon Procter Ellen af Geijerstam Raul Lopez Catherine Blair Pfander Johnny Misheff Bon Duke Special thanks Art Partner Giovanni Testino Amber Olson Candice Marks Lucy Lee Neil Cooper Sally Borno Jemima Hobson John Gayner Lucy Birkhead Kona Mori Lindsey Steinberg Sarah Dawes Katie Fash Box Pascal Dangin Justin Burruto R&D Maysa Marques Katherine Marre David Souffan Art + Commerce Lindsay Thompson Toby Bannister David Seabrook Audrey Sharron CLM Cale Harrison Maja Chiesi Jennifer Ramey Heather Hughes Ford NY Paul Rowland Peter Cedeno Kyle Hagler Greg Chan Charlotte Knight Jen Brill Emese Szenasy Liz McKiver Neilly Rosenblum Nadine Johnson Kevin Apana Patrick O’Leary Nacole Snoep Peter Pugliese Sandbox Studios Phil Caraway Soho Grand Hotel Splashlight SOHO Yanna Wilson Trec DRIVEIN24 Root Kip McQueen Aldana Oppizzi Morgan Anderson Thompson Hotels Kelly McCauley Charlotte Knight Rice NY Heather Carlson Prabal Gurung Eva Chow Isaac Mizrahi Robert Longo Andre Walker Tama Janowitz Daryl K Kim Hastreiter Jean-Marc Houmard Nicole Miller Fab 5 Freddy Paul Caranicas Leigh Montville

Interns Julia Brucculieri John Ciamillo Austin Dale Christian Escobar Szonja Fekete Martha Glass Kate Grella Amber Harris Marina Heintze Samantha Heydt Stefan Knecht Hayley Koustis Molly Mamourian Laura Marciano David McGovern Alex O’Neill Karin Öström Margaret Park Soojin Park Jaclyn Reyes Silvia Velencoso Segura Kay Siongco Gillian Tozer Larissa Whitney Cover photography Mario Testino Styling Nicola Formichetti Makeup Linda Cantello for Giorgio Armani Cosmetics (JOE Management) Hair (for Lady Gaga and Marc Jacobs) Recine (The Wall Group) Hair (for Marina Abramovic and Tyson Ballou) Oribe using Oribe Hair Care Manicure Deborah Lippmann for deborahlippmann.com (The Wall Group) Photo assistants Alex Franco, Roman Harper, Hans Neumann, Felipe Sanguinetti Stylist assistants Brandon V Maxwell, Silvia Velencoso Segura, Anna Trevelyan, Jacqueline Reed Makeup assistants Cedric Jolivet and Belinda Zollo Hair assistants Judy Erickson and Kevin Apple Tailor Carlos Sanchez Set design Peter Klein (Frank Reps) Set design assistant Alex Perweiler Production Jemima Hobson Production assistants John Ciamillo and Alex O’Neill Videographer Rafael D’Alo (Higher & Higher) Location Canoe Studios, NYC Catering Rice NY Retouching R&D Lady Gaga wears Dress Louis Vuitton Bra and briefs Calvin Klein Underwear Torch made by Haus of Gaga Marc Jacobs wears Clothing and accessories his own Marina Abramovic wears Suit, shoes, gloves Givenchy by Riccardo Tisci Top her own Tyson Ballou wears Necklace and shirt (worn as loincloth) Givenchy by Riccardo Tisci This page: Photography Bela Borsodi Fashion editor Catherine Newell-Hanson Special thanks to the Queens Museum of Art’s Panorama of the City of New York

Photo assistant Derek Frampton Davis Location Queens Museum of Art

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“Beauty” pump in silk satin, with crocodile heel and ostrich leather bow Louis Vuitton

CENTRAL PUMP 76 PARTY PAGE A glut of global gatherings, including Louis Vuitton’s London housewarming; Marina’s MoMA send-off; and Istanbul’s Istancool celebration

86 HEROES Woody Allen’s New York stories; Bethann Hardison’s pioneering spirit 92 AFTER SHOCK Kids director Larry Clark found success by forcing his audience to face the truth 94 A NEW YORK THING Singer Maluca stirs up a melting pot of NYC sound 96 CAUGHT IN THE NET Filmmakers Henry Joost and Ariel Schulman turned a family affair into a Sundance smash 98 ROOM SERVICE Ryan Korban is not your mother’s interior decorator 100 WORD OF MOUTH/THINK INK/HOME SLICE Thurston Moore launches a limited-edition library; the former Beatrice doorman serves up a taste of home; an unlikely trio releases its anticipated new fragrance 102 POWERHOUSE Inside the world of four not-for-profit art spaces 106 FUNNY FACE The coronation of Andy Samberg, comedy’s king of the digital age 108 EXTRA Gallery shoes, badass bikers, barely-there makeup, ultrafemme fragrance, and memories from Max’s Kansas City

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110 CITY OF DREAMS Seven designers reflect on how they made it big in the big city

150 CHELSEA GIRLS Renaissance man Reed Krakoff shoots his eponymous line on a group of art muses

118 MY NEW YORK A scrapbook of unforgettable New York moments

154 MANHATTAN TRANSFER Fall fashion unfolds all across town

122 CHURCH BELLES It’s what’s on top that sets uptown apart

158 A YEAR IN THE LIFE Nicola Formichetti looks back at the fashion moments that have made Lady Gaga a superstar

124 NEW YORK, OF KORS In a city known for style, designer Michael Kors is setting the luxury standard 126 WORK IN PROGRESS David Brooks’s concrete jungle; Rashaad Newsome’s hiphop assemblage; Das Institut’s twisted marketing-speak 130 FERRAGAMO ON FIFTH Massimiliano Giornetti leads the fashion house into the future 132 TOMMY TIME Tommy Hilfiger’s transition from Fashion Avenue rebel to American all-star 134 40 YEARS OF ROBERTO CAVALLI Four decades of iconic fashion design, straight from the man behind the brand 136 MERCER STREET Dress up in downtown denim

262 V-BAY Fall fashion for the five boroughs 264 V-MAIL PYTs from NYC

V FASHION FALL 2010 162 NEW YORK! BY MARIO TESTINO 174 UPTOWN & DOWN BY MARIO TESTINO 190 STELLA BY DAVID SIMS 202 CITY OF GOD BY MARIO SORRENTI 216 SAINT MARK’S PLACE BY ALASDAIR McLELLAN

140 A FANTASY NIGHT OUT WITH… Fashion fit for fabulous faces in famous places

224 JUAN, ANTONIO, AND JERRY BY KARL LAGERFELD

146 THE DREAMS OF YOUCEF NABI The Lancôme president looks back on his career and sees the future of beauty

242 THE NEW AGE OF FORD: NEW YORK DOLLS

234 HIGH SOCIETY BY TERRY RICHARDSON

BY PAUL ROWLAND

Photography Bela Borsodi Fashion editor Catherine Newell-Hanson

CENTRAL PARK

contents

New collection

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Gaga and Oprah at a taping of Oprah, Chic ago, January 2010

foreword

Elton John and Ga ga at the Gr ammy Los Angeles , Jan s, uar y 2010 a on ba sti an Faen Gaga and Se ry, 0 fashion sto the set of V6 May 20 09 Los Angeles ,

Mario Testino (left) and Lady Gaga on the set of V61 cover shoot, New York, June 2009

sa

M iuc c ia N ew Y P rad a a nd G ork , M ay 201 aga at the M et’s 0

m

Gaga and Ter ry Richardson on the set of Rolling Sto ne shoot, New York, June 2010

C ostu

me Ins titute

G a la ,

ng of a at a ta pi gh and G ag r 20 09 G areth Pu , London , D ec embe or The X Fact at the Stephen Gan backstage with Gaga July 2010 “Monster’s Ball” tour, New York,

Ma rc Jacobs and Gaga on the set of V67 co ver shoot, New York, Ma y 2010

Gaga and Philip Tre acy at his studio, London , February 2010

Alexander McQueen and Gaga backstage at the “Monster’s Ball” tour, London, July 2009

Testino photo courtesy Mario Testino; Richardon photo courtesy Terry Richardson; Prada photo courtesy Prada; Pugh, Faena, Klein, John, Gan, Formichetti, Treacy, and Jacobs photos Nicola McQueen photo Jay a a Formichetti; ich a Massacret c

72

Steven Klein and Ga ga at dinner in Knight sbridge, London , Dec emb er 200 9

y a s

When Mr. V moved to New York in 1986, he hung out with girls like Gaga. Everyone he met at school or out at night seemed to be that sort of gifted, freewheeling individual. Andy Warhol, Basquiat, Keith Haring, Stephen Sprouse—these were the people you would see at the clubs. Everyone dressed in his or her own artistic way; no one wanted to look like anyone else. But then things changed. For twenty years, New York seemed so sterile, so Hamptons-like. If girls were cool, they were either like Paris Hilton or Lindsay Lohan. What happened to the downtown girl? What happened to the underground artist that the mainstream would one day embrace? Thank God for Gaga! She has set New York free, and as these pictures show, she’s also saving fashion. Her outrageous looks affect every female celebrity today, making them wonder if “safe” is really the safest choice after all. At the end of the day, her exuberant style and maximalist joy is what fashion is all about, and definitely what a magazine like V and a city like New York celebrate!

But there are others who are giving this town a good shake: Marina Abramovic’s 700-hour silent opera at the MoMA this past spring was one of the most powerful art performances we’d ever seen. And we weren’t alone: over 700,000 people—the largest audience on record—made the pilgrimage to the museum’s atrium to witness her solemn piece. We simply couldn’t imagine doing a New York issue without featuring these two women on the cover—Gaga as the Statue of Liberty and Marina as Mary, both shot by Mario Testino. And that’s just the beginning. Like a subway car at rush hour, we’ve packed this magazine with as many people as we could—artists, chefs, designers, dancers, nightclubbers, filmmakers—all of whom are making New York the most creative, exciting, and inspiring city on Earth. Once again. Mr. V

e aga at th tti a nd G ormiche Awa rds, F la o ic N o si c V ide M uch M u ay 20 0 9 ,M Toronto

o r

SHE PUT THE NEW BACK IN NEW YORK

w w w. l a c o s t e . c o m

R

Riccardo Tisci

E

Liv Tyler

Marina Abramovic

Malgosia Bela

NPA PARTY ’ROUND OU D THE WORLDD TH

Marc Jacobs

Gwyneth Paltrow

Juergen Teller

Editor Derek Blasberg

Vinoodh Matadin

Björk

Kirsten Dunst

Natalia Vodianova

Inez van Lamsweerde

Tracey Emin

Yves Carcelle

Lakshmi Menon Hilary Rhoda

Bernard Arnault

Joan Smalls

Catherine Deneuve

Lea T

Donna Summer

Jerry Hall Anjelica Huston

Ozwald Boateng Michael Stipe

Patti Smith

Ciara

James Franco

Peter Marino

Thandie Newton

Cecilia Dean

Dominic Cooper Robert Bolle

Courtney Love

Natasha Poly

LOUIS LOVES LONDON

Stella Tennant Elle Macpherson

Yves Carcelle and Marc Jacobs celebrate the opening of Vuitton’s new New Bond Street store in London, May 26, 2010

Mariacarla Boscono

Christina Ricci

Alexa Chung

GIVENCHY LOVES MARINA

Riccardo Tisci and the Museum of Modern Art celebrate the end of Marina Abramovic’s show, New York, June 1, 2010

Gore Vidal

Philip Treacy

Gareth Pugh

Waris Ahluwalia Terence Koh Daphne Guinness

Stacy Engman

Karla Otto

Franca Sozzani

Pablo Ganguli

Jefferson Hack Lily Cole

TOTALLY TURKEY

Zaha Hadid

Liberatum and Pablo Ganguli host the Istancool arts festival in Istanbul, Turkey, July 2–4, 2010 76

Geordon Nicol

Leigh Lezark

www.dior.com

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WoodY aLLen

for four decades, he has depicted the ambitions, desires, delusions, and paranoias that take center stage on the tiny island of manhattan. woody allen has become the city’s greatest auteur by making light of dark matter “It’s not that I’m afraid to die,” Woody Allen once wrote, “I just don’t want to be there when it happens.”

Death, sex, love, the meaningless of existence: the legendary New York writer-director-actor, who turns 75 this December, has always found humor in the most serious of places. From his 1969 solo directorial debut, Take the Money and Run, a slapstick crime spoof about a perpetually bungling bank robber, to his most recent You Will Meet a Tall Dark Stranger, a black comedy which tells intertwining tales of unfulfilled love and illusory hopes, Allen wrings laughs from situations that make others cringe. His nebbishy comic persona—mastered during his years of doing stand-up shtick in the 1960s—was built on neuroses, humiliation, and dejection. “I’m such a good lover,” goes his famous line, “because I practice a lot on my own.”

Despite a real life that apparently runs quite contrary to his stage character—he was a ladies’ man in his day and remains an avid musician with an active social life—Allen understands that his intellectual, self-deprecating brand of wit is where he excels, contemplating the big questions of life while slipping on a banana peel. He’s made a movie almost every year since 1971 (in the last decade, he went up to eleven)—each time, balancing the miserable with the absurd, which is what he does in conversation as well.

After the Cannes Film Festival premiere of You Will Meet a Tall Dark Stranger, Allen was in top form at a packed press conference, delivering one-liners as profound and piquant as his early career zingers. “Getting older [is] a lousy deal,” he said. “I advise you to avoid it if you can.”

Speaking one-on-one, the lifelong Gothamite expresses the same dark-edged candor. “I’m prolific because work for me is a great distraction,” he says. “I’d much rather fi nd myself worrying about: can I get the movie to work or can I get Leonardo DiCaprio for my part than sitting at home thinking about deeper problems that are unsolvable and quite terrifying.”

Repeatedly, Allen’s characters exhibit a similar inner turmoil, looking for ways to cope with the great unknowability of life through various means, be it love, sex, religion, or movies. In his 1986 mid-career masterpiece Hannah and Her Sisters, Allen’s character, the hypochondriac Mickey, famously seeks solace in Catholicism, then becomes a Hare Krishna, and finally finds peace in a screening of the Marx Brothers’ Duck Soup. In You Will Meet a Tall Dark Stranger, Allen focuses on the various cosmic or psychological crutches we use to keep us standing: Matriarch Helena (Gemma Jones) hangs on the every word of 86

her local clairvoyant; her husband, Alfie, (Anthony Hopkins) seeks rejuvenation in the hard body of a young prostitute; their daughter, Sally, (Naomi Watts) expects all will be solved with a baby and a career; and Sally’s husband, Roy, (Josh Brolin) lets his happiness hinge on the success or failure of his latest novel.

“It’s not an original thought that one is wedded to illusions to survive,” explains Allen. “It’s all over Eugene O’Neill, Freud, Nietzsche, that the world is too unbearable to take and that we’re all imbued with a denial mechanism.”

For a committed nonbeliever (“Not only is there no God,” Allen once wrote, “but try getting a plumber on Sunday”) Allen uses supernatural, fantastical, and magical elements quite often in his fi lms (The Purple Rose of Cairo, Shadows and Fog, Alice, The Curse of the Jade Scorpion, Scoop). Maybe he’s not so cynical, after all.

“One could take the position that faith in anything is better than no faith at all,” Allen admits, remembering his famous exchange with evangelist Billy Graham on a 1960s TV talk show. The devout Christian suggested that his God-fearing life would be better than Allen’s, because it would give him purpose. (You can watch much of the conversation on YouTube. A fun sampling: when Graham says, “The Bible teaches that premarital sexual relations are wrong,” Allen improvs, “To me, that’s like getting a driver’s license without a learner’s permit first.”)

“I do feel that we’re all searching for some magic solution,” adds Allen. “And that really is the only thing that will save us.

Short of that, we’re all pretty much in the same boat and the only thing we can do is try to be nice to each other.”

Ever since his 1989 classic Crimes and Misdemeanors, Allen has increasingly placed his characters under such moral scrutiny. In that film, Martin Landau’s philandering optometrist hires a man to murder his wife—and faces no retribution for doing so. “I wanted to show that the world is full of people who have made these dreadful decisions that there’s no God out there who is going to punish them on some judgment day,” he explains.

Likewise in You Will Meet a Tall Dark Stranger, Brolin’s struggling writer also commits an act of moral turpitude, though Allen’s take is more forgiving this time around. “He’s weak,” admits Allen. “But there are millions of humans that are weak and desperate to succeed. It’s hard to condemn them.”

If such sobering pronouncements about human nature are familiar to Allen fans, he has also shown a vigorous lust for life’s pleasures in his recent movies: the hot, rain-drenched coupling of Jonathan Rhys Meyers and Scarlett Johansson in Match Point; the passionate Spanish lovers of Vicky Cristina Barcelona; the appearance of muse-next-door Freida Pinto in Dark Stranger.

What does a septuagenarian know about the ardor of younger generations?

“My wife is only 39,” he admits. “And most of the people we go out with run the gamut, from 30 to 60. With 20-year-olds, I don’t think I could write about those Internet-technology crazies. But,” he adds, displaying the assuredness of a man who’s made fortyone feature films in forty-four years. “It’s also what I do as a craft: I go in a room and imagine these stories and these characters—it isn’t incredibly hard.” Anthony Kaufman

Woody Allen (as Groucho Marx) in New York, 1983 Photography Irving Penn Copyright © 1983 Condé Nast Publications You Will Meet a Tall Dark Stranger is out in September 2010 from Sony Pictures Classics

hero

Above: Bethann Hardison and Iman photographed by Dustin Pittman, New York, mid 1970s. Below: Hardison photographed by Bruce Weber, Central Park, New York, 1969

Bethann hardison

for 30 years the former model and agent has sought to expand the fashion industry’s notion of what’s beautiful. and it hasn’t been easy. here she speaks with her close friend iman about the genesis of the black supermodel

88

Top right: Bethann Hardison in New York, June 2010 Photography Paul Rowland Styling Lester Garcia Cape Givenchy by Riccardo Tisci Resort 2011 Turtleneck Calvin Klein Collection Gloves LaCrasia Earrings and ring Robert Lee Morris

Hair Jordan M for Bumble and bumble Makeup Janeen Witherspoon (Julian Watson) Lighting technician Jordan Seiler Production Brachfeld NY

IMAN So, Beth, we are here in Stone Ridge in upstate New York on the Fourth of July. I think this is very appropriate, because when I came to the United States, the way you welcomed me, I compared you to the Statue of Liberty, right?

BETHANN HARDISON I was working with [designer] Stephen Burrows and I made an appointment for you to come in from Wilhelmina to do a small show, and you were so nervous you were trembling like a bird. When you went to put the shoes on, you were having a hard time so I got down on my knees to try to help you. The other girls were hating you and whispering, “Look at her putting on the shoe for the princess.” [Laughs] I looked at you and said, “You can understand what they’re saying, can’t you?”

IMAN And I said, “Yes! ” It meant a lot to me, and we’re still friends to this day. And...not a lot of people know this, but you were my maid of honor when I married my husband.

BH I was so stunned when you asked me! But you said, “Who else could be better?”

IMAN Obviously a lot of people know about you and your history and what you mean to us models. What’s interesting is that you actually were a model!

BH Oh, yes, I was a runway model. I came from Willi Smith, who was the first junior designer to become successful, and I was considered his muse. Anyway, I was scouted by Gillis McGill, and she took me on. She didn’t understand me, but she took me because I was skinny and dark and all the other black girls at the time were light brown with hair that moved. I looked like a boy—I

had a very short Afro and big eyes, very skinny...

IMAN Tell me something about Willi. Because so few people knew about Willi, and he was such a pioneer.

BH Willi started the idea of street fashion. You couldn’t go outside without seeing any WilliWear. Everybody wore him. He was so well educated—he was the finest young man, and he was charming. Everyone liked him.

IMAN He was ahead of his time.

BH His whole manner, how he marketed himself, how he sent flowers! He taught me so much about how to be. He believed in me and thought I could be a great model, so he introduced me to people like Bruce Weber, Stephen Burrows...he made me go up to Jean-Michel Basquiat; he said, “Please, you know him. Introduce me. I want to buy something of his.” So I introduced them, and Jean-Michel thanked me with a pound of marijuana. [Laughs] IMAN Tell me about the Versailles show, the amazing showdown that I think all the kids should know about.

BH Francoise de la Renta—Oscar de la Renta’s late wife, one of the sweetest women—came up with this idea. She wanted to do something for Versailles, to benefit the restoration of the Marie Antoinette theatre, so she thought up this idea for designers in Paris and New York to do a big show together.

