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drawn to fashion issue Shades of Couture Shapes of Pre-Fall Plus: Beauty, Bling, and Summer’s Next Big Things

83 sUMMER 2013

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The young icon shows the world her true colors with a brand new sound Miley Cyrus in Chanel Photographed by Mario Testino Styled by Carlyne Cerf de Dudzeele

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Clothing by Gerlan Jeans, Photography Mari Sarai, Styling Avena Gallagher, Hair Charlie Le Mindu at Artlist, Makeup Michelle Rainer, Models Sheena at Elite and Kinee at IMG, Photography Assistant Sarah Neale. VFILES.COM


ShoeS SalVatore FerragaMo varina in acqua Scarf (aS Sail) eMilio Pucci

From the Editors


Powerful women are well represented in this edition, starting with sexy actress and author Kim Cattrall and performance artist/icon Marina Abramović, who divulge just how much they revel in one another’s company, their synergy fueled by mutual appreciation and humor. Inez van Lamsweerde has found a new muse in a woman who tests gender boundaries, androgynous model and budding artist Casey Legler. We even go to Japan, courtesy of photographer Benjamin Alexander Huseby and stylist Jodie Barnes, to get to know the unstoppable female acts that are all the rage in the Far East. As is always the case, fashion is our passion—and when it’s married with incredible illustration, we fall in love all over again. The incomparable François Berthoud draws a handful of key looks from the couture collections. Kacper Kasprzyk captures model Sam Rollinson in the most voluminous pieces from Pre-Fall. Finally, photographer Mario Sorrenti previews his upcoming tome, Draw Blood for Proof, a visually stunning, autobiographical snapshot of his early personal and professional life in New York (for more on this book, turn to page 96, where we ofer his heartfelt chat with publisher and collaborator Pascal Dangin). The issue ends with a preview of what’s to come. Fine art illustrator Ricardo Fumanal lends his skilled hand to sketch the impressive Fall collections of six incredible female designers, including Rei Kawakubo, Miuccia Prada, and Phoebe Philo. Inspiration is all around us, and art, in all its forms, is everywhere. You just have to know where to look. Here’s a start. Ms. V

Photography Dan Forbes Fashion Christopher Barnard

“I’m not bad, I’m just drawn that way.” —Jessica Rabbit The summer season is upon us, and for your far-flung holidays we the editors felt compelled to provide you, dear reader, a glossy book brimming with inspirational material. Dedicated to the symbiosis of art and style, we present a bouquet that celebrates the diverse influences that fuel modern-day fashions. Fearless and fearlessly creative, these works can’t help but inspire anyone who harbors imaginative leanings. In this issue, a variety of artists engage in conversation with each other, offering rare glimpses into their techniques and fascinating whims. We start with a cover star that can’t be beat. Miley Cyrus, photographed by Mario Testino and styled by Carlyne Cerf de Dudzeele, is the Halley’s Comet of the music world. The girl is all heart. She can sing, dance, and has learned to embrace life (even the not so savory stuf ) as it comes. Here, the Southern charmer reveals to her friend, Pharrell Williams, who produced her forthcoming hip-hop-infected album, what the world is slowly starting to realize: at 20 years old, Miley is no longer intimidated by detractors. Her honest approach (and incredible new sound) might represent her fnest moment yet. Elsewhere in the issue, French artist Jean-Paul Goude waxes poetic on the world of ’70s countercultural cartoonist Robert Crumb and discusses what it’s like to work lado a lado with Spanish auteur Pedro Almodóvar. Robert Longo, meanwhile, reveals how the photojournalistic nature of his work is oft inspired by his dreams, the “visualizations to the hallucinations.”

model wears Bikini and hat JOE FRESH sandals HERMÈS watch GUESS sunglasses GUESS towel RALPH LAUREN

ESTéE LAUDER Pure color long lasting liPstick in solar crush

In This Issue 32 V LIKE TO PARTY CR gets chic at the Shangri-La, Chanel shines bright with a pre-Oscars bash, and Mario Testino takes Hollywood hostage 34 HEROES Jean-Paul Goude salutes the incomparable R. Crumb; Robert Longo lets us in on his hallucinatory vision 38 SKETCH TROUPE Browse a few of our favorite examples of why graphic composition is nothing short of fne art 40 FASHION, INK. These illustrious illustrators have crafted their way into the fashion hall of fame 42 RISKO & REWARD Warhol’s protégé Robert Risko renders a few of fashion’s most eminent fgures 44 EXTRA Nicola Formichetti’s big new gig, Karl Lagerfeld’s plastic passion, Kylie Minogue’s major new monograph, plus Gatsby, The Bling Ring, summer music, and more!

56 WORK IN PROGRESS Lydia Venieri’s fantastical sculptures, Marcel Dzama’s perfect perforations, and Walter Robinson’s erotic brushstrokes 60 DRAWN TOGETHER Unlikely pals Marina Abramović and Kim Cattrall spill the beans on what makes them close 64 ABOUT FACE See the summer’s most sought-after shades on the visages of V’s favorite supermodel babes 66 PATTERN LOCK Pre-Fall’s bold, graphic prints give new meaning to the term “optic nerve” 28

78 THE EMANCIPATION OF MILEY BY MARIO TESTINO The former teen dream sheds her skin (and her shirt) proving once and for all she’s not out to prove a thing. For V, she chats with her producer, Pharrell Williams, about her big new sound 88 THE BEST OF BOTH WORLDS BY INEZ & VINOODH The artist and androgyne taking men’s modeling by storm sits before the lens of her new biggest fan. Get to know Casey Legler 92 MEMENTO BY MARIO SORRENTI Sorrenti gives a sneak preview of his upcoming monograph chronicling his early work. Pascal Dangin takes him on a trip through time 96 PUMP UP THE VOLUME BY KACPER KASPRZYK The shape of fashion to come has never been foretold so clearly as in these Pre-Fall standouts 106 ALMODÓVAR GETS GOUDE BY JEAN-PAUL GOUDE Two of Europe’s most brilliant minds hit new creative heights with a collaboration decades in the making 110 DRAWN TO COUTURE BY FRANÇOIS BERTHOUD The famed illustrator captures the beauty of couture in its purest form 116 BEAUTY AND THE BLING BY RICHARD BURBRIDGE Check out Summer’s boldest beauty with the season’s brightest jewelry. It’s sure to make your eyes pop 122 FACE THE FUTURE BY RICARDO FUMANAL These six fearless females are ruling Fall’s runways. Get your frst glimpse of the fnery to come 128 BON V VANTS: STRUT AND SHOUT Editor-at-Large Derek Blasberg taps illustrator Jamie Lee Reardin to draw some of street style’s most fashionable creatures

Photography Dan Forbes Fashion Christopher Barnard Beauty Nicole Catanese

50 V GIRLS From a new fresh face to a rock-and-roll scion, meet Tinseltown’s next generation of true stars

72 BIG IN JAPAN Meet the Land of the Rising Sun’s rising stars of music and art

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V83 Mario Testino  Inez & Vinoodh  Mario Sorrenti  Jean-Paul Goude  Hedi Slimane  François Berthoud  Richard Burbridge  Robbie Spencer  Kacper Kasprzyk  Collier Schorr   Benjamin Alexander Huseby  Jodie Barnes  Robert Risko Santiago & Mauricio  Tony Irvine  Daniel Sannwald  Sabina Schreder  Jason Schmidt  Philippe Vogelenzang  Brandon Maxwell   Dan Forbes  Brendan James Jo Ratclife  Ricardo Fumanal  Aurore de la Morinerie Mark Jacobs Tifany Godoy Pierre Alexandre de Looz Natalie Evans-Harding Ashley Simpson Kate Branch Nicole Catanese

Special thankS Art Partner Giovanni Testino Amber Olson Candice Marks Charlotte Draycott Lindsey Steinberg Jef Stalnaker Alexis Costa Allison Hunter Michelle Lu Art + Commerce Jimmy Mofat Philippe Brutus Amanda Fiala Ian Bauman Dyonne Venable Jessica Daly Larissa Gunn The Collective Shift Jae Choi Brenda Brown Aeli Park Marc Kroop Brian Anderson Box Virginie Laguens Katie Fash Total Justinian Kfoury Alexandre Camille-Removille Cadence NY Neil Cooper Mark Day Cesar Leon Rep Ltd George Miscamble Intrepid Anya Yiapanis Rosie Maguire Brydges Mackinney Streeters Sofe Geradin Kim Pollock Yann Rzepka Artist Commissions Felix Frith Shea Spencer CLM Cale Harrison Katja Martinez Christine Marchand Manja Otten 2DM Management Zaki Amin D+V Management Lucy Kay Andy Phillips Tim Howard Management Artlist Paris Jed Root Inc. Frank Reps JOE Kate Ryan Inc. The Wall Group The Magnet Agency Exposure NY Artists by Timothy Priano Melbourne Artists Management FORD NY IMG Ivan Bart Jennifer Ramey Anne Nelson Kyle Hagler LaTrice Davis Marilyn NY George Speros Evelien Joos Nathalie Models Women Paris Parts Models Splashlight SOHO Shell Royster Fast Ashleys Brooklyn Michael Masse Neo Studios Root [TREC+EQ+Capture+Studios] Siren Studios Jack Studios Daylight Studios Studio Zero Blank Digital Samuel Ellis Scheinman GE Projects Roger Dong Gabe Hill Foundation World Yuko Arakawa Giuliano Argenziano Sidney Russell Allison Brainard at Abramovic LLC Sean Kelly Gallery, New York

cOVeR phOtOgRaphy maRiO teStinO faShiOn caRlyne ceRf de dudzeele miley cyrus wears (on Dior cover) jacket diOR Briefs ameRican appaRel Boots fRye (on chanel cover) Bikini chanel tank calVin klein BoDy chain her own lORRaine SchwaRtz (on louis vuitton cover) Pants anD Bag lOuiS VuittOn glove patRicia field nike+ fuelBanD (throughout) stylist’s own Makeup James Kaliardos Hair Oribe using Oribe Hair Care (Oribe Salon Miami Beach) Manicure Gina Viviano (Artists by Timothy Priano) Digital technician Christian Hogstedt Photo assistants Benjamin Tietge, Emilio Garcia, Patrick Roxas Stylist assistant Kate Grella Makeup assistant William Kahn Hair assistants Judy Erickson and Greg Bitterman Tailor Malisa (InHouse Atelier) Production Michelle Lu On-set production Roger Dong and Dina Chappo for GE Projects Videographer Look Films Location Jack Studios Catering Shoot Food

inteRnS Sarah Alkhaled Morgan S. Boyer Sara Kim Viktoria Kim Ali Kornhauser R. Vincent Patti Sandro Romans Chun Hung Wang Wendy Yanan Wang Jonathan Wehner phOtOgRaphy dan fORbeS faShiOn chRiStOpheR baRnaRd beauty nicOle cataneSe 30

Makeup Cedric Jolivet (JOE) Model Mari P (Parts Models) Manicure Maki Sakamoto for Essie (Kate Ryan Inc.) Set design Matt Jackson (Brydges Mackinney) Digital technician Will Styer Photo assistants Meron Menghistab and Mohamed Sadek Location Root [Brooklyn]


Jessica Chastain

Riccardo Tisci

Joan Smalls

Maria Grazia Chiuri

Pierpaolo Piccioli

Olivier Theyskens

Adrien Brody

Jessica Alba

Alessando Satori

Julia Restoin Roitfeld

Kate Moss

Carine Roitfeld

Yves Carcelle

Stephen Gan

Gareth Pugh

Edita Vilkeviciute

Kanye West

Karl Lagerfeld

Peter Dundas

Alber Elbaz

Farida Khelfa

Nicole Richie

Magdalena Frackowiak

Theophilus London

Caroline de Maigret


Carine roitfeld and stephen gan host a blaCk-tie gala, presented bY MerCedes-benZ, to Celebrate the launCh of Cr fashion book issue 2 at the shangri-la, paris

Rosie Huntington- Whiteley

Poppy Delevigne

Lily Collins

Kate Bosworth

Zoë Kravitz

Lisa Bonet

Chloë Moretz

Ginnifer Goodwin

Rose Byrne

Nora Zehetner

Felicity Jones

January Jones

Emily Mortimer

Marisa Tomei

Sunrise Coigney

Alessandro Nivola

Rosetta Getty

Mark Ruffalo

Balthazar Getty

Bella Heathcote

Kirsty Hume

Radha Mitchell

Gia Coppola


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Liberty Ross

Dree Hemingway

Rachel Roy

Chanel Iman

Phil Winser Quincy Jones

Naomi Campbell

Pamela Anderson

Mario Testino

Juliette Lewis

Gisele Bündchen

Zac Posen

Tom Brady


Irina Shayk

Miley Cyrus

Karolina Kurkova

Carolyn Murphy

Mario testino Celebrates the launCh of his neW eXhibition at the prisM gallerY in los angeles 32