IMAN It was never meant to be a dueling fashion show.

BH It was in the end, but that was never the purpose. So, they selected designers, and it was Halston, Stephen Burrows, Anne Klein, Bill Blass, Oscar de la Renta.

IMAN The French companies were Cardin, Dior, Ungaro, Givenchy, and Saint Laurent. So it’s all of these huge houses, and then these little Americans!

BH We started to get scared, but we’d already committed, so we kept going.

IMAN The black models in Versailles were Billie Blair, Pat Cleveland, Alva Chinn, Norma Jean Darden, Charlene Dash, Barbara Jackson, Ramona Saunders, Amina Warsuma, and, of course, you. You guys were packing.

BH We were. We were really good. But it was like a football match. The thing that was so great about it was the American designers went with a very small crew, with Kay Thompson, Joe Eula, and Liza Minnelli. We had simplicity, but the French had the production. They had the Crazy Horse Saloon; they had Nureyev. But the thing that was unique about us was the girls of color. The black girls had that personality, and it was something that wasn’t typical back in the early ’70s. Anyway, the Americans went first and I was one of the last girls.

IMAN I wrote in my book: “Bethann stalked down the runway in a tight-fitting yellow silk halter by Stephen Burrows, holding a floorlength train by a tiny ring on her pinky finger.

When she reached center stage, she made a dramatic turn and haughtily dropped the train. The audience exploded in a frenzy of approval.” How did that feel?

BH It was hard. It wasn’t a runway that you could walk straight on, but I gave it my all. Bill Cunningham said, “The way you looked at that audience, the strength in your body. They exploded and all the programs went up in the air. They started stomping.” I was standing there, trembling, and the American team was in the stage wings screaming, “Go, Bethann!” It was an amazing moment. Liza was screaming.

I started crying.

IMAN You guys brought home the gold in that historic moment. How did that feel?

BH That night at Versailles, we introduced the talent of girls of color to the French designers. People don’t know that there are real people who took some shit. Even when Paco Rabanne wanted to have a black model in his show, there was an editor who spat on him. His family begged him [not to], because it was hurting his business. But that was before Versailles.

IMAN In 2007, you had a town-hall meeting, which resulted in an Italian Vogue devoted to black models. Tell us about it.

BH I asked different people in the industry to give me a list.

I found a space in the Bryant Park Hotel in September after the fashion shows and I invited the modeling agencies, casting directors, fashion writers, and a few models, as well as a humanrights lawyer I knew from years ago. Naomi flew in from London.

Liya [Kebede] came. You were there. And once we had the first meeting, the response was so good. It triggered everything.

IMAN So how did the Italian Vogue issue happen?

BH The editor-in-chief [Franca Sozzani], who is wonderful, said they just felt it was right. Everyone felt like it was a phenomenal thing. One writer questioned the idea of it, wondering if it was a one-off. The editor-in-chief never did another issue like it, even though it had to be reprinted twice. She did, however, launch a subsite online called “Vogue Black.” My job there is to introduce new faces. But to me, everybody is a new face if they’re black.

Even if they’ve been working for years. With Sessilee [Lopez], they all told me, “She’s not a new face. She’s been on the cover of our magazine!” I said, “Yeah, but she’s still struggling as a model.”

IMAN What did you do when you had your agency that people aren’t doing anymore?

BH When I had my agency in the ’80s, Brides magazine didn’t have any brides of color. I used to say to them, “You know we get married, right?” They’d get so embarrassed, but I would put it to them in a way that would have some humor, and at the same time I was putting something into their heads that they hadn’t thought of. That’s subtle activism. When we started these discussions back in 2007, there were no great black girls out there. Now we’ve gotten them into shows and editorials, but we have to push them to advertisers, because that’s where the money is.

IMAN In a way you’ve seen the cause from its infancy. Now you’re doing this documentary. Tell me about it.

BH The title is Invisible Beauty. It tells the story of the black fashion model today and how she’s disappeared, and it becomes a journey about how I’ve tried to bring her back and the pitfalls of it all. It follows three girls—Joan Smalls, Janiel Williams, and Kinée [Diouf]. It also educates the audience about the behindthe-scenes of the industry, about the adversity of race, and at the same time, about the fashion model, who she used to be, and what she’s become.

IMAN Keep your torch on, darling! Be the Statue of Liberty for all the Kinées.

Š 2010 adidas AG. adidas, the Globe, the 3-Stripes mark and Y-3 are registered trademarks of the adidas Group. Yohji Yamamoto is a registered trademark of Yohji Yamamoto, Inc.

© 2010 adidas AG. adidas, the Globe, the 3-Stripes mark and Y-3 are registered trademarks of the adidas Group. Yohji Yamamoto is a registered trademark of Yohji Yamamoto, Inc.

NEW YORK MIAMI LAS VEGAS LOS ANGELES AT JOAN SHEPP PHILADELPHIA AT DEKA ATHLETICS ATLANTA Y-3STORE.ADIDAS.COM

show

after shock

Back in 1971, Larry Clark’s book Tulsa eviscerated the suburban dream with a series of starkly erotic photos depicting his teenage friends’ drug-fueled descent into post-’60s criminality.

But it’s a far more impressive feat that the photographer and filmmaker continues to polarize in a world where pubescent Disney stars are more likely to grind against a stripper pole than wear mouse ears. Clark may have cleaned up his personal life, years ago giving up the narcotics and violence that landed him a short stint in prison, but the man’s vision remains unabashedly provocative, his prurient fascination with the cult of the teenager defiantly intact. Clark’s 1995 feature film debut, Kids, was the result of a sustained fascination with the youthful nihilism of urban skateboard culture and well ahead of the curve in its predictions. Since then, Clark has continued photographing and making films about his young subjects with a sensual intimacy that makes many uneasy but continues to influence and redirect popular culture. This fall, Clark will be the subject of a major retrospective at the Musée d’Art Moderne de la Ville in Paris, featuring photographs and films from his entire career, including unseen movie footage from his teen years in Tulsa and a brandnew, self-shot short-subject art film. John Albert 92

going to show all my films at a theater there. I’m making my own little art film and I’m going to premiere it there. It’s about one of the kids from my film Wassup Rockers—the main actor Jonathan Velasquez. And I also have some film from Tulsa in 1968 when I was shooting photographs for the book.

JA Were you shooting Super-8?

LC No it was a wind-up Bolex 16 mm. The film has just been sitting for all these years in canisters. I finally went and had it transferred to DVD and I was just amazed by what I saw. You see the people from Tulsa come alive. This will be the first time anyone has seen it.

JA Why did you wait so long to make another film?

LC Because feature films require money. In my mind, I had to clean up my act. So I cleaned up, got married and had a couple of kids, and rehabilitated my image—because I figure no one is going to give some crazy junkie money to make a film. And then I was able to get the money to make Kids.

JA Does it seem like the visual intimacy of your work has lost its impact with the onslaught of images we see today?

LC When I was a kid you couldn’t see all these things. There wasn’t any pornography. Maybe someone’s father had an 8 mm loop that you got to see twice in your life. But since the ’80s and VHS everyone is raised with pornography. And now with the Internet everybody photographs themselves fucking or jerking off or whatever and they post it. So everything is out there. I have no idea what it’s like to be raised like that, where everything is seen. A while back I was in New York looking at my work and thinking, Fuck man, what does [the Internet] do to this if now you can see anything?

JA But you seem to focus attention on specific moments.

LC That could be. I think maybe the moments where innocence is lost—the kind of moments that all of us have and which happen less and less as we get older. And there’s still something dangerous in them. I use the word dangerous because that’s what people tell me it is.

Larry Clark’s retrospective, “Kiss the Past Hello,” runs October 8, 2010–January 2, 2011, at the Musée d’Art Moderne de la Ville, Paris

Untitled (Kids), 1995. Artwork Larry Clark. Courtesy the artist and Luhring Augustine, New York

Sex and drugS may no longer raiSe eyebrowS, but filmmaker larry clark remainS aS provocative aS ever. a new retroSpective celebrateS a career of broken ruleS

JOHN ALBERT When your photographs first came out, did people think it was just some freak version of teenage life?

LARRY CLARK When Tulsa came out people couldn’t deal with it. They thought it was just some aberration in Oklahoma, these crew-cut kids with needles in their arms. The drug culture started in the East and West coasts around 1969 then came into the middle. The book came out in 1971 when people were in the middle of that experience. Heroin was just starting to happen and everybody still thought drugs were good, and then around that time they started thinking drugs were bad but they didn’t know how it was going to end. The book showed the end. When I started taking pictures everything was still hidden.

It was white picket fences and Leave It to Beaver and there wasn’t supposed to be drugs and kids being abused and incest.

The great photographers would pull their punches. They would get to a certain point and then stop. But I thought, This is my life, why can’t this be shown? So I started it to tell the truth.

JA That seems to be a theme throughout your work.

LC I hope so. It’s interesting, as I’ve been putting together this show in Paris I really see how all the images and films relate to one another. I’ve been asked to do a catalogue before and never have. I didn’t want to take a piece of each time and put them in a book because I thought it would weaken it all.

JA And you finally did one for this exhibit?

LC Yeah. I had this idea that I could just take everything and shuffle it like a deck of cards and see what happens. And it worked. You get two photographs facing one another in a way you could never plan. And if you did, you would think you were totally crazy. It got very dangerous. Like one spread is a teenager with an erection looking down at himself and on the other page is the dead baby from Tulsa.

JA It sounds like a photographic version of the cut-up writing that William Burroughs did in the ’50s.

LC Yes. The germ of the idea came from knowing that Burroughs had done the cut-and-paste writing. Desperation makes you try new things. I think it worked in the end because we all really have only one story to tell but just in different ways.

JA Let’s talk about the retrospective. What will it include?

LC It’s going to be photos from 1962 to 2010. And they are

sound

a new york thing

singer Maluca’s genre-bending sound defies categorization. Her Music is a Melting pot, just like Her HoMetown

Maluca in New York, May 2010 Photography Terry Richardson Styling Raul Lopez Maluca’s first mixtape is out now from Mad Decent 94

Hair Rodnei for Tresemmé (Rodnei Ferby Creative) Photo assistants Nicole Tappa and Nick Sethi Nail artist Maki Sakamoto (Valley NYC) Lighting technician Seth Goldfarb Digital technician Glen Fabian

If there really is such a thing as a quintessentially New York artist, then the singing, rapping, dancing ball of fire known as Maluca would fit the bill. Born to Dominican parents in the Bronx and raised in Manhattan, Maluca’s music and personal style are a kaleidoscopic reflection of the city she calls home. Equal parts merengue, old school freestyle, electro-fried hip-hop, bouncy house music, and Spanglishized lyrics, her sound is both willfully and wonderfully impossible to categorize.

“I was very lucky to grow up the way I did, and in the place that I did,” says the singer, whose real name is Natalie Yepez, and was given the moniker Maluca by her family when she was a child. “As for Maluca the musician,” she adds, “it took me a while to figure that out.”

For Maluca, finding her musical voice was a process of trial and error, which started when her family moved to the East Village when she was 13. After teaching herself to play piano and absorbing the old disco and house records that her father loved to play, she made her first attempts at being a performer.

“When I was 19, I had a political rap and R&B group with my cousins called the Commie Mommies,” she says with a laugh.

“We played one show and it was really bad. Then I joined a rockand-roll band for a while where I played the tambourine and did back-up vocals. I was still very shy though and I had terrible stage fright. It didn’t feel quite right.”

As it turns out, it was a chance encounter with Wes Pentz (aka Diplo—superstar DJ and production whiz) that finally put the wheels in motion for Maluca. “He saw me doing karaoke and challenged me to a face-off doing a Beastie Boys song,” she recalls. “Of course, I won.” Diplo eventually went on to produce Maluca’s debut single, the white-hot “El Tigeraso,” and invited her to perform with his crew at the SXSW music festival. “I was still so new, I really had no idea what I was doing, so I just threw a bunch of stuff together—some dancers, a cowbell—and it was on. After that, things just took on a life of their own.”

Since the release of her single in 2009, Maluca has recorded tracks that range from merengue mashups to kuduro to oldschool deep house. She has also perfected her stage show, which not only involves the occasional bells and whistles (literally), but two dancers that Maluca has affectionately named the Cookies. “I’m very inspired by house music and the new vogue scene, especially the crazy realness of the kids you see dancing at underground parties on the piers,” she says. “I appreciate when you see people just going for it. Like, if your wig falls off or your weave comes out because you’re dancing too hard, oh well!”

This past summer, Maluca unleashed her first official mixtape, a genre-hopping collaboration with Mad Decent’s Paul Devro.

Given the general chaos and mind-bender experiences of the past year (“In Belgium I performed in front of nearly ten thousand people, I nearly shit myself!”), Maluca has been eager to get new music out into the world and focus on her highly anticipated debut album.

“It’s an ode to New York,” she says, “I really wanted to tell the story of where I’m from. You know, I grew up at a time when there were all of these different scenes and styles. I was listening to hip-hop and Mary J. Blige, but also Samantha Fox and disco. My friends and me would go to raves where you’d hear drum and bass and industrial music, but right next door there’d be kids doing some punk-rock thing. All of that stuff comes out of me. I’m not even conscious of it most of the time. It’s just the way I write and the way I think. It’s the way I do music.” T. Cole Rachel

film

caught in the net

The debuT film from Ariel SchulmAn And henry JooST exploreS The dArk depThS of The inTerneT And The deep holeS in The humAn Soul

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participating in their own movie, and the line between the directors’ private lives and what we see on-screen is virtually non-existent. One unexpected result is that, rather than just judging the directors on their filmmaking technique, the audience’s reaction to the film has a lot to do with its response to the filmmakers themselves. Catfish was a smash success at Sundance, but the film has also generated controversy, with some reviewers questioning if it’s truly a documentary. This divided response probably has more to do with our natural tendency to read Ariel and Nev’s on-screen expressions (and their tendency to smile when nervous) than the surprising story Catfish tells.

Speaking of what unites their film with the work of the Neistat and Safdie brothers, Schulman muses, “We’re all basically making movies about ourselves and Catfish is about our lives.” He continues, “It all has to do with this idea of immediate cinema, working with tiny cameras and no filter between us and the audience. Family is a good place to start.” Since Catfish goes into some pretty weird emotional territory, Joost adds that the film was probably only possible because the filmmakers are so close. “You can get mad at each other, but your brother is the one person you can be totally honest with. And if you get mad, you get over it.”

More than anything, Catfish is about transparency, intimacy, and acceptance—how we create the personalities we project out onto the world. “We’re totally happy to be vulnerable on camera,” Schulman says, and in a way, the movie suggests that our lives are our own greatest creative efforts. “That you’re expending all of this creative energy for one person is, in the end,” says Joost, “the most amazing thing.” Ken Miller From left: Henry Joost, Nev Schulman, and Ariel Schulman in New York, June 2010 Photography Dan Martensen Catfish is out September 2010 from Universal

Photo assistant Steven Counts

After years of being subjected to TV shows such as Sex and the City and CSI that projected a glossy L.A.-ized view of New York, the city’s homegrown filmmaking community seems to be experiencing something of a renaissance. Over in Brooklyn, there’s the mumblecore movement of indie rock moviemakers, making deliberately slack, fumbling romances about 20-somethings who meet awkwardly at the local Connecticut Muffin. In downtown Manhattan, an even more realist approach has taken hold, thanks to an unofficial collective of related filmmakers working out of a couple of buildings on lower Broadway.

For some inexplicable reason, teams of filmmaking brothers dominate the scene. The Neistat Brothers’ home movies (that’s

what they call them) have been converted into an HBO show, while the Safdie Brothers—founders of Red Bucket Films—based their narrative feature Daddy Longlegs on their own New York upbringing. And now comes Catfish, a controversial documentary by Ariel Schulman and Henry Joost about an online relationship that sets off in unexpected directions.

Joost and Schulman aren’t related, but the film centers on Nev Schulman, Ariel’s brother, and their relationship plays a significant part in the intimate narrative that unfolds on-screen.

“I guess you could say I’m like a brother, too,” says Joost. “We met in high school and became documentary buddies,” bonding over a shared love for the films of the Maysles Brothers, Ross McElwee, and Frederick Wiseman. A year later, they formed a production company called Supermarché and started taking on clients, which has led to a loosely free-form body of work in short films, music videos, and advertising projects.

That boundless creative energy and youthful idealism provides the backdrop for Catfish, which begins with Nev being sent a painting from a young girl in Michigan, who has seen one of his photographs of a dance performance on the High Line published in the New York Sun. Following up via Facebook, Nev forms a relationship with the girl and her family, and it’s the complex unfolding (and unraveling) of this relationship that makes Catfish so disconcerting. To reveal more about what happens would spoil the movie’s impact.

Though they didn’t immediately realize they were making a movie together, Nev and Ariel had already formed the habit of filming each other on a regular basis. “Being brothers allows for an unusual intimacy,” Schulman adds, an intimacy that rather changes the emotional dynamic of a documentary film. Watching Catfish, you see the brothers coax, manipulate, and confide in each other to a degree that is at times uncomfortable for the casual observer.

While most documentary filmmakers get to hide behind the camera, Joost and Schulman are up there on-screen, actively

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interiors

Ryan Korban

A Louis XV chair in Korban’s apartment

Sleeping area in Chad Muska’s loft

ROOM SERVICE INTERIOR DECORATOR RYAN KORBAN IS BRINGING SEX APPEAL AND A CERTAIN YOUTHFULNESS TO AN INDUSTRY VERY MUCH IN NEED OF A MAKEOVER

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Seating area in Muska’s loft

sexier. As he sees it, today’s generation wants to live a lot like how they dress.

“What happened in the fashion world that never happened in the interior world is that people started mixing and matching,” he explains. “The new luxury is not head-to-toe. There are girls who save up their money and buy that Chanel bag or those Alaïa shoes and wear them with a T-shirt and jeans. And that’s what I really love: you buy that couch from Brooklyn Flea or Antiques Garage or even Pottery Barn, then you get that fur throw or that amazing coffee table or that crystal ashtray to go with it.”

Raised in a suburb of Philadelphia, Korban’s interest in interior design grew with his father’s chain of hair salons. “He’d open a new one and I’d be in charge of florals. I was always like, Dad, I think we should do velvet curtains.” But he never thought he’d actually make a career out of it—certainly, he had no desire to go to school for it. Instead, he enrolled at the New School, where he studied European history, and would flip through magazines like The World of Interiors, ogling fantastical old European homes. “They’d be filled with these amazing things that people had collected over the years and thrown together,” he explains.

“There was never a floor plan; it was always kind of off.” Taking cues from them, as well as the periods he was then studying, he began decorating and redecorating his own apartment and those of his friends. When he and Davinia Wang, a Parsons student, decided to open their shoe store Edon Manor while they were still in school, Korban took on the design duties, outfitting the Tribeca space like an English country estate. “It confirmed to me that I could do it,” he says.

Describing his aesthetic now as “a bit of a mess,” Korban leans toward traditional 18 th-century style mixed with 1970s Italian. He loves pale gray walls, black oak floors, heavy chrome lamps, and low-slung furniture, much of it procured from Flair in Soho. And he has a penchant for all things exotic: zebra rugs,

fur throws, stingray boxes, taxidermy. “It’s not about being glamorous,” he explains. “It’s about creating a textural environment.

Less Kimora Lee, more Napoleon.” Coincidentally, he also has a thing for small spaces. “Clients will be like, It’s so tiny, I don’t know what to do with it. And I’m thinking, It’s the same size as a suite at George V—it can be as nice as that. It’s the same size as a standard at the Plaza Athenee—it can be as beautiful as that.

That’s what I see when I look at these New York apartments.”

As for Wang’s store, Korban is tight-lipped, divulging only that it will feel grounded. “So many stores today look so temporary, like you could pick up all the furniture and move it elsewhere,” he says. “But somewhere like the Prada store—it feels like it’s not going anywhere. And it’s ironic to say this, but the old Helmut Lang store felt the same way.” He is also presently working on a penthouse suite at Milk Studios, which will be open to press and buyers for three days in September during the Spring shows. He likens it to the “ultimate airport lounge.”

It’s projects like these—creating environmental spaces, whether for trunk shows or cocktail parties—that he finds most exciting. “I like having a brand come first, and me second,” he explains. Of course, the goal is for Korban himself to become a brand. A kind of one-man interior-decorating, advice-doling, product-making machine—that sells shoes on the side. Like Martha Stewart, but more down-to-earth. “The thing about Martha,” he says, “is she’s living on a thousand acres and has chauffeurs and is teaching you how to make a paper plate to hang on your wall. I’d like to show people that they can live exactly the way I do. But I admire that people go to her for everything—cooking, floral arrangements, Halloween decorations. If she put out toilet paper, people would buy it. Not that I want to put out toilet paper.” Karin Nelson

Photography Patrick Cline

Photo assistant Isa Salazar

With his shoulder-length hair and starving-artist uniform of stretched out T-shirts and well-worn denim, Ryan Korban doesn’t exactly scream interior decorator. Nor did his résumé four years ago, when, with no formal design training, he decorated his first commercial space.

“I have a total disconnect with the whole interior industry,” he readily admits. But then, such is the reason for his success in it.

At 26, Korban has built up an impressive portfolio that includes the homes of actor James Franco, model Jessica Stam, stylist Vanessa Traina, artist and skateboarder Chad Muska, and designer Alexander Wang, as well as Wang’s first store, which opens late this fall in the old Yohji Yamamoto space in Soho.

And he has done so by thinking differently than the rest of the design world. While most decorating magazines continue to showcase pristine notions of luxury (“You know that room that everyone’s parents had—it was like, Don’t go in there, don’t touch that,” he says), Korban’s design philosophy is notably younger,

Korban’s living room

FABULOUS FELINES

FALL 2010â&#x20AC;¦A SLINKY, SEDUCTIVE NEW TAKE ON FELINE FABULOUSNESS. THREE COLOUR COLLECTIONS INSPIRED BY OUR FAVOURITE PEDIGREED CATS.

thINK INK

release

Since 1992, M/M (Paris) founders Mathias Augustyniak and Michael Amzalag have been radically altering the relationship between fashion and art, but their latest project may be their most subversive yet. This September, the design duo presents a fragrance in collaboration with Stockholm-based perfumer Byredo, and fittingly, it is inspired by a material they are intimately familiar with—ink. The pair challenged Byredo founder Ben Gorham to help them produce the smell of an image. Three images, in fact—a block of dried ink from Korea, a photograph of a Japanese friend, and an intricate drawing done by Mathias on traditional Korean paper. The resulting fragrance, M/MINK, manages to capture both the abstract spirit of the images and the actual aroma of ink. While perfume may be an ephemeral art, this one certainly leaves a lasting impression. Fiorella Valdesolo M/MINK advertising campaign photographed by Inez van Lamsweerde & Vinoodh Matadin

word of mouth

Thurston Moore and Eva Prinz amble into a Lower East Side studio, their arms loaded with garment bags. In true DIYfashion, they insist on styling the portrait themselves. Moore also lugs a powder-blue 1960s typewriter.

“It’s one of the first things we bought when we formed the company,” he says. “We take it everywhere.”

“We never know when we’ll need it,” adds Prinz.

Yes, the typewriter is idiosyncratic, but it’s indicative of the pair’s passion not just for the written word, but for the beauty of printing. This genuine love of books is evident in their new imprint, Ecstatic Peace Library. EPL was launched this year and specializes in producing high-quality poetry, photography, and art books. Most volumes are limited edition.

“Why should we make more than five hundred copies?”

Moore asks. “There’s something really great about five hundred people enjoying something instead of five million. We would all love to entertain the entire universe, but I don’t think it’s necessary.”

Moore has made a career of catering to those with acquired tastes. He is, of course, better known as a guitarist and singer 100

Eva Prinz and Thurston Moore in New York, June 2010 Photography Marcelo Krasilcic

home slIce

Angelo Bianchi has had pizza on his mind for as long as he can remember. After all, he’s a proud member of the tight-knit family behind Joe & Pat’s Pizzeria, who have been banging out the best pies on Staten Island since 1960. Now Bianchi, the well-known doorman of revered nightlife spots such as The Jane and the now-defunct Beatrice Inn, has teamed up with his cousin Angelo to open Rubirosa, a pizza and pasta joint in Little Italy. Velvet ropes and bottle service? Fuggedaboutit. “It’ll be a comfortable and fun atmosphere where our friends and people in the neighborhood will feel at home,” he says. And the cuisine? “Like the homemade meals our beautiful Italian moms made each day— minus the screaming and yelling.” Johnny Misheff Angelo Bianchi in New York, July 2010 Photography Cian Browne

Thurston Moore: Grooming Valery Gherman for Kiehl’s (De Facto) Photo assistant Jeremy Dyer Retouching Marcelo Krasilcic Studio Production Lauren Brown (De Facto)

ThursTon Moore and eva Prinz aren’T chasing forTune wiTh Their new Publishing venTure, They jusT wanT To see greaT books Made—500 aT a TiMe

of the venerable experimental rock and noise group Sonic Youth. Prinz was an editor at various large publishing houses.

Together, they make a physically incongruous duo.

Ecstatic Peace, which was named after Moore’s own indie music label, already has an impressive roster. This fall it will be releasing a compendium of the artist Raymond Pettibon’s early work, mostly for the Southern California hard-core scene, and the first in a multivolume collection of photos by the criminally overlooked James Hamilton. Hamilton was an events photographer at the Village Voice, Crawdaddy!, Harper’s Bazaar, and The New York Observer and documented underground and pop culture in New York from the ’60s to the ’80s. As with This Train Is Bound For Glory, its imprint of Justine Kurland’s beautiful landscape photos of trains traveling across America, EPL is steeped in a romantic view of the country. But don’t get the wrong impression.

“Yes, it’s nostalgic, optimistic, and utopian on some levels,” says Prinz, “but I don’t want people to pigeonhole us as just making these pretty art books.” Prinz says that EPL’s list will be getting more varied, especially with the advent of more political titles.

“We’re not trying to fill a niche or gap,” Moore says. “We want to do something genuine and personal. It’s not about being new, but being good. It’s important to do work that’s a continuum of the language.”

Ecstatic Peace Library operates under sunny socialist parameters. “We all answer the phones,” Prinz says. “We all do everything and we’re all happy. I cook for everybody.

We eat lunch together every day. I don’t have to sit down and talk about marketing! The moment it gets too big I don’t want to do it anymore. Thurston doesn’t either.”

Moore sums up the importance of a good library succinctly. He shares an anecdote of one of the graphic designers he is working with and his encounter with the director John Waters. “When Waters found out he was involved in bookmaking, he said ‘That’s fantastic. If you ever go over to someone’s house and they don’t have any books you shouldn’t fuck them.’ In a way that kind of says it all.”

William Van Meter

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NEW YORK ART IS AS MUCH ABOUT THE MASSIVE WHITE CUBE AS IT IS ABOUT THE FEARLESS AND QUIETLY INFLUENTIAL NOT-FOR-PROFIT ART INSTITUTIONS CELEBRATED ON THESE PAGES Photography Jason Schmidt

ARTISTS SPACE “Imagine, there were only seventy galleries, not seven hundred,” says Artists Space executive director and curator, Stefan Kalmár, of the legendary downtown space’s inauguration in 1972. Since then, Artists Space has shown hyper-influential assemblages: “Pictures,” curated by Douglas Crimp in 1977, was reconsidered last year at the Met (as “The Pictures 102

Text Aimee Walleston

Generation” ), and “Witnesses: Against Our Vanishing,” curated in 1989 by Nan Goldin (“which resulted in our National Endowment for the Arts funding being slashed,” says Kalmár), was one of the fi rst art exhibitions themed around the AIDS crisis. Artists Space is currently hosting the fi rst institutional exhibition in the U.S. by Vietnamese artist Danh Vo (proving that the space’s devotion to the vanguard remains, despite the market’s recent ennui). “I think we have been tremendously successful in changing the way that institutions work today, contributing to the diversifi cation of both the institutional and the economic landscape. We’ve been referred to as a spring-

board,” says Kalmár. “But, considering recent institutional and market developments, we now also have to ask, A springboard into what? An empty pond?”

From left: Amy Owen, director of exhibitions; Liam Gillick, artist; Rachel Harrison, artist; Stefan Kalmár, executive director and curator; Elizabeth Hirsch, gallery manager; Amy Lien, web editor; Joan Jonas, artist; Ozu; Stephanie Howe, director of administration and finance Pictured: Series D Vierkantrohre (Square Tubes), 1967.

Artwork Charlotte Posenenske

CLOCKTOWER GALLERY Perhaps the most fairy-tale-like of all New York art spaces, the Clocktower was founded in 1972 by the visionary nonpareil Alanna Heiss, whose aims were relatively modest: “I wanted it to be like heaven,” says Heiss—a rather specific heaven, too. “I chose the Clocktower after looking [at spaces] for over a year,” she explains. “The Chrysler Building’s tower, although sexy on the outside, was disappointing inside. Our clocktower, designed

by Stanford White, is a perfect cube.” Within, Heiss has staged

many notable exhibitions of artists Laurie Anderson, Lynda Benglis, and Nam June Paik. Currently, the gallery is occupied

by James Franco’s mysterious and hilarious investigation of masculinity, The Dangerous Book Four Boys, which includes radio plays by the artist broadcasted by the space’s Art International Radio. While all can seem magical from a height of thirteen stories, does Heiss worry about the art world below? “The Clocktower is a utopia and does not exist in the real world and can be unaffected by any specific market,” says Heiss. “But it is affected by huge presences like good and evil, life and death, immortality, methods of recording history, and so on.”

From left: Sebastien Levin, AIR volunteer; Sean Ernest Carter,

AIR volunteer; David Weinstein, AIR managing director and board member; Richard Pandiscio, AIR Design Consultant; Todd Eberle, photographer; Mary Heilmann, artist; Marina Abramovic, artist and AIR board member; Alanna Heiss, AIR director and board member; Lawton W. Fitt, chairman, AIR board chairman; Sanford Krieger, Esq., AIR board member; Beatrice Johnson, AIR program manager; Will Corwin, artist and AIR radio host; Dan Taeyoung Lee, AIR web & systems technologist; Rufus Wainwright, musician and AIR board member; James Franco, artist; Jeannie Hopper, AIR station manager; Lex Fenwick, C.E.O., Bloomberg Ventures; Ben Gottlieb, AIR production assistant; Joe Ahearn, artist and AIR program consultant

powerhouse

swiss institute Globalization may be gently killing the notion of European mystique, but it’s definitely paved the way for some ingeniously cross-pollinated creative practices. This was, in part, the original mission of New York’s Swiss Institute. Founded in 1986 to “implement Swiss artists into the New York art community,” says its chief curator and

white Columns Celebrating its 40 th birthday this year, White Columns could be viewed as the conceptual grandparent of New York’s not-forprofit art spaces. Brainchild of artists Gordon Matta-Clark and Jeffrey Lew, the space’s original mission was to “create an open, nonhierarchical space for artists to work and exhibit alongside one another,” according to director and chief curator Matthew Higgs. Currently, White Columns is revisiting those iconoclast ambitions with an exhibition titled “ACT UP New York: Activism, Art, and the AIDS Crisis, 1987-1993,” which in part commemorates the space’s longtime dedication to cultural activism. The neighborhood that White Columns calls home—on the border of the West Village and the newly posh Meatpacking district— has altered its character quite drastically since the crafty, chaotic early ’70s. But, says Higgs, existing in the bull’s-eye of an increasingly moneyed Manhattan neighborhood isn’t tantamount to the space going gently into a blue-chip good night: “Like many of these spaces, White Columns was started out of a sense of frustration with the status quo—and we continue to operate in that spirit today.”

From left: Noam Rappaport, artist; Catherine Nguyen, director of finance and operations; Ryan Evans, curatorial associate; Matthew Higgs, director and chief curator; Amie Scally, deputy director and curator. Pictured, from left: Light Blue Door Form, 2010; Standing Lamp #2, 2010; Untitled, 2009.

Artwork Noam Rappaport 104

director, Gianni Jetzer, the space has since become a petri dish for experimental programming. “We are more of a kunsthalle now,” says Jetzer. “We operate on an international level and are known globally for our cutting-edge projects.” These include a 2008 performance wherein artist Rachel Mason rappelled down the Institute’s façade—a risk for which, in concept at least, Jetzer took full responsibility: “If the program fails, [the Institute] needs someone who would get hurt.” A recent exhibition featured American painter Richard Phillips’s lively appropriations of the works of fauxnaïf Swiss artist Adolf Dietrich, and on view from September 15 is

a solo show from Swiss artist Roman Signer, which will be followed by a collaboration between Rita Ackermann and Harmony Korine.

From left: Piper Marshall, assistant curator; Clément Delépine, gallery manager; Leonie Kruizenga, former head of development; Gianni Jetzer, chief curator and director; Kurumi Kido, intern; Richard Phillips, artist.

Pictured, left: Two Squirrels in Landscape, 1939. Artwork Adolf Dietrich. Right: Similar to Squirrels after A. Dietrich, 2003. Artwork Richard Phillips

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talent

Andy SAmberg hASn’t SAved comedy AS much AS he’S given it room to grow in All of itS wild And weird permutAtionS On December 17, 2005, Saturday Night Live broadcast its second-ever digital short, a rap spoof about two men preparing to go watch The Chronicles of Narnia, starring a nearly unheard of 27-year-old cast member named Andy Samberg. The video caught on like wildfire, turned the world on to a thing called YouTube, and was seen more than five million times before NBC had it taken down.

It’s not a stretch to say that with that silly video, and its successors—like “Dick in a Box” and “I’m On a Boat”—Samberg breathed new life into SNL and helped push the medium of 106

Andy Samberg in Los Angeles, June 2010 Photography Kenneth Cappello Styling Kris Zero Suit and shirt Jil Sander Tie Burberry Prorsum

Grooming Kiki Benet using Dermalogica (Tracey Mattingly) Stylist assistant Rita Zebdi Digital technician Andi Elloway Location Trousdale, Los Angeles

FUNNY FACE

television into the digital age. The writing was on the wall for comedy’s standard-bearer, and it was in binary code. Samberg, meanwhile, had already been dubbed by TV execs as “the comedian for the digital age.”

“That means that when my friends and I started making comedy, there was good digital video available,” says Samberg. “We just got lucky—it has a lot more to do with when we were born than with what we do for a living.”

If it was the medium more than the message that was significant, it isn’t to say that Samberg’s video wasn’t brilliant: cleverly written and deftly toned (perhaps there was another comedy landmark here: the first time white guys rapping has ever been funny). And he also had help, namely his comedy partners, Akiva Schaffer, who has directed nearly all the shorts (numbering approximately eighty), and Jorma Taccone.

The three friends have been collaborating since they were teenagers in Berkeley. “We stuck together through junior high and high school, and deciding to try for a career in comedy together and it having worked out, it all kind of feels like one dream,” says Samberg.

Taccone remembers: “In high school, we were shopping and found this hot-pink Champion sweatsuit—it was just head-to-toe bright pink—and I joked that if Andy wore it to school for a week straight, I’d give him a hundred dollars. The ease with which he

said, ‘Oh, absolutely’ made me think, Oh, I’m just going to lose a hundred dollars and he’s not even going to care. That’ll make you realize what kind of person he is. His dedication to going for a laugh is like no other man that I know, especially when it’s a joke you didn’t find funny to begin with.”

After college, the boys reunited in L.A., living in a “shitty apartment,” working temp jobs, hanging out and playing original Nintendo. But they were also writing comedy, and things changed after the dudes, collectively known as The Lonely Island, were commissioned to film a pilot of their sketch show, Awesometown, for Fox. Though no one wanted the show, it caught the attention of Lorne Michaels, who hired the three as writers, and Andy as a performer, for the 2007 season.

Over the next three years, as they incongruously placed top talent (like Natalie Portman and Justin Timberlake) alongside silly but surprising writing, modest production values, and well-made music, their digital videos garnered hundreds of millions of views. The songs from hit videos, like “Jizz in My Pants,” and “I’m On a Boat,” drew a deal from Universal to record a Lonely Island album. The result, Incredibad, was nominated for a Grammy in 2009—not for best comedy album, but in the rap category. “There’s no, like, ironic love for rap music on our part,” says Samberg. “We love it.”

“I can’t tell you how much time we all spent at Amoeba Music, buying vinyl and freestyle rapping,” says Taccone. “We have the utmost respect for hip-hop and hip-hop culture. It is always the characters we want to be the butt of the joke in the songs, and not the music.”

With their TV, music, and web glory, it makes sense that Andy and the guys would set their sights on film. But they have yet to replicate their comedic success on a larger screen. Hot Rod, starring Samberg and Taccone, and directed by Schaffer, bombed in 2007, as did Taccone’s recent directorial effort, MacGruber.

“I think it’s easier to get a person to click on a link and watch something for free than to get them to get up and get out of their house to go to the theater for an hour plus,” says Samberg.

“But specific to those two movies, I think it’s because they’re actively weird!”

If weird is one of the cards in Samberg’s deck, it’s certainly not the only one. There is something fraternal, or congenially annoying that Samberg brings to his characters, making them ultimately sympathetic, even lovable. You can see it in the big-screen supporting roles he’s picked up, like the confident gay brother to Paul Rudd’s straight dude in I Love You, Man, or as Sarah Silverman’s hypersexual imaginary friend in possibly the most watchable episode of her eponymous (and now canceled) sitcom.

“Whenever Andy performs he really seems to me like somebody who loves comedy and who grew up with really specific tastes,” says his SNL cast mate Fred Armisen. “You can feel his love. It’s almost like seeing a musician and you can tell that they’re a Beatles fan or a Clash fan; you know they grew up with the genre. I like that there’s a humility to it too. He understands that he’s a comedian and it’s as simple as that. He doesn’t aim for a cool factor. It’s one hundred percent wanting to make people laugh.”

This fall, they’ll be plenty of that as Samberg throws open a new season of Saturday Night Live after having spent the summer in L.A. with Taccone and Schaffer writing, cooking up something they refuse to talk about. “We’re brainstorming creative ideas for The Lonely Island,” is all Samberg will say. I ask if he’s in a place now where he calls up Justin Timberlake just to hang. “Uh, I would say that I have. He’s pretty busy though. I am too, but he’s one of the most famous people in the world. I don’t know that I would want to be quite that famous.”

Why not?

“If you’re somebody who’s a gifted singer or songwriter, it’s not really the same skill set as a comedian. Comedians never believe they’re truly successful, I guess is what I’m saying.”

John Ortved

NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE N MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO M DVF.COM D

gaNgs of New york Reality TV may have elevated custom motorcycle building from a cult fascination to a national fad in recent years. But the real reality is less mass-market than art market; and it, too, has its own show. On September 18, Brooklyn bikers White Knights in the House of Kolor will host their second annual Brooklyn Invitational, a showcase for twenty of the country’s most impressive custom-made, hand-detailed bikes you’ll see on-screen or off (plus an additional five hundred or so expected to park outside the Greenpoint, Brooklyn, venue) and enough requisite beer, live bands, and biker babes to go around. Martha Glass

The 2010 Brooklyn Invitational Custom Motorcycle Show takes place on September 18. For info, wkithok.blogspot.com

bare esseNtials the camera aNd i

As they say, New York City ain’t what it used to be. And Max’s Kansas City—the nightclub that played host to a who’s who of art, music, fashion, and film—is an exemplary lost relic. While there’s no shortage of stories and snapshots from the infamous establishment, Max’s Kansas City: Art, Glamour, Rock and Roll, out this month from Abrams, could be one of the clearest and most complete looks back, with up-close-and-personal photographs and long-lost interviews with its motley crew of regulars. An accompanying exhibition at the Stephen Kasher Gallery adds even more life to this bygone era. Martha Glass

Above: Yul with his Camera, 1970. “Yul, Yul Brynner: A Photographic Journey” runs September 12–25, 2010, at Lehmann Maupin, New York. Yul Brynner: A Photographic Journey is out in October 2010 from Steidl/Edition 7L

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to the max

“Max’s Kansas City” runs September 15–October 9, 2010, at Stephen Kasher Gallery, New York

high art

sceNt of a womaN

Nicholas Kirkwood’s creations walk the line between fashion and art, but his latest project flat out obliterates it: a capsule collection of shoes, each designed around a specific work by Keith Haring. And while they still bear Kirkwood’s signature architectural flourish, it was the late artist who ultimately—albeit indirectly—dictated the overall design. “I didn’t want to overcomplicate it,” Kirkwood says of the collection. “It was all about trying to show off the art in the best way.” Giving Haring’s work a second life on something other than a T-shirt is also a refreshing change. Martha Glass

Thierry Mugler is known for saying it loud. The brand’s latest fragrance, Womanity, is no exception. From the bottle (a totem-esque glass prism covered in metal with the face of a sphinx) to the intoxicating aroma (a blend of fig, fading to caviar and deep, woody scents), Womanity is a rich, spicy assault on the senses. Pull out your PVC catsuit, and practice your roar.