Greg Chait

Lincoln Pilcher

P. C. Valmorbida

Jennifer Missoni

Traci Ellis Ross

Tommaso Cardile Lapo Elkann

All photos Billy Farrell/ and David X Prutting/

James Kaliardos

Kim Kardashian

“The Nightmare” © R.Crumb, 1970



Famed image-maker Jean-Paul Goude salutes the rebellious illustrator and reluctant hero of the underground comix era Let’s go back in time, to around 1969 or ’70. I had just arrived from Paris to start my new job at Esquire. Like most of my illustrator friends, I was a devoted fan of Robert Crumb. But unlike those who adored him for the subversive side of his work, for his hippie-icon aura, I worshipped Crumb the artist, the draftsman, the virtuoso, the great dessinateur, regardless of the content of his work. So when Harvey Kurtzman, the king of comics of the ’60s and creator of Little Annie Fanny among other masterpieces of the genre, invited me to an East Village Other draw-in with Robert Crumb, I jumped at the opportunity. A draw-in is a sort of graphic jam session, a sort of relay in which one by one several artists take over a section of one another’s drawings to eventually create a fnished work. Other illustrators and artists such as Barbra Nessim, Alain Lesaux, Spain Rodriguez, Gilbert Sheldon, and Harvey Kurtzman himself, were on hand that night, in the empty art department of the East Village Other. Needless to say, I was very impressed, especially when from the corner of my eye I discovered Robert Crumb in the fesh, bent over the table, which was covered by a large sheet of white paper, his face half an inch from the picture he had just started—with no pencil preparation whatsoever. I was in such awe I felt dizzy. It was like seeing Nijinsky jump in the air or Philippe Petit walk his tightrope between the Twin Towers. I was so overwhelmed that when my turn to draw came, I was paralyzed by shyness and I chickened out miserably. More than thirty years have passed since that night and I have had plenty of time to build up my confdence, but I must confess that if I was given a second chance to draw in the presence of Crumb, I’d chicken out again. Jean-Paul Goude


Clockwise from left: Untitled (My Wife, Barbara, in a Burka), 2010, Charcoal on mounted paper, 96 x 70 inches Untitled (Mysterious Heart), 2010, Charcoal on mounted paper, 70 x 105 inches Untitled (Old Glory), Diptych, 2011, Charcoal on mounted paper, 94 x 120 inches (overall)


The American icon/artist describes his thoughtful process and why he considers his works to be a “visualization of a hallucination”


Magazines were critical in my development as a kid, they were the way I read the world. Perhaps part of the reason I work in black and white is because of those early influences from journalistic photos. I think black and white represents the truth. These picture-filled magazines had a much greater impact on me than television did, because I could look at them and study them over and over again. Read the pictures—it’s like the difference between listening to someone talk and reading. Your drawn work painstakingly rephrases the world as seen through the photojournalistic camera or classic movie lens. What happens in the process? RL The images I make may look photographic in nature, but they could actually never be photographs. I manipulate and alter the picture and compositions of an image to achieve the effect I want. I use the photographic sensibility because I think we see the world in photographs, our memories are like photographs. There is traditional representation and then there is modernist abstraction. I think my work exists somewhere in between. I translate photographs by hand. How do you think the kaleidoscope of the Internet and digital imagery is twisting what we accept as iconic images or even art? Case in point: your being asked if “Men in the Cities” was based on iPod ads... RL It becomes an issue of ownership. If a work is successful, it enters the world and gets lost, meaning that I give up ownership as the artist and the work becomes a part of the popculture image vocabulary. I think the Internet is an ocean that I fsh in or a forest I go hunting in. I know the kind of image I want to make and I search out the possibilities. Are you into remembering your dreams, and is this ever part of your work or part of its message? RL Dreams helped me resolve many problems in my work, for sure. Making art is a great deal like trying to reconstruct a dream—you think you know what the image is, but the difficulty is to construct the details. It’s a visualization of a hallucination. 

Courtesy Robert Longo (3)

It takes a mind like artist Robert Longo’s to point out how contemporary art is like basketball. If his work seems to dip into photojournalism, editorial illustration, and advertising, don’t be duped. Much like a dribbler’s crossover, these moves are masterful fakes in service of a higher purpose. Longo, who has hit the court weekly for years in his native Brooklyn, has always hunted something deep, irrevocable, and real with his art. Though the work has materialized as sculpture and set design, it is his heroically scaled images in black and white, strikingly rendered (often in charcoal and graphite), that defne a several decades–long career, one over which the well-known series “Men in the Cities” (1979–81) still looms large. Longo developed these images—full-length depictions of men and women suited in stark nouvelle-vague chic and caught in the midst of ecstatic conniptions—from a newspaper reprint of a movie still. The string of appropriations behind that series reveals a uniquely American tradition in which the cultural voracity of pop meets the incisive edge of conceptual art, a mode Longo continues to press as he culls and rarifes images to a psychological fash point. His timing of the court may be just as good as on it. If culture these days looks like a senseless spittoon of déjà vu, Longo, on the other hand, has a clean shot. Pierre AlexAndre de looz

Iconic, American, monumental, euphoric, and also grave are some of the words used to describe your images. Are you something of a national historian, or a serious satirist? RL Yes, I am an American. I am not a satirist, nor am I interested in hipster irony, my intent is to say what I mean and mean what I say in my work. Historian, no, that’s usually the work of folks who never lived through it. I am here now, working today. Perhaps the best way I can describe my practice is that I think of myself as a reporter working with pictures and trying to record what it’s like to be alive now, in this time. I make advertising that has no sponsorship of a religion, government, or corporation. My work is an advertisement for believing in something that is bigger than oneself. Art has the chance to tell the truth and not fashion it. What themes are you tackling in your upcoming shows? Are you veering off your present track or digging deeper? RL In my upcoming show in Salzburg, Phantom Vessels, I am recharging classical archetypes by reactivating mythology. I am using history in much the same way that I use the ancient medium of charcoal. I feel as if I’m drawing on the walls of the caves of our time. My investigation with these charcoal drawings continues to go deeper as I fight the desire to get all messy and impressionistic with the technique. Perhaps I am trying to amplify the abstraction without the use of banal and easy ways. How did you develop this new work? RL One must always frst listen to the work, it will lead you, suggest direction, and participate in its own making. In my practice there has always been these transcendental periods of time that require a meditation and thinking and searching. I use walking as my vehicle. What are some of your favorite new or vintage illustrated magazines? RL Life, Sports Illustrated, National Geographic, comic books, Playboy, Surfer, Hot Hod. I am dyslexic, so I didn’t start seriously reading until my mid-30s. Now I’m a voracious reader.


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sketch troupe

Keith Mayerson Rebel Angel (Trevor Machine), 2010 Unlike similarly talented painters, Keith Mayerson has never entirely exploded, though the world is littered with his piercingly detailed portraits. Over the past twenty years, his subjects—from River, Keanu, and Bieber to President Obama—and shifting, virtuouso style have chronicled a view of American culture that reverberates as personal and universal alike. In May his New York gallery, Derek Eller, will present their fifth Mayerson solo show, though many today still discover his work through his 1997 graphic novel, made with author Dennis Cooper, Horror Hospital Unplugged.

Though their techniques and practices may difer, these six artists are drawn together by their vibrantly rendered work, colorfully reminding us just how animated life can be

Raymond Pettibon No Title (I Work Upstairs), 2011

text kevin mcgarry

Tovaglia, 1951 At age 94, self-taught Italian artist Carol Rama predates the outsider/insider binary. Of course she fts both descriptions anyway. In her 20s, in the wake of a family tragedy, she began to make waves in Fascist Italy, where her sexually explicit drawings drew the attention of the Turin State Police and other authorities. Over time, however, her art was embraced by gallerists, patrons, and contemporaries, including Man Ray, Warhol, and Buñuel. Her rediscovery of sorts over the past thirty years has introduced new generations to her provocative, personal style.

Nicole Eisenman

Barry Doupé

Elizabeth Peyton

Untitled, 2012

Whaty, 2012

Live to Ride (E.P.), 2003

The paintings and collages of Nicole Eisenman, a true expressionist, are marked by wild variation. Sometimes she illustrates quotidian scenes from bohemia—the dinner party, the biergarten—whose players are articulated in diferent styles and palettes, bringing to mind dissonant moods and points in time. At others she detaches her subjects from place and personage entirely, indexing faces in messy lines and smears, as if illustrating abstract trading cards. Two walls of the latter made a big splash at the last occurrence of the Whitney Biennial.

The animated fantasies of Vancouver-based artist Barry Doupé are, in a word, alienating. Rendered in the clunky poetry of retro 3-D graphics, his characters speak volumes—in circles, and often in broken English or foreign tongues—sharing their most profound as well as patently trivial observations on life. Entirely artifcial, somehow these colorful worlds wash over a viewer with a thoroughly organic feeling. In defance of time and space, Doupé invents a logic all his own, one that fnds pitch-perfect expression as something between humorless dreams and a riotous manifesto.

While her work is famous for its intimate smallness, there is nothing undersized about the career of Elizabeth Peyton, who emerged in the superheated 1990s among a class of more conceptually audacious art stars. With an economy of brushstrokes, she has captured the likeness of many a beacon of popular culture, from Kurt Cobain to Kanye to the Kennedys, the Windsors, and the Strokes. Recently her oil paintings have taken a turn toward the inanimate, plumbing the still life genre for classical sentiments that resonate today.


Clockwise from top right: courtesy Regen Projects, Los Angeles © Raymond Pettibon; courtesy Elizabeth Peyton and Gavin Brown’s enterprise; courtesy Barry Doupé; courtesy Nicole Eisenman and Leo Koenig Inc., New York; photography Tom Powel Imaging; courtesy Carol Rama and Galerie Isabella Bortolozzi, Berlin

Carol Rama

Among the most recognizable images from the prodigious output of Raymond Pettibon—who came up through the L.A. punk scene—are album covers for bands like Sonic Youth, Foo Fighters, and his brother’s own Black Flag, for whom he designed the iconic four bars logo. These days his cult-hero status is as established in contemporary art as it is in music. His drawings, murals, and books, stylistically reminiscent of comics, take a dark, hard-edged swath of Americana as their subject matter—baseball, surfng, suits, ladies, misfts, movies, politics, the works—and pull it all together with unnerving captions and text.


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Antonio Lopez

Mats Gustafson

born: 1943, Puerto Rico ethos: A wizard with pencil and paint (and quick-fngered with a Polaroid), this mustachioed dandy drew from life, and was as careful with his castings as with his colors. The result? Portraits of fashion. copilot: The dashing art director Juan Ramos was Antonio’s creative partner. beauty ideal: Long, lean, unexpected beauties, like Jane Forth, Jerry Hall, and Pat Cleveland.

born: 1951, Sweden ethos: While fashion roars, Mats whispers. Fuss interests him not at all, but silhouette does, immensely. Known in the ’80s for bold geometric lines in pastels, over time his work has morphed into fuid watercolors from which fashions and shadows from light appear as quietly powerful as a midnight sun. copilot: Visionaire, Harper’s Bazaar, and Italian Vogue have commissioned some of Gustafson’s most memorable works. beauty ideal: Confdent, serene, unforgettable.

Ruben Toledo

Julie Verhoeven

born: 1961, Cuba ethos: Illustration and a fair for dress might be the most visible of Ruben Toledo’s many talents, but even a quick study of his work reveals him to be a sociologist and calligrapher as well. Fashion is not something abstract to Toledo—it is lived, on the street, through his brush and becomes animated in the seams and folds of his wife Isabel’s clothing designs. Though he’s painted the world for Louis Vuitton, illustrating its city guides, it’s the free-spirited energy of downtown New York that permeates Toledo’s drawings. copilot: His red-lipped, raven-haired spouse. beauty ideal: See copilot, above.

born: 1969, England ethos: Kitsch-loving and music-obsessed Julie Verhoeven creates works that are mash-ups of media and message: a wistful waif might be depicted in candy colors, a playful sketch might also be an erotic one. Confdently executed with strong lines, Verhoeven’s work is unafraid to expose her process in splatters and smudges. She fnds beauty and delight in imperfection. copilots: Verhoeven has been courted as a collaborator by the biggest brands, including Louis Vuitton, Versace, and Mulberry. beauty ideal: Sad-eyed Lolitas and fat-bottomed girls—the latter is the title of her 2002 book, in which she illustrates her favorite records.

Tony Viramontes born: 1956, Los Angeles ethos: Maybe Tony Viramontes’s own beauty predisposed him to capturing that of others. What is certain is that this artist, with his confdent and lightning-fast hand, had the ability to distill the essence of chic or reveal a person’s character with a minimum of lines. Yet his work was anything but minimal: Viramontes shared with Antonio Lopez a vibrant sense of spontaneity, and with Patrick Nagel an interest in the graphic New Wave look of the ’80s. copilot: The in-demand Viramontes had a special relationship with Valentino, whose ads he illustrated. beauty ideal: Shrinking violets were not of interest to Viramontes, who preferred his women ferce (hence the album cover he designed for Janet Jackson’s Control), while his men were part pretty boy and part Tom of Finland. 40

Clockwise from top left: Fantasia (1920), © Sevenarts Ltd.; Fashions of the Times (1965), courtesy Galerie Bartsch & Chariau, Munich; Linda Evangelista (1999), courtesy Galerie Bartsch & Chariau, Munich; Rolling 1 (2012), courtesy Julie Verhoeven; Isabel Toledo Jellyfsh Collection (1994), courtesy Ruben Toledo; Janet Jackson Control (1985), from Bold, Beautiful and Damned, the World of 1980s Fashion Illustrator Tony Viramontes by Dean Rhys Morgan (expected 2013), courtesy Tony Viramontes Studio Archive

Erté born: 1892, Russia ethos: Born Romain de Tirtof at the turn of the 20th century, he became a brand—before the concept took on its modern characteristics—when he styled himself Erté (the sound of his initials, R. T., when pronounced in French). His work is an exemplar of Art Deco style, sophisticated, remote, with a hint of fash that is a remnant, perhaps, of his background as a costume designer for screen and stage. copilot: Harper’s Bazaar featured Erté drawings on its covers for more than two decades. beauty ideal: Embellished deco dames.