Catherine Blair Pfander

Mugler and D&G photos Adrian Gaut. Location Sandbox Studios, NYC; Motorcycle photo James Macari; Max’s Kansas City photo Anton Perich. Courtesy Steven Kasher Gallery, NYC; Brynner photo courtesy Trunk Archive

Recognized for his diverse, pitch-perfect on-screen repertoire (in Edie Sedgwick–worthy maquillage, he played King Mongkut of Siam just three years before inhabiting Faulkner’s über-Southern lead in The Sound and the Fury), Yul Brynner was less known for his equally dynamic work as an amateur photographer. The actor was famously smitten with the pageantry of film sets, and his vivid photographs of stage, costume, and costars suggest a keen sense of mise-en-scène. Celebrating the 25th anniversary of Brynner’s death, New York’s Lehmann Maupin gallery is currently exhibiting some of his most arresting images. And this fall, Edition 7L will release a four-volume omnibus edited by Brynner’s daughter Victoria and including eight thousand images and press cuttings as well as essays by Ingrid Sischy, Martin Scorsese, and a wonderfully lyrical Bruce Weber, who writes: “Somehow you can’t help wondering about this man behind the camera...so unique that it seemed his only competition in life were the characters he played in movies.” Aimee Walleston

There’s no denying that noncolor is big this season, and nobody does nude better than Dolce & Gabbana, whose latest makeup collection takes inspiration from one of the designers’ favorite fabrics: lace. Dubbed “The Sicilian Lace Collection,” the new line of cream lipsticks, high-shine glosses, eye shadows, and nail lacquers comes in a palette of rich, earthy neutrals designed to compliment Dolce & Gabbana’s boudoir-inspired ready-to-wear. Happily, one doesn’t have to be entirely clad in her underthings to look spectacular in one of the caramel lipsticks.

Catherine Blair Pfander

NEW YORK ST PETERSBURG SEOUL VANCOUVER

RALPH LAUREN

His company may be in its fifth decade, but Ralph Lauren’s polo ponies show no sign of slowing down. In this last decade, his American Dream has only expanded its global reach: he started showing his men’s collections during Milan Fashion Week, and opened his fi rst store in Italy’s fashion capital. Outposts also popped up in Tokyo, Seoul, Gstaad, Moscow, and Paris, and the renowned vintage watch collector debuted his own luxury timepiece line at the SIHH watch fair in Geneva. Lauren was appointed the official outfitter of Wimbledon, creating the quintessentially English tennis tournament’s first uniform in its 133year history, and his likeness was used on a Jamaican postage stamp in recognition of his generosity to the island’s tourism industry and philanthropic causes. But lest anyone think that the New York City–born fashion icon has forgotten his roots, this fall the designer is tripling his presence in his hometown with a 22,000 square-foot megaplex devoted to his women’s and home collections. Located at 888 Madison Avenue, it’s the perfect counterpart to the Rhinelander Mansion retail spot, situated across the street, which will now house the men’s collections.

“People ask how can a Jewish kid from the Bronx do preppy clothes,” Lauren once observed. “Does it have to do with class and money? It has to do with dreams.” Derek Blasberg

Ralph Lauren in New York, 1978 Photography Les Goldberg

7 DESIGNERS REFLECT ON GROWING UP, THINKING BIG, LIVING LARGE, AND REALIZING THEIR FASHION DREAMS AGAINST NEW YORK’S GLITTERING SKYLINE 110

Photo assistant David Schulze

PROENZA SCHOULER

“Our Fall collection was very much inspired by Christopher Wool, a New York artist who references graffiti. There’s definitely a street side to what we do. A lot of our inspiration comes from elsewhere, but there’s that kind of New York City grit, too. Whatever we do, it’s always fused with that.” —Lazaro Hernandez

“Things have gotten so global now. I don’t think we’re necessarily indicative of New York style. It’s all a little more blurred these days—everyone’s wearing T-shirts and jeans. Ours are maybe a little dirtier.” —Jack McCollough Lazaro Hernandez and Jack McCollough in New York, June 2010 Photography Terry Tsiolis

fashion

DIANE voN FURSTENBERG DVF on the 1970s: “Being young in the ’70s and arriving in New York was the best thing ever! Everything was possible and everything was cheap. We thought we had invented freedom. There was no AIDS and we believed in making love, not war. Egon and I went out a lot—we saw Andy Warhol almost every night. It was a divine time!”

Portrait of Diane von Furstenberg, 1974.

Artwork Andy Warhol

On the 1980s: “The 1980s were about excess. They started well and then went off a bit.

Dynasty and Dallas were on TV, shoulder pads returned, Ivana Trump appeared, and Reagan was in power. Warhol did this portrait of me in 1982, and it was supposed to be part of an exhibition called “Beauties,” but it never happened. Andy died stupidly from a mistake at the hospital. In 1983, I sold my cosmetic company, my kids went to boarding school, and I moved to Paris.”

Portrait of Diane von Furstenberg, 1984.

Artwork Andy Warhol

On the 1990s: “I came back to New York in 1990 and it was hard for me. People had forgotten about me, and more importantly, I had forgotten who I was. The digital revolution had started: the Internet, new frontiers, new fortunes were about to happen based on meritocracy again. I struggled, ate humble pie, got sick—but all went to good use. I went back to my roots and launched the wrap dress again!

Francesco Clemente painted me the day I became a grandmother for the first time. I loved it and he did too!”

Untitled, 1999.

Artwork Francesco Clemente

On the 2000s: “The decade started with 9/11, which was tough, and shocking. We all felt vulnerable. New York is not so rich, not so arrogant anymore. I love it again. Anyone who has anything to sell—a painting, a film—comes to New York at some point. The city has a spirit, a creative force, and has become dynamic for fashion again. When Anh Duong sculpted me, we really bonded. She is a major artist and I love her!”

From left: Cosmogony of Desire, 2001; Stainless Steel Figurehead of Eos, 2006. Artwork Anh Duong.

All images provided by Diane von Furstenberg Studio 112

STORE.JILSANDER.COM

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fashion

Francisco costa

“I love the city. I moved here when I was 18 and I grew up here.

There’s a real openness and freedom of possibility, the sense that you can make anything happen in a short amount of time.

And right now New York is at a point of rebirth. There’s an American moment in fashion and we are the influence. People are referencing what Calvin did and what Halston did. It’s a great time for us.” —Francisco Costa

Francisco Costa in New York, June 2010 Photography Max Snow

Photo assistant Jim Braden ET the owl provided by All Creatures Great and Small

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fashion

ALEXANDER WANG AND JOSEPH ALTUZARRA

Over glasses of fresh-squeezed apple juice, on one of the hottest days of the summer, Alex and Joseph discuss their friendship, their work, and the city where it all started.

ALEXANDER WANG Being of French descent, why did you decide to move back to New York to start your label?

JOSEPH ALTUZARRA I think the idea of New York as a kind of community was really appealing to me and I don’t really think it exists so much in other cities. I think the minute people move to New York, they become New York. And I think that’s true of the industry as well. There’s a larger sense of community and bonding, which I think is important and really cool.

AW Being raised in California and moving to New York, I did a lot of traveling and research before I decided to start my career—going to London, going to L.A., going to Paris—and where I felt most comfortable, where I felt at home, was New York. I felt really inspired here, and going to Parsons, I knew I’d start my brand here. I think it’s a city that isn’t so much defined by a culture, which I like. You can make it anything you want it to be. There’s so much support here, no matter what kind of designer you want to be. Whether you want to be the extreme or focus on sportswear—there’s an audience for it.

JA Would you say you are inspired by New York every collection?

AW No, definitely not. But as an individual, I’m inspired by the city, and it filters into how I approach my work. It’s not so much the city or the neighborhood I live in that inspires me, but more the sense that an American brand is a melding of creativity and something that’s commercially viable, and that’s something that’s always been important to me.

What about you?

JA I think there’s an unconscious awareness of how New York women dress. When you go to other places, especially in America, you realize how different New York is. I think when you’re walking around, you pay attention to how people are dressing, and then there’s almost this filtering process, where you see a lot of things and you absorb them and then kind of spit them out.

On how they met, and what makes their friendship so different:

AW We actually met through mutual friends about a year and a half ago—the Trainas. Vanessa and Victoria and I went to high school together. You met Vanessa in Paris, and we all met up at a birthday party. When it comes to close friends, it’s really hard for me to meet people that I feel I can connect 116

to these days—in terms of what I do as a job, and also who I am as a person, because there is a separation there. And I think a lot of people don’t understand that. With you, it’s nice to have a friend of my generation who understands my references, understands the things that a 25-year-old would like, and at the same time has to go to work every day and has to run a company.

JA A lot of times I’ll call you. I mean, we don’t actually talk about work all that often, but when we do, it will be more like…

AW It’s been great, for me, because I’ve had certain people who were like, If you have any questions you can come ask

me. And it’s so great, of course, to have that kind of support, but at the same time to be able to go over to your friend’s house and not have to set up a formal meeting...it’s such a special bond that we have.

JA So much of the time we have to be a little bit older than our age. To be able to have fun together and go out and understand each other and what we are doing professionally—to me that’s really important.

AW I also really respect and admire your work, which is a big part of it. There are a lot of people I love in fashion, but with you, I trust you. I trust your opinion.

Photo assistant Aubrey Mayer Special thanks Toby Bannister

JA Likewise. I mean, we always ask each other questions. It’s just what every designer goes through. You have doubts about what you’re doing, or maybe a direction you’re going in. Sometimes it’s not so specific, sometimes you just need to talk it through.

AW We talk about people—like, Oh would you dress her? No, I wouldn’t dress her.

On their Fall 2010 collections: JA I really liked your Fall show, by the way.

AW I was really late to your show, because it was like an

hour and a half after mine. I showed up after. The only other show I had ever been to was Marc Jacobs, and that was when I was an intern there. I had never gone to any other shows. I really liked your Fall collection, too—but I always like your work.

JA I just ordered some of your clothing! I think what we have is a very similar reference point, because we’re the same age and we like similar things. So a lot of the time it’s really easy to relate to.

I mean at least for Spring and this Fall, they were very different collections, but I think we were feeling similar things.

AW I think we have a similar sensibility of who our customer

is, you know? A lot of our friends or the people who we think are cool or have amazing style are a lot of the same girls. But they go to you for certain things, then come to me for certain things, and it’s nice that we have that difference. We’ll be vintage shopping together, and I’ll be like, Oh look at this, and you’ll be like, Oh this is way more you. It’s interesting that we can find ourselves through each other.

JA It’s so rare.

Alexander Wang and Joseph Altuzarra in New York, June 2010 Photography Sebastian Faena

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PRABAL GURUNG

MY NEW YORK

“Fusion is an annual fashion competition between FIT and Parsons, and it was the schools’ first year implementing it. I applied, submitted sketches, and produced five looks for the show. I was asked to close the show and was the recipient of the “Best Designer” award. It was such a magical moment for me because it set the tone for the sort of achievements I was determined to accomplish. It was in that moment that I knew with complete confidence that coming to New York was the right move and that it was just the beginning of an unforgettable ride!”

THE FIRST TIME, THE LAST TIME, EVERY TIME. WE TOOK A TRIP DOWN MEMORY LANE AND ASKED A FEW ICONIC NEW YORKERS TO SELECT A MEMENTO THAT REPRESENTS THE CITY AS THEY LIVED IT

ISAAC MIZRAHI

“When I was younger Balducci’s was the only great and amazing gourmet shop. I would go there and buy foie gras and caviar among other special foods. One of the greatest events of my life was when I moved to the West Village and I could walk to Balducci’s. I will never forget the feeling”.

ROBERT LONGO

EVA CHOW

“Summer 2002: riding the subway with my son to Coney Island to watch basketball, three young guys get on the train carrying surfboards. I’ve surfed for years, recently taught my kids to surf out on the Island. Out of curiosity, I had to ask these guys what they were doing with surfboards on the subway. “Going to Rockaway!” I had to check this out. Same day, late in the afternoon, standing on the beach, I looked west. Down the shoreline, into the setting sun in the distance, I saw the sharp silhouettes of surfers holding their boards checking out the surf and the other surfers riding a decent break! I was haunted by this image and made it into a graphic for a T-shirt made by my friend Michael Green, who turned me on to the Rockaway scene.”

“My most recent great time in New York was in June of this year at the Iridium jazz club. Jeff Beck performed for only about one hundred people for a Les Paul tribute.

My husband, Michael, my daughter, Asia, (who plays guitar and worships Jeff Beck) and I were seated next to David Bowie and Brian Setzer! To hear this amazing music among great musicians in that small venue was simply magical!”

ANDRE WALKER

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TAMA JANOWITZ

“Eric Goode is and was a genius who, in 1982, invented the nightclub of all nightclubs: Area. After that he opened a number of other places, from the Bowery Bar to Par to the Maritime Hotel. One Christmas he and his partner and brother sent out this holiday snow globe and I kept it until a bunch of little kids broke it a few weeks ago. If you do not know the story of Area, you do not know the story of NYC in the ’80s. Every month a different theme and every night a dozen different performances in tiny rooms like Amsterdam’s Red Light District only far more peculiar. I am surprised no one has done a major article and retrospective on Eric, a seminal character of the latter part of the 20 th century and into the 21st.”

Janowitz photo Adrian Gaut

“This is the invitation to the show I did at the Fashion Industries High School in New York City. I have no idea how this show took place, or, for that matter, how all of the guests came to know about it.

This is the show that made my name, and whose name I made. That’s a quasi-quote from The Red Shoes, which fully informed this show along with the Doorknobs, Vases and Cockroach Wings, and Doggy Bones, who Bill Cunningham fully showcased in Details magazine that same year. The guests included everybody from the period: Andy Warhol, Tony Shafrazi, Keith Haring, and Holly Solomon. There were about 150 pieces of clothing that I had sewn myself along with my then-assistant Richie Mercado. Leslie Macayza found all the shoes; my mom and I did all of the hairpieces. I vaguely remember running over to Pat Field’s to pick up some extra pieces that were being sold on her racks. Pat also modeled in this show and asked video artist Peter Kagan to film it. I thought I was a full-blown star when British Vogue’s “I Spy” had a selection of three images from the show by photographer Michel Arnaud. Kim Hastreiter always remarked at how fast I walked, and I guess this is how I assembled the components that would comprise the show. The same fury continues to affect the aesthetic choices, collaborations, and results that we are currently building within our object-zine TIWIMUTA—This Is What It Made Us Think About.”

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KKIM HASTREITER

JEAN-MARC HOUMARD

“Bar d’O was this tiny dive lounge I had opened on Bedford Street where the drag divas Joey Arias, Raven O, and Sherry Vine entertained the troops three nights a week with their twisted renditions of Billie Holiday and Etta James. There was no stage, just a bar stool around which the crowd would pile up on top of each other, on banquettes, window sills, and all over the floor, more often than not crying of laughter at the quick humor the queens were famous for. This T-shirt reminds me of that fun time in New York, when rents were cheap, booze even cheaper, and a little dive bar could exist and contribute to making the city this amazingly diverse and interesting place. It reminds me of the funniest and most debauched nights, when anything—literally anything—could happen, when fun was spontaneous, and ‘bottle service’ was a concept not yet born.”

“One afternoon in the late ’70s I got a phone call from my friend and neighbor, the artist Ross Bleckner, inviting me to come by a party that evening on the ground floor of the building he owned and lived in on White Street. He told me it was gonna be a funny Puerto Rican (themed) party thrown by these kids who wanted to start some sort of cool private club there. I lived around the corner on Lispenard Street so I hopped over to Ross’s just before midnight to find about sixty supercool neighborhood arty types drinking big jugs of Cheap Ripple wine off of a card table with a boom box in the background blasting cheesy Puerto Rican music. The room was raw—no bar, no DJ, no sound system. Everyone was talking about how this place was going to be our new downtown watering hole-slash-hangout. It was called the Mudd Club. Within a month it was in full swing. And while most of New York City was uptown clamoring to get into Studio 54 to disco dance, hard-core downtown artist types like us would now have our own place to listen to punk and new-wave music. Of course, because I was a neighbor and Ross’s friend working at the Soho Weekly News, I got in for free, so I became hooked and began practically living there. I’d go by myself every night (it was so casual sometimes I would throw a coat over my pajamas, stop at Dave’s Corner, a 24-hour luncheonette, for an egg cream to bring with me) and would always see great friends there dancing or performing—from Debbie Harry to Fab 5 Freddy to the B52s.

(Fred Schneider’s longtime boyfriend Robert Molnar was a doorman, as was Soho News makeup artist Debi Mazar.) As the club’s popularity soared, a few of us early Mudd Club VIPs were invited to pose for special ID cards to ensure entry. Here’s mine.”

DARYL K

“In the summer of 1983, I bought this record on the street. It was a seminal moment. I’ve been listening to him ever since. I love him. I even went to his church in Memphis and was singing and dancing in the aisles with the congregation. Just look at him—he’s fucking great.”

FAB 5 FREDDY

NICOLE MILLER

“In 1991, I was part of the second Love Ball and recruited a bunch of my friends including Michael Musto, Fred Rothbell-Mista, and Bobby Miller to be in The House of Miller. It was a great night. We had a lot of laughs, and I let everyone keep their bathrobes!”

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“In the Spring of ’88, I got the chance to direct my fi rst music video, “My Philosophy,” for KRS-One. Peter Daughtery, an old buddy of mine, then working as a producer for MTV, would air that video on the pilot for a new show called YO! MTV Raps. Soon after he asked me to audition and by the fall of that year I became the host of what would immediately become the highest rated show on the channel. Peter and the late Ted Demme were my producers, and together we changed the face of American television. I would soon learn that the mic cube, emblazoned with the show’s now iconic logo (designed by famed graffi ti artist Revolt), was as coveted at the time as a Grammy award. Countless MCs, from 2-Pac to Snoop Dog to LL Cool J and Slick Rick, would later tell me how much it meant to have that YO! mic in their hands while being interviewed by me. ”

look

CHURCH BELLES

On the runways this seasOn, headwear came rOaring back. but in One cOrner Of manhattan, it’s like it never went Out Of style. andré leOn talley talks with us abOut the enduring pOwer Of hats in harlem New York City’s status as a style mecca is indisputable, with trends of all forms rising from the streets. One of its most sublime stems far from downtown, beyond the galleries and gallerinas of Chelsea, north of Madison Avenue and its ladies who lunch: we’re talking about the church ladies of Harlem, who consider their headwear an important form of self-expression.

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Vogue’s André Leon Talley, who has been attending services in Harlem since he moved to New York nearly four decades ago, explains that the use of over-the-top headwear in Harlem churches is a tradition dating back to the last century. “It is a code of dignity that is required by many who register creativity as well as respectability,” he says. “Every Sunday morning in Harlem, in any church, a sea of couture creations explodes in the sanctuaries of African-American congregations.”

As Talley notes, these hats can be simple knit caps, or outrageous multilevel displays of flowers and flying saucers. But their wearers’ intentions are not to be trendy or ostentatious. “These women are not following fashion, they are simply living by the standards of preceding generations, repeating the respect set forth by their mothers, grandmothers, aunts, and forbearers.”

This Fall designers from John Galliano to Hermès’s Jean Paul Gaultier resurrected the hat, returning it to a prominence it has not seen in seasons. Not that everyone thought hats had gone by the wayside. According to Talley, Oprah Winfrey is just one of the many who never forgot their importance. “Oprah has a collection of church hats beautifully displayed, in a hat wardrobe in her Santa Barbara home, as if they were in her very own personal hat shop.” Derek Blasberg

Photography Amy Arbus Styling Yuki James From left: Carolyn Sebron wears Hat Christophe Coppens Clutch Giorgio Armani Estelle Hilton wears Hat John Galliano Bag Marc Jacobs Mary Flowers wears Hat Heather Huey Clutch Diane von Furstenberg

fashion

new york, of kors

The sliT-To-There looks of The ’00s had no effecT on designer michael kors. and now ThaT low-key luxury is back, he’s boTh The driving force and The reference poinT

DEREK BLASBERG How do most people respond to the word sportswear?

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MK I’m convinced that, for male designers who design for women, there are two clichés: you’re either influenced by the women in your family and you absorb it, or you look at the women in your family and run the other direction. I came of age in the 1970s and the fashion world had changed. Suddenly, a movie star like Ali MacGraw went to a red carpet event with no makeup on. Or Lauren Hutton got out of a car and her dress unwrapped. And you were like, “Wow, this is a huge change.” Certainly growing up in New York, and growing up in a family that was a little like Fellini's 8½ was an influence. Bewitched is a good example. My mother was Samantha and my grandmother was Endora. I had the kooky and insane Endora covered in jewelry and a caftan. Then I had Samantha in a trench coat and a sweater and a pair of jeans. My mom was always sporty, always understated, always flat shoes, always a sweater and a pair of pants. I’m probably a combination of the two. I like the trench coat, but put it over a beaded gown.

DB That’s very New York.

MK I grew up very happy being an American designer. Halston and Bill Blass were very happy being American designers. And their lives weren’t so tough, honey. I live down in the Village, next door to an NYU building and I see girls come out of their dorms and they’re 19 and carrying a major handbag and wearing a good shoe and a chic coat. Accessories have saved the world, they’ve saved New York! We have teenagers and grandmothers carrying the same bag now.

DB Smart, sophisticated New York girls—you know your customer!

MK Listen: I started designing for a retail store called Lothar’s before I had my own business. We were on Fifty-Seventh Street and Fifth Avenue, across from Bergdorf’s, and it was the 1970s, and I had Nureyev and Jackie Kennedy shopping in the store. I always loved the idea of retail; it’s like an adrenaline rush in a fashion laboratory. Retail makes me high!

Michael Kors’s inspiration board for Fall/Winter 2010 Photography Adrian Gaut Read more from Michael Kors on modern luxury and his love of fashion at vmagazine.com

Location Sandbox Studios, NYC

It has been a good year for Michael Kors. At 51, the New York designer became the youngest-ever recipient of the Council of Fashion Designers of America’s Lifetime Achievement Award in May. (A guy who knows the power of a glamorous evening, he walked the CFDA’s red carpet with Gwyneth Paltrow, was given his award by Anna Wintour, and made cameos at a few of the ceremony’s after-parties with Carmen Kass on his arm.)

And his Fall collection was a parade of his greatest hits: the cashmeres were luxurious, the knits were luscious, the tailoring superb. Here, the designer explains how accessories have saved the world and why he’ll always love New York City girls.

Derek Blasberg

MICHAEL KORS For a while it was a dirty word. Cringe! Does it mean tracksuits at the airport? To be honest, I think there’s something intriguing about that look: even if she looks hideous, the girl in the tracksuit is still comfortable and moving quickly.

But my challenge is to make that glamorous and luxurious.

DB And that was your direction for Fall?

MK That, and a new approach toward sexy. After a decade of it being so in-your-face—a 1980s redo of a bondage dress, or a skirt being crotch length—I realized that, to me, sexy means easy: when a woman sits down at the table and you think maybe her boob is going to pop out of her shirt, or when she’s crossing her legs her skirt might unwrap. It’s not something that is tight or so obvious. We looked at girls like Aerin [Lauder] and Lauren Hutton, all of these New York girls who were never so obvious.

It wasn’t obvious for Lauren in the ’60s, and it’s not obvious for Gwyneth [Paltrow] today. Even if it’s a beaded gown, it should feel like a T-shirt.

DB So you’re cleansing the palate?

MK The decade has changed! That’s interesting to me. It’s like, when people who lived in the ’80s look back at pictures of themselves at a party and they’re like, “Oh my god, what was I thinking? My hair was too big and my dress was too tight and I had too much makeup on and I looked insane.” You have to repent for your sins! To a certain degree, I think we’re going to have a little bit of that when we look at pictures from this last decade: “Oh my god! My shoe looks like a cinder block glued to my foot, my hair is too long, my dress is too short!” I wanted to enter this decade with a clean sweep, giving people clothes that are fresh and sexy but at the same time with longevity and luxury.

DB Luxurious would be an easy word to apply to this collection.

MK I wanted to make luxury look a little bit lived in. You want your cashmere coat to look like something you fell asleep in, so we mixed metal into it to create a crushed cashmere coat. I always loved the idea of leather and big knits, but not when it feels too heavy. So a lot of the sweaters are mohair, the furs are knitted, and the distressed leather pieces are tissue-thin lambskin that feels like heaven.

DB How did growing up in New York affect your brand?

WORK IN PRO GRESS Photography Jason Schmidt 126

CONCRETE JUNGLE

The work of arTisT DaviD Brooks serves as a warning againsT DoomsDay anD man’s imminenT self-DesTrucTion. iT’s also jusT BeauTiful To look aT This project, satirically titled Preserved Forest, entailed the indoor construction of an earthen hill upon which were planted numerous nursery-grown trees to approximate a forest cross section of the Amazon. Once the forest was assembled, 12 cubic yards (25 tons) of cement was dumped over the trees, entombing the entire indoor forest in concrete. As forests are razed and roads are paved, the industrialized world’s appetite for a surplus of commodities only escalates. Preserved Forest is an absurdist portrait of the futile act of preservation that competes with today’s uncompromising global market—encapsulating our disregard for the dwindling wildernesses. The environmental crisis we collectively face today can also be read as an existential crisis, where the long-standing division of nature from culture collapses in on itself. As this project is an action, not a representation, the urgency of time is indelibly visible on the sculpture’s surface. David Brooks

New York Soho weSt hollYwood Nicolemiller.com

BUY OR DIE

Art duo dAs InstItut explores prInt, pAttern, And mArketIng-speAk In Its All-consumIng works Destination DAS INSTITUT* *DI is a room without windows, a shaded space, a stairway, unfolding its venetian blinds, obstructing the view into the Volksgarten

Blick:Design (Pattern) / Advertisement (Announcement) / Reproduction (Copy) Sonntags Blick: Mirror Effect This is a photographic announcement for: THUS! DAS INSTITUT at New Jerseyy, Basel, featuring: La Technique De Brätsch/ DI Why Relax! raincoats and Comcor Röder desert capes in cooperation with a DAS INSTITUT My Favorite Artworks As Cakes Baking Workshop Do you have a new idea?

Contact your manager DAS INSTITUT 128

work in progress

HAND IN HAND

Artist rAshAAd Newsome explores the gesturAl compositioNs of hip-hop music videos ANd sets them to A brANd-New beAt In this picture, I am testing the sound levels for my pieces in “Greater New York” titled The Conductor (Fortuna Imperatrix Mundi) and The Conductor (Primo Vere, Omnia Sol Temperat).

The videos are the first and second movements of a six-part video installation that sets Carl Orff’s Carmina Burana against a video montage of expressive hand gestures, extracted from popular rap videos, and a musical background of hip-hop beats.

As Orff’s iconic oratorio opens with O Fortuna, a closely edited sequence of bejewelled gestures appears to conduct the music.

Rashaad Newsome 129

fashion

DESIGNER MASSIMILIANO GIORNETTI SPENT A DECADE INSIDE THE FERRAGAMO ATELIER BEFORE TAKING THE REINS. HIS WOMENSWEAR DEBUT IS STEEPED IN THE HOUSE’S HISTORY WHILE POINTING TO ITS FUTURE

“In a sense I think it was quite easy because I grew up inside the company,” says newly minted Ferragamo creative director Massimiliano Giornetti. “When you breathe the heritage and DNA of the brand, you really can channel the spirit.” A company vet, 38-year-old Giornetti began his Ferragamo tenure a decade ago as a knitwear assistant. Following the debut of his first womenswear collection for Fall 2010, Giornetti, who also oversees menswear, was appointed to his current role at the label’s helm in July. “Of course in fashion there’s always the scary factor, the very-last-minute factor,” Giornetti says of taking on dual appointments. “But everything came so naturally that it gave me a very positive energy.”

Whereas former creative directors Cristina Ortiz and Graeme Black often struggled with the label’s direction, Giornetti appears decidedly confident in his abilities, propelled, no doubt, by both positive reviews and past experience. “I wanted to approach the womenswear as I did the menswear—step by step, starting from the core,” he explains. “I had to depict the story of a woman who’s very dynamic, very modern.” For Fall, that meant a contemporary iteration of the label’s 1970s heyday, replete with suede trenches, slim jumpsuits, and jersey halter gowns. Inspiration was culled from both the bold, liberated women of the era, as well as from power muses within the company itself, including vice presidents Fulvia Visconti Ferragamo and Giovanna Gentile Ferragamo.

Designing with the signoras in mind has afforded Giornetti a new, perhaps not entirely unexpected, artistic edge. “Men’s fashion is sometimes a little scary,” he concedes. “It’s very difficult to find men that want to be brave, they all want to go to this safe side.” Suffice it to say the same doesn’t apply to designing for the fairer sex. “Womenswear, no,” Giornetti says, smiling. “It’s completely different.” Sarah Fones Photography Nagi Sakai Styling Catherine Newell-Hanson 130

Veranika and Veronika wear Clothing and accessories Salvatore Ferragamo Giornetti wears Clothing and shoes Salvatore Ferragamo Watch his own

Makeup Kaoru Okubo using M.A.C Cosmetics (Management Artists) Hair Tuan Anh Tran using Bumble and bumble (L’Atelier NYC) Models Veronika Klottonova (New York Models) and Veranika Antsipava (Ford NY) Photo assistants So Yoshimura and Peter Panszczyk Stylist assistant Molly Mamourian Location 6 Columbus Hotel, New York Catering Monterone

FERRAGAMO ON FIFTH

ALISON MOSSHART ET JAMIE HINCE (THE KILLS) BY OLIVIER ZAHM

409 BLEECKER STREET 10014 - NYC / 831 WASHINGTON STREET 10014 - NYC / 153 MERCER STREET 10012 - NYC / 8640 SUNSET BLD - WEST HOLLYWOOD 90069 - LOS ANGELES

ZADIGETVOLTAIRE.COM

All photography courtesy Tommy Hilfiger

Tommy Hilfiger Fall/Winter 2010

Tommy Hilfiger campaign

by George Lois, 1985

TOMMY TIME HOW DID THE BAD BOY OF SEVENTH AVENUE BECOME THE MAIN MAN OF AMERICAN STYLE? TOMMY HILFIGER KNOWS GOOD ADVICE WHEN HE HEARS IT

Twenty-five years ago, designer Tommy Hilfiger declined a job offer from Calvin Klein at the behest of a psychic, and instead went out on his own. After two and a half decades of denim domination, global fragrance hits, and continued explorations of essential American fashion—all of which is chronicled this fall in an epic tome—Hilfiger shows little signs of slowing down.

Here, the man in red, white, and blue discusses the importance of having a head for business and why you should never doubt a woman who’s already seen your future. Sarah Fones

SARAH FONES In your new book, you mention consulting a psychic prior to striking out on your own. At the time, she didn’t think you should accept a job offer from Calvin Klein.

TOMMY HILFIGER I asked her what she thought of it. She said, “Maybe you shouldn’t take that.” I thought, She doesn’t know what she’s talking about. And then a couple of days later the person at [Mohan] Murjani [Hilfiger’s original backer] contacted me and said, “Mr. Murjani would like to back you.”

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Tommy Jeans campaign photographed by Sante D’Orazio, 1997

SF In the book you also mention how it’s necessary to surround yourself with good people—friends, family, mentors.

Are American designers getting the kind of support they need these days?

TH I think the smart ones are. The smart ones reach out for partners and are willing to share with business people who can help them. A lot of designers, in my opinion, are not looking at the big picture. I’ve known a lot of designers who haven’t wanted to give up anything. You need someone with a business head, somebody who can really help guide and direct you.

SF Early on in your career your partners suggested aligning yourself with the aesthetic of designers like Ralph Lauren and Perry Ellis in your adverts. But you went in another direction.

TH When George Lois first showed me these ads, it was a bit startling. But I learned that George was right: it was a genius move to be able to get the name out there without spending a tremendous amount of money. Of course after you do that,

you have to really produce saleable, desirable products, which took me a lot of time to perfect. When it comes to promoting a brand, if you don’t have a product that’s well-made and fits right, you’ve got nothing.

SF You recently partnered with the Keith Haring Foundation on a line of footwear.

TH Yes. Well, I’m an art collector. I guess you could call me a bit of a fanatic. I love Keith Haring and Andy Warhol, as well as Basquiat—all of the pop artists. And I want to collaborate with them as much as possible, whether they’re living or not.

SF Do you have any predictions for the next quarter century?

TH Fashion will continue to evolve and change. But classics will remain—maybe done in different ways, but they’ll continually return.

SF And you’ll be on top of it.

TH Well, I hope so!

Tommy Hilfiger is out now from Assouline

celebration

Joan Smalls wearing S/S 2000

40 ye ars of roberto cavalli

The ITalIan desIgner’s go-go glam and jeT-seT exuberance wIll never grow old, buT IT Is TurnIng 40. ThIs fall a new book of phoTographs by merT alas & marcus pIggoTT dIsTIlls The cavallI essence InTo 200 pages of To-The-hIlT Imagery. here we geT To know The many loves and vIces of The man hImself

V What has been your favorite collection?

ROBERTO CAVALLI Choosing my favorite collection would be like choosing my favorite child, I could never. But I have enjoyed seeing the many personalities of the Cavalli woman come out in my recent collections—whether she is a rock goddess, a tailored businesswoman, or an haute bohemian. Her many sides never cease to inspire me and my collections.

V How have you evolved over the last forty years?

RC My style is authentic. As a creator I am not afraid of change, and I like to continuously surprise my customers with new things. I think this element of joy is what keeps the label hot season after season. My fashion has evolved over the years, but I’ve stayed faithful to my DNA. V If you weren’t a designer, what would you be?

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RC Fashion is my life, it is a part of me. I cannot imagine doing anything different. I would have loved to become an architect, or an artist, but the element of constant change in fashion is something I will never tire of.

V How should a woman feel in your clothing?

RC Women in my clothing should never feel anything less than confident, sexy, and in control.

V What was the first thing you ever designed?

RC The first thing I did in fashion was printing, not designing. I started to print on leather at the end of the ’60s. When I presented my first collection in 1970 the first pieces I had designed were, of course, printed-leather pieces. I remember a beautiful, bat-winged poncho in suede, all printed—it was great!

V What makes a good print?

RC A good print should excite you when you pull it out of your closet and make you feel alive when you wear it.

V Who has been your favorite person to dress?

RC I have so many friends, clients, and fans that I love to see in my clothing, but two of my favorites are Jennifer Lopez and Halle Berry.

V What’s your favorite drink?

RC Cavalli red wine.

V Where is your favorite place to be?

RC I’m always on the go. My favorite place in the world, however, is Florence. Each secluded corner offers something that nourishes my creativity.

V What is the best accessory for the Cavalli woman?

RC I have always been a fan of large cocktail rings and bangles. I love jewelry that makes a statement and defines a specific look.

V What music inspires you?

RC Music has always been my number one inspiration. I love jazz, swing, and rock.

V Who are your favorite musicians?

RC The Beatles and the Rolling Stones.

V What is your biggest vice?

RC Women.

V Do you have any pets?

RC Yes, my wife, Eva, always says we are a bit like Noah’s ark— we own two monkeys, seven parrots, three cats, one iguana, and countless horses. As for dogs, we have one Saint Bernard and two bichons frises.

V What do you have planned for the next forty years?

RC I do not know what the future holds for me. I hope to have another forty years on the crest.

V What is your favorite meal?

RC Florentine T-bone steak.

V What is the sexiest thing about a woman?

RC Her confidence and the way she carries herself.

V What is the biggest compliment a woman has ever given you?

RC That she wants to wear Roberto Cavalli all day, every day!

V What other designers do you admire?

RC Azzedine Alaïa and Giorgio Armani.

V Do you have any regrets?

RC None.

Photography Mert Alas & Marcus Piggott

Roberto Cavalli 40 th Anniversary is out in October 2010 from Rizzoli. A portion of all proceeds will be donated to AmfAR

Guinevere van Seenus wearing F/W 2003

Anna Maria Jagodzinska wearing S/S 2007

Karolina Kurkova wearing F/W 2005

Ming Xi wearing F/W 2002

Joan Smalls wearing S/S 2006

Heidi Klum wearing S/S 2003

mercer street

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Makeup Sil Bruinsma for Dior Beauty (Streeters) Hair Wesley Oâ&#x20AC;&#x2122;Meara (The Wall Group) Models Naomi Preizler (Next), Ajak Deng (IMG), Pauline Van der Cruysse (Marilyn), Pablo Contreras (Request), Patrick Phillips (Red) Photo assistant Mark Champion Stylist assistant Kate Grella Digital technician Jonathan Pilkington Casting Anita Bitton (Establishment)

look

Pauline wears Shirt 1971 Reiss Jeans Proenza Schouler/J Brand Belt Ariat Boots vintage

Patrick wears Shirt Guess Jeans Converse by John Varvatos Belt Diesel Jacket (in hand) William Rast Shoes Bottega Veneta

Ajak wears Shirt Cheap Monday Jeans Hudson Jacket William Rast Shoes Opening Ceremony Suspenders stylistâ&#x20AC;&#x2122;s own

Pablo wears Jacket G-Star Vest William Rast Jeans 7 For All Mankind T-shirt and belt Armani Exchange Shoes Bottega Veneta

Ajak wears Jacket Acne T-shirt Armani Exchange Pants Guilty Brotherhood Shoes Bess

Pauline wears Shirt Uniqlo Jeans J Brand Tie Bottega Veneta Belt Proenza Schouler Shoes London Underground

Naomi wears Bodysuit Gary Graham Shorts Guess Shoes Stella McCartney Tights Falke

DENIM KNOWS NO BORDERS, BUT IT OFTEN LOOKS BEST BELOW 14TH STREET. WE HIT THE BLOCK WITH A CAST OF COOL KIDS IN THE SEASONâ&#x20AC;&#x2122;S FRESHEST PICKS Photography Amy Troost Styling Catherine Newell-Hanson

Patrick wears T-shirt McQ Jeams Armani Exchange Belt Diesel

accessories

A FANTASY NIGHT OUT WITH...

FALL’S DECADENT ACCESSORIES INSPIRE STORIES OF STYLISH WOMEN IN THE CITY’S MOST FAMOUS HAUNTS. IMAGINE THAT Photography Toby McFarlan Pond Styling Catherine Newell-Hanson

On table, clockwise from left: Clutch Giorgio Armani White gold and diamond necklace Piaget Eyeshadow brush Dolce & Gabbana Earrings Chanel Fine Jewelry White gold and diamond bracelet Van Cleef & Arpels Compact Lancôme Fragrance Guerlain Shalimar White gold and diamond ring De Beers Lipsticks Estée Lauder and Lancôme Watch Van Cleef & Arpels White gold ring with aquamarine and diamonds Dior Fine Jewelry White gold and diamond cuff De Beers Sunglasses Alexander McQueen

DIANA ROSS AT MR CHOW 140

On banquette: Shoe and fur coat Zadig & Voltaire Kelly bag Hermès Small bag with gold chain strap Dolce & Gabbana

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accessories

a fantasy night out with...

LAUREN HUTTON AT MONKEY BAR 142

Clockwise from top left: Bag Hermès Hat Salvatore Ferragamo Sunglasses Bebe Fur Valentino Bag Loewe Fragrance Chloé Ring David Yurman Watch Swatch Compact Estée Lauder Lipstick YSL Makeup Gold bangle with diamonds Bulgari Gold earrings with diamonds Van Cleef & Arpels Gold ring with amethyst and diamonds Dior Fine Jewelry Compact Estée Lauder Notebook and watch Hermès Clutch Jil Sander Comb Tom Ford Pen Tiffany & Co. Cable bangle David Yurman

accessories

a fantasy night out with...

KATE MOSS AT THE MERCER HOTEL 144

Cockwise from bottom left: Trunk Fendi Jewelry roll Louis Vuitton White gold and diamond earrings and bracelet Bulgari Stockings Wolford Gray leopard makeup bag Yves Saint Laurent Eyeliner EstĂŠe Lauder Eyeshadow brush Dolce & Gabbana Skin serum Guerlain Soap, bath milk, eye cream Chanel Powder brush M.A.C Cosmetics Lighter Tiffany & Co. Mascara YSL Makeup Earrings Swarovski Sunglasses and fragrance Balenciaga Cable bangles David Yurman Bag Stella McCartney Snake bangle with diamonds Bulgari Lingerie Dolce & Gabbana Candle Diptyque Bag (on ďŹ&#x201A;oor) Kate Moss for Longchamp Shoes Dior Fur Fendi

On chair: Jacket Burberry Prorsum Shoes Cesare Paciotti On bed: Sunglasses John Galliano Blouse D&G Leopard scarf Yves Saint Laurent Black and gold bag Cesare Paciotti

Photo assistant Bruce Koppe Digital technician Jeff Denton Retouching Ben Richardson

On rug, clockwise from top left: Bag D&G Jeans Hudson Leopard boots Giuseppe Zanotti Design Gold bracelet Louis Vuitton Sunglasses Giorgio Armani Silver tassel necklace David Yurman White gold bracelet Piaget Cuff with crystals Atelier Swarovski

by Holly Fulton Products, from top: Clutch Dior Nail polish M.A.C Cosmetics Fragrance D&G 18 La Lune Gold initial necklace David Yurman Pin Express Mascara Estée Lauder Lipstick Dior Beauty Nail polish and lip gloss YSL Makeup Eyeliner pencil Giorgio Armani Cosmetics Gel eyeliner compact Estée Lauder Nail polish Chanel Liquid eyeliner Lancôme

a fantasy night out with...