Some of the industry’s most memorable works graced the page, not the form. These iconic illustrators have sketched their way into fashion history


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risko & reward

Legendary New York illustrator Robert Risko has redefined the fne art of celebrity caricature, from his Warholian beginnings to these four boldface designer portraits created exclusively for V PORTRAITs RIskO

giorgio armani

Karl lagerfeld

Many artists have idolized Andy Warhol, but few have had the guts to walk up to him at a signing and ask for a job. Such was the all-or-nothing approach of illustrator and artist Robert Risko, then 22, now known only by his last name. “I was pretty ballsy back then,” says the world’s most celebrated caricaturist, 56, who like the King of Pop Art grew up in Western Pennsylvania. “Of course Warhol was the hero of Pittsburgh. He was my role model. I mean, my God! When I saw his Marilyn Monroe, I thought…I get it.” Risko’s talent for composition emerged when he was fve years old in profles he drew of his sister and again a few years later in sketches of his teacher, Sister Monica, at his Catholic middle school. At Kent College in Ohio, he thought he’d be a fne art painter and was infuenced by Van Gogh and the Cubists. Yet friends always asked for his caricatures, and he found himself earning pocket money by drawing funny faces for passersby on the boardwalks of the Jersey Shore and Provincetown, Rhode Island. “But I wasn’t happy drawing caricatures for people on the street for $5 when I knew I had talent as a painter. So when I moved to New York, in 1976, I said, I’m going to fuse these things together. I’m going to take my love for Cubism and combine it with the ability to do likenesses and raise the level of taste of the average man.” The result was a style infuenced by Picasso, the Bauhaus movement, and 1930s Vanity Fair caricaturists Miguel Covarrubias and Paolo Garretto. Which brings us to Warhol. “I met him while I was out for the day on Fire Island and he was signing copies of Interview with Halston,” Risko says. He waited in line with his copy, and when it was his turn to get Warhol’s signature, he showed him his portrait of Diana Ross. “And he said, ‘It looks exactly like her. That’s great.’ And I said, ‘Well, I think I should work for your magazine.’ That was that.” It was 1978 and he started doing


Donatella Versace

ralph lauren

caricatures for Interview, including an infamous cover of Dolly Parton. In the early 1980s, Risko was working part-time as a retoucher at Vanity Fair when the magazine poached him from Warhol’s Interview, much like they poached Annie Leibovitz from Rolling Stone. In the past four decades at VF, he has drawn politicians, actors, artists, divas, and anyone else of note; since 2002 his work has appeared on the back page of the magazine, with its Proust Questionnaire. His work has also appeared in The New Yorker, Rolling Stone, Playboy, and Esquire. Next up is a series of specially commissioned pieces for the Macy’s fagship in New York, which is currently undergoing a $40 million refurbishment. His portraits of Macy’s pioneers, like Madonna and her daughter, Lourdes, Florence Henderson, Al Roker, and Martha Stewart, will be hung in the top tier eatery, Stella 34 Trattoria. What makes someone easy to draw? Clearly defned and contrasting facial features. Risko says he looks at the architecture of the face, which goes beyond decoration and makeup. “I think that’s what makes my work stand out, it’s anatomically focused,” he says, adding that sometimes subjects don’t recognize themselves at frst. “Without all of the superfcial icing, some people don’t know who they are.” Certain blondes, like Goldie Hawn and Jennifer Aniston, can be tough, because their public images rely so much on makeup (can you imagine Goldie without her false lashes?) or they have very soft features. But, he says, someone like Bill Cosby or Meryl Streep is fun to do. One perk of being drawn by Risko is that his medium naturally fatters. “I’m the best skin doctor a person could ever have,” he laughs, likening his work to Egyptian hieroglyphs. “I’m convinced that Queen Nefertiti was a squat, four-foottall, short-necked woman who told whoever was drawing her picture, ‘Give me a longer neck. Longer!’ Sometimes I think I’m in the same business.” DEREK BLASBERG 43

Karl’s Big Scoop Did somebody say Samba? Melissa, the shoe giant of Brazil, has tapped Karl Lagerfeld to design a colorful summer capsule collection perfect for dancing the night away. The oferings come in four distinct styles, the colors of which are inspired by the country’s fag. To commemorate the occasion, the multitasking Lagerfeld has even shot a 16-picture editorial featuring model of the moment Cara Delevingne for the brand’s glossy magazine, Plastic Dreams. “The best way to know a country is to work with people from that country,” he says. “I know little about Brazil, so it’s a great opportunity of interesting cobranding limited on time.”

melissa + Karl lagerfeld collection hits u.s. retailers in june

Back in the spring of 2002, Kylie Minogue was the frst musician to grace the cover of V, and with good reason: the iconic looks worn by the number one pop sensation, conceived with the help of longtime creative director William Baker, had propelled her to global superstar status. Whether dolled up as a geisha, a hotpants-wearing ingenue, or a Grecian goddess, the musician, actress, and muse has always left a lipstick stain on the masses, earning the adoration of many designers along the way. Now, for the frst time in the U.S., Minogue shares a dazzling selection of her signature looks with Kylie Fashion, a monograph chronicling her style over the past 25 years. With photos by industry legends and featuring pieces designed by Julien MacDonald, Dolce & Gabbana, Stella McCartney, and more, it’s a must-have collection of pop cultural eye candy that any Kylie connoisseur can’t miss. Featuring a foreword by fashion kingpin and close friend Jean Paul Gaultier, it’s a no-brainer for fashion fends as well.

Kylie fashion is available in may from running Press 44

Nicola Formichetti is no stranger to subverting expectation. So just when you think he can’t get any bigger, he fgures out a way to go totally global. This fall, fashion’s favorite ubiquitous force will begin yet another new reign: in addition to his ongoing work for Uniqlo, the Haus of Gaga, and V (not to mention additional projects at Studio Formichetti), the multitalented multihyphenate is about to take on another headlining gig... creative director for megabrand Diesel! “We’ve been talking for about a year,” Formichetti says of Diesel founder Renzo Rosso. “Basically Renzo approached me and said, ‘You remind me of myself when I was younger. I want to hand Diesel to you and I want you to make Diesel relevant for modern-day people.’ Coming from him it was like, Wow!” Though he’d never worked for a denim brand before, Formichetti found the DNA of Diesel an ideal ft with his own progressive point of view. “In the ’90s Diesel was one of the coolest brands. I remember the store in Covent Garden had DJs and hired actors to work there. They were the frst high-denim brand, it was a mix of high fashion and street—back then there was no H&M or Uniqlo. Renzo changed the concept of denim from workwear to a fashionable thing to wear.” “It also had the marketing,” he continues. “Remember the iconic David LaChapelle campaign with two sailors kissing? It was so shocking. Diesel was in bed with MTV at that time. It was kind of a happening.” For his frst order of business, Nicola will work with Rosso on rebranding the entire company, from mass marketing to visual merchandising in the brand’s 750 stores worldwide. “I have so many ideas that I usually do with people and magazines, and now I can bring everything together with the support of a huge global company,” he says. “I can really go global.” In addition to creating crowd-sourced campaigns—a project being planned in partnership with Tumblr—Nicola’s new Diesel will collaborate with big-name designers and at the same time embrace emerging young talent. “It’s this huge global machine,” he says. “Diesel is everywhere, from India to China. I have to go in like a virus and just transform.” patrik sandberg

Clockwise from left: courtesy Melissa Shoes; photography Youngjin Koo; photography Xevi Muntané; Kylie Fashion, U.S. cover by William Baker

Kylie Minogue’s Superstar Style

Nicola’s Big Takeover

— Read all about It! —

Golden Girl In Greek mythology, oaths sworn to Gaia, the original motherearth goddess, were irrevocable as she was all knowing and seeing. In the current Olympus of fashion, jewelry designer Gaia Repossi has established a cult following no less devout (though she is clearly not as reproving as her namesake). For her two newest collections, inspired by Art Nouveau and ancient Greece respectively, Repossi has created intelligent and sensual pieces that her coterie of It-Girl pals will surely covet. The frst is “a very complex theme of patterns from modern architecture Bauhaus and abstract organic [elements] from Art Nouveau,” says Repossi. “I saw complex vegetation in the lines. All are in shape with the body, to work the architecture with metal on the body in an essential way.” The second, a limited-edition Ophydian collection based on the notion of the snake, features stackable rings, bangles, and arm cuffs with custom-cut diamonds intended to glamorously slither along the wearer’s body. “My pieces are always more interesting on the bare fesh beyond their precise architecture,” she says. “It’s the ergonomic efect. I’m inspired by visual statements, like the still moment of the landscape or monumental shapes.” Fit for a goddess indeed. chRIstopheR baRnaRd

RepossI art nouveau cuff and ophydienne ring in rose gold with custom-cut diamonds (prices upon request,


From top: courtesy Repossi, Gaia Repossi by Ezra Petronio; 3-D imaging by Industrial Color

“I am always interested in the diferent ways we can experience images that do not involve ink and paper,” says Visionaire cofounder Cecilia Dean of the inspiration behind the latest issue. True to her words, the groundbreaking art and fashion publication has taken on many diferent forms, with editions that have been wearable, audible, edible, playable, digital, invisible, and most recently viewable in stereoscopic 3-D. Now with Visionaire 63 FOREVER, Dean and the team have developed an issue that is everlasting, thanks to the help of G-Shock, makers of “the watch that never breaks.” “When G-Shock told me they were the ‘indestructible watch,’ I said we have to do an indestructible issue of Visionaire!” Dean explains. The fruits of the collaboration? Ten embossed metal “pages” featuring icons ranging from supermodel Kate Moss (by Mario Testino, right) to Queen Elizabeth II—in the form of her bust as it appears on British currency (by Gilbert & George). Further contributions from Inez & Vinoodh, Karl Lagerfeld, Craig McDean, Yoko Ono, Maurizio Cattelan and Pierpaolo Ferrari, Sølve Sundsbø, Steven Klein, and Richard Avedon round out the limited-edition collection. Realized in part with CG artists from Industrial Color, 2-D images are transformed into 3-D reliefs and then pounded onto 9-by-12-inch metal plates, efectively taking the durability of G-Shock’s highperformance, weather-resistant gadgetry and applying it to the mediums of art and the fashion image. “We are interested in creating objects to be kept, collected, cherished, and enjoyed,” Dean says. “I want to make issues that are timeless, but that are also indicative of our particular space and moment.” Adding chrome to your home—what’s more current than that? ps

visionaire 63 forever, limited-edition box of 10 plates in steel and aluminium, only 1,500 copies, and with 24K gold plating, only 150 copies ($350 and $1,500,




Miuccia at the Movies It’s curious to think it took an Italian and two Australians to reimagine the glittering and glamorous fashion of that haute American tale The Great Gatsby. But Miuccia Prada, Baz Luhrmann, and costume designer Catherine Martin have done just that in this month’s highly anticipated release, with a 40-piece bespoke collection of cocktail and evening dresses based on designs by Ms. Prada from the Miu Miu and Prada archives of the last 20 years. The sparkling sequins and twirling fringe of the looks underscore the carefree decadence of that beautiful but damned moment in time. Luhrmann and Prada are no strangers to each other’s work, having frst collaborated on Leonardo DiCaprio’s suit for his 1996 flm Romeo + Juliet. More recently Luhrmann served as creative consultant for Prada’s “Impossible Conversations” at the Metropolitan Museum of Art. There is a sense that this flm—and with it the fashion, all shimmer and light—will defne the mood for the warmer season to come, perhaps ushering in a new, more elevated take on summer party dressing. As Fitzgerald’s Nick Carraway, puts it, “Just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.” cb




The greaT gaTsby is in TheaTers May 10

Summer of Bling

The bling ring is in TheaTers june 14 46



Summer Sights and Sounds There’s no shortage of entertainment in the megawatt months of the summer ahead. Whether you’re heading out to catch Fiona Apple at Barcelona’s Primavera Sound (May 22–26, or watching Brad Pitt battle zombies in World War Z (in theaters June 21), boredom is not an option. Here we name-check a few of our favorites: 1) Solange hits the festival circuit with her seasonally sun-stroked jams. In addition to Primavera, she’ll also take on Sweetlife, and the Roots Picnic, in that order ( 2) Pedro Almodóvar is back with a disaster comedy in the form of I’m So Excited (in theaters June 28). For more on his latest flm, turn to page 106. 3) A$AP Rocky follows up his breakout tour with Rihanna by playing Bonnaroo with Ariel Pink, Paul McCartney, Kendrick Lamar, and others (June 13–16, 4) Björk is back! After performing at Bonnaroo, she hits up Pitchfork with R. Kelly and Belle & Sebastian (July 19–21, Then she takes Fuji Rock Festival with Nine Inch Nails in Japan (July 26–28, 5) Not much has been said about Woody Allen’s latest flm, Blue Jasmine (in theaters July 26), but with an all-star cast featuring Cate Blanchett, Alec Baldwin, and Andrew Dice Clay (?!), it’s sure to be a hot topic. 6) And fnally, Lady Gaga makes her big-screen debut in Robert Rodriguez’s Machete Kills (September 13), giving you something to look forward to at summer’s end! PS

Clockwise from left: Courtesy Prada and Warner Bros./photography Matt Hart; illustration C. Wang Yu; photography Merrick Morton

Director Sofa Coppola, who is brilliant at capturing young adult angst on flm, has created one of the must-see movies of the Facebook generation. The Bling Ring is Mean Girls meets Bonnie and Clyde, a stylized retelling of the true story of a wily gang of teenagers who are so desperate to emulate the lives of the celebrities they follow in the tabloids that they burgle their Hollywood homes—and get away with it for almost a year—eventually amassing over $3 million in stolen assets. The robberies took place from 2008–09, at the height of fashion’s label mania. Coppola tapped friend and costume designer Stacey Battat to outft the fantastic cast—Katie Chang, Isreal Broussard, Emma Waston, Taissa Farmiga, Claire Julien, and Leslie Mann (who pulls of a brilliant portrayal of the Secret– obsessed mother of Watson’s character). Battat says that once she signed on it was easy to fnd inspiration in Los Angeles. “I did a lot of market research at Kitson,” she admits. “I learned about a label called Wildfox! And that scene when they go into the store and shop like crazy took place there.” Battat, who has several notable credits on her CV, including Zoe Cassavetes’s Broken English, the pilot episode of Girls, and Coppola’s Somewhere, favored labels like Herve Leger, Rick Owens, Chanel, and Marc Jacobs to lend an authentic feel to the looks. “We tried to re-create the hits of the last fve to ten years,” she says. “And there was of course the desire to have a lot of it.” Battat also had the joy of dressing the celebrities who were willing to make cameos in the flm. The most notorious of the bunch was Paris Hilton, whose house was a repeated target of the Bling Ring crew—they robbed it at least fve times, and were prone to partying in the heiress’s VIP room. “That was incredible,” says Battat of Hilton’s manse. “We weren’t technically allowed to shoot there, because she lives in a gated community. We had to sneak in with a minimal crew, load all the stuf into a normal car, no trucks or anything. It was fun to camp out at Paris’s house. Every nook and cranny is incredible. She had a walk-in shoe closet that was arranged by color.” SaRah cRiStobal

Available at Bloomingdale's


EXTRAA Sweet Scents It was Coco Chanel who once said “a woman who doesn’t wear perfume has no future.” With that in mind, we present five new scents to keep your summer lovely and lively.