GEORGIA MAY JAGGER AT 60 ThOMpsOn

proďŹ le

THE DREAMS OF YOUCEF NABI THE VISIONARY BEHIND LANCÔME HAS SOUGHT TO DEFINE 21ST-CENTURY BEAUTY IN HIS OWN EXPANSIVE AND EVOLVING IMAGE. SO FAR, SO GOOD

As president of Lancôme International, Youcef Nabi has proven that beauty is a study in contrasts. Combining a scientific background with a sanguine belief in dreams, Nabi—who grew up in Algeria, far from the glamour of Paris—has transformed the lives of women around the world. During a sixteen-year tenure at L’Oréal Group, where he rose from makeup marketing to general manager, Nabi handpicked a series of multicultural women to serve as brand ambassadors. Beyoncé, Jane Fonda, Eva Longoria, Doutzen Kroes, and Aishwarya Rai, along with former Miss China Zhang Zilin and French actress Rachida Brakni, all joined the “worth it” gang, making L’Oréal the first international brand to select truly international icons. At Lancôme Nabi has continued to expand notions of global beauty, recruiting two of the world’s most respected actresses—Penélope Cruz and Julia Roberts—to represent a vision of radiant self-confidence. There’s also a new look to Lancôme’s communications, which Nabi has

spearheaded with photographer Mario Testino, moving away from the harsh visions of extreme beauty that dominated the last decade and toward a more natural, harmonious look. Some might say it’s the future of what’s beautiful. Nathalie Fraser

NATHALIE FRASER Do you have an early memory connected to beauty, and to Lancôme in particular?

YOUCEF NABI I was born in Algiers and spent the fi rst seventeen years of my life there. I remember being absolutely fascinated by the magazines that my parents used to bring back from their journeys abroad. I especially loved the Lancôme adverts featuring Isabella Rossellini—there was something magical about her face. I realized later that it was because her face is incredibly photogenic and makeup-friendly: you can draw on it like a canvas.

NF Growing up in Algeria and later studying agronomic engineering, what attracted you to the world of beauty?

YN As early as 14 or 15, I very much wanted to work in beauty, but having no idea how to go about this I settled on the most intensive course of study possible. Before beginning work as an engineer, I gave myself a year and studied marketing, which is when I discovered I could work in beauty with my background.

Beauty is a blend of the rational and irrational: you can go from discussing the components of a very high-tech product with chemists and physicists to talking [about creative] with Mario Testino or Karl Lagerfeld. It’s a contrast that follows my own choices in life. When beauty starts being merely rational, my career will be over.

NF You are known for making some fairly radical choices— you have said you wanted to break the vicious circle of endless beauty launches. At Lancôme, you’ve also opted to work with high-profi le names like Aaron De Mey and L’Wren Scott.

YN I think it’s important for a brand to take risks. I’m the same in my personal life. It’s interesting to test limits and create tension. The results are always interesting.

NF What changes have you experienced in the world of beauty throughout your career?

YN Beauty is like fashion, it swings from one extreme to another, from high-tech to comfort, from in-your-face to completely nude.

I believe the trend for the future is fostering an inner and outer light, which is a sign of authenticity and health. Our new Teint Miracle foundation works on precisely this principle.

NF How important is age to the notion of beauty?

YN Age is at once the most beautiful and terrible gift that life can give us. It means that we can learn from our mistakes, attain self-knowledge, and interact with others, but it also means we lose the people closest to us.

NF Do you believe there is any fl aw that scientifi c research will not be able to reverse?

YN I never say never when it comes to science, but I believe the challenge for the next fi fty years would be fi ghting gravity.

At present it’s impossible even if you live lying down. We’ve perfected face-lifts and injections, but perhaps gravity is an unbeatable force, like the speed of light.

NF What do you say to people who believe beauty is a futile industry?

YN Beauty has been around for as long as humanity, over one hundred thousand years. Taking care of your appearance is a form of respect for others and a message that you send out to the world. A rational form of beauty is a very powerful tool of self-esteem. I certainly wouldn’t say that is futile!

Youcef Nabi in Paris, June 2010 Photography Karl Lagerfeld Styling Clare Richardson Makeup Aaron De Mey for Lancôme (Total Management) Hair Laurent Philippon for Bumble and bumble (Tim Howard Management) Manicure Typhaine Kersoual (Jed Root) Photo assistants Olivier Saillant, Frederic David, Bernward Sollich, Xavier Arias Stylist assistant Rebecca Connolly Makeup assistant Frankie Boyd Hair assistant Anthony Deliperi Catering Artistic World Food All clothing Nabi’s own 147

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v lOGO ArTWOrk by DAN COlEN

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MORE NEW YORK THAN EVER!

ExCluSIvE TO vmAGAzINE.COm: vmAGAzINE.COm: COllECT All fOur COvErS Of v67, ShOT by mArIO TESTINO, INCluDING ThESE INCluDING ThESE TWO lImITED-EDITIONS TWOlADy lImITED-EDITIONS, fEATurING Of GAGA, fEATurING ArTWOrk uNSEENTWO mATErIAl frOm frOm mOrE OfANDNEWArTWOrk yOrk’S mOST TWO Of NEWSTArS yOrk’S brIGhTEST STArS! brIGhTEST

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VMAgAziNE.cOM/sHOp

JeaNNe greeNBerg rOhaTYN Founder, Salon 94 Pictured at right: Untitled, 2008. Artwork Richard Prince

chelsea girls Designer reeD KraKoff has been flexing his muscle with coach. now heâ&#x20AC;&#x2122;s inDulging his obsession with american sportswear, namely its soft, sensual, anD impeccably luxurious siDe. here, KraKoff shoots four art muses in clothing from his new line anD talKs about what women want now Photography Reed Krakoff Styling Melanie Ward 150

MarY Blair TaYlOr Gallerist, Hauser & Wirth Pictured in background: Hangover, 2007. Artwork Wilhelm Sasnal

As the creative director of Coach for the past fourteen years, and a designer for Tommy Hilfiger, Ralph Lauren, and Anne Klein before that, Reed Krakoff, 46, has spent the entirety of his career contemplating American sportswear and the women who wear it.

His analysis: “Women want to look sexy,” he says. “But in a subtle way.” It is a simple enough concept, but one that few designers have managed to nail quite as perfectly as Krakoff with the Fall collection of his eponymous new line.

Here was a blending of utilitarian and luxurious fabrics, military tailoring and fluid silhouettes: Iselin Steiro, with a clean face and slightly tousled hair, wearing a caramel leather jacket over a slouchy felt-trimmed mohair cardigan. Certainly, it is not everyone’s idea of sexy, but for the kind of women who seek a certain modernist sensibility in their clothing—those who, say, religiously wore Helmut Lang when he was still at the design helm—the collection hit a sweet spot. And with fashion returning to the kind of clean-cut, wearable ideals that American sportswear was

built on, it couldn’t have come at a better time.

“I’m all about American sportswear—I grew up on it,” says Krakoff, a Connecticut native who graduated from Tufts University with a degree in art history and economics before studying fashion at Parsons. “This line is about reimagining it in a modern way— infusing it with a kind of poetry and romance and sensuality.”

He is peering out the backseat window of his black Jaguar as it sails up Tenth Avenue toward his office. For a man who has made a fortune off jazzy key fobs and brightly hued hobo bags (to his credit, he has transformed Coach from a stodgy, 70-year-old leather goods label to a $3 billion accessories behemoth), nuances of sensuality wouldn’t seem to be a part of his design vocabulary. But then, as he explains, his own aesthetic and that of Coach’s has always been a bit disparate. “My label is very personal,” he says, noting that along with the work of Joseph Beuys, Kiki Smith, Louise Bourgeois, and Ron Arad, an enormous inspiration is his wife, Delphine, a Paris-born interior

decorator. “She’s a confident, modern woman,” he explains.

“She understands quality and design and luxury, but in a very intellectualized way. It’s the same with the women I’m shooting for this portfolio.” Yes, Krakoff, who returned to Parsons to study photography, is also a rather accomplished lensman.

Aside from shooting the ads for Coach and now his own label (the latter, this season, starring Stella Tennant), he has also published a couple of books, including one featuring his blackand-white portraits of ultimate fighters. Additionally, he has an eye for décor and along with his wife has designed his flagship store, which opened in August in the former Miu Miu space on Madison Avenue. Comprised of pale gray walls, reclaimed Louis XVI wood floors, sleek felt furniture of Delphine’s design, and a few objets commissioned from Mattia Bonetti, it is as pared down, artful, and elegant as the clothing and accessories that fill it. “It is,” says Krakoff, a wide smile on his face, “one of the most exciting things I’ve ever done.” Karin Nelson

fashion

clarissa DalrYMPle Curator and art consultant Pictured at top: Trace, 2010. Artwork Beth Campbell. At right: Untitled, 2010. Artwork Esther Kläs Courtesy Nicole Klagsbrun Gallery, New York

Makeup Dick Page (Jed Root) Hair Kevin Ryan for R Session Tools (Art + Commerce) Photo assistant Cari Vuong Production Patti Day

MariKO MUNrO

Gallerist, 303 Gallery Pictured in background: Clouds. Artwork Hans-Peter Feldmann Courtesy 303 Gallery, New York

fashion

sunrise over the BrooKLYn BriDGe This spread: Dresses and boots Dior

Manhattan transfer the fall collections unfold along the cityâ&#x20AC;&#x2122;s streets

Photography Simon Procter Styling Ellen af Geijerstam 155

Dress Stella McCartney

Makeup Jurgen Braun (Artlist) Hair Seb Bascle (Artlist) Models Katie Fogarty, Kelsey Van Mook, Zuzanna Bijoch (Next) Photo assistants AimĂŠe Sohier and David Marvier

sunset at the ChrYsLer BuiLDinG fashion

rainfaLL at roCKefeLLer Center Clothing and accessories Hermès

A YEAR IN THE LIFE

SEPTEMBER 2009

JULY 2009 V60 fashion story by Sebastian Faena “The first time Gaga and I worked together.

This was the shoot that started it all.”

IN 12 MONTHS, LADY GAGA HAS ACCOMPLISHED MORE AS AN ARTIST THAN PRETTY MUCH ANYONE ELSE WE CAN THINK OF. HERE, HER FASHION DIRECTOR AND BEST FRIEND NICOLA FORMICHETTI RECOUNTS HIS TOP 15 GAGA MOMENTS

MTV Video Music Awards “A turning point for Gaga. We changed so many times that night, from the red lace vintage McQueen to the living dress that bled on its own. But it was never about a shock thing.”

Marc Jacobs/V Magazine party “It was the first time fashion people saw her live. She performed a very emotional acoustic set that people weren’t expecting.”

V61 cover by Mario Testino “Her first fashion magazine cover in an ultra-tan face and Marc Jacobs hooded coat.”

C OCTOBER 2009

NOVEMBER 2009 “Bad Romance” “ music video directed

by Jonas Åkerlund featuring finale look from Alexander McQueen S/S 2010 “Gaga loved McQueen, McQueen loved Gaga. McQueen used the song as the finale for the show and we thought this look would be perfect for the chorus of ‘Walk walk fashion baby.’ It was the first time that we brought high fashion into the music videos in such a direct way.”

Covers of The Fame e Monster double-CD by Hedi Slimane “This was about a stripped-down Gaga and creating timeless imagery. The polar opposites of Gaga pop and Hedi ultraminimalism merged into one. The two sides of the disc represented the yin and yang of Gaga.”

And the day after...

“The morning after the party we did a quick shoot in a souvenir T-shirt from the night before.”

JANUARY 2010

DECEMBER 2009 Performance with Francesco Vezzoli at MOCA’s 30 th Anniversary “Another turning point. This was an incredible collaboration with Miuccia Prada, Francesco Vezzoli, Frank Gehry, and the Bolshoi Ballet.

So many amazing artists from around the world came together in one place.”

“Alejandro” music video directed by Steven Klein “This was about creating a moving fashion image that looked almost painterly. It was the darker, more romantic side of Gaga, and Steven Klein really helped take it there.”

JUNE 2010 158

“Monster’s Ball” Tour video material directed by Nick Knight “We wanted to create a series of fashion videos for the ‘Monster’s Ball’ tour. It was the first time we collaborated with Nick.”

“Telephone” music video featuring Beyoncé directed by Jonas Åkerlund “A celebration of pop-consumerism and exploitation. It was also very much about female bonding. Beyoncé wanted to be Gaga’d up and she was very open.”

MARCH 2010

Meeting Queen Elizabeth II “We created this outfit that was an homage to the Queen but in PVC latex. Gaga told me that the Queen said something very special to her.”

Alexander McQueen tribute at the Brit Awards “One of my favorite performances that we’ve done together.

We wanted to create something that Lee would be happy watching from above.

It was a really emotional moment.”

FEBRUARY 2010

Grammy performance with Elton John “This was a huge performance with Gaga’s all-time hero: Elton John. It was also the first time we worked with Mr. Armani, who designed several Armani Privé pieces for the night.”

amFAR/M.A.C Viva Glam performance in collaboration with Terence Koh “We worked with Terence to create a look out of crushed pearls and M.A.C makeup.”

Marc Jacobs party photo courtesy Patrick McMullan; MTV, Vezzoli, Queen, Grammys, amFAR, Brit Awards photos Getty Images; T-shirt photo Max Abadian; “Monster’s Ball” photo courtesy Nick Knight

timeline slug

60 THOMPSON 6 COLUMBUS GILD HALL THOMPSON SMYTH ROOSEVELT THOMPSON DONOVAN HOUSE SAX SOHO

COLUMBUS CIRCLE

WALL STREET

LOWER EAST SIDE

TRIBECA

HOLLYWOOD

BEVERLY HILLS

WASHINGTON DC

CHICAGO

THOMPSON TORONTO

Photo by Karl Lagerfeld

www.karllagerfeld.com

FROM UPTOWN TO DOWNTOWN, EAST SIDE TO WEST, FALL FASHION TAKES A TRIP THROUGH NEW YORK’S WILD AND WONDERFUL STREETS. ONE THING’S FOR SURE, WE’RE NOT IN KANSAS ANYMORE!

SURE, RENTS ARE INSANE, THERE’S NOWHERE TO PARTY, EVERYONE HATES EVERYONE, THE SUBWAY’S A NIGHTMARE, IT’S WAY TOO HOT, IT’S WAY TOO COLD, THE KNICKS SUCK, AND SMOKES COST $13 A PACK. BUT THE BIG APPLE IS STILL THE BEST DAMN CITY IN THE UNIVERSE, AND THE ONLY PLACE WHERE YOU CAN BE ANYTHING YOU WANT TO BE WHEN YOU WANT TO BE IT. THESE 26 PEOPLE ARE MAKING THE CITY THEIR OWN WAY Photography Mario Testino Styling Nicola Formichetti

162

TYSon baLLoU moDeL

Marina abraMovic performance artist

necklace and shirt (worn as loincloth) Givenchy by Riccardo Tisci

suit, shoes, gloves Givenchy

by Riccardo Tisci top her own on hair, Oribe Dry texturizing spray

“i love everYthiNg but the sMell of chiNatowN iN the suMMer.” –aris schwabe

“tiMes i’ve beeN Mugged: thrice.” –Mark roNsoN

“it’s oNe of the greatest cities iN the world. it’s the greatest. but it’s becoMe so geNtrified. for art to happeN there has to be soMe fuNk, soMe chaos, You Need soMe decaY to create a balaNce aNd exciteMeNt aNd creativitY. so, i feel like that is reallY iN daNger aNd perhaps goNe awaY. i doN’t reallY kNow. i hope it’s Not goNe awaY.” –debbie harrY

“beMelMaNs, kalustYaN’s, Mogador, titaN foods, ideal cheese shop, astor wiNe, aNY hot dog veNdor iN ceNtral park.”

–Melia MardeN

“whY do we paY astroNoMical reNts for tiNY spaces wheN we could owN a large hoMe iN MoNtaNa? because theY doN’t have sexY puerto ricaN MeN iN MoNtaNa!” –ladY buNNY

“New York is everYthiNg.” –Marc Jacobs

“i kNew the raMoNes well. theY were crazY about MY dog alba, who starred iN oNe of their videos. walkiNg dowN the bowerY alwaYs Makes Me thiNk about theM.” –MariNa abraMovic “MY favorite New York MoMeNt? gosh, i hoNestlY doN’t eveN kNow where to start. doiNg trapeze oN the west side highwaY? kissiNg betweeN MoviNg subwaY cars? sleepiNg overNight iN ceNtral park? trYiNg to flY a kite dowN fifth aveNue? flashiNg aN old woMaN iN little italY?” –charlotte keMp Muhl

“love the vaNitY. hate the vaNitY.” –tereNce koh

“New York is a waY of life that chose Me, aNd Now i have a respoNsibilitY to be a New York thiNg.” –aaroN boNdaroff

“New York puts thiNgs iN perspective.” –ladY gaga

“i live iN tribeca Now. theY Just iNstituted stroller parkiNg iN the hallwaY of MY buildiNg. there’s 8 uNits iN MY buildiNg, aNd stroller parkiNg?! it drives Me Nuts.

Move to westchester! go awaY. i doN’t have aNYthiNg agaiNst the babies, it’s the pareNts!” –Jake shears

Liya Kebede MoDeL, ACTor, DeSIGNer of LeMLeM Suit Dsquared Shoes Michael Kors Necklace her own

andrÃ&#x2030; baLazs HoTeLIer Suit Emporio Armani Shirt, tie, shoes Giorgio Armani

JaKe shears MUSICIAN, SCISSor SISTerS

debbie harry MUSICIAN

pants Givenchy by Riccardo Tisci Boots Giorgio Armani Necklace and ring his own

Dress Donna Karan New York Belt and bag Giorgio Armani Shoes Calvin Klein Collection Tights Falke Necklace her own on lips, Giorgio Armani Cosmetics Armanisilk Lipstick in mocha

Maria hassabi CHoreoGrApHer Shorts 3.1 Phillip Lim Top, necklace, ring her own on hair, Oribe Volumista Mist for Volume

shaLa MonroqUe MAGAZINe eDITor Dress Miu Miu Bangles Alexis Bittar Bags (on right arm and shoulder) Emporio Armani Bag (her left) Hermès Watch, ring, shoes her own

aaron bondaroFF DoWNToWN DoN All clothing and accessories his own

Lady Bunny ENTERTAINER

Mark ronson MUSIC PRODUCER

Dress Geoffrey Mac Accessories her own

Suit, shirt, bow tie Ralph Lauren Black Label Shoes Gucci Ronson Socks Falke Ring his own Cuff links stylist’s own On hair, Oribe Gel Sérum

KaLUp Linzy perforMANCe ArTIST

chLoë seviGny ACTor

Coat Michael Kors Hat Cigmond at the Hat Shop NYC Underwear Calvin Klein Underwear Tights Falke Boots Dr. Martens earrings his own

Dress and shoes Miu Miu Bag Tous Socks Falke ring her own on skin, Giorgio Armani Cosmetics Sheer Blush in sand

racheL chandLer pHoToGrApHer

MeLia Marden CHef, THe SMILe

richard phiLLips ArTIST

fur Adrienne Landau pants Miu Miu Shoes Giorgio Armani

Dress Chloé Bag Louis Vuitton Shoes Christian Louboutin for 3.1 Phillip Lim Jewelry her own

Jacket and pocket square Tom Ford T-shirt Calvin Klein Underwear pants Rag & Bone Shoes Gucci Socks Falke

on hair, Oribe Soft Lacquer Hair Spray

Makeup Linda Cantello for Giorgio Armani Cosmetics (Joe Management) Hair oribe using oribe Hair Care Hair (for Lady Gaga and Marc Jacobs) recine (The Wall Group) Manicure Deborah Lippmann for deborahlippmann.com (The Wall Group) photo assistants Alex franco, roman Harper, Hans Neumann, felipe Sanguinetti Stylist assistants Brandon V Maxwell, Silvia Velencoso Segura, Anna Trevelyan, Jacqueline reed Makeup assistants Cedric Jolivet and Belinda Zollo Hair assistants Judy erickson and Kevin Apple Tailor Carlos Sanchez Set design peter Klein (frank reps) Set design assistant Alex perweiler production Jemima Hobson production assistants John Ciamillo and Alex o’Neill Videographer rafael D’Alo (Higher & Higher) Location Canoe Studios, NYC Catering rice NY retouching r&D

See a film of this shoot on vmagazine.com

MarTin cohn ACTor pants and shirt (worn around waist) Balenciaga by Nicolas Ghesquière Shoes Converse White leather jacket his own T-shirt stylist’s own

paUL seviGny NIGHTCLUB oWNer All clothing and accessories his own

LiLy donaLdson MoDeL Jacket Tom Ford Shoes Converse Sweater (in lap), shorts, jewelry her own

charLoTTe KeMp MUhL MoDeL Dress, vest, shoes Ralph Lauren Collection Bag Giorgio Armani on lips, Giorgio Armani Cosmetics Lip Wax in antique rose

Sasha wears Dress Oscar de la Renta Gloves LaCrasia Tulle netting from Mood Fabrics On lips and eyes, Giorgio Armani Cosmetics Rouge dâ&#x20AC;&#x2122;Armani Lipstick 402 and Smooth Silk Eye Pencil in black

UPTOWN &

From left: Freja wears Vest, skirt, necklace Lanvin Customized gloves Carolina Amato Tights (worn throughout) Falke Boots (worn throughout) Robert Clergerie Anna wears Jacket and belt Altuzarra Bracelet Lanvin Tights (worn throughout) Falke Boots (worn throughout) Robert Clergerie On hair, Oribe Volumista Mist for Volume

DOWN

FROM BERGDORFâ&#x20AC;&#x2122;S TO THE BOWERY, NEW YORKERS WRITE THEIR OWN RULES OF STYLE, THEN TURN AROUND AND BREAK THEM ALL Photography Mario Testino Styling Sarajane Hoare 175

Freja wears Top Givenchy by Riccardo Tisci Necklaces Lynn Ban Ring Patricia von Musulin Customized gloves Carolina Amato On eyes, Giorgio Armani Cosmetics Maestro Liquid Eye Liner

Carmen wears Skirt and top Donna Karan New York Gloves LaCrasia Shoes Brian Atwood Tulle netting from Sposabella Lace

Anna wears Coat and belt Lanvin Customized gloves Carolina Amato On hair, Oribe Dry Texturizing Spray

Freja wears Dress Gucci Belt Stella McCartney Large ring (her right) Lynn Ban Rings (her left) Patricia von Musulin Customized gloves Carolina Amato Fragrance Gucci Guilty

Sasha wears Jacket, bustier, skirt Louis Vuitton Tulle netting from Sposabella Lace On lips and eyes, Giorgio Armani Cosmetics Armanisilk Lipstick in rose mauve and Maestro Eye Shadow Quad in mineral

Carmen wears Bustier and skirt Nina Ricci Gloves LaCrasia Tulle netting from Mood Fabrics

Carmen wears Dress and jacket Haider Ackermann Shoes Manolo Blahnik Tulle netting from Sposabella Lace

Sasha wears Bodysuit Dolce & Gabbana Gloves LaCrasia Tulle netting from Sposabella Lace On hair, Oribe SuperďŹ ne Hair Spray Fragrance Dolce & Gabbana Rose The One

Anna wears Vest Ann Demeulemeester On eyes, Giorgio Armani Cosmetics Liquid Silk Eye Liner

Freja wears Coat Michael Kors Belt CĂŠline Necklace Alexis Bittar Customized gloves Carolina Amato

Sasha wears Dress Oscar de la Renta Gloves LaCrasia Tulle netting from Mood Fabrics On hair, Oribe ImpermĂŠable Anti-Humidity Spray and Soft Lacquer Hair Spray

Anna wears Top Céline Ring Lynn Ban Customized gloves Carolina Amato Freja wears Jacket Céline Necklaces Lynn Ban Customized gloves Carolina Amato Briefs Spanx

Makeup Linda Cantello for Giorgio Armani Cosmetics (JOE Management) Hair Oribe using Oribe Hair Care Hair color Anthony Palermo for anthonyleonardsalon.com Models Carmen Kass (Women), Sasha Pivovarova, Freja Beha Erichsen (IMG), Anna Selezneva (Silent) Manicure Gina Viviano (Artists By Next) Photo assistant Alex Franco, Felipe Sanguinetti, Roman Harper, Ivan Shaw Stylist assistant Ketevan Gvaramadze and Kate Grella Makeup assistant Cedric Jolivet Hair assistant Judy Erickson Videographer Rafael D’Alo (Higher & Higher) Production Jemima Hobson (Art Partner) Production assistant Alex Alfaro On-site production Roger Dong (GE Projects East) Location Splashlight SOHO Location van Shooting Star Catering Ilili Special thanks Soho Grand Hotel, New York Retouching R&D

See a film of this shoot on vmagazine.com

ST EL LA 190

P h ot o g r a P h y d av i d s i ms st y l i n g B e at B o l l i g e r hair guido makeuP lucia Pieroni

Sweater Stella McCartney On skin, Clé de Peau Beauté Powdery Foundation B10

Dress BZZ Tights Falke On hair, Redken Sheer Straight 06

Jacket Comme des Garçons Dress Maison Martin Margiela Tights Falke Boots Junya Watanabe Headband hairstylist’s own On skin, Clé de Peau Beauté Luminizing Enhancer Base

Coat Stefanel Skirt and boots Comme des Garรงons Socks Falke Hat CA4LA

Dress and sweater Manish Arora Ring (worn throughout) model’s own On hair, Redken Thickening Lotion 06 Body Builder On lips, Clé de Peau Beauté Extra Rich Lipstick in calliope

Striped top Y-3 Dress (worn backward) Louis Vuitton

Dress Manish Arora Sweater Calvin Klein Collection Tights Falke Shoes Yohji Yamamoto Hat CA4LA

Coat Manish Arora Hat Yves Saint Laurent Gloves Azzedine AlaĂŻa Tights Wolford Shoes Dusan

Sweatshirt Diesel Black Gold Sunglasses Mercura

Jacket Issey Miyake Dress John Galliano Turtleneck and leather pants (worn underneath) Stefanel Boots Junya Watanabe

Shirt Tommy Hilfiger On hair, Redken Rewind 06 Pliable Styling Paste

Hair Guido for Redken Makeup Lucia Pieroni for Clé de Peau Beauté (Streeters) Model Stella Tennant (DNA) Manicure Glenis Baptiste using Lancôme (MY-Management) Photo assistants Bjarne Jonasson, Johnny Dufort, Jan Lehner Stylist assistants Delphine Danhier and Harry Lambert Hair assistant Jarett Lovinella Makeup assistant Sandra Cook Digital technician Sam Garas Production Sarah Dawes Location Spring Studios, London Retouching Robert Moore for SKN

city oF god

Faith is a Force. supermodel Natasha poly takes a trip through a religious uNderworld iN aN ode to the Film holy mouNtaiN by director alejaNdro jodorowsky, the master oF loaded symbols Photography Mario Sorrenti Styling Jane How

202

Skirt Viktor & Rolf On lips, LancĂ´me Color Fever Shine Vibrant Lipshine in steamy

Dress Maison Martin Margiela Artisanal

Blouse Givenchy by Riccardo Tisci On brows, Lancôme Modèle Sourcils Brow Groomer in brunet

Belt with cutout mannequin attachment Jeremy Scott

Dress Rodarte

Once considered the cinematic heir to Luis Buñuel and Federico Fellini, Chilean-born director Alejandro Jodorowsky shocked and amazed audiences with his films El Topo and The Holy Mountain, which tell my thic, mind-blowing tales of spiritual transformation. “When I saw them,” says Mario Sorrenti, “I was inspired not only to reference them in a fashion story, but they also made me want to make films one day. The imagery is amazing, and his commentary on society, religion, politics and art is something that is still relevant today.”

Dress Craig Lawrence Tiger-head bra and brass nails made by Philipp Haemmerle

Faux-fur bodysuit Chanel On eyes, Lancôme Color Design Sensational Effects Eye Shadow Smooth Hold in best dressed and Le Crayon Khôl EyeLiner in black ebony

Dress Balmain Shoes Pierre Hardy

Makeup Aaron De Mey for Lancôme (Total Management) Hair Recine (The Wall Group) Model Natasha Poly (Women) Manicure Honey (Exposure NY) Lighting technician Lars Beaulieu Photo assistants Johnny Vicari, Yoni Goldberg, Javier Villegas Digital technician Xanny Handfield Stylist assistants Kerry Dorney, Jessica Roberts, Karin Öström, Dorothea Lucaci, Michael Sanchez Makeup assistant Frankie Boyd Hair assistant Tristan Waikong Set design Philipp Haemmerle Set design assistants Alois Kronschlaeger, Chris Kucinski, Dustin Highbridge Production Katie Fash On-site production Steve Sutton Location East of Hollywood, Brooklyn Printing Box

See a film of this shoot on vmagazine.com

Dress United Colors of Benetton Large silver ring (her left) and spiked ring (her right) Trash & Vaudeville Gold ring (her left) and round ring (her right) Digby & Iona On eyes, Dior Beauty Diorshow Extase Mascara in black extase

s a i n t m a r k ’s p l a c e The secreT of downTown sTyle? AnyThing goes when The ATTiTude is righT. if These eAsT VillAge denizens look righT AT home in Their mAgpie mix of kniTs, mesh, denim, And VelVeT, iT’s becAuse They Are Photography Alasdair McLellan Styling Beat Bolliger 216

Top Alexander Wang Skirt The Row Coat (worn at waist) McQ Leggings Pringle of Scotland Fishnet tights Falke Boots Bess Necklace Surface to Air Glasses stylist’s own Earrings (worn throughout) model’s own

Sweater and skirt Marc Jacobs Customized tights Falke Boots Dr. Martens Nose ring stylistâ&#x20AC;&#x2122;s own

Top Baby Phat by Kimora Lee Simmons Jeans Guess Bra and briefs Cosabella Bracelet Ann Demeulemeester Necklace with pendant Surface to Air Cross necklace modelâ&#x20AC;&#x2122;s own Ring (worn on thumb) Trash & Vaudeville All other rings Digby & Iona On skin, Giorgio Armani Cosmetics Face Fabric Foundation SPF12

Sheer dress Diesel Black Gold Fishnet top Trash & Vaudeville Pants Calvin Klein Collection Bra Cosabella Necklace Ann Demeulemeester On eyes and lips, Chanel Ombre Essentielle Soft Touch Eyeshadow in sand and NARS Cosmetics Semi-Matte Lipstick in morocco

Agyness wears Sweater Versus Skirt Stefanel Leggings Diesel Bra Cosabella Boots Dr. Martens Necklaces LowLuv Bracelets Ann Demeulemeester Ring Digby & Iona Mike wears Clothing, shoes, accessories Trash & Vaudeville

Agyness wears Sweater 3.1 Phillip Lim Pants Osklen Boots Dr. Martens Arm warmer Falke Necklace Surface to Air Rings Digby & Iona On skin, Guerlain Super Aqua-Day Comfort Cream SPF10 Mike wears Jeans, belts, necklace Trash & Vaudeville

Agyness wears Dress United Colors of Benetton Silver ring Trash & Vaudeville Gold ring Digby & Iona

Makeup Sally Branka (Julian Watson Agency) Hair Duffy (Tim Howard Management) Models Agyness Deyn (Women) and Mike Caiazzo Manicure Kris Kiss (Red PR) Photo assistants Gareth Powell, Christian Macdonald, Juan Jose Heredia Stylist assistants Delphine Danhier and Katerina Simonova Production Kona Mori (Art Partner) Onsite production Leone Loannou (Leone Ioannou Productions) Production assistant Annie Day Equipment rental TREC Catering Sweet Savories and Rice NY Location van Shooting Star Retouching Picturehouse

From left: Baptiste wears Sweater Dunhill Pants Chanel Belt Giorgio Armani Javier wears Turtleneck Uniqlo Pants Azzaro Belt Yves Saint Laurent Hat Yohji Yamamoto Lara wears Cape Fendi Bodysuit Dolce & Gabbana Brooch (worn as choker) Chanel Ring Chanel Fine Jewelry Stockings Agent Provocateur On cheeks, Lancôme Blush Subtil Powder Blush in pink l’amour On hair, Bumble and bumble Spray de Mode

JUAN, ANTON IO & JERRY THEY WERE NEW YORKERS WHO IGNITED PARIS WHILE DEFINING FASHION’S NEW LOOK. ILLUSTRATOR ANTONIO LOPEZ, ART DIRECTOR JUAN RAMOS, AND SUPERMODEL JERRY HALL PROVED THAT TWO IS COMPANY, BUT THREE CAN BE FABULOUS

Photography Karl Lagerfeld Styling Clare Richardson 225

From left: Javier wears Turtleneck Uniqlo Pants and boots Chanel Belt Yves Saint Laurent Baptiste wears Sweater Dunhill Pants and boots Chanel Belt Giorgio Armani Lara wears Bodysuit and belt VĂŠronique Leroy Fur stole Trussardi 1911 Necklace Boucheron Shoes Lanvin

Lara wears Coat and brooch (worn as choker) Chanel Swimsuit Nicole Miller Large ring Dior Fine Jewelry Smaller rings Chanel Fine Jewelry Shoes Fendi On hair, Bumble and bumble Styling Lotion Javier wears Turtleneck Uniqlo Pants Azzaro

From left: Javier wears Turtleneck Uniqlo Pants and boots Chanel Belt Yves Saint Laurent Hat Yohji Yamamoto Scarf Roberto Cavalli Baptiste wears Turtleneck Uniqlo Shirt, pants, boots Chanel Belt Giorgio Armani Lara wears Dress and belt Salvatore Ferragamo Briefs What Katie Did Ring Dior Fine Jewelry Bracelets Alexis Bittar Shoes Fendi

Portrait of Jerry Hall by Antonio Lopez, 1981

Polaroid photography Baptiste Giabiconi

From left: Baptiste wears Turtleneck Uniqlo Pants Azzaro Boots Chanel Lara wears Dress Karl Lagerfeld Shoes Fendi Ring Dior Fine Jewelry Javier wears Turtleneck Uniqlo Pants Azzaro Belt Yves Saint Laurent Boots Chanel

Lara wears Bodysuit Versace Necklaces and cuff Alexis Bittar Stockings Agent Provocateur On lips, LancĂ´me Color Design Lipcolor Smooth Hold in love it!

Baptiste (left) wears Shirt and pants Chanel Turtleneck Uniqlo Belt Giorgio Armani Javier (right) wears Turtleneck Uniqlo Pants Chanel Hat Yohji Yamamoto Scarf Roberto Cavalli

Juan Ramos, Jerry Hall, and Antonio Lopez photographed by Mary Ann Reinmiller for Interview, 1980

Jerry Hall by Antonio Lopez for Maison de Bonneterie, Amsterdam, 1972

Right: Karl Lagerfeld portrait by Antonio Lopez as part of an Instamatic series Far right, from left: Eija, Juan Ramos, Suzi Wyss, Jacques de Bascher, Karl Lagerfeld, and Antonio Lopez at Lagerfeldâ&#x20AC;&#x2122;s boulevard Saint-Germain studio, 1973

From left: Javier wears Turtleneck Uniqlo Lara wears Bodysuit Dolce & Gabbana Brooch (worn as choker) Chanel Ring Chanel Fine Jewelry Baptiste wears Sweater Dunhill

Makeup Aaron De Mey for Lancôme (Total Management) Hair Laurent Philippon for Bumble and bumble (Tim Howard Management) Models Lara Stone (IMG), Baptiste Giabiconi (MGM Paris), Javier de Miguel (View) Manicure Typhaine Kersoual (Jed Root) Photo assistants Olivier Saillant, Frederic David, Bernward Sollich, Xavier Arias Stylist assistant Rebecca Connolly Makeup assistant Frankie Boyd Hair assistant Anthony Deliperi Catering Artistic World Food

n the ’70s, New York was undoubtedly the place to be, but across the Atlantic, three Americans were changing the face of fashion irrevocably. The trio of illustrator Antonio Lopez, his art director boyfriend Juan Ramos, and supermodel Jerry Hall was the toast of the town.

They lived in Karl Lagerfeld’s elegantly spare apartment on the boulevard Saint-Germain, they partied endlessly at Club Sept, and they executed a body of work that defined the decade in fashion while igniting a craze for pastiche and referencing that redefined what a fashion image could be. It rages on today.

“Antonio had a hand that comes along once in a generation or two,” says Paul Caranicas, the late artist’s dear friend and executor of his estate. “He and Juan together were more than just the sum of two parts. Juan was a brilliant art director who channeled Antonio’s creativity in a million directions. And he brought the idea of sampling, which no one in fashion did at the time.”

Whether in the couple’s power portraits of the kittenish Hall or glossy photographs of bleach-browed Warhol muse Jane

Forth, everything—from art deco to pop to psychedelia—went into the blender to create a look that was radically new. It’s hard to imagine a time when a fashion image didn’t begin with a reference. But it was Lopez and Ramos’s early experiments— like a self-portrait for Vanity magazine that combined Lopez’s free-form, pop-bright aesthetic with a surrealistic lobster draped across his forehead—that paved the way of the future.

This fall, a compendium of Lopez’s Instamatic work will see release, serving as a who’s who for anyone who missed the glamorous thrills and spills of the time. The book includes glam snaps of everyone who made the ’70s scene, from the supermodel Pat Cleveland to a surprisingly playful and hirsute Lagerfeld, who poses in a shower wearing, less surprisingly, sunglasses. Lopez and Ramos, who died in 1987 and 1995, respectively, hit upon an aesthetic that influenced a generation of photographers and artists. Their picture of a fast-moving era is, now, the reference. Christopher Bartley

The Instamatics of Antonio Lopez is out in fall 2010 from Twin Palms Publishers

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t RDE p u yo n e h W G R S A L B K E DEREK BLASBERG When you put on n fh i th n m tre id a s ,yu k lo this look, you said it reminded you of the n tmother cild fa ro e h mo of a childhood friend..

S RBA U R A B BARBARA BUSH , OH One of my Texas friends, srid xa yT fm o e n s r her yw ra lite o m he mom literally wears vry sthis ke lo hi look everyy day. da . c rHer in m d a h style He style has stayed the same sincee the h and bell-bot-a 0 ’70s—a s— ’7 kb wi l silk -d n to u s button-down l-ohi shirt e b d n rta s ’ m to Id g ,lo c u iq e h ts.S an p tom pants. She is quite chic, although I didn’t r cmuch d lIg u e tic o n h mu notice until I got older.. r DB I think you look like Ali MacGraw. cG a M A le u yo k in Ith . w .IA B fu o ic t’svrn h T ly? a e BB R Really? That’s very nice of you. I love Ali t cMa c vl,h ifC n !Je raw G MacGraw! Jennifer Cavalleri, her character in e v Lo Love ry oStory, St alu y, o te absolutely bs ke y obroke m br rtw mya heart he when n he I was younger. Before I got to Yale, I expected c swa al,xp fItY r.B e g n u yo d all the girls on campus to look like her and alll kd l al u p am c n irlso g e th n e th a R ystlkie o b the boys to look like Ryan jic NO’Neal. n l.A a e O’ Anjelica a Huston was pretty amazing in the ’70s too, , sHu 0 ’7 h zig ym re sp a w n to k dan c iN S 0 r’7 ftp so ve a Ih and I have a soft spot for ’70s Stevie Nicks,, rse of course.. u o c H DB I know you founded the Global Health a lb G th e fd yu w o n Ik g r Co o d y.W rlith a e s p Corps earlier this year. What does the orga-d zni n tio a nization do? ? zB sim rp C th e H a b lo BB G Global Health Corps aims to mobilize skl,y our u tio ra n e g o r generation to use its skills, energy, and d d l ta ru g c a slvh to n e talent to solve health challenges arounde the h fsaw r wo p g n ityo u rc e .W ld world. We recruit young professionals to workk d r fo fc A rfisiE p o ltn a e h for health nonprofi ts in East Africa and the n i Un so a S d te United States on u ea — ip sh w fe g n rlo a yearlong y fellowship—our d l fe ru g th c ip n ke a sm w lo fellows make an impact on the ground now w H d an t.G lh ig c n arko b m e and embark on a career in global health. GHC C a l fellows srkn w lo fe work on ao rrange fp e g ofts,fro pprojects, m ec j from pro-e vidi m g viding n rtmedical o p lsu a cdi supporte i tomhomeless lstn ho teens in c wNe g n ild u b Jsyto w e rk,N a Newark, New Jersey, to building electronic p dme ,u w R n sytm d o lre a ic medical records systems in Rwanda, to sup-alw r porting rM h m sve o -p IV H g tin po HIV-positive mothers in Malawi.. e DB Did you always know that you wanted th n k s lw a u yo id D iy to move to New York City?