BEauTy NiCOlE CaTaNESE illuSTraTiON aurOrE DE la MOriNEriE from left: PraDa Candy l’eau eau de toilette ($88 for 2.7 oz, neimanmarCus.Com) DriES VaN NOTEN par frédériC malle ($265 for 100 ml, barneys.Com) angel aqua ChiC by THiErry MuglEr ($85 for 1.7 oz, muglerstoreusa.Com) DiOr J’adore Voile de parfum ($105 for 100 ml, dior.Com) JuST CaValli eau de toilette ($60 for 1.7 oz, bloomingdales.Com)

Watch Out! Spring’s shimmering selection of watches is worth your wrist real estate. Michael Kors has partnered with the United Nations World Food Programme on the Watch Hunger Stop campaign. The proceeds go toward buying 100 meals in designated areas. The new Premiere watch by Chanel features a diamondencrusted octagonal face inspired by the Place Vendôme. Meanwhile Versace embedded its iconic Greek Key motif in the fashy face of the Thea. Finally Ralph Lauren has trotted out the Stirrup Steel Link watch, which favors the brand’s equestrian aesthetic with stainless steel links that lie fat on the wrist. Giddy up.

PHOTOgraPHy BrENDaN JaMES CloCkwise from top: CHaNEl premiere watCh in steel with white faCe and diamonds ($9,000, 800.550.0005) MiCHaEl KOrS 100 series in stainless steel ($295, miChaelkors.Com) ralPH laurEN steel link stirrup watCh in stainless steel ($2,500, ralphlaurenwatChes.Com) VErSaCE thea watCh in stainless steel with diamond indexes ($1,275, 888.721.7219)


Courtesy Jean Paul Gaultier

Gaultier Goes Retro Active Jean Paul Gaultier has his legacy on his mind. For the past two years his retrospective, Jean Paul Gaultier: From the Sidewalk to the Catwalk, has made the rounds in Montreal, Dallas, and San Francisco with the fnal stop taking place this October at the Brooklyn Museum. Those who are left longing for the nostalgia pieces on display are in luck. For the Pre-Fall season, the designer has re-created his greatest hits from the ’80s and ’90s, each item carefully labeled by collection and year. It’s a true mark of a legend that the women scooping up these pieces today are most likely younger than the garment’s original patterns.


75 VA R I C K , 3 R D F LO O R , N E W YO R K , N Y 10 0 13 2 1 2 . 2 6 8 .72 . 47 S P L A S H L I G H T. C O M


Makeup Darlene Jacobs (Frank Reps) Hair Tuan Anh Tran (Frank Reps) Photo assistants Rudolf Bekker, Mario Sanchez, Mike Lopez Production Yann Rzepka Location Siren Studios, Los Angeles

The determined young actress is blazing a path from the hockey rink to Hollywood with a role in the Hitchcockian Bates Motel

nicola peltz

Doe-eyed actress Nicola Peltz has just returned to her Westchester, New York, abode after making the rounds at Paris Fashion Week. “I’m obsessed with Miu Miu,” she says with little prompting. Soon she will head out to Los Angeles for the premiere of her new television show—the hazy, haunting psychological thriller Bates Motel. The series, which tells the story of a young, pre-Psycho Norman Bates (Freddie Highmore) and his twisted relationship with his mother (Vera Farmiga), enlists Peltz as an unassuming friend and love interest of Norman’s. “On a superfcial level, I’m a girl her age, I went to high school, I had boys, I had drama, I had the whole school experience…but what happened in her life is completely diferent from what happened in mine, and that’s what makes it so interesting [for me],” says Peltz, whose father, Nelson Peltz, is an American

businessman and self-made billionaire. Since frst watching the original Hitchcock classic at age 13 with her grandmother, Peltz has been transfxed. “I watch it today and I still jump!” she says. The young actress, who frst gained widespread attention for her role in M. Night Shyamalan’s The Last Airbender (2010), took to the dramatic arts early. “I come from an ice hockey family, and I used to go to the rink all the time and play with my six brothers,” recalls Peltz. “My mom [former model Claudia Hefner] always told me there was no way I was ever going to be an actor—that she wasn’t going to drive an hour into the city every time I had an audition.” But Peltz kept on asking—at ages 9, 10, and so on— and when she got her frst role, with the Manhattan Theatre Club at age 13, her mother’s resolve wore down. “I had no idea what I was doing,” she says, “but my passion was so strong that

my mom realized it wasn’t a phase.” Today Peltz is seeking out her next “strong character role” (recently she was cast alongside Mark Wahlberg and Shia LaBeouf in Michael Bay’s forthcoming Transformers) while enjoying some quality time with her sizable family. “They are my best friends in the world and my toughest critics,” she says. “I’m not sure what’s next, but I have an older brother and sister at NYU, and I’d love to go to Tisch. I also have a brother acting in L.A.” Ashley simpson

nicola peltz in los angeles, december 2012

photogrAphy hedi slimAne

peltz wears jacket sAint lAurent by hedi slimAne bracelet her own bates motel is out now on a&e


zOË kraviTz

From music to jewelry design to acting in a summer blockbuster, this down-to-earth darling has the makings of a serious triple threat

ZoË kravitZ in new york city, january 2013

PhOtOGraPhY PhILIPPe VOGeLenZanG FaShIOn BranDOn MaXWeLL Pants aLeXanDer WanG jewelry ZOË KraVItZ FOr SWarOVSKI crYStaLLIZeD after earth is in theaters june 7 52

Makeup Kristin Gallegos for Laura Mercier (CLM) Hair Nikki Nelms Manicure Gina Edwards (Kate Ryan Inc.) Digital technician Toto Cullen Prop stylist Erin Swift (Kate Ryan Inc.) Photo assistants Pavel Woznicki, Janneke De Jong, Mark J. Davis Stylist assistant Hayley Pisaturo Prop stylist assistant Adam Santucci Location Neo Studios, NYC

Zoë Kravitz never thought she’d become a major player in the big-budget flm world. “I defnitely always saw myself as a theater or an indie flm actress, because those were the things I was always drawn to,” says the 24-year-old Williamsburg-based musician and rising star who has played roles as diverse as an underage, crack-addicted prostitute, in Neil Jordan’s 2007 thriller The Brave One, and a mutant, in last year’s X Men: First Class. “I just kind of assumed that those were the types of projects that were drawn to me too.” But Hollywood has embraced her—the child of two undeniably cool acts, actress Lisa Bonet and musician Lenny Kravitz— and now studio execs are even adapting scripts to better suit the burgeoning star, as in the case of M. Night Shyamalan’s summer sci-f action fick After Earth. “The role was originally written for someone much younger than me, so I said I couldn’t do it,” says Kravitz of her character, Senshi, who lives in the future and travels back to Earth from another planet with her father and brother, played by Will Smith and his son, Jaden. “The whole movie takes place after Earth has become uninhabitable,” she says. “It’s pretty awesome.” The elder and younger Smith rank equally high in Kravitz’s book. “There were moments that I was hanging out with Jaden and thinking, I can’t believe you’re 14, I have to check myself, like what I say to you,” she laughs. “He has so much personality and so much swag, he is so much cooler than I am. And he’s so handsome, I was always like, When you’re older, you know, we’ll hang out…Nope, that’s inappropriate, you’re 14.” All jokes aside, there’s no mistaking that the fashion industry has courted Kravitz. She has served as muse and stylist to her good friend Alexander Wang, and recently she launched a new jewelry line for Swarovski. By utilizing her favorite colors and materials, found in Morocco, India, and Africa (where she just wrapped a six-month shoot, for George Miller’s Mad Max: Fury Road), Kravitz wanted to “add some earth” to the brand’s beautiful and elegant crystals, she says. Perhaps big businesses can’t help but be attracted to her cool, easygoing aura after all. “My mom’s whole thing was that she wanted me to wait until I knew what I really wanted. She’d always say, ‘Once you step into the spotlight, you can’t take it back.’” It seems Kravitz has taken that advice, but with a tiny grain of salt. Next up she’ll take a much deserved vacation in Brazil, with her live-in boyfriend, the actor Penn Badgley, before heading of to flm her next big budget movie. “Gotta jump at it when you can,” she says. Kate Branch

Eva Mendes

EAU DE PARFUM Available at Bloomingdale’s


Once a tabloid target on account of her blue-chip background, an English rose makes her crossover debut in this fall’s Carrie remake The British are obsessed with class. We’re the country that brought you the upstairs-downstairs politics of Downton Abbey, after all—and whoever your parents are, wherever you were educated, whatever zip code you live in, if it’s of note, we will make it public fodder. Undoubtedly in the case of 24-year-old actress Gabriella Zanna Vanessa Anstruther-Gough-Calthorpe—a descendant of earls and baronets who attended an all-girls private school and appears on Tatler’s society list (“Parties, polo matches, balls, fashion shows—you name it,” the magazine chirps, “Gabriella was probably there”)—class has been her calling card. She is even rumored to be the object of Prince Harry’s affections—an accusation she strenuously denies. When we meet in London, Wilde is casually recounting quite telling stories, like when family friend and legendary fashion editor Isabella Blow dressed her, at age 14, in multicolor couture gowns for fashion shoots, or when she met Naomi Campbell at a dinner party and the supermodel promptly sneaked her off to the bathroom to shoot her first model Polaroids. A sign of things to come, those snapshots led to Wilde signing with Campbell’s agency. “I actually really love British and European cinema, but you have to go where the work is, and for me it’s in America,” Wilde says. “The film industry there couldn’t be less interested in my past.” She is referring, of course, to her privileged upbringing and the tendency of the British press to harshly judge her family and good fortune. Recently though, Wilde has launched a career that is all her own. She is known in the U.K. as the face of Burberry, but thanks to her debut role in 2011’s The Three Musketeers, she is now one to watch on the silver screen. 54



Makeup Lisa Houghton (Tim Howard Management) Hair Holli (Total) Manicure Honey (Exposure NY) Light design Chris Bisagni Digital technician Benedict Brink Light assistant John Ciamillo Photo assistant Emily Hope Stylist assistant Natasha Devereux Location Fast Ashleys Brooklyn Catering Monterone


This year she will play a homeless drug addict, in the independent film Squatters, as well as popular high schooler Sue Snell in this fall’s Kimberly Peirce remake of Stephen King’s horror classic Carrie, costarring Julianne Moore and Chloë Moretz. “It’s been brilliant,” she says of her recent projects. “I do find something interesting about dark characters. I mean, a trailer-trash homeless girl couldn’t really be further from who I am. It can be difficult to get cast as something that is off-center from you, and my biggest fear is to be typecast.” As a young model Wilde scored bookings for Vogue and Abercrombie & Fitch campaigns, and then quit her formal education, at age 17, to focus on her profession. “I went into it fulltime, but only lasted three months. It wasn’t for me,” she says. “I was earning money, but I didn’t feel any sense of achievement when I was booking jobs. I almost dreaded getting work.” So she sent herself back to school with renewed focus on her childhood ambition of being an artist. But soon she was asked to read for a bit part, and the rest, as they say, is history. “I have sisters who act, and I’d always seen it as their thing. I was never in the school plays like them—I wanted to be a painter. When I agreed to the audition, I didn’t tell anyone. It sounds bizarre, but I felt liberated after I really loved it, like I’d finally found something I enjoyed.” All too aware of preconceptions about any model turned actor, she adopted the snappier moniker Gabriella Wilde. “No one could say it right,” she says of her lengthy name. “It’s a mouthful, and it felt appropriate to leave it behind. I wanted to distance myself from modeling and some of the gossip press that existed around me and my family. It was easier for me to establish myself under a different identity, and I want to be doing it on my own.” With her career and name change, and a move to the States, this young actor has laid the foundations for realizing big ambitions. “For me, acting is a long-term thing. I’m not in a hurry to make it,” she says. “I have no desire to explode onto the film industry. I still want to be acting when I’m 60.” NATALIE EVANS-HARDING

jacket burberry Prorsum

top eDuN

WORK IN PRO GRESS PhotograPhy Jason schmidt


Athens-born artist Lydia Venieri summons the Greek gods with childlike caricatures The house hovers like a thought, like a nest that folds around me, like a boat that explores a forest where haunted thoughts are suspended. The chaos is before and after the order, it flls me up with optimism, gratitude, and curiosity. My temple surrounds the higher self, the healing one. The art works, always unfnished, like question marks, like the Giaconda’s smile, without nostalgia for the past or strategy for the future, always forgotten and trapped into the unseen present. Lydia Venieri 56

starting point

From his Brooklyn abode, Marcel Dzama fnds his greatest inspiration I am working in my studio here. I have always had a studio outside of my home until recently, when my son was born. I thought it would be temporary, but now I like working from home. In the photo, I’m working on a series of drawings on player piano paper that came in a trunk with a player piano I bought. When I opened the trunk and saw this beautiful paper full of musical perforations, I knew I had to make art out of it. The perforations create the most unique patterns, and each piece has its own soundtrack built right in. This particular piece is called Malala Will Have Her Revenge. Marcel DzaMa

Work in progress


Ever the Renaissance man, painter Walter Robinson explains his work by way of a steamy love story She lit a cigarette and hugged her arms across her breasts, cupping one elbow in the palm of her left hand. He touched her lips with his fngertips. Her eyes were smiling and misty. “Go,” Valya whispered. “Now. Hurry.” He had become a giant to himself, a man who was fghting to capture a fresh, untouched, blossomy-haired, glory-eyed girl, far removed from the common orgies of common women. Then the last shreds of Anne’s courage left her. “Oh, God,” she cried, and ran out the door. Hubert is one of those men, you know. He poured more whiskey into the glass. Now the tears streamed down his cheeks uncontrollably. Margot put her arms around him and pressed her temple to his stooped head. For a long time she sobbed while, waiting patiently, he stroked her hair. “Oui, oui, oui.” Her voice came rich and low. “I will be waiting for you forever, I cannot help myself.” He stood there clenching and unclenching his fsts. “Be yourself, baby.” Nan closed her eyes tight, pretending that the man making love to her was youthful and handsome. Her body began to writhe. She nodded, arose, and kissed him.  Sam dried his hard, solid body vigorously, picked up the gun, and then put it down with a shrug. He said, “What else is there you want to tell me?” She looked scrubbed and rosy, as if she had just stepped from the shower. “Surprise, darling,” she said. Walter robinson 59



Drawn TogeTher Actress Kim Cattrall and performance artist Marina Abramović might seem like an unlikely pair, but the two friends are united by their humor and admiration for one another

PhotograPhy and illustration santiago & Mauricio Fashion tony irvine 61


Having met under the auspices of their professions, perfor- One of the things that piqued everyone’s interest about mance artist Marina Abramović and actress Kim Cattrall were this story is that no one realizes you two are such good later formally introduced by MoMA chief curator at large friends. When did you first meet? Klaus Biesenbach, and they have since developed a sisterly Marina Abramovic´ I first met Kim with the Sex and the City bond that is something to behold. Though they hadn’t seen story when they asked if I would actually play a part or give each other for some time, on the set of this shoot it was as if permission to use the piece that I had just done in Sean Kelly no time had passed at all. While Marina directed each setup Gallery called The House with the Ocean View. And I have to with Polanski-like precision, Kim—quiet, reserved, happy— tell you, I came from Europe, I didn’t know the show. I said, giggled, enjoying the spectacle of her friend calling the shots. “I can’t do this, I am not an actress,” but if they just want to use As they reveal here over a laughter-filled phone call, humor, the artwork they could. I remember that I came back and my art, public perception, and passion for their respective careers students said “What?! You’re not doing this? But this is the are some of the ties that bind. SARAh CRIStObAl major thing! You’re crazy.” [Once I became familiar with the

Makeup Maud Laceppe (Streeters) Hair Diego Da Silva (Tim Howard Management) Manicure Dawn Sterling (Melbourne Artists Management) Set design and prop styling Lizzie Lang Digital technician Nick Ray McCann Photo assistants Alessandro Zoppis, Jerry Buttles, Paolo Stagnaro Stylist assistants Susan Walsh and Jeffrey Burge Makeup assistant Lisa Campos Hair assistant Taichi Saito Videographer Minnie Bennett Production Cesar Leon and Mark Day Set design assistants Francis Cardinale and Jason Jensen Retouching Blank Digital Location Splashlight SOHO Catering Monterone Special thanks Giuliano Argenziano, Sidney Russell, Allison Brainard at ABRAMOVIC LLC; Sean Kelly Gallery, New York

“She always is in this wonderful creative state of being very free. And her mind sees things in a very serious way, but she doesn’t. It removes every preconception that you might have about Marina Abramović.” —Kim Cattrall

show] my favorite character was Kim, always. And then Klaus Biesenbach introduced us. That’s my version, what is yours? Kim Cattrall It’s very similar. I’d heard of Marina before, but I completely connected with her through the show. And then it was through Klaus. I went to see Marina at the Guggenheim, but I didn’t dare speak to her. I was a little bit nervous. And then I got to meet her, and I was overwhelmed by her beauty and humor. She always is in this wonderful creative state of being very free. Her mind sees things in a very serious way, but she doesn’t. It removes every preconception that you might have about Marina Abramović. [laughs] The work that she’s done and her history, it’s just extraordinary. But it’s her humor that really draws us together. When we’re together we laugh a lot. There are similarities to your professions. Do you ever consult each other? MA We have so much to do that we really should. It was so great, the set, because I really was dying to see her and I am always running around and she’s always running around. So this set you organized for the shoot was wonderful. We have time when we have time, but mostly we never have time. KC It’s true. The great thing about technology for friendships is that no matter where you are—I can send you an e-mail of me peeling shrimp in Baton Rouge while you’re in the rainforest in Costa Rica. MA You’re calling from the South, what are you doing there? KC I’m just touring around. I’m going to do a Tennessee Williams play, so I wanted to take a look and have a feel, and I wanted to get out of New York. I’ve never been to this part of the world. I’m looking for inspiration, but I’m also looking for history and people, I want to see the people of the place, which I don’t get to do when I’m working. MA How is the actual public? There’s a big difference between the American public and the European public. KC I’ve spent quite a bit of time in Europe, sometimes there’s a language barrier or an etiquette barrier. The feeling of seeing someone who they watch on television and is standing there…there’s awe to that. Yesterday, when I was learning how to peel the crawfish, I was immediately accepted into a family-like atmosphere, a lot of physical contact. A lot of hugs. In Europe it feels like it’s another world. MA The people see you as a celebrity and they keep a nice distance. It’s so popular, the series, it’s just incredible.



KC Yeah. I wonder if it would be different if the character I played had been different. I think that’s part of it. MA You were my favorite character. You don’t give a shit about anything. It’s so good. Marina, do you think that you’re perceived differently in Europe versus the U.S.? MA I think there’s a big difference between the audiences. I didn’t exist for Americans until I arrived, and now because I live here people really have actually a strong reaction to my work. In Europe it’s such a different attitude about media. You can be ten times on the cover of newspapers and magazines and then nobody even thinks about you. But here once you’re in the media you’re immediately on the spot. It’s such a big difference in culture. But the key problem in America is it’s so different. Publicly it’s open and moved, in much larger ways than I could have imagined in Europe. Maybe here isolation is stronger. Maybe people are more alienated by technology—people communicate through the Internet and text messages, and there’s not much contact, so when they show emotion, they really come and open themselves. A good friend, a critic, an American, says to me, “I hate your work.” I say, “Why?” He says, “Every time I see it I have to cry.” There’s no one here doing anything like it, really. And they’re in awe of you. MA It’s not easy. And the thing with America is also you’re very fast to use and throw it away, to the next thing. So you have to really keep your integrity, and you have to always go away and come back. Not just overwhelm with your presence. That’s really important, or you finish very fast. And they’re ruthless. They’re not emotional about disposing of you in the garbage. Who are some of the artists you’re both admiring at the moment? KC I really enjoyed the Cyprien Gaillard exhibit at PS 1—I’m thinking between bites of pancakes. In terms of women artists, I think we get into the circle of people that I know in New York. Patti Smith, Laurie Anderson. Laurie tours constantly. She’s just inspired by so many different places, people, things, books, films, dance. The pursuit of that, I just really admire. Anne Carson, the poet, I admire her greatly, Canadian poet. MA Let’s talk more about me. Can I? Go for it. MA With Kim and me, it’s not necessary that we talk about

“The kind of communication that we have is a strong appreciation for each other and what we are. And we enjoy when we meet. That’s really rare.” —Marina Abramović the work. It’s not necessary that we advise each other. The kind of communication that we have is a strong appreciation for each other and what we are. And we enjoy when we meet. That’s really rare. When we meet, we have so little time to relax, so the communication is a very big part. We were in London and we went to the Meltdown Festival, and…what is the word for it, the big thing, when we went to London? KC Oh, this was fantastic. We were at the Royal Festival Hall and Marina had done her lecture just for women, and I had introduced her, and afterward we were in the green room having a drink and looking out the window and there was this swing ride that went faster and flared out. I wanted to

do it. And Marina goes, “No, no, no, I’m scared.” And I was too. But I really wanted to do it. MA It was wonderful, we had so much fun. [It was as if ] Kim was 14 and she was skipping there. But that’s the important thing, you know, this kind of friendship that is free from the pressure, free from the need to pretend to be something or do something, to be smarter than the other one or play power games or feel jealousy. Could you ever collaborate together? MA Not yet, but we would definitely fight, okay? [laughs] The collaboration has to come naturally. What will happen will happen.


Stephanie Seymour from left:

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Models Stephanie Seymour (IMG Models) and Linda Evangelista (DNA)


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This season’s Pre-Fall fnery is practically pulsating with its bold graphics and over-the-top optic oomph PhotograPhy daniel sannwald fashion tom van dorPe

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ladylike attire gets a manly makeover with sleek houndstooth fabrics from left: louise wears dress and gloves dior turtleneck (throughout) falKe nova wears Jacket and skirt thom Browne turtleneck (throughout) falKe belt Jil sander gloves maX mara Zen wears Jacket and Pants Carolina herrera turtleneck (throughout) falKe




earn your stripes Makeup Benjamin Puckey (D+V Management) Hair Akki Models Zen Sevastyanova (IMG Models), Louise Parker (Marilyn), Nova Malanova (Ford) Casting director Samuel Ellis Scheinman Digital technician Carlos Rojas (Industrial Color) Photo assistants Pavel Woznicki and Luzena Adams Stylist assistant Carrie Weidner Makeup assistant Grace Ahn Location Fast Ashleys Brooklyn



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big in japan

These compelling female artists are ruling the Land of the Rising Sun: Tinkerbell-loving pop star twins, a creatively gifted mother-daughter pair, and a self-proclaimed Harajuku gangster model/DJ photogrAphy BenJAmin AlexAnder huseBy fAshion Jodie BArnes text tiffAny godoy


twins/models/moguls Identical except for the color of the tips of their hair, Ami and Aya came to Tokyo from Shizuoka at the age of 15, big dreams in tow. Quicker than you can say kawaii, magazines snapped them up as models, and then the pint-size cuties became the media personality AMIAYA. Today their cross-media brand concept TOKYO POP could well make them the Olsen twins of Asia. Over the last decade they’ve generated best-selling books, spun their personal style into street fashion label Jouetie, opening over a dozen boutiques in Japan in the last two years, and become J-Pop singers. “We would like people not only in Japan but all over the world to listen to our songs and feel the new vibes of TOKYO POP!” they say. Their new sweet and synthy single “Magic Color” is out this spring, sure to be a favorite of fans from Tokyo to Taiwan to China, many of whom copy the twin’s makeup and style of dress. CSS, Madonna, and Andy Warhol are infuences, but if they could trade places with anyone it would be Tinkerbell: “We always wanted to live in a fantasy world where the real fairies live!”

above: aya wears Jacket 99% t-shirt AmericAn AppArel right: ami wears Jacket JAne Bowler t-shirt AmericAn AppArel 72


AyA And Ami weAr Clothing Balmain

motHer & dAugHter Artists

Artist Hanayo started taking pictures at 13. Then in high school she was photographed by Araki and started training as a maiko—or junior geisha—immersing herself in traditional Japanese dance, music, and art. Soon she left her hometown of Tokyo and started a magical 15-year chapter in Berlin’s underground, where she would bloom as a photographer, musician, and performer. Her new photography book, Berlin hanayos saugeile kumpels (Torch, 2013), and exhibition at Kyoto’s Taka Ishii Gallery chronicle those years in dreamy, out-of-focus portraits of artist friends, such as Peaches, Blixa Bargeld, Jonathan Meese, and Tony Buck. The avantgarde Hanayo still has a home in Berlin, but two years ago she and her 16-year-old daughter, Tenko, moved back to Tokyo. “People told me I came back at the wrong time—earthquake, radiation, bad economy,” Hanayo explains. “I fnd it is very interesting, I think kids are very strong and there’s lots going on, now it’s a little bit closer to Berlin.” Both mother and daughter have found creative kindred spirits in the edgy creators at Koenji’s dilapidated Kita-Kore Building, the underground shopping haven that could be a product of the imagination of Tenko’s favorite horror manga artist, Kazuo Umezu. The budding actress is cohosting Telebi de Doitsugo, a new TV series about Germany, for Japan’s national network, NHK, and exploring her eclectic background through a zine featuring the artists she grew up with in Berlin.

Above, from left: HAnAyo weArs sleeveless JAcket And obi Haider ackermann dress vintAge Jean colonna HeAdpiece Balenciaga By nicolas gHesquiÈre tenko weArs top And obi kostas murkudis sHirt (underneAtH) And pAnts issey miyake left: tenko weArs JAcket Paco raBanne

Makeup Ken Junsuke using M.A.C Cosmetics, Hair Takeshi Katoh (Bumble and bumble) Digital technician Tomoue Ueda Photo assistant Bruce Y.K. Stylist assistants Camilla Holmes and Manuel Estevez Makeup assistants Maiko Kitamura and Maki Kojima Production Yuko Arakawa (Foundation World Inc.) Casting Yuka Kikuchi (Sora Inc.) Location Go-Sees Hiroo, Tokyo

Hanayo & Tenko

Mademoiselle Yulia MixMaster/DJ/Muse

The trademark blue hair and cool-girl aura of Tokyo’s electro-scene queen bee, Mademoiselle Yulia, shine as bright as the city’s famed neon. The DJ-singer–accessory designer’s look inspired K-Pop culture, and designers Jeremy Scott and KTZ (among others) count her as their muse. This spring, Yulia plans to reignite her hometown with the fst-pumping beats she’s cooked up on her second album. Ever the fashion magpie, she has also concocted a new style to match her forthcoming tunes. “I always want to do new things,” she says. “So I thought ‘Harajuku gangster’ has a nice ring to it.” Said look consists of the style of certain oldschool Japanese countercultural rebels, called “Yankees,” mixed with streetwear label Joyrich, with whom Yulia has collaborated to produce a clothing collection for her brand, Giza. (Her other collabs include New Era, SPX sneakers, and LeSportsac.) With this new, Trapinspired sound and fresh look, Yulia’s reach will be extending westward. She recently hit the womenswear shows in Paris, and now is getting ready to tour New York City. But don’t let her gangster attire fool you, it’s animation idols like She-Ra and Sailor Moon that eternally inspire her fashion, hair color, and soul.

MaDeMoiselle Yulia wears JuMpsuit vintage Issey MIyake froM ResuRRectIon VIntage shoes cÉlIne

Illustration François Berthoud

Miley Cyrus’s Wild New Style The Femme Face of Menswear A Legend’s Life in Photographs Picture-Perfect Pre-Fall Pieces Two Artists Find Each Other Up in the Air All the Illustrated Colors of Couture Summer Glam Gets Graphic (and Glitzy) Plus: A First Look at the Fall Collections! 77

Jacket Proenza Schouler Briefs american aPParel Boots (throughout) Frye earrings, Bracelet, and Body chain (throughout) her own lorraine Schwartz wristBand and Bootstrap (throughout)

traSh and VaudeVille

Having ditched the squeaky-clean image and long blonde hair of her Disney days, Miley Cyrus has spent the past few years acting out and growing up. As she reveals to Pharrell Williams, the producer behind her new hip-hop sound, she’s unapologetically taking control PHotogrAPHy MArio testino fAsHion CArlyne Cerf De DuDzeele


Briefs (worn as top) AmericAn AppArel pants Y-3 scarf (around waist) vintage chAnel Bracelet (on forearm, throughout)

TrAsh And VAudeVille

Bangle left (throughout) her own lorrAine schwArTz

“In my mind I’m Gucci Mane, but on paper I’m a pop artist.” —Miley Cyrus Dressed in a midrif-baring vintage tee and Topshop pants, Miley Cyrus is barefoot dancing to her new hip-hop-infused sound at a Burbank, California, recording studio. A few feet away, Pharrell Williams, the megacharming megaproducer who helped to orchestrate this clever, heartfelt sonic breakthrough, leans efortlessly against a console, trading lyrics with the smiley 20-year-old determined to revolutionize her career. They are listening to “#GetItRight,” the possible lead single of her impending, frst post-Disney album, and a sure Top 40 diamond with a whistling hook and clever sweetness that partially obscures the frank sexual nature of its lyrics. A global phenomenon since her Hannah Montana days, the daughter of Billy Ray “Achy Breaky” Cyrus is widely recognized for kid-friendly hits and a corporate-approved persona. But after shedding her Disney veneer—genuinely, without the trappings of image strategy— Miley has revealed herself to be a far more compelling pop fgure in the throes of a powerful transformation. The world is watching as her look, identity, and womanhood evolve, fxating on every life decision from the engagement to Hollywood heartthrob Liam Hemsworth to the defant, much-ballyhooed cropped do which she attributes to the ongoing mentorship of Williams. Here the collaborators sit down to discuss everything from fashion to family to triumphant next-level greatness. Mark Jacobs

Where did you start? MILEY CYRUS Pharrell was the frst person I wanted to work with. I had so many diferent producers and managers and all of these people coming to my house because I didn’t know where I wanted to start. My record would have come out like a high school mixtape with these diferent songs and feelings that don’t blend. Then I met Pharrell, and it was the frst time I was in the studio just being really free. Pharrell opened that door. At the end of the day, it’s what me and P are making. And of course we’re so grateful for the people that got us here, that brought us to each other, and now we’re on our own path. I’ve never been more thankful for someone in my life. It’s just crazy. It’s been almost a year since we started, and my life has been completely diferent. I could keep doing this forever, just making this record. When did you frst really connect? PHARRELL WILLIAMS If you walk in the room I can tell you a lot of things about you. I think people just emote. She started talking and I started realizing. Because I knew the music, but I didn’t know it know it. I kept hearing about this girl Miley who had this song “The Climb.” And then there was the video with her locked in the cage... MC “Can’t Be Tamed.” PW I was like, Okay, she wants out. Then there was the whole salvia thing. [turns to Miley’s press representative] And I’m sorry but I just... MC It’s part of our... PW That was an integral moment for me. Because it let me know that this was a girl coming from that world who saw, This is cool, I’ll enjoy it, it’s great, but I’m feeling me now, I’m waking up. It was like her hormones were speaking to her in all kinds of ways. When I met her, I just thought of a ball of fre. She was saying, “I like this and I like that.” And I was impressed, because she knew to say those things. Like what? PW Just the music she was listening to. Like Waka Flocka Flame. MC “Dance A$$” [by Big Sean] was my shit at that moment. [laughs] PW Because “Party in the U.S.A.” was pop as fuck, but it was honestly good pop, and she was saying the right shit. She was like, [singing] “And the Jay-Z song is on!” And I was like, “Okay, the salvia, that line in ‘Party in the U.S.A.,’ and the diferent shit that would pop up online? There’s defnitely something in there.” MC No one let me sing the way that Pharrell does, which is to just go in and do your shit and do all of the harmonies that you do, which is what brings it to where I’m from. Which is being from Nashville and being around Dolly [Parton, her godmother] and listening to her sing. No one would give me the chance to say, “Turn the Auto-Tune off, turn the filter off, and just listen to what I’m saying.” He was the first person that ever did that. I can never say that I don’t love “Party in the U.S.A.” and that I’m not appreciative of it. It would be like my dad saying that he hated “Achy Breaky.” It’s what gives you everything that you have. I would never take it back. But that’s not who I am, that’s not where I want to sing, that’s not what I want to sing, and that’s not what I want my voice to sound like, because you can’t hear me through there. I like that Rihanna has a tone of her own. Beyoncé has a tone of her own. I have a tone of my own. Everything else is just blending into one club mix—but we keep our 808s in there because I love them. PW Yes, she does. MC I was listening to what me and P worked on last night and I had Liam’s little nieces over and they were all dancing to it, and then his brother came in and was like, “Is this the stuf with Pharrell? It’s so dope!” That’s exactly what I wanted to do. Everyone can like what we’re doing. That’s when I feel like my record is so diferent. It’s not what people expect where it’s me giving my middle fnger and saying, “Fuck you. I didn’t make a record for the people that love me.” I made a record for the people that love me, but then I made a record for the people that I want to start to understand me. What does that sound like? PW It sounds like her personality. This whole process has just been me holding up the mirror. Let’s move to the hair part of the conversation. We’re down in Miami and she kept saying things like, “Yeah, well, this is what I think, but such and such is going to think such and such.” And I was like, “You’re the queen of your own kingdom. At the end of the day, you need to do what other people can’t do.” MC It was awesome because we were sitting around with Helen [Lasichanh, Williams’s fancée] and Rocket [the couple’s son], and I’m like, “Why don’t I just cut my hair, all blonde?” Because

I’ve always wanted to do it. I got to pretend to be a Jonas Brother one time and I had to wear a Jonas swoop and as soon as I saw it I was like, Okay, I kind of look dope like that. And I never really thought about it again. And then Pharrell said, “That’s what you can do that no one else can do.” Maybe two weeks later, he was the frst person I called as soon as I pulled my bun up and [hairstylist Chris McMillan] went like this [makes snipping motion]. He was the only person I wanted to call, because I wanted him to know that I’m not fucking around with what I’m saying. I’m going to change, I’m going to be diferent, I’m going to do what I want to do. I chopped my hair and bought a pair of Docs and never looked back. What did you think when you saw it? PW I was excited for her, but it wasn’t shocking, because she already was that. My only thing was, Free yourself. MC In this industry, no one wants to turn a mirror to you and encourage you to see the good things. No one wants you to see yourself fully because then you don’t need them. If there’s nothing missing, then you don’t need them. PW This is a 20-year-old. Do you hear all of this awareness? I kept saying to her, “Your view of yourself, your view of the world, is so accurate. Start to embrace it now so you can be great when you’re in your 30s. Right now you’re really, really good, and you’re super-advanced, but don’t be one of those girls who had everything you needed at a young age but because you were distracted by all of the peripheral bullshit you burn out at 25 or 30 or whatever. Embrace this power of yours.” It’s been a year, and I’ve seen a complete diference. When I frst met her, she had 5.6 or 5.7 million Twitter followers. You look now and she’s at 11.3 or 11.4. MC That’s right. It’s 11.4 today. You’re on my Twitter too much. [laughs] PW I watch the growth. It’s like a growth chart. This is very important to me, because this is my little sis. You stick with your own. You’re there for your type. And that’s my type. I feel a responsibility to our relationship and everything that we’ve become. You’re just never going to meet a nicer person that’s this fucking on it. It reminds me of Janet Jackson’s Control album... PW Jimmy Jam and Terry Lewis. An artist coming into her own. PW Fearless. I’ll never forget when she frst cut her hair and a good friend of mine—Tyler, the Creator—made a comment on Twitter. MC About my barber. He called him my barber! PW And she fred back! MC It’s actually funny. He wrote something about how ‘Miley should kill her barber for what he did to her.’ And I was like, “Nothing can match what God already did to your face. By the way, I love your music. Smiley face.” PW The balls! The ovaries! The sophistication to end it with, “But I love your music. Smiley face”? I was telling people, “Told y’all. She’s diferent.” MC And now he’s on a track with us and in here and chilling. PW “Yes, I will nuke you. I’m not afraid. But I like your music.” That’s the real shit. That was a very proud moment for me. Name another pop artist under 21 who would have responded like that. Because on paper she’s a pop artist. If you cut her open, she’s many things. MC In my mind I’m Gucci Mane, but on paper I’m a pop artist. [laughs] I remember seeing you out wearing a Moschino logo belt and knowing that you knew something. MC That’s what’s crazy. I felt like I always got it. I would always secretly keep my shit for around the house. Now I’m like, Fuck it. It’s not about the girly-girl shit anymore, the pop shit. Times are changing, music is changing, fashion is changing. It’s all changing. I like that you’re engaged but also no bullshit. You have a certain stability while taking on the world. MC I work every day. My assistant is always like, “I don’t want to hear you sing during the day unless we’re at the studio, because I’m at the studio with you from 5 pm until 5 am half the time.” And it’s like, I’m not home with my boyfriend all the time. We work. Every week it’s “Are they broken up? Because we don’t see a photo of them.” I don’t have time to go to Starbucks with my boyfriend every morning. I wish I did, but I don’t. I’d rather chill at my house and be there for the time I actually get to spend with him. And then I’m at the studio all day. He gets up to work out at six and I come home at fve from the studio. I put this record before everything, and I’ve never done that with anything. I’ve put too much into this record to put anything else in front of it. Have you two discussed the look of the music? MC My accountant doesn’t love Pharrell like I do. Because he introduced me to some vintage shit in Miami that’s crazy. I’ve always been diferent in how I dress, but Pharrell and especially Helen—because when Pharrell would be editing we would just go on the computer and shop—they helped me understand how I could express myself through how I dress. PW And that’s what you’re seeing and why I can’t take credit. It’s been great to watch her style evolve, because she’s always had that in her. The Comme des Garçons, the Chanels of the world— you can tell a lot of people about that shit, but they may not pick it up right. Whereas with her, it’s like, This speaks to me. Because this is how I feel right now. It’s not like, I’ve got a lot of money! Let me buy everything in the store! With her, it’s an honor to watch it. It’s a privilege. She dives in. What you’re seeing is the manifestation of her personality. It’s just like the music. We played you two songs worlds apart, and with both of them you understand who Miley is. The album is your story. MC I got excited because on this record I can say whatever I want. And then I got more comfortable with that and the record got better and better. If I had made it two years ago when I should have had a record come out, it would have been a little brat trying to say “This isn’t who I am! This is what I’m trying to prove!” Now I’m not trying to prove anything to anybody.

jacket dior Briefs american apparel necklace hermĂˆs fuelBand nike ring trash and vaudeville

jacket and rings

Trash and VaudeVille cap PaTricia Field

Jacket Theyskens’ Theory Jeans JusT Cavalli ring Trash and vaudeville glove paTriCia field

“[Tyler, the Creator] wrote something about how ‘Miley should kill her barber for what he did to her.’ And I was like, ‘Nothing can match what God already did to your face. By the way, I love your music. Smiley face.’ And now he’s on a track with us and in here, chilling.” —Miley Cyrus on handling Twitter beef

Jacket Nicole Miller ShortS Patricia Field BeltS and ring trash aNd VaudeVille

BAG AND pANts Louis Vuitton Glove Patricia FieLd fuelBAND nike

“When I met her, I just thought of a ball of fre.” —Pharrell Williams

Makeup JaMes kaliardos Hair oribe using oribe Hair Care (oribe salon MiaMi beaCH) To see a video of THis sHooT go To vMagazine.CoM Manicure Gina ViViano (artists by tiMothy Priano) DiGital technician christian hoGsteDt Photo assistants benjaMin tietGe, eMilio Garcia, Patrick roxas stylist assistant kate Grella MakeuP assistant WilliaM kahn hair assistants juDy erickson anD GreG bitterMan tailor Malisa (in-house atelier) ProDuction Michelle lu on-set ProDuction roGer DonG anD Dina chaPPo for Ge Projects ViDeoGraPher look filMs location jack stuDios caterinG shoot fooD

“If I had made [this record] two years ago when I should have had a record come out, it would have been a little brat trying to say ‘This isn’t who I am! This is what I’m trying to prove!’ Now I’m not trying to prove anything to anybody.” —Miley Cyrus

Jacket and pants

Saint Laurent by Hedi SLimane top american appareL tag and scarf vintage cHaneL necklace HermÈS ring and bracelets traSH and VaudeViLLe necklace her own Lorraine ScHwartz

clothing (thRoUghoUt) legleR’s own

Whether she’s strutting the menswear runway or blurring gender boundaries with her thought-provoking artwork, Casey Legler is a modern-day model to admire. Here, one of her biggest fans pays tribute PHotograPHy INEZ & VINooDH 88

Olympia (from “Worker Series” landscapes), 2013 Digital C-Print, 8 x 9 feet For Susan Sontag and Camera Lucida

Genesis (from “Worker Series” landscapes) 16mm black-and-white flm still

artwork casey legler Lighting Director JoDokus Driessen DigitaL technician Brian anDerson Photo assistant Joe hume ProDuction the coLLective shift anD vLm stuDio


Excerpt from Casey’s New York Fashion Week blog (for Paper magazine): 6 pm: Call time for Michael Bastian. I don’t know how else to describe it but through a series of words. The prep is all a bit of a blur: show up, wait, drink some water, try to eat, watch Sebastian [Sauve] eat, sit around, wait, get up to do a walk-through, get your hair done (Martial!), sit, wait, get a camera in your face because press is now in the prep room, wait, get your nails done, get up and go do another walk-through, watch the boys read in line, wait, watch everyone look for Sebastian, do the walk-through, sit down, wait, get your makeup done, get fve cameras in your face now because more press has shown up, have one of them ask you if you’ll take your shirt of (the answer is no), smile, sit down, drink more water, get in the lineup, do another walk-through, watch the set get cleared, get dressed, tell another photographer he can’t take a picture of you getting undressed, get in the lineup, wait, Michael styles all of us, Martial checks all of us, Michael does another two passes to assure styling is correct, wait. 9 pm: Then this happens: the line in front of me gets shorter, the guys ahead are walking, the music is blaring, I move forward up the line. Then I’m next. Michael styles me one more time and says, “Give ’em attitude.” And so, I serve you attitude. In my next life I am coming back as Casey Legler. Seriously! What could be more exciting than this? I would be 6ˇ 2ˇˇ, have no hips but the most gorgeous long and elegant legs you can imagine (think Nadja Auermann), broad swimmer’s shoulders, and a chest that needs no lingerie but

looks as awesome in an evening dress as in a T-shirt. My body moves fuidly, shape-shifting from girl to boy, from animal to machine. My face looks like that of the most elegant boy in an August Sander photograph and only gets truly feminine when I smile. My wide-eyed hunger for experience, knowledge, and exchange makes me so easy to be honest with, and at the same time forces people to be careful with me, for I will give them all in the name of art and inspiration. My heart is healthy from being an epic Olympic swimmer (1996) and from seeing the joke in everything. Growing up in France with American parents made for a sweet, soft, ringing fuency in French combined with a swaggering tough New York kid rap.  My brain is a strong artist brain that investigates the poetry of being human (no gender intended) through ritual and devotion, sex, religion, and iconographies. Through rule breaking and anarchy, I am fully at ease. So really nothing stands in my way. I can be the frst female that is exclusively signed to Ford’s male model board, and if I dream of being the frst female James Bond, that is probably what will happen next. All this is part of life’s performance, life’s play, each experience adding another layer of richness to my art. And meanwhile, if being myself makes it any easier for that kid in the Midwest to be exactly who s/he is then...BAM! Job well done. INEZ VAN LAMSWEERDE

In his new tome, Draw Blood for Proof, iconic photographer Mario Sorrenti lets autobiographical imagery provide an in-depth look at his personal and professional life. Here, he sits down with his friend and publisher Pascal Dangin to discuss this intimate self-portrait PHotograPHy MarIo SorrentI Back in 2004, Mario Sorrenti staged one of his frst exhibitions at New York’s Roth Horowitz Gallery. The work on display, Draw Blood for Proof, predominantly consisted of Polaroids arranged in a giant collage format. It was a re-creation of the conversation he started with himself on the wall of his Lower East Side loft, in which he documented his life in pictures— professional, private, and interesting moments. When the exhibition was over, and just before it was dismantled, Sorrenti gave the project new life by photographing it again. He recently unearthed those snapshots, and with the help of creative director and steidldangin publisher Pascal Dangin has reanimated their subject matter once again, in the form of a fabulous book, due out this summer. SARAH CRISTOBAL It’s a beautiful book. Congratulations. Pascal Dangin It’s great to have fnally arrived at this point. Mario had this book idea a long time. Mario Sorrenti Almost ten years. PD My experience with photographers is that a book is a milestone. As a publisher I want people to understand who Mario Sorrenti is. This body of work will engage people. In today’s world of photography and consumerism, this book is really an inside view. He has his own life and his own world and experience. I was at the show, it’s obviously very emotional to see all of those private personal pictures. Love, sex, commercials, fun, work—everything is here. And then suddenly for him to decide to rephotograph, not as a document, but as an image of an image, that’s what really took me in. It’s not a representation of the show. I think the photographs, the way they are framed and the way we decided to show them, they are 8 by may look funny, but I love it. 92

MS This is true to the negative of the format it was shot in. PD Each spread is a new photograph. MS We wanted it to be as close as we could get to the size of a Polaroid. PD It’s a scaled-down version of the wall. We looked at a lot of ways to lay out this book and suddenly this one-to-one correlation became so apparent. You can spend hours and hours on this book and see something new every time. It’s extremely entertaining. MS The way it started…I must have been 22 or 23 and I was living in a small loft on Chrystie Street that had a long, white wall, and I wanted to make a conversation with myself all the way across it. Then I moved into a bigger space with a giant wall and I took all of my photographs and spread them across there. It just grew and grew, and one day the idea that came was that it would be exciting to actually re-create that wall in a work format. PD You would need to buy two books if you want to re-create that wall. [laughs] MS The way I work is that things keep changing and transforming and then have a life of their own. Someone asked me if I wanted to do an exhibition, and I transplanted that wall into the gallery. And then when the show was over I thought, This is the opportunity to actually photograph what is here. I started taking the Polaroids, and I realized, Oh my God, these are new pictures on their own! What I loved about it was that everything was re-cropped and reframed. From the beginning I realized it was about the relationships, image to image. Weird subconscious things started to happen. My grandmother’s foot next to something I took for fashion. My brother’s picture ended up next to a picture of a close friend from the neighborhood. All of these relationships started happening and again it was a conversation.

MS If you think about what photography has become today, with retouching and Photoshop, this is almost a document of an era before that. These are all Polaroids, unretouched. They are all handmade prints. PD There was a desire to preserve. If you had precise photography, re-creating images, that would have been a big mistake. We could have made a pamphlet or catalog or something, but it would have never been a book that way. It would have lost the sentiment. PD It’s also about not trying to say anything. It’s just what it is. MS [points to a photograph] That’s Doctor Kevorkian. I went to Detroit to photograph him for George magazine before he went to jail. It was so intense. I will never forget this—I had him in the corner of a room and I was looking down into my Hasselblad, shooting him, and he was just staring into the camera and I was having this weird high or hallucination. It was so intense, and he looks at me and he goes, “You’re really enjoying this, aren’t you?” And he looked like this skeleton to me. PD What else? MS Polaroids are really important for me and for some of my friends. We were taking photographs with them all the time. Something about the colors we found really inspiring. They had this quality we were always trying to replicate in our photographs. We were always like, Look, I want this green or this blue in my print. We would search out diferent cameras and flms we could use in the Polaroid—making it hot, making it cold, and pulling it out early. So we amassed such a large collection, and I would keep everything. So without even thinking about it, it all came together. PD To me they are really like paintings, and people forget that, especially in an Instagram world. Mario, you are a big Instagrammer. PD He can’t help himself. MS It’s just another way of reaching people with your ideas. PD I had done a book like this before, but the size was interesting for this one. The blood became even more powerful, another way of saying “storybook.” MS To me, “draw blood for proof,” it’s literal, it’s what’s running through my veins. It’s who I am in a very disorganized way. In a sense, it’s throwing it all out there randomly and seeing where all the pieces land. It was ten years, give or take. There are a lot of relationships and friendships and family and losses, deaths. But also there’s a lot of getting up in the morning and going to work and taking pictures as a professional. PD Today we are fghting for time all the time. We should do drugs to just realize what it is! But sometimes you just need that catalytic process. You need to put that milestone in your life, to revise how it is. Sometimes it’s good, sometimes it’s bad, it’s nostalgic. We didn’t want to make a book that is nostalgic, this isn’t that. We didn’t want white frames, that becomes memories. But it’s important to recontemplate moments. Let’s work harder and harder to preserve this way of living and photography and our profession. You have to force yourself.

Courtesy steidldangin Publishers

Was this organized chronologically or did it all just kind of happen? MS No, we just laid it all out on the foor so we could see it and put it up. It just followed a natural rhythm of color and graphics. It got all confused, which was really interesting. It’s a story. MS But that’s the way it works in my life. I draw my inspiration from everything from my kids to fashion to art, and it afects each other and you lose track of time. I don’t only do fashion. It all became important. A picture of my brother next to a fashion picture next to something I did for a portfolio next to a picture of me as a child. It became important on every level, the photographs, the memories. It’s kind of an autobiography. And then the Polaroids sat in a box for another six or seven years. Then Pascal came to me and said, “I want to do a couple of books for you,” and this was sitting on my shelf. It seemed the appropriate thing to start with, because it explains my frst 10 years as a photographer and the birth of who I am today. And if you look at the pictures I am taking today and you put them all together, you can see that it comes from here, but is also very diferent. This is young and raw. It’s experimenting. PD People today know Mario for being this cool, edgy photographer, but it’s commercial, and there’s nothing wrong with that, but we also want to talk about the artist himself. So remove all the labels, and remove the marketing. It becomes just great pictures. And I think that’s going to go a long way in today’s fashion photography. There are no captions, so the images are speaking for themselves. PD Well, we also have a text written by Jim Lewis. He came to mind as soon as we started this book. I put the two of them together. I didn’t want a scholar of photography. I’ll always put text, but this book doesn’t really need it. The text is just one page, one paragraph. No break, just a long string of words. I think it’s very powerful. MS It’s sort of like free association, and in a way that’s the same idea as the book. PD It doesn’t explain the photographs. He put in words what Mario did in photographs. It was great. We are very excited. MS The way that I used to work…like this girl, Shannon Plumb, she came to deliver food to my apartment one day and I thought, Wow this girl is really interesting. I asked if I could take a photo of her and I started photographing her for three years, fve years. We thought about what we could do to push the envelope for each other. And then she started to do her own artwork and flm herself, and now she has these great flms and she is this amazing artist. My relationships with the people I photographed in this book are extremely personal, from pictures of my sister to Shannon. PD It’s a fantastic book. People are going to be very surprised. There are a lot of layers. Do you feel exposed at all? The exhibit was temporary, but this is permanent. PD Well, he is an exhibitionist. MS I’m completely exposed. I know there are going to be people that are horrifed and people that are going to like it. I think it’s kind of a relief in a way to be able to tell the truth. PD I think it’s very courageous to actually get it out there.

Coat Louis Vuitton on brows, M.A.C CosMetiCs Veluxe brow liner on eyes, M.A.C CosMetiCs blaCktraCk Fluidline

Form follows fantasy in Pre-Fall’s staggering new silhouettes. Get into a diferent kind of shape this Summer with the season’s breakout stunner, Sam Rollinson PhotoGRaPhy kacPeR kaSPRzyk FaShion tom van doRPe



Dress GiorGio ArmAni on face, m.A.C CosmetiCs face anD BoDy founDation on hair, BumBle And BumBle creme countour







SKIRT AND BELT CÉLINE SCARF CHARVET GLOVE LA BAGAGERIE MAKEup FRANKIE BOyD HAIR MARKI SHKRELI uSING BuMBLE AND BuMBLE (ARTLIST) MODEL SAM ROLLINSON (WOMEN pARIS) casting samuel ellis scheinman Photo assistants corentin thevenet and valentin loubat stylist assistants marion Jolivet and blake abbie Production alexandre-camille (total) location studio Zero, Paris

With their colorful and comic campaign for the upcoming film I’m So Excited (Los Amantes Pasajeros), frst-time collaborators and longtime mutual admirers Pedro Almodóvar and Jean-Paul Goude take their place among the clouds. Prepare for takeof PhotoGrAPhy JeAn-PAul Goude

“Somebody called and said that Almodóvar wanted to see me, and asked if I wanted to do a job for him,” recalls Jean-Paul Goude of the seeds of his recent collaboration with the famed Spanish director. “Of course I was extremely fattered and I immediately told my assistant to get us tickets to Madrid.” A longtime fan, Goude loves Almodóvar for directing his favorite flm, 2002’s Talk To Her, and describes the opportunity as something otherwordly. “I’m under his spell,” he says. “He’s so charming, gentle, and intelligent—he’s got everything! He is a true master, and he is no joke.” The admiration, it seems, is mutual. “I became a fan of Jean-Paul Goude’s work in the ’70s,” Almodóvar says. “Maybe that’s why I thought he was unapproachable. But I had been wanting to contact him forever, so I asked the other Jean Paul, Jean Paul Gaultier, and he encouraged me. Goude is a super eclectic illustrator-designer-artist, but I don’t think he has worked much with flm posters before. I wanted us to work together in any possible way he could think of. Once I called him and I found out he was a fan of mine too, I sent him the script of I’m So Excited and we agreed to organize a photo shoot to be used during the promotion of the flm.” The results (shown here) seem to perfectly combine the campy hilarity of the flm with Goude’s mastery of iconic, unforgettable imagery. Taking place almost entirely in the cabin of a damaged commercial airplane, I’m So Excited tells the story of its passengers, fight attendants, and pilots. Convinced they will die, the crew uses their energy and ingenuity to give the doomed passengers one last hurrah. It’s a madcap comedy, for sure, but also one that bears Almodóvar’s signature grasp on the prismatic depths and idiosyncracies of human behavior. “There is always this duality in Almodóvar between drama and comedy,” says Goude. The originality of the characters and the subject matter made collaborating on the promotional 1 06

imagery feel quite natural for the artist, who’s long taken pleasure in crafting indelible images featuring unique personalities. He was particularly enamored with the famboyant attendants comprising the in-fight crew. “I don’t know of anybody who hasn’t taken a plane and found gay stewards serving them,” he says. “I know I have! The three stewards are sort of like the gay version of the Three Stooges—much funnier and completely outrageous! But Pedro explained to me that the flm is really about people that are going to die, so these people are outrageous, but they’re also afraid. Almodóvar is very grave, and he is very hands-on with everything. “He is a contemporary auteur,” he continues. “Aside from Woody Allen and a couple of other guys in Europe, there aren’t that many auteurs anymore. There are great movies being made in Hollywood, but by groups of people—committees—not by one man who has the basic idea, the scenarios, the dialogue, and does everything, including the cutting, the editing, and even the advertising. Pedro’s crew was helping us out, and they were so sweet. It’s unbelievable, the kindness. And all these Spanish actors—some of them are big stars, and there were no star attitudes at all. We just had fun, like going to a party and taking pictures here and there.” “We got along straight away,” Almodóvar concurs. “Ten minutes after having met him, I felt as if we had been friends forever. Now I wonder why I didn’t contact him before. Shyness, I suppose.” In the end, the kismet was such that the director even got the movie poster he’d been dreaming of. “Our chemistry during the shoot was amazing, and Jean-Paul told me that he had an idea for the poster of the flm,” Almodóvar recalls. “I had secretly been hoping this would be the case, so I didn’t hesitate to green-light it. I’m very enthusiastic about the result!” “It’s one of my greatest souvenirs,” Goude says of the poster, which features the heads of the cast coming out of the windows of the plane. “It will remind me of when I had a great time with a genius.” PATRIK SANDBERG

I'm So Excited cast members Javier Cámara, Raúl Arévalo, and Carlos Areces

“I’m under [Almodóvar’s] spell. He’s so charming, gentle, and intelligent—he’s got everything! He is a true master, and he is no joke.” —Jean-Paul Goude

Body count: the director watches over his tangled cast (far right)

“I became a fan of Jean-Paul Goude’s work in the ’70s. Maybe that’s why I thought he was unapproachable...Ten minutes after having met him, I felt as if we had been friends forever. Now I wonder why I didn’t contact him before. Shyness, I suppose.” —Pedro Almodóvar

Iconic illustrator François Berthoud draws the most sensational pieces from the Spring/Summer 2013 Couture collections

Karl Lagerfeld staged his Chanel Haute Couture show in a glorious winter wonderland in the Grand Palais. “In a way, the inspiration for the show was the set itself,” the designer explained. That resulted in fairy-nymph dresses of tweeds, embroidery so rich it looked like painted fabric, and sleeves that the designer explained were inspired by birds in an enchanted forest. “The famous midsummer night dream is a great idea and a great feeling for things unrelated to most people’s lives,” said Lagerfeld. 110


The venue, a mirrored box, was virtually invisible among the hustle and bustle of the Tuileries in Paris. But once inside the Dior Haute Couture show, a garden was in full bloom. “I wanted the set to be almost literal: ‘It is spring, let’s do a garden,’” says creative director Raf Simons, who enlisted landscape architect Martin Wirtz to create an open-air fantasyland. “I am a big admirer of his work, it is incredibly architectural and modern and when the idea of a contemporary jardin à la francaise came, he was the obvious choice to realize it.” But the real blooms in this forest were the designs, which featured fowers that were embroidered, glistening, and showed gorgeous imagination. Added Simons: “Mr. Dior was passionate about gardening and I felt this was yet another way of paying homage to him.”

The inspiration for Armani Prive’s show was the scepter, the ornamental stick carried by rulers on ceremonial occasions, a symbol of sovereignty. “It is most certainly a symbol of power, and I used it to give a sense of regality to sophisticated women,” Armani explains. “But it is just visual entertainment, an accessory that emphasizes the elegance and simplicity of the clothing. Today’s women certainly do not need symbols of power. Femininity—sophisticated, natural, dignifed and conscious, the way I like it—is power in and of itself.”

The Valentino Haute Couture designers Maria Grazia Chiuri and Pierpaolo Piccioli were inspired by a walk through a garden. “For us, the garden is magical. It is beautiful and delicate but also gives you a strong sense of wonder,” Chiuri says. Piccioli adds, “We like the combination of strength and fragility. Modern women are strong and confdent but there is also the search for delicacy that is linked to the concept of grace, which is an aspect we like in women.” One of the most memorable ensembles was a red latticework cape that resembled a gate that could open to a woman’s wildest fashion fantasies.

For his Gaultier Paris couture collection, the designer took a trip to Northern India, specifcally to a wedding with the gypsies of Rajasthan. “It is a universe rich in color, in joy, and exaltation,” he explains. Excitement is an understatement when it comes to a presentation from JPG, and this show didn’t disappoint. The fnale was a bride who lifted her ornate hoopskirt to reveal several children in full ceremonial regalia who sprinted down the runway. “Especially now, when everything is so serious, when the world is in crises, we need joy. We need to bring it back into fashion and into our lives!”

Donatella Versace trod familiar territory for her couture show this season: fuorescents, furs, and gold. “I was inspired by the relationship between solid structures and ethereal fabrics,” she says. “I was looking at glass domes, and how the fragility of glass sits alongside the strong lines of the beams.” (This is how she came up with the idea of pinstripes made of 24K gold.) For the designer, the sky—or this case, the dome—is the limit when it comes to working on a new collection. “Atelier Versace is like a dream for me, a piece of real-life fantasy in the world of Versace.”

Don’t get Emoji, get even! Going ultraglamorous is the ultimate revenge, especially with the most bedazzling jewels and out-of-sight beauty looks of the Summer season PhotoGraPhy richarD BurBriDGE FaShion roBBiE SPEncEr MakEuP PEtEr PhiliPS 116

from left: xiao wen wears

Dress BOTTEGA VENETA Bracelet cuff REPOSSI rinG (on thumB) BOTTEGA VENETA rinG (on miDDle finGer) MAWI rinG ANONYME Bracelet MAWI Yumi wears Dress Yumi DSQUARED2 wears rinG CHANEL Dress FINE DSQUARED2 JEWELRY rinG anDBracelet cuff CHANEL DELFINA FINEDELETTREZ JEWELRY charm Bracelet Bracelet LOUIS VUITTON DELFINA FINEDELETTREZ JEWELRY charm Bracelet LOUIS VUITTON FINE JEWELRY sunG wears Dress FENDI rinG (on rinG finGer) sunGREPOSSI wears rinG (on inDex Dress finGer) FENDI rinG (on CHANEL rinG finGer) FINE JEWELRY REPOSSI Bracelets rinG (on BOTTEGA inDex finGer) VENETA


on Bracelets Brows, LANCÔME BOTTEGA moDÈle VENETA sourcils Brow Groomer on Brows,on LANCÔME eYes, LANCÔME moDÈle Ôscillation sourcils intensitY Brow Groomer mascara on eYes, LANCÔME Ôscillation intensitY mascara

yumi wears Clothing CHANEL BrooCh VAN CLEEF & ARPELS on liPs, M.A.C COSMETICS liPstiCK in laDy Danger


from left: xiao wen wears Vest VERSACE JaCKet CYBERDOG CHoKer anD earrinG DELFINA DELETTREZ sunG wears Coat VERSACE stole CYBERDOG earrinG DELFINA DELETTREZ on liPs, NARS sHeer liPstiCK in flamenCo on sKin, NARS oPtimal BriGHteninG ConCentrate

xiao wen wears ToP REED KRAKOFF

rinGs DIOR FINE JEWELRY MasK LARA JENSEN FOR INbAR SpEctOR CaP sTYLisT’s own on eYes, MAKE Up FOREVER MeTaL PowDer eYesHaDow in oLiVe GoLD MaKeuP PeTer PHiLiPs (arT + CoMMerCe) Hair JaMes PeCis (D+V ManaGeMenT) MoDeLs YuMi (naTHaLie MoDeLs), xiao wen Ju, sunG Hee KiM (iMG Paris) Casting direCtor Larissa gunn (art+CommerCe) maniCure sophy robson (streeters) digitaL teChniCian andrew Kenney (Capture this digitaL) photo assistants Kim reenberg and Jeff henriKson styList assistant CoLine baCh maKeup assistants eLodie barrat and deLphine deLain hair assistants oLiver henry and adLena dignam LoCation dayLight studios, paris

Miuccia Prada Prada Prada’s tantalizing Fall woman carries herself with a dishabille mystique. Where she has been and where she’s going are just two of the mysteries Miuccia poses this season—a perfect sartorial starting point to an imaginary and cerebral soap opera of the sort that has become something of a Prada staple.

FACE THE FuTurE 1 22

rei Kawakubo comme des Garçons Rei Kawakubo calls her Fall 2013 collection for Comme des Garçons “The Infnity of Tailoring,” and the masculine suits—with their twisted, serpentine curves—are each miraculously wrought from a single pattern. The results are spellbinding—a new species of femininity.

Form. Fashion. Function. From ladylike chic to modern-day Queen Elizabeths, some of the strongest collections for Fall are the work of the world’s greatest female designers. We are so excited about what was shown on the runway that we can’t help previewing what’s to come. Bow down to these ingenious oferings IllustratIon rIcardo Fumanal tEXt cHrIstoPHEr Barnard

Sarah Burton Alexander McQueen Sarah Burton’s Elizabethan-inspired Fall collection for Alexander McQueen is a glorious litany of exuberant vestments and pearl-drenched ruffs fit for unapproachable eminences.

Phoebe Philo Céline Fashion’s barometer rises and falls with each of Philo’s collections for Céline. This season, coolness collides with comfort in silhouettes that are rendered in luxe fabrics, while plaids (inspired by reusable shopping bags) elevate domestic banality to high-fashion brilliance.

Jil Sander The cut and colors of Jil Sander’s Fall collection bear a sober elegance so exacting it’s almost severe. Architectural outerwear with strict, three-quarter-length sleeves, midi-length skirts, and Puritanical pumps are the defning elements. Consider it a perfect palette cleanser to reset the standard of chicness. Serenity now.

Frida Giannini Gucci Frida Giannini has kept Gucci white-hot for the better part of a decade and this season is no different. Her refned Fall collection—a parade of hits from body-con black python suits to sexy silk and feather peekaboo gowns—is the perfect accoutrement to the modern cosmopolitan woman, who loves the designer’s unyieldingly progressive vision of luxury.





For this illustrated issue Editor-at-Large Derek Blasberg asked L.A.-based illustrator Jamie Lee Reardin to draw his favorite blogger-bait babes

taylor tomasi hill

hanne gaby odiele

shala monroque laure heriard dubreuil

ulyana sergeenko

anna dello russo cara delevingne 1 28

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V83 summer 2013 VmAGAZINe.COm


The Emancipation of Miley


The Emancipation of Miley