C rk Y w tN ve o m ? lip BB kn Y w N o e am firstc BI I first came to New York on a class trip in n lyb v se so Iw rad g th n e seventh grade and I was totally blown away by s — it a itw it—it was r e the e stin o m h most interesting, ,s g ust,m a busiest, be i magii gI’ l cal e lac p ca place vr I’d e d ever t ebe rsic ve .E n been. Ever since a nthen Iw he I wass to live here.. livh s desperate rato e p de

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On hair, j r, Arrojo o Ar ra So Set & Style Sprayy ylp S t& e

Minnie MoRtiMeR designeR uppeR east side DEREK BLASBERG You’re perfect for that ’70s silhouette.

MINNIE MORTIMER I am crazy for the silhouette! Today it is not always considered the most fl attering, but it really shows off a woman’s shape. Jeans are all about the backside—Calvins from the ’70s do the job well.

DB I know that you have your own fashion line. What era do you look to most for that?

MM For my line I am constantly referencing the ’60s—Slim Aarons photographs, Hitchcock fi lms, and the flower children.

DB Is there anything about the ’70s era that you particularly like?

MM Of course! The party vibe, the gilt, the sparkle, the wild and debauched. I missed the ’70s entirely—I was born in the ’80s—but I would have loved to do it up.

DB Which of that era’s icons would you most likely identify with?

MM Diane von Furstenberg. She gave women the freedom to feel sexy and professional with that wrap dress. I am crazy about all things DVF. DB You grew up in New York. Did people who were older than you ever talk about New York “in the good old days”?

MM My parents spent some time at Studio 54 and I have questioned them to death about it, poring over the old pictures for clues. It must have been wild, because they won’t tell me anything!

DB I know that you live in California now.

Do you like that part of the world?

MM Malibu has this free and natural vibe that is the perfect contrast to New York. I love having both sides of that coin. I love L.A. and I love to surf, but New York is where I grew up and where my family and heart are.

DB What’s your favorite thing about New York City?

MM The pace. The rate at which ideas are turned over, work is accomplished—the effi ciency of it all. That creates a powerful energy.

Top Michael Kors Bra Calvin Klein Underwear Jeans vintage Calvin Klein Jeans Belt Salvatore Ferragamo Necklace Bulgari Large cuff Patricia von Musulin Small cuff David Yurman Rings H&M

Maggie Betts FiLMMaKeR West ViLLage DEREK BLASBERG This is obviously a reference to New York in the ’70s. Is there anything about that era that you like?

MAGGIE BETTS I have a great deal of affection for all the better fashion iconography of the ’70s: Halston, Helmut Newton…truthfully, a lot of it still feels very edgy and seductive to me today. But what I love the most about the time period is its movies. Malick, Lumet, Altman, Friedkin— all the extraordinary film directors that came in and brought a new kind of starkness and realism to American cinema.

They really created their own sort of mood, one that was so completely incongruous with all the flash and Studio 54–pomp generally associated with the era.

DB Which ’70s icon do you most identify with?

MB I recently read Jane Fonda’s autobiography, My Life So Far, and found myself extremely moved and inspired.

Her all-in-one package of old-school Hollywood royalty combined with a rebellious and passionate lifelong commitment to social activism just makes her so badass and truly authentic to me. Not to mention she also had a string of some of the most intriguing and covetable men in history—just, like, one after the other, and I can’t help but admire the woman for that too!

DB Speaking of social activism, you’ve worked on a documentary.

MB I spent the larger portion of this year directing a film about AIDS in rural Zambia. It continues to be one of the most extraordinary experiences of my life. The film addresses the issue of prevention of mother-to-child transmission [of HIV], and follows the experiences of two fascinating young women, both of whom are HIV positive and pregnant and trying to save their unborn babies from AIDS. They became like sisters to me throughout the course of filming, and I love them more than I could ever express. The hardest part now is the editing process, trying to do them justice, depicting them in the most honest and poignant way.

DB What’s your favorite thing about New York City?

MB Why, the gay men, of course!

Shirt H&M Pants The Row Belt 3.1 Phillip Lim Necklace Cartier Earrings Patricia von Musulin Sunglasses (worn on head) Alexander McQueen Shoes Diane von Furstenberg On lips, Dior Beauty Rouge Dior Replenishing Lipcolor in dolce vita pink

aLLison saRoFiM FiLM pRoduceR West ViLLage DEREK BLASBERG We didn’t think we were going to find anyone to fit into those itty-bitty shorts, Allison!

How did you feel about your disco look in this picture?

ALLISON SAROFIM I loved my look, but I’m not so sure I could pull it off on a daily basis.

DB What about that hair?

AS The hair surprised us all. When the curlers came out, it took on a life, a big one, of its own. I am from Texas, you know.

DB You are giving us ’70s glam here. Is there anything about that era that you like?

AS I love it all! Yves Saint Laurent, Halston, Valentino, the art vibe, Warhol’s Factory, Rauschenberg, Jasper Johns, the club scene, Studio 54, Steve Rubell. It all just glitters, a lot.

DB What was it like when you got to New York? Did you always know that you wanted to move here?

AS I couldn’t get here fast enough. Growing up, my family came to New York quite often. I remember looking out of the hotel window, listening to the sirens, and watching the taxis drive by—those great old taxis—knowing I’d live here one day. I liked that the city never slept. It was all Bright Lights, Big City.

Jacket Jen Kao Shorts J Brand Belt Proenza Schouler Necklace Topshop Boots BOSS Orange Tights American Apparel Rings Sarofim’s own On hair, Arrojo Holding Spray

RacheL Roy designeR tRiBeca DEREK BLASBERG What about the ’70s did you like?

RACHEL ROY I’m in love with the ’70s. I grew up watching hippie-chic women with long frizzy hair and high-waisted dark denim and mens-style blouses tucked in. That was the entire first decade of my life.

DB As a fashion designer, have you ever mined this era for inspiration?

RR My collections are always influenced by the ’70s. Sometimes it’s by way of the ’40s, but I always have a goal of the relaxed glamour that women in the ’70s owned.

DB Which ’70s icons do you identify with?

RR I try to channel many of those strong, sexy, intelligent women: Bianca for her dark, effortless sexiness; Brooke for her eyebrows; Farrah for her voice and her hair; Diana for her body and her outfits; and DVF for her everything!

These women helped to shape the strong side of myself that I call upon daily to remind me that strong does not have to equal anything other than feminine ease and glamour.

DB What’s your favorite thing about New York City?

RR It’s the only city you can move to and become whomever it is you want to be—if you are willing to work really hard, your dreams can come true in this crazy, brilliant, beautiful, historic, and sometimes toxic city. Even when I lived in New Jersey after college—because I couldn’t afford to live in the city ten years ago—I drove to NYC to deliver my daughter because I wanted her to have New York City on her birth certificate.

Shirt Guess Skirt Marc Jacobs Necklace and belt 3.1 Phillip Lim Turban Camilla Staerk Earrings Robert Lee Morris Panther ring Cartier Black ring H&M On eyes, Dior Beauty Diorshow Unlimited Ultra-Lengthening Curving Mascara and Crayon Khôl in black

shoshanna gRuss designeR uppeR east side DEREK BLASBERG You look fabulous as a ’70s vixen.

SHOSHANNA GRUSS I had a lot of fun that day. I love dress up, and I love the ’70s. I romanticize that time. I see the pictures of me as a little girl and how gorgeous my parents were.

DB Do you think you would have been a 54 girl?

SG Oh, totally! You and I would have tore it up!

DB Have you ever mined that era or that generation for your fashion line?

SG The ’70s were a great time for swimwear, and I’m constantly recycling those inspirations in my swim collections. It’s when swimwear got skimpier and the prints got wilder—when swimwear got really sexy.

DB Tell the truth: how much do you love a jumpsuit?

SG I love a jumpsuit. It’s a newfound appreciation, though. I like the idea of just putting on one piece of clothing. Before it was a dress, but now it’s the jumpsuit. I guess basically I’m just really lazy. I can’t bother to put on two pieces of clothing.

DB You grew up in New York City. Have you ever lived anywhere else?

SG I was born and raised here and have considered myself a New Yorker my whole life. I spent a few years in L.A. during college, but came racing back home when I could. Kick me out of NYC, you might as well kill me too.

DB What’s your favorite thing about New York City?

SG There’s not much I don’t like.

Jumpsuit Vena Cava Belt 3.1 Phillip Lim Earrings and large ring Patricia von Musulin Gold cuff Robert Lee Morris Silver bangles Eddie Borgo for Jen Kao Shoes D&G Ring (her left) her own

dr. Lisa airan dermatoLogist gramercy park DEREK BLASBERG Let’s talk about that hair! Did you like it big and curly like this?

LISA AIRAN The hair is amazing. It reminds me of Guy Bourdin photos from the ’70s.

DB Have you ever worn so much denim and sparkles?

LA I am not usually a denim and sparkles girl, but I think Chloé did a great job with these.

DB This is obviously a reference to New York in the 1970s. Is there anything about that era that you like?

LA It seemed like a fun, experimental time. People wore their hair big, with bright, colorful makeup, and there was some great fashion: YSL, Halston, Giorgio di Sant’Angelo, Karl Lagerfeld doing Chloé, Zandra Rhodes, Jean-Charles de Castelbajac.

DB Which ’70s icon would you most likely identify with?

LA I love the way Bianca Jagger wore Victorian white then.

Jerry Hall looked so great with her long, flowing hair and Mugler dresses. The people I identify with are Jane Birkin, Charlotte Rampling, Loulou de la Falaise. These women had their own identifiable styles, which seemed effortless.

Marisa Berenson was, and still is, super chic. I love her in the new movie I Am Love, which epitomizes high style.

DB You’re from Chicago. Did you always know that you wanted to move to New York City?

LA New York is the greatest place to live. There are so many interesting people. Eventually all of your friends come through NYC.

Jeans and shirt Chloé Belt Givenchy by Riccardo Tisci Necklace Piaget Earrings Topshop Ring Patricia von Musulin

Makeup Mariel Barrera for Dior (Joe Management) Hair Dennis Lanni (Art Department) Manicure Dina Blackwell (Artists by Next) Photo assistants Alanna Gabin and Nick Sethi Stylist assistant Olivia Kozlowski Makeup assistant William Murphy Lighting technician Seth Goldfarb Digital technician Glen Fabian Location Splashlight SOHO Catering Rice NY

ByRdie BeLL actRess West ViLLage DEREK BLASBERG You loved your hat, didn’t you?

BYRDIE BELL Hats are a forgotten accessory in America, almost antiquated. It makes me appreciate the English, who still take pride in hats, gloves, and handbags. That said, one thing Americans haven’t forgotten are shoes.

You’d be hard pressed to find a woman here who doesn’t look after the Louboutins she’s coughed up a small fortune for.

DB You were excited to reenact some ’70s glamour. Is there anything about that era that you like?

BB The fashion! I was just watching Chinatown and found myself bewitched by the immaculate polish of Faye Dunaway. To me that character defines socialite style.

DB What’s your favorite film from that era?

BB Where do I begin? American Graffiti, The Last Picture Show, Amarcord...I would have loved to make movies in the ’70s!

DB Which ’70s icon do you most identify with?

BB Jerry Hall! She is so awkwardly chic—equal parts patrician and iconoclast.

DB I’ve always thought I would have loved Studio 54.

Would you have been down with that vibe?

BB Absolutely. My mother saved some press clippings from when she was a girl-about-town in the ’70s, and I make her tell me stories about what it was like. My favorites are the ones about Studio 54. It sounds so guiltless and joyful.

Top, bra, pants Araks Belt H&M Hat Stine Goya Earrings and gold cuff Patricia von Musulin Silver cuff David Yurman On lips, Dior Beauty Crème de Rose Smoothing Plumping Lip Balm

THE NEW AGE OF FORD

NEW YORK DOLLS From left: Rose wears Jacket vintage from Cherry Blouse Viktor & Rolf Pants Sophia Kokosalaki Earrings Noir Gloves (in hand) LaCrasia Shoes Giorgio Armani

Daiane wears Top and tights vintage Stephen Sprouse from Resurrection Boots Marc Jacobs Hat American Apparel Alana wears Coat vintage Stephen Sprouse from Cherry Jeans Trash & Vaudeville Custom hat Mack Dugan for Lester Garcia Studio Boots Junya Watanabe 242

TAKING CUES FROM A CAST OF ICONIC NEW YORK CHARACTERS, THE LEGENDARY MODELING AGENCY PRESENTS ITS FACES OF THE FUTURE Photography Paul Rowland Styling Lester Garcia

Rose wears Jacket vintage from Cherry Blouse Viktor & Rolf Pants Sophia Kokosalaki Earrings Noir On lips, Chanel Rouge Allure Lacque in coromandel

This spread: Helle wears Dress Balmain On eyes, YSL Makeup Noir Radical Mascara

Ana Claudia wears Top and skirt Mark Fast Earrings from New York Vintage Cuff and lucite ring Patricia von Musulin Multicolored ring Noir

Carmen wears Jacket Maison Martin Margiela Pins Noir On hair, Bumble and bumble Thickening Hairspray

Sima wears Jacket Jeremy Scott Bodysuit Leg Avenue Bra (worn underneath) Meadham Kirchhoff Bikini (worn underneath) LeatherBikini.com Ring Solange Azagury-Partridge Brooch Sculpture to Wear On skin, M.A.C Cosmetics Studio Sculpt SPF 15 Foundation in NC15

Rachel wears Coat Raf Simons Dress vintage Alexander McQueen from Cherry Gloves LaCrasia Boots Givenchy by Riccardo Tisci Headband stylistâ&#x20AC;&#x2122;s own On hair, Bumble and bumble Black Hair Powder

From left: Antonella wears Cape Givenchy by Riccardo Tisci Swimsuit Preen Collar Fleet Ilya from Coco de Mer Ring Coco de Mer Shoes Topshop Ming wears Dress vintage Stephen Sprouse from Resurrection Bandeau American Apparel Tights Falke Boots Marc Jacobs Hilde wears Shirt vintage Gianni Versace from Cherry Skirt and hood American Apparel Tights vintage Stephen Sprouse from Resurrection Gloves LaCrasia Bag Timmy Woods Shoes Bess

Emily wears Tank vintage Keith Haring from Cherry Skirt Capezio Earrings and charm necklace Gregg Wolf for Stephen Sprouse Multichain necklace JANIS by Janis Savitt â&#x20AC;&#x153;Yesâ&#x20AC;? necklace from New York Vintage Ring Robert Lee Morris Gloves LaCrasia Headscarf made by hairstylist

Alana wears Coat vintage Stephen Sprouse from Cherry Custom hat Mack Dugan for Lester Garcia Studio On skin, Chanel Vitalumière Satin Smoothing Fluid Makeup SPF 15 in ivoire

Daiane wears Top vintage Stephen Sprouse from Resurrection On eyes, M.A.C Cosmetics Technakohl Liner in graphblack

This spread: Hanne Gaby wears Dress Mary Katrantzou Customized jacket Schott by Lester Garcia Studio Jewelry Solange Azagury-Partridge Shoes Giuseppe Zanotti Design On hair, Bumble and bumble Curl Conscious Holding Foam

Karolin wears Jacket Graeme Black Shirt vintage Stephen Sprouse from Cherry On hair, Bumble and bumble Brilliantine

Antonella wears Swimsuit Preen Collar Fleet Ilya from Coco de Mer Necklace (worn as headpiece) Givenchy by Riccardo Tisci On eyes, YSL Makeup The Black Eyeliner

From left: Tao wears Jacket D&G Pants Maison Martin Margiela Cuff Patricia von Musulin Shoes Louis Vuitton Anna J wears Dress Dolce & Gabbana Jacket Schott from Motorcycle Federation Epaulette from New York Vintage Earring JANIS by Janis Savitt Ring Solange Azagury-Partridge Gloves LaCrasia Shoes Charlotte Olympia

Tao wears Cuff Patricia von Musulin On hair, Bumble and bumble Gellac On eyes, Dior Beauty 5-Colour Eyeshadow in smoky design

This spread: Karmen wears Dress Altuzarra Coat (in hand) Topman Earrings Solange Azagury-Partridge Shoes Manolo Blahnik

Makeup Janeen Witherspoon (Julian Watson Agency) Hair Franco Gobbi for Bumble and bumble (Art Department) Manicure Myrdith Leon-McCormack (Ford Artists NY) Lighting technician Jordan Seiler Production Brachfeld NY

FALL’S ACCESSORIES ARE SMART AND SOPHISTICATED, BUT THEY STILL PACK A PUNCH. IN SHORT, THEY’RE VERY NEW YORK Photography Adrian Gaut Fashion editor Catherine Newell-Hanson 1 Fendi crocodile bag, $27,300, available at Fendi, New York 212.759.4646 2 Hermès boot, $1,825, hermes.com 3 Tommy Hilfiger 25th anniversary clutch, $298, Tommy Hilfiger, New York 212.223.1824 4 Bebe clutch, $249, bebe.com 5 Fendi bag, $2,810, Fendi, New York 212.759.4646 6 Ralph Lauren Collection shoe, $550, ralphlauren.com 7 Armani Exchange bag, $185, armaniexchange.com 8 Aldo boot, $120, aldoshoes.com 9 Cesare Paciotti clutch, $600, 212.452.1222 10 Céline clutch, $1,050, The Webster, Miami 305.674.7899 11 Proenza Schouler clutch, $1,735, Barneys New York 212.826.8900 12 Mulberry bag, $850, Mulberry, New York, 212.209.8956 13 Marc Jacobs clutch, $1,195, Marc Jacobs, New York 212.343.1490 14 Guess minaudière, $55, guess.com 15 Melissa Loop shoe, $180, shop.akirachicago.com 16 Salvatore Ferragamo iPad case, $390, 800.628.8916 17 Dior lizard bag, $6,300, 800.929.DIOR 18 Dior boot, $1,250, 800.929.DIOR 19 D&G clutch, $565, 800.979.3038 20 Chloé boot, $850, Bergdorf Goodman 212.753.7300

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my name is Justyna i’m a 21 year old Student from Boston e-mail me! jlewinska@gmail.com

my name is Joshua i’m a 20 year old Fashion Student from Fonda, NY e-mail me! jfknowlton105@gmail.com

my name is Ysa i’m a 23 year old Photographer from Rochester, NY e-mail me! ysanyaperez@gmail.com

my name is Julian i’m a 21 year old Photographer from The Bay Area e-mail me! jschtatter@aol.com

my name is Nicola i’m a 27 year old Photographer from Berlin e-mail me! nicola.kast@gmail.com

my name is Jai i’m a 25 year old Photographer/ Creative Director from San Jose e-mail me! jailennard@gmail.com

my name is Sofie i’m a 19 year old Model from New York City e-mail me! sofieoosterwaal@hotmail. com

my name is Peter i’m a 28 year old Photographer/ Creative Director from Toronto e-mail me! peter@peterashlee.com

my name is Cristina i’m a 24 year old Artist from New York City e-mail me! ccovucci@gmail.com

my name is Shih-Han i’m a 24 year old Student from Taiwan e-mail me! shihhanhsiao@hotmail.com

my name is Yafa i’m a 4 year old Photo Director from New Yawk e-mail me! bigcitydreams@excite.com

my name is Jasper i’m a 22 year old Journalist from Amsterdam e-mail me! jasperrischen@gmail.com

my name is Lily i’m a 20 year old Student/Painter from Louisville, KY e-mail me! lilyfaget@gmail.com

my name is Josh i’m a 31 year old Director from New York e-mail me! josh_baker@yahoo.com

my name is Diane i’m a 24 year old Photo Agent from Paris e-mail me! ddourdin@gmail.com

my name is Alex i’m a 22 year old Student from Florida e-mail me! alexmercadodecastro@ hotmail.com

my name is Jana i’m a 21 year old Model from Germany e-mail me! janahamburg@gmail.com

my name is William i’m a 23 year old Musician from London e-mail me! outbreak8@hotmail.com

